CONCERTO PRIZEWINNER SHOWCASE
SATURDAY, 9 SEPTEMBER 2023, 7.30 PM
YST CONSERVATORY CONCERT HALL
YST Orchestral Institute with JASON LAI, conductor
ZHU ZEYU, cello
WILLIAM WALTON
Cello Concerto
I. Moderato
II. Allegro appassionato
III. Tema ed improvvisazioni
JOHANNES BRAHMS
JOHANNES BRAHMS
Symphony No. 3 in F major, Op. 90
I. Allegro con brio
II. Andante
III. Poco allegretto
IV. Allegro – un poco sostenuto
Of the lyrical romanticism, I do not tire. The music touching us all, pointing to our humanity: standing beyond sympathy, timeless friend, oracular vision that comprehends.
- Adapted from Hubert J. Foss
Welcome, and thank you for joining us in this opening concert of YST’s 2023-24 Orchestral Institute Series: Concerto Prizewinner Showcase: Walton and Brahms, Flowing Resonances!
As the YST Orchestral Institute embarks on another exciting concert season, and as we reflect
upon the Conservatory’s remarkable evolution – contemplating the inspiring ensemble musicmaking of the past two decades – we find ourselves profoundly moved by the manifold, flowing resonances that move us forward. One of my great joys as Vice Dean, overseeing collaborative music-making at YST – a responsibility that includes the Orchestral Institute – is the privilege of witnessing the ongoing evolution of the Conservatory’s ensemble program. It’s immensely gratifying to witness how exceptional ensemble playing accelerates the collective growth of our students into accomplished musical artists. In this still young 23/24 academic year, I am pleased to note that Principal Conductor, Jason Lai, along with the entire OI coaching and administrative team (which often comprises ten dedicated collaborators on any given project!), have been particularly impressed by the Orchestra’s ability to maintain the positive energy that reverberated throughout the 2022-23 concert season. They are now paying it forward through the kind of outstanding orchestral playing you’ll hear tonight.
When curating the Orchestral Institute’s programming, we always endeavor to select pieces that resonate harmoniously with one another. Sometimes pairings, pleasantly and serendipitously
surpass our initial expectations of how they might ‘fit together’ in a concert program. William Walton’s Cello Concerto and Johannes Brahms’s Symphony No. 3 in F-major, Op. 90, is a perfect example of this. Initially, one might not anticipate that the compositions of a mid-twentieth-century British composer and a late Romantic, German composer, would mirror each other so convincingly. Yet, in the reflective introspection that both pieces—in their distinctive ways—explore, a similar kind of universal soulfulness emerges from both composer’s voices.
Given the contemplative beauty of the music, it’s perhaps not surprising that both composers were in their 50s, and at the zenith of their creative prowess, when they composed the respective pieces on tonight’s program. Yet, as cello soloist, Zhu Zeyu (BMus 3), demonstrates – through the virtuosity and interpretive skills of his Walton performance – and as the students of the Orchestral institute display throughout this musically-challenging program, sometimes old souls find sublime expression through youthful vessels.
Let the resonances flow!
Associate Professor Brett Stemple Vice Dean (Ensembles, Research & Professional Awareness)Inspirational life-affirming music-making is at the heart of the Yong Siew Toh Conservatory of Music at the National University of Singapore. Centred in one of the world’s most dynamic countries, the Conservatory is uniquely placed to offer a distinct and powerful contemporary Asian voice.
Founded in 2003, YST quickly established a reputation as Asia’s most exciting international conservatory by bringing together a worldclass faculty and facility to develop excellence in instrumental performance and composition. Building on this strong foundation, the Conservatory has evolved over the past two decades to become one of the world’s most distinctive music schools, diversifying its offerings and continually seeking to connect authentically with its surrounding community. Specialisations added subsequently include Voice, Audio Arts & Sciences, Conducting, Music & Society and Music, Collaboration & Production. Alongside students from Singapore, the Conservatory community is internationally diverse, with representation from over 20 countries and five continents.
