Concerto Prizewinners
THURSDAY, 2 FEBRUARY 2023, 7.30 PM
YST CONSERVATORY CONCERT HALL
Showcase
ORCHESTRAL INSTITUTE
PROGRAMME
YST Orchestral Institute with JASON LAI, conductor
NUTTAKAMON SUPRATTRANONT, trumpet
ZOU MENG, violin
LIU JIAQI, cello
ALEXSANDER ARUTIUNIAN
Trumpet Concerto in A-flat major Andante maestoso – Allegro energico – Meno mosso – Tempo I – Meno mosso – Tempo I –
Cadenza-Coda
KAROL SZYMANOWSKI
Violin Concerto No. 1, Op. 35
Vivace assai - Tempo comodo — Andantino –
Vivace scherzando - Poco meno – Allegretto –
Vivace (Tempo I)
ANTONÍN DVOŘÁK
Cello Concerto in B minor, Op. 104
I. Allegro
II. Adagio ma non troppo
III. Finale: Allegro Moderato
VICE DEAN'S MESSAGE
There is something dense, united, settled in the depths, repeating its number, its identical sign. How it is noted that stones have touched time, in their refined matter there is an odor of age, of water brought by the sea, from salt and sleep.
from Unity, by Pablo Neruda
Happy New Year and thank you for joining us for this Orchestral Institute: Concerto Prizewinner Showcase! The level of excellence in YST’s 2022 iteration of the annual concerto competition was so impressive that our international panel of judges felt utterly compelled to award five prizewinners!
With the Orchestral Institute’s ongoing initiative to partner with outstanding ensembles within Singapore and beyond, two of these outstanding prizewinners, pianists Cheryl Pandora & Viona Sanjaya were showcased with the Orchestra of the Music Makers as featured soloists, performing
the Francis Poulenc Concerto for Two Pianos, at School of the Arts Singapore (SOTA) on December 11, 2022
Tonight, we showcase the three remaining 202122 prizewinners – serendipitously performing a set of concertos all infused with post-romantic nationalistic identities: Armenia via Aleksandr Arutiunian’s Concerto for Trumpet, Poland through Karol Szymanowski’s first Concerto for Violin, and Bohemia in Antonín Dvořák’s beloved Cello Concerto.
As YST continues its 20th year celebrations by “Looking Back” and “Moving Forward” we are reminded of the Conservatory’s mission that aims for “excellence, inclusion, community and agency” as key institutional drivers behind everything we do. With that, it is apropos that within the stylistic framework of all three pieces you will hear tonight, there is a universal resonance that flows from each of the composers’ respective communities. Similarly, one of the great privileges of being part of the YST community is its inherent global perspective: the collective shared experience of communal identity and personal agency refracted through the universality of music performance.
Nowhere is this more apparent than in the exceptional talent of the Conservatory’s students.
Cheryl, Viona, Nuttakamon, Meng and Jiaqi, all embody and exemplify these aspirations.
There is something dense, united, and settled in those depths.
Associate Professor Brett Stemple
Vice Dean (Ensembles, Research & Professional Awareness)
ABOUT YST
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.
ABOUT THE YST ORCHESTRAL INSTITUTE
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
PRINCIPAL CONDUCTOR
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.
NUTTAKAMON SUPRATTRANONT
Nuttakamon Supattranont (b.2000) began playing the trumpet at the age of 7, with the marching band of Rajavinit School and Patumwan Demonstration School in Thailand. Upon her successful audition for the Thai Youth Orchestra in 2017, Nuttakamon was awarded First Prize at the Summa Cum Laude in Vienna, Austria. Later that year, she was also awarded the Gold medal at the SET Music Competition. She has served as principal trumpeter of the Princess Gadyani Vadhana Institute of Music Youth Orchestra 2018 as well as Siam Sinfonietta. This paved the way for an opportunity to play at the New York Music Festival alongside Siam Sinfonietta. Throughout her years of study, she has had the privilege to have masterclasses with many esteemed, world-class musicians including Dr. Carole Reinhart, Otto Sauter, Tage Larsen, Pacho Flores and Boston Brass. Her outstanding performance skills are further affirmed by her enrolment in the Young Artist Program (Pre-
TRUMPET
College) at Mahidol University in 2016, where she studied with Mr. Alongkorn Laosaichuea and Dr. Joseph Bowman, as a classical trumpet major. By the following year, she received a full scholarship from Mahidol University. Nuttakamon is currently pursuing her Bachelor’s in Music, at the Yong Siew Toh Conservatory of Music with Mr. Jon Dante and Mr. Lau Wen Rong.