Keenly focused on nurturing identity as a driver for excellence, YST’s Bachelor of Music programme
offers full financial support for all its undergraduate students, enabled by major gifts from the Yong Loo Lin Trust. The Conservatory’s continuum of offerings further includes Master of Music and Master of Music Leadership degrees, NUSfacing Second Majors, Minors and modules, Continuing Education & Training courses for adult learners, and a Young Artist programme. We host a vibrant performance calendar with around 200 concerts annually, featuring students and faculty alongside international artists and ensembles. Our community engagement and professional integration programme has extensive local, regional and global reach. Students are supported to find their own artistic pathways through exchanges, festivals, competitions and projects. More broadly, our international networks and partnerships further enhance the educational experience and ensure our continued evolution.
The YST Orchestral Institute is a creative musicians’ laboratory, designed as an innovative forum for conservatory-level orchestral training. First conceptualized in 2018 by former YST Dean, Prof. Bernard Lanskey, as a way of revitalizing learning and teaching systems within a large ensemble context, the Orchestral Institute has emerged as a dynamic platform in which aspirational orchestral musicians work collaboratively alongside professionals drawn from Conservatory faculty, staff, and alumni, as well as YST partner institutions, from Southeast Asia and beyond. Pioneering interdisciplinary programming, a unique production style, collaborative-composition creation, musician
health & well-being, and an open-dialogue approach to rehearsing are all hallmarks of the Orchestral Institute approach – a philharmonie philosophy which seeks to create a safe ‘play-space’ emphasizing creativity, mutual learning, and skills development appropriate for large ensemble musicmaking, with the ambition of enabling musicians to be even more open, daring, questioning, collaborative and passionate about the music they make together.
Currently under the leadership of YST Conservatory Principal Conductor, Jason Lai; Vice Dean of Ensembles, Brett Stemple; OpusNovus Conductor (and YST Artist Fellow), Dr Lien Boon Hua, and Orchestral Manager, Yap Zi Qi; and working alongside Conservatory students, faculty, staff, and YST Artist Fellows – the Orchestral Institute has created and curated a number of groundbreaking orchestral productions including Telling Beyond Words (2019), and – despite the global pandemic – Springs of Uncertainty (2020), Lichtbogen (2020), Landscapes of Souls (2021), Transfigurations (2021), Dream for Future (as part of SoundBridge Music Festival 2021) and a special collaborative family concert with the Kids’ Philharmonic, Symphonies
Simple and Philharmonic Friends (2021), among others, many of which are available for viewing at the YST Conservatory’s YouTube channel.
Jason Lai is the Principal Conductor at the Yong Siew Toh Conservatory, Principal Guest Conductor at the Orchestra of the Swan, and former Associate Conductor of the Singapore Symphony Orchestra and Hong Kong Sinfonietta. He’s been a prominent figure in Singapore’s musical life since his arrival in 2010, but also active internationally giving masterclasses in Europe and China. He has also guest conducted the Adelaide Symphony Orchestra, New Japan Philharmonic, Podlasie Opera Philharmonic in Poland, Macao Orchestra, Hong Kong Sinfonietta, and the Osaka Symphony.
Intent on broadening the appeal of classical music to audiences who would not normally think of going into a concert hall, Jason is also building a unique reputation as a communicator with mass appeal through his television appearances in both the UK and Asia. He has frequently appeared on BBC television as a judge in both the BBC Young
Musician of the Year competition and the classical talent show “Classical Star”. He reached his widest audience when, as a conducting mentor in the series “Maestro”, his celebrity student, the popular comedienne Sue Perkins, won with a nailbiting final in front of the BBC Concert Orchestra and a live studio audience. Other BBC television appearances have include “How a Choir Works” and “The Culture Show”. Jason also starred in “Clash” for the children’s television channel, CBBC.
Since settling in Singapore he has continued with his television work. He was presenter and conductor for “Project Symphony”, an eight part series for Okto where he was filmed setting up a community orchestra. He has recently been involved in filming for a BBC series “Heart of Asia” which explores the contemporary arts and culture scene in Thailand, Indonesia, Korea and the Philippines, and a further series for BBC World called “Tales from Modern China”.
Jason’s roots lie in Hong Kong but he was born in the UK and was a pupil at the prestigious specialist music school in Manchester, Chetham’s, where he studied cello. At Oxford University he studied both cello and composition, and went on to the Guildhall School of Music and Drama in London where he was awarded a Fellowship in Conducting.
Despite having toured as a cellist with the Allegri String Quartet and having been a finalist in the BBC Young Composers Award, Jason gravitated increasingly towards conducting after he won the BBC Young Conductors Workshop in 2002. This led to his appointment as Assistant Conductor to the BBC Philharmonic with whom he made his BBC Proms debut in 2003. Following his work with various British orchestras, he was appointed Artist Associate to the Hong Kong Sinfonietta and became their Associate Conductor in 2009. Jason most recently had debuts with the Adelaide Symphony and Macau Orchestra and made return visits to conduct the Hong Kong Sinfonietta and Orchestra of the Swan.
Education is an important part of Jason’s work in Singapore. At the Yong Siew Toh Conservatory he trains the next generation of conductors, many of whom have had many successes both at home and abroad, and with the SSO he spearheaded the education and outreach programme, helping the orchestra reach new audiences notably through his Discovering Music and Children’s concerts.
Zeyu was born in Beijing China in 2003, He began studying the cello at the age of 6 with Yuanze Huang and later with Lixing Jiang. In 2019, Zeyu enrolled as a pre-college student at the Tianjin Julliard School, where he studied with Yeonjin Kim and graduated with an excellent grade. Since 2021, Zeyu has been studying at the National University of Singapore, Yong Siew Toh Conservatory of Music under Prof. Li-Wei Qin.
Zeyu has attended masterclasses with Richard Aron, Natasha Brofsky, Astrid Schween, Amit Peled, Nicholas Tzavaras, Christine Walevska, Matias De Oliveira Pinto, and Elisabeth Furniss.
Zeyu also pursued his passion for chamber music for many years, and has coached with the Juilliard String Quartet, Shanghai String Quartet, Stradivari Quartet, Miró Quartet, Mandelring Quartett, and Ulrich Rademacher. Zeyu has received a full scholarship to participate in 2023 Heifetz Chamber
Music Seminar and the regular program of Heifetz International Music Institute.
Zeyu has won several awards in competitions, such as the 1st prize of the 2015 Leschetizky International Music Competition and a full scholarship for its summer school held in Austria; the absolute winner at the 4th China Youth Music Competition 2019 (Hummingbird Music Award), with an invitation to perform and exchange in Germany with the winners of Jugend musiziert, the 1st prize of the 8th Aiqin Prize and the 3rd International Cello Competition in 2019, the 2nd prize of the 2021 Gustav Mahler Cello Competition, and the 1st prize of the 17th Cecillia International Music Competition in 2023 in chamber music. As the prizewinner of 2023 Concerto Competition at the Yong Siew Toh Conservatory of Music, he performs William Walton's Cello Concerto with the Yong Siew Toh Orchestral Institute this evening.
As an experienced soloist, avid chamber musician and principal cellist in orchestra, Zeyu has played in various concert halls such as Beijing Concert Hall, National Center for the Performance Arts, the Forbidden City Concert Hall, the John F. Kennedy Center, Austria Haydn Hall, Singapore Esplanade Concert Hall, Bonn and Münster in Germany.
Zeyu plays a cello by Antonio Guadagnini from 1853, on loan from the Rin Collection.
After a grueling 18-month incubation, Sir William Turner Walton finally completed composition of his Cello Concerto in late 1956. This was to be his only composition that spotlights the cello, a fact made even more poignant by realizing that Walton thought of the cello as a ‘melancholy instrument, full of soul’. Why then, despite such affection for the instrument, had he not written more for it? This question, alongside many other intriguing contradictions of his life, pieces the elusive impression of his enigmatic nature.
Perhaps like most other shy persons propelled into the limelight, Walton was a man of facades and faces. If the most exterior—Walton the British Patriot—is met in such public facing works as
Walton, photographed by Howard Coster. Walton, second from left. Walton, with wife Susana Walton.the Crown Imperial: Coronation March, we meet his innermost self in this Cello Concerto. Upon completion of the concerto, Walton wrote earnestly to Gregor Piatigorsky (the American cellist who commissioned and premiered the work) saying, ‘… you should think the whole work wonderful. It is to my mind the best of my, now three concertos.’ Walton’s deeply personal bond with the concerto was obvious to his closest relations too. Walton’s wife, Susana, later describes how Walton ‘felt [the Cello Concerto] was the closest to his personality’. However, Walton’s love for this work was nowhere near matched by the public.