ZOU MENG
VIOLIN
Zou Meng was born in 2002 in China. He started to play the violin at the age of 5. From 2013 to 2019, Meng was studying at the Sichuan Conservatory of Music, under professor Li Kaixiang, where he made his stage debut along with Mark Gibson and SCOM Symphony Orchestra in 2014. Competitions he has won include Hong Kong International Violin Competition (2015), National Youth Violin Competition in China (2015), Shenzhen Futian International String Competition (2016), Chengdu Guangya International Violin Competition (2019), Euroasia International Competition (2020). He also took part in many masterclass with well-known artists, such as Shlomo Mintz, Midori Goto, Vadim Gluzman and many others. Since 2020 Meng is studying at the Yong Siew Toh Conservatory of Music under the guidance of professor Qian Zhou.
LIU JIAQI
CELLO
Liu Jiaqi has performed all over the world, such as at the Beijing CBD Center Shenzhen Sea World Culture and Arts Center, Jingshan Theatre, Singapore Victoria Concert Hall, Esplanade Concert Hall, Yong Siew Toh
Conservatory Concert Hall and University
Cultural Centre Concert Hall; Romanian Bucharest ‘ATHENEUL’; Germany Kronberg Casals Forum, and Kleiner Vorspielraum.
As soloist, he has performed in Carnegie Hall’s Weill Recital Hall, New England Conservatory Jordan Hall, China Central Conservatory of Music Concert Hall, Shanghai Sennheiser Concert Hall; Tianjin Concert Hall and Xiamen Convention Center Concert Hall. He has worked with CCOM Youth Orchestra, Tianjin Symphony Orchestra, Shanghai Symphony Orchestra, Xiamen Philharmonic Orchestra, YST Orchestra, re:Sound Chamber Orchestra, Kids' Philharmonic Orchestra and Stuttgart Chamber Orchestra.
As a chamber player, Jiaqi has participated in the Seiji Ozawa Chamber Academy Okushiga 2019 in Japan, and performed in Okushiga and Tokyo Kioi Hall conducted by Maestro Seiji Ozawa. As orchestra principal cello, he has participated in CCOM Symphony Orchestra Europe tour 2016, during which he performed at the Brussels Conservatorium Concert Hall, Amsterdam Conservatorium Concert Hall and Köln WDR Concert Hall. In 2017, he performed Mahler 's Symphony No.1, "Titan" with Central Conservatory Junior Orchestra, recorded live under NAXOS. In Seiji Ozawa Opera Tour 2018, Jiaqi was the youngest principal cello and the tour was over several cities of Japan, including Nagoya, Kyoto and Tokyo. Has participated in the Beethoven im Garden program in Singapore in 2018 and 2022, working with Nuremberg Symphony Orchestra and Dresden Philharmonic under Maestro Kahchun Wong.
Liu Jiaqi was born in 2000 in China. He graduated from the Central Conservatory of Music Middle School, where he studied with with Prof. Na Mula. After his graduation from CCOM, he studied with Prof. Qin Liwei at the Yong Siew Toh Conservatory of Music. At age 13, he received first prize of CCOM Concerto Competition in Beijing, China. He received third prize of Morningside Music
Bridge Concerto Competition 2015 in Calgary, Canada, Grand Prize Virtuoso senior category
First Prize 2020 in Bonn, Germany, Special Prize of 5th Danubia Talents Music Competition 2021 in Hungary, and 1st prize of 2021 Gustav Mahler Cello Competition. He was a prize winner of 2022 YST Concerto Competition in Singapore, and a semi-finalist of 2022 George Enescu Competition in Bucharest, Romania.
Jiaqi has attended 2021 Araya Theater Festival, China. In 2021 he performed in ‘Passages’ with the Singapore Dance Theatre as a guest musician. He was invited by Jiangsu Satellite TV for an educational program as cellist.
He has participated in masterclasses with Lynn Harrell, Laurence Lesser, Laszlo Fenyo, LIuis Claret, Martti Rousi, Andres Diaz, Paul Katz, Dacid Geber, Jens Peter Maintz, Jian Wang.
Jiaqi performs on a Giuseppe Scarampella 1868 provided by the Rin Collection.
PROGRAMME NOTES
ALEXANDER ARUTIUNIAN Trumpet Concerto in A-flat major
Following in the nationalist style first established by Khatchaturian, Alexander Arutiunian (19202012) became a central figure in post-World War II Armenian musical life both as composer, and as the director of the Armenian Philharmonic Society (1954-90). In his music Arutiunian combined the post-Romantic Russian tradition with Armenian folk elements, qualities readily evident in his beloved Trumpet Concerto, a cornerstone of brass repertoire, and one of Arutiunian’s most oft played works.
Yerevan, Armenia
First conceived in 1943 for Arutiunian's trumpeter friend, Zsolak Vartasarian – who tragically died during the War – Arutiunian returned to the work in 1949 completing it for Aykaz Messiayan, who premiered the concerto with the USSR State Orchestra in Moscow's Tchaikovsky Hall, in 1950.
Composed as a single multifaceted movement the concerto opens with a dramatic Andante introduction from the orchestra leading directly into the soloist’s Armenian-tinged melody that is soon transformed into a sprightly dance. This is followed by a contrasting cantabile melody, reminiscent of Borodin. Arutiunian develops these ideas, transforming them into central section in which the muted trumpet soloist voices a reflective melody over the orchestra’s suggestive tango groove. The opening allegro material returns, this time with full-throated Shostakovichian interjections from the tutti orchestra. The work culminates with a brief, but demanding, cadenza composed by the Soviet-Russian virtuoso trumpeter Timofei Dokschitzer (who also appears on the 1969 premiere recording) before an exhilarating culminating gesture brings the concerto to a boisterous close.
KAROL SZYMANOWSKI
Violin Concerto No. 1
All the birds pay tribute to me for today I wed a goddess. And now we stand by the lake in crimson blossom in flowing tears of joy, with rapture and fear, burning in amorous conflagration.
from Majowa Noc by Tadeusz Miciński
The poem May Night (Majowa Noc) by Miciński underpins the music of Szymanowski’s Violin
Concerto No.1 and it is thought to have inspired Szymanowski’s composition. In many ways, the
Wigry National Park, Poland
interdisciplinary nature of this exchange of ideas would remain a recurring theme in the conception of the Violin Concerto No.1.
Karol Szymanowski (1882-1937) was born in Ukraine to an affluent Polish family. He had an early start in music, studying music with his father before starting his formal musical education in 1892. He would go on to further his studies in composition at the State Conservatory in Warsaw. Growing disillusioned with the state of the musical scene of Warsaw, Szymanowski left Poland and would spend the next few years before World War I traveling and composing music.
Written as a one movement piece, the Violin Concerto No.1 has often been lauded for its departure from conventional harmonic practices. This has been exemplified in the way in which a critic spoke about the piece having watched a performance of it in 1925: This work, written very freely, offering unusual diversity, filled with unpredictable combinations, rich and lively, interested me greatly. The role the orchestra is given involves painting and describing; the violin's role is lyrical song. The sound waves flood
the soloist's subtle melody, the cascades of the harp surround it, the clarinets and oboes quarrel fiercely. One could say the landscape changes from one moment to the next, like a film.
Szymanowski composed his Violin Concerto No.1 in 1916 in Ukraine, dedicating it to fellow Pole, violinist, and his close friend, Paul Kochański. The latter's role in the conception of the piece is understated, for it was said that Kochański would go on to compose a cadenza in the concerto and offer Szymanowski nuggets of wisdom with regards to violin technique, valuable insights that ultimately helped shape Szymanowski’s colourfully-virtuosic – and indeed cinematicsounding – violin concerto.