Of his three concertos, the premiere of the Cello Concerto starkly ranks lowest in enthusiasm and praise, far from the genius that was proclaimed of his Viola Concerto, written almost three decades ago. Contemporary reception of the Cello Concerto reflects a narrow range of similar regard—that it was a regression, a failure to be progressive, an expression of expired romantic sentimentality. Even Piatigorsky, upon whom Walton would have understandably pinned high hopes of appreciation, suggested a major alteration—he wanted a different ending to the work’s final movement.
It is an age-old dilemma, whether to appease the self or the audience. Maybe because sincerity
and soulfulness never go out of style, Walton’s Cello Concerto has aged well and in later years received its desired ‘happy ending’. A decade after the premiere, British composer Edmund Rubbra reflected on Walton’s artistic legacy in an article of The Listener (a weekly magazine published by the BBC): "While it can be said that this late [cello] concerto is not more mature in its musical motivation than the 1929 Viola Concerto, it can certainly be said that in the later works Walton digs deeper into the rich vein of his instrumental imagination to produce ore of a finer quality. In this respect he is very much like Brahms, whose music did not so much mature as become more subtly defined: in other words, more Brahmsian."
Indeed, Walton’s self-regard as ‘a classical composer with a strong feeling for lyricism’ draws kindred connection with Johannes Brahms, a romantic who similarly struggled with the tug-ofwar between conservative forms and progressive airs. Of Walton’s artistry, Hubert J. Foss writes: ‘There is at once a friendliness in the music as an oracular vision that comprehends but stands above sympathy.” The same sensitivity and profound knowing that laces Brahms’ music is
equally palpable in Walton’s.
Opening with a lapping figure reminiscent of English shores, the first movement (Moderato) is a kaleidoscopic plunge into the depths of one’s heart, meeting with currents of sentimentality, lugubriousness, tenderness, and rhapsodic dreaminess. The second movement (Allegro appassionato) jolts with its restless and sizzling energy, a departure that makes the occasional visitation of first movement’s unbounded sentimentality even more stirring and heartrending.
Spanning the time of the first two movements combined, the third movement (Tema ed improvvisazioni) is a dialogue between the soloist (ventriloquizing the composer) and orchestra. There is not one, but two soulful cadenzas, each met with the orchestra’s impassioned response. At the very end, as though transfigured and tranced, we step back into the first movement’s world. Call it déjà vu, call it enigma, call it an oracle.
Symphony No. 3 in F-major, Op. 90
Composed during the idyllic summer of 1883, in the serene pastoral surroundings of Wiesbaden, this symphony stands as a capstone to a period of remarkable productivity in Brahms’s illustrious career. Over the preceding five years, he had crafted a series of orchestral masterpieces, including his Violin Concerto, and Piano Concerto No. 2. In this time, Brahms appeared to transcend the daunting shadows cast by the towering influences of Beethoven and Bach, whose legacies both inspired and at times loomed large over him. Symphony No. 3 not only embodies a sense of creative liberation, but also illuminates a profound evolution in his compositional style.
Taunus mountains, near Wiesbaden.
Even his younger protégé, Antonín Dvořák, who had the privilege of glimpsing early drafts, was struck by the profound intimacy of the work, and of Brahms’s creative evolution, “You know, of course, how very reticent he is even to his dearest friends and musicians in regard to his work, but towards me he was not so. At my request to hear something of his new symphony, he was immediately forthcoming. I say without exaggerating that this work surpasses his first two symphonies; if not, perhaps, in grandeur and powerful conception—then certainly in—beauty.”
Indeed, the symphony’s Vienna 1883 premiere met with resounding enthusiasm, and marked one of Brahms’s greatest public triumphs, perhaps precisely because of its quintessentially Brahmsian character. Ironically, or perhaps fittingly–given his perennial anxieties–Brahms viewed the overwhelming praise for the work as extravagant, leaving him apprehensive about his ability to meet new and heightened expectations. Almost six weeks after the premiere, this mood persisted. He confided in his friend Heinrich von Herzogenberg, “the reputation the F-major has acquired, makes me want to cancel all my engagements!”.