ANTONÍN DVOŘÁK
Cello Concerto in B minor
Prague
Antonín Dvorák (1841-1904) was born in a Bohemian Village to František and Anna Zdeñkovà Dvorák. From an early age, the young Antonín was an entertainer in his own right in the inn run by his father, making music on the violin. Though it was thought that he would eventually follow in his father’s footsteps to become butcher and an inn-keeper, Dvorák would begin his formal musical training in Zlonice at age 12. Subsequently, he would also attend the Institute for Church Music in Prague for two years.
By the time of Dvorák’s composing of the cello
and surrounding countryside
concerto in 1894, his compositional output numbered, among other smaller works a significant orchestral output: 9 symphonies, 13 orchestral works, 6 overtures, 1 orchestral suite, and 1 symphonic poem. At the height of his compositional power the cosmopolitan Dvorák was recognized in both the old and “new” worlds as a world-renowned composer when penning his masterful cello concerto, which would prove to be his final composition in the concerto genre.
The piece was dedicated to a certain Hanuš Wihan, arguably the greatest cellist of his time. Wihan, a dear friend of Dvorák’s, had been nagging the Czech composer for a virtuosic solo vehicle for quite a while. Dvorák finally relented and composing the concerto during his tenure as the Director of the now defunct National Conservatory of Music of America. Dvorák, secure in his compositional instincts, would go on to steadfastly protect the work from any alterations (especially overtly flashy ones), going as far as to say:
I give you my work only if you will promise me that no one – not even my friend Wihan – shall make any alteration in it without my knowledge and permission...and that its form shall be as I have felt it and thought it out.
Till this day, the piece remains central essential solo cello repertoire and a mainstay of orchestral programming; the lyrical nature of the musical material being one of the often cited reasons for its standing as a perennial classic (clearly Dvorák’s instincts were spot-on!).
The piece comprises three movements, starting with the an Allegro in B minor, which shifts to B Major, E Major, and an E-flat minor, finishing with a heroically triumphant B Major fanfare. The tender Adagio, ma non troppo in G Major, is based on a song Dvorák first composed in 1888, “Kez duch muj san” (“Leave me alone”) – and a favorite of Josefina, Dvorák’s sister in law. The final movement, dominated by a march-like theme, is, in the end, made all the more sublime by the elegiac coda that concludes it. With the final measures –including reminiscences of the first and second movements – Dvorák memorializes Josefina (who had recently passed away) commenting that the music “is like a sigh—the solo dies down . . . then swells again, and the last bars are taken up by the orchestra and the whole concludes in a stormy mood. That is my idea and I cannot depart from it."
Program Notes written by Benjamin Harris and compiled and edited by Brett Stemple.
MUSICIANS
FIRST VIOLIN
GEORGII MOROZ, concertmaster