From the Symphony’s dramatic two-chord Allegro con brio opening, we can hear how the fiery major/
minor ambiguity must have profoundly impacted the audience at the premiere. Brahms, with characteristic ingenuity utilizes this opening idea as the thematic backbone from which much of the musical material unfolds. The melodic F-Ab-F shape the theme unfolds, is also a musical “secret code” – first suggested by biographer Max Kalbeck – representing for Brahms 'Frei-Aber-Froh' or 'free but happy'. Through a lifetime of unrequited loves – Clara Schumann famously amongst them –Brahms, in his middle age, seemed to be signaling a newfound embrace of personal and artistic freedom.
As music writer Larry Rothe suggests, the initial presentation of the motif feels akin to a deep inhalation, a moment of anticipation before the music springs into action, sinews straining, energy building. Soon follows a passage that encapsulates the autumnal character often associated with Brahms’s music: a tender second theme introduced by the winds, accompanied by a delicate dance-like melody that emerges from it. This dance halts abruptly upon encountering a brief, poignant song that concludes this tranquil interlude, two balanced phrases exuding a sense of poignancy and acceptance, before the opening narrative returns.
The ensuing development section is densely woven, conveying a profound sense of struggle. This tumultuous episode is punctuated by a moment of reprieve, a soulful passage dominated by a solitary horn, like sunlight filtered through a hazy veil. After this respite, dark forces reconvene, revisiting the symphony's opening ambiguities. As the recapitulation draws to a close, new tensions emerge, building through a passage that culminates in the triumphant return to F major, the key in which the movement opens. Dynamic levels gradually recede, and tensions ebb in a magical denouement. The concluding notes echo the movement's outset, now transformed into a gesture not of defiance, but of serene acceptance. This masterful interplay of motifs and themes showcases Brahms' meticulous craftsmanship, while the emotional depth woven into each phrase resonates with the composer's enduring pursuit of 'frei aber froh' - freedom, but a serene happiness that will only find its fullest realization in the symphony’s final bars.
The Andante provides a contrast to the passionately boisterousness of the opening movement, giving way to pastoral lyricism. Clara Schumann’s imagination was captivated by the “pure idyll” of the woodwind melodies over the chorale accompaniment, even “envisioning
worshippers around a forest shrine”, where she could almost hear “the babbling brook and the buzz of insects”. The clarinet melody ends with a figure, echoed in the lower strings, reminiscent of the “frei aber froh” motif, reminding us we are never far from the symphony’s signature DNA. The movement concludes with a lyrically sublime new theme introduced by the strings, soaring to romantic heights before gently subsiding to a deep calm, underscored with a C tonic pedal, and a solemn minor-mode “Amen” in the trombones.
The haunting melancholia of the Poco Allegretto intermezzo is spun out through the symphony’s most endearingly fragile—and memorable—melody, no doubt inspired by the Romani folk music that Brahms so adored. First sung by the cellos, but later taken up by the violins, a wind trio, and then solo horn, it is pure Brahmsian-introspection that through its musing tenderness acts as a mirror to the universality of vulnerability.
Continuing in the same melancholic vein of the intermezzo, the Allegro finale opens in minor, brimming with a palpable, nervous energy, accentuated by its sinuously stark lines and sotto voce delivery. Brahms’s art of transformation, variation and expansion is operating at the highest level here. The theme from the Andante resurfaces,
yet it is transfigured into tragic solemnity. Storm clouds first darken, the dominate the sky. A sense of impending catastrophe permeates through a long series of densely packed and dynamically charged episodes, alternating with moments of textural austerity, all hurtling towards a conclusion still veiled in mystery.
This prepares a brass pronouncement that sounds like a summons to raise the dead: the call-andresponse from the Andante, transformed into pure aggression. Suddenly, muted violas cut across the texture with yet another transformation of the theme, laid before us now in placidly inviting triplets. Again in the words of Larry Rothe, “after a reticent recollection of the call-and-response, a passage heard half an hour earlier emerges from the veil. In its first appearance it was headstrong and defiant. Now it is mellow and restrained. It is the main 'Frei-Aber-Froh' theme of the opening movement, now transformed by time and experience from a shout into a whisper: calm, reassuring, complete.” A flowing resonance, not dissimilar to the peaceful bliss that concluded the Walton concerto on the first half of this evening’s program.
Programme notes compiled and edited by Lin Xiangning and Brett Stemple.
MEGAN LOW SHUEN WEI, concertmaster
ALYSSA GOH HUI YI
LEONID DATSIUK
HOI KHAI-WEING
GUM SENG AUNG DU
VIKTORIA IVAYLOVA MARINOVA
ZOU MENG †
WU TSAI-JOU §
ZHAO TONGZHOU
QIU ZHENGYI †
KUO FANG-CHEN §
JIANG HAO
† Walton only
§ Brahms only
^ Alumni/Guest musician
* YST Orchestral Institute coach/YST Artist Faculty
EDGAR JAVIER LUCENA RODRIGUEZ, principal
KOMILA IZATULLOYEVA
MA QICONG §
FENG JIALE †
ZHONG YIFAN §
CHEN SHU-YU
YANG SHUXIANG*
PENG YIYANG
BAKHODIR RAKHIMOV †
TAN XIN JIE §
SUN ZHENYAO
VIOLA
HUANG YI, principal
PAO YU-LIN
LIU WEI-JIA
LU MINA †
MAY LOH QIAO QIAN^ §
CHAN SHEE ANN SHANNON †
ZHENG JINGJING §
XIAO LEI
LIU LE † Walton only
§ Brahms only
^ Alumni/Guest musician
* YST Orchestral Institute coach/YST Artist Faculty
CELLO
LIU CHIEN-WEI, principal
HAN HUIJAE
SIM YEIN
WU ZUHUI
SHERZOD BAKHTIYOROV
LIU YOU-YU
DOUBLE BASS
KHEE YU HANG, principal
NG LAI TING
JULIAN LI^
YUAN MOER
WANG LUYAO^
FLUTE
LI JIA-EN, principal
WEN TZU-LING
PICCOLO
WEN TZU-LING †
† Walton only
§ Brahms only
^ Alumni/Guest musician
* YST Orchestral Institute coach/YST Artist Faculty
OBOE
QUEK JUN RUI, principal
SHO YONG SHUEN
ENGLISH HORN
SHO YONG SHUEN †
CLARINET
MA YI-TING, principal †
LEE PIN-YI, principal §
YANG JINLIANG †
ZHAO YITONG §
BASS CLARINET
YANG JINLIANG †
BASSOON
XU ZIXUAN, principal †
SHI JIAAO, principal §
ZHONG TIANAI †
RACHEL NG WEI TING §
† Walton only
§ Brahms only
^ Alumni/Guest musician
* YST Orchestral Institute coach/YST Artist Faculty
CONTRABASSOON
ZHONG TIANAI †
MUHAMMAD AFIQ BIN HUSSAINI §
FRENCH HORN
KALIA DIANE CRAIG, principal †
THANACHOCK UDOMPHAT, principal §
CHAI MEI QIN
YEN SHIH-HSIN
GAO XIAOXUAN
TRUMPET
LOI CHIANG KANG, principal †
CHEN HUNG-SHUN, principal §
CHANAN MALLANOO †
LOI CHIANG KANG §
TROMBONE
ONG AUN GUAN, principal
TOH CHANG HUI
† Walton only
§ Brahms only
^ Alumni/Guest musician
* YST Orchestral Institute coach/YST Artist Faculty
BASS TROMBONE
NG JUN JIE †
JENIFFER STEPHANIE SILVA CORESMA §
TUBA
YANG JUNXIANG, principal †
TIMPANI
LAI JO-WEI, principal †
K.GUN MONGKOLPRAPA, principal §
PERCUSSION
K.GUN MONGKOLPRAPA, principal †
ADAM SHARAWI BIN AMIN HUSSAINI †
ISABEL CHIN CHUN EN †
HARP
VANESSA JAZZY WAHYUDY IRWANTO, principal †
CELESTA
CHAKRIT KHANONVEJ †
† Walton only
§ Brahms only
^ Alumni/Guest musician
* YST Orchestral Institute coach/YST Artist Faculty
MINISTRY OF EDUCATION
For their support in the establishment of a conservatory of music in Singapore
YONG LOO LIN TRUST
Yong Siew Toh Endowment and Scholarship Fund