LEONID DATSIUK
KOMILA IZATULLOYEVA
KUO FANG-CHEN §
MEGAN LOW SHUEN WEI
LUO JUNTAO
MA MINGYUAN
NG EE-JUN §
SIM JING JIE JORIM JIREH
THANATAT SRIARANYAKUL
SUN ZHENYAO
TEO WEI EN REINA
RENEE TOH
WU TSAI-JOU
# Arutiunian only
+ Szymanowski only
§ Dvorak only
* YST Orchestral Institute coach/ YST Artist Faculty
SECOND VIOLIN
CHIEN CHIN, principal
SHERZOD ABDIEV
FENG JIALE
GUM SENG AUNG DU §
HOI KHAI-WEING
LI JIAQI
QIU ZHENGYI
EDGAR JAVIER LUCENA RODRIGUEZ
SHIH WEI-CHUN §
SHIM FINE
YANG SHUXIANG*
ZOU ZHANG
VIOLA
CHEN CHI-JUI, principal
CHAN SHEE ANN SHANNON
HSU MIN JOELLE
HUANG YI
LEE WEI-FAN
LIU LE §
LIU WEI-JIA §
PAO YU-LIN
XIAO LEI
ZHENG JINGJING
# Arutiunian only
+ Szymanowski only
§ Dvorak only
* YST Orchestral Institute
coach/YST Artist Faculty
CELLO
LIU CHIEN-WEI, principal #+
TAN SHI LING DENISE, principal §
SHERZOD BAKHTIYOROV §
CAO HUIYING §
CHANG JIA-YUN #+
SARAN CHAROENNIT §
CHEN PEI-YI #+
CHUA YI JUN EUGENE §
HAN HUIJAE #+
HO CHIEN-YU §
BEKHZOD OBLAYOROV #+
SIM YEIN #+
ZHAO LEYAN #+
ZHU ZEYU §
DOUBLE BASS
KHEE YU HANG, principal #+
SHOHEI YOSHIHARA, principal §
CHEW CHIEN PHING EUGENE §
GUENNADI MOUZYKA*
NG LAI TING #+
HIBIKI OTOMO
# Arutiunian only + Szymanowski only
§ Dvorak only
* YST Orchestral Institute
coach/YST Artist Faculty
FLUTE
LI JIA-EN, principal #+
LEE MINJIN, principal §
QUEK JUN HAO JULIEN #+
WEN TZU-LING §
PICCOLO
QUEK JUN HAO JULIEN #
WEN TZU-LING +§
OBOE
SONIYA RAKHMATULLINA, principal #+
NESTOR JOSE SOLORZANO MEJIAS, principal §
NG WEI XIANG #
SHO YONG SHUEN +
QUEK JUN RUI §
ENGLISH HORN
NG WEI XIANG +
CLARINET
LEE PIN-YI, principal
YANG RONGZE
ZHENG SHANXI +
# Arutiunian only + Szymanowski only
§ Dvorak only
* YST Orchestral Institute
coach/YST Artist Faculty
E-FLAT CLARINET
ZHENG SHANXI +
BASS CLARINET
MA CHUNYU +
BASSOON
JAVLON KHAYITOV, principal
RACHEL NG WEI TING #+
SONG YUHUI +§
CONTRABASSOON
FRENCH HORN
GAO YU FEI JOEY, principal #
THANACHOCK UDOMPHAT, principal +
TSAI YI-FANG, principal §
CHAI MEI QIN #
LINNET SIM YUN JUAN #§
LEE YAN LIANG #§
GAO YU FEI JOEY +
KALIA DIANE CRAIG +
GAO XIAOXUAN +
SONG YUHUI + # Arutiunian only + Szymanowski only § Dvorak only
* YST Orchestral Institute
coach/YST Artist Faculty
TRUMPET
CHOU HSIN-YU, principal #
LOI CHIANG KANG, principal +
AMIR HASIF BIN ROSLI, principal §
AMIR HASIF BIN ROSLI #
CHANAN MALLANOO +
CHOU HSIN-YU +
LOI CHIANG KANG §
TROMBONE
HUANG SHAO-WEI, principal
ONG AUN GUAN
BASS TROMBONE
NG JUN JIE
TUBA
TEERAYUT TUPMONGKOL, principal #+
ZHOU DI, principal §
# Arutiunian only + Szymanowski only
§ Dvorak only
* YST Orchestral Institute
coach/YST Artist Faculty
TIMPANI
CHEN YI-CHUNG, principal #+
JEREMY NG CHUAN KAI, principal §
PERCUSSION
K.GUN MONGKOLPRAPA, principal #+
ORATHAI SINGHAART, principal §
LAI JO-WEI #+
ORATHAI SINGHAART #+
LOW YIK-HANG #+
HARP
CHONG ZHIA CHEE, principal #+
VANESSA JAZZY WAHYUDY IRWANTO +
PIANO
CLARENCE LEE ZHENG LE +
CELESTA
EDENIA MAUREEN +
# Arutiunian only
+ Szymanowski only
§ Dvorak only
* YST Orchestral Institute
coach/YST Artist Faculty
OUR BENEFACTORS
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
DEAN'S CIRCLE
LIFETIME AMBASSADORS
Ms Gao Jun
Mr