THE LATE MR RIN KIN MEI AND MRS RIN
Rin Collection String Instruments
SHAW FOUNDATION
Ones to Watch Concert Series
SINGAPORE TOTALISATOR BOARD
LEE FOUNDATION
Ong Teng Cheong Professor of Music
FACULTY, STUDENTS, ALUMNI OF YST CONSERVATORY
Steven Baxter Memorial Scholarship Fund
THE COMMUNITY FOUNDATION OF SINGAPORE
S R Nathan Music Schoalrship Endowment Fund
PROF KWA CHONG GUAN AND MS KWA KIM HUA
Mabel and Soon Siew Kwa Scholarship
MDM YONG LIEW CHIN
Yong Liew Chin Music Scholarship
MR GOH GEOK KHIM
Madeline Goh Professorship in Piano
CHENTER FOUNDATION
Chenter Foundation Cathy and Tony Chen
Community Outreach Fund
KRIS FOUNDATION
Kris Foundation Viola Masterclass Fund
MDM ONG SU PIN AND MR MERVIN BENG
OKK Wind Prize
MR GEOFFREY YU
Guy Hentsch Prize for Piano Performance
MS VIVIEN GOH
Goh Soon Tioe Leadership Award
Ms Gao Jun
Mr Geoffrey Yu
Mr Goh Geok Khim
Mr Goh Yew Lin
Mr Hamish McMillan Dyer
Ms Ong Su Pin & Mr Mervin Beng
Ms Phalgun Raju & Mr Nicholas A. Nash Mr Rin Kei
Mei & Mrs Rin*
Mr Tan Kah Tee
Ms Vivien Goh
Mr & Mrs Willy Tan Kian Ping
Mr Whang Tar Liang
Dr & Mrs Yong Pung How
BinjaiTree
CapitaLand
Chenter Foundation
The Community Foundation of Singapore Far East Organisation*
Hong Leong Foundation*
Keppel Corporation Limited
Kris Foundation
Lee Foundation*
National Arts Council
Shaw Foundation
Singapore Airlines Ltd
Singapore Pools
Singapore Technologies Electronics Ltd Singapore
Technologies Engineering
Singapore Technologies
Telemedia Singapore Telecommunications Ltd Singapore
Pte Ltd Singapore Technologies
Totalisator Board
Yong Loo Lin Holdings
Anonymous donor
* Founding Partners of the Singapore International Violin Competition
Bowen Enterprises Pte Ltd
Prof Bernard Lanskey
Prof Christopher Cheng
Dr Dang Vu and Ms Oanh Nguyen Dr Guy Hentsch
Dr James C M Khoo Ms Kyin Nwe Moong Prof Lee
Eng Hin
Dr Paolo Adragna
Dr Robert Teoh
Mr Goh Yew Lin
Paul McNulty fortepiano
Mr Tan Kah Tee
Bösendorfer Imperial Model 290
Bösendorfer Johann Strauss
Family of the late Mr Leong Yoon Pin
Leong Yoon Pin Manuscripts
The late Mr S R Nathan Digital Music Resources from the Madras Music Academy
Mr Nicholas Zaklama
Oboe Resources
ACKNOWLEDGEMENTS
ORCHESTRAL INSTITUTE AND ENSEMBLES
VICE DEAN OF ENSEMBLES
BRETT STEMPLE
ORCHESTRA MANAGER
YAP ZIQI
ASSISTANTS
EDGAR JAVIER LUCENA RODRIGUEZ
FOO YUE NING
HOI KHAI WEING
QUEK JUN RUI
QUEK JUN HAO JULIEN
SHO YONG SHUEN
XIAO LEI
TANG I SHYAN
BENNY LIM
ALISON WONG
MIKE TAN
COMMUNICATIONS AND ENGAGEMENT
ONG SHU CHEN
MARKETING AND COMMUNICATIONS
FAEZAH ZULKIFLI
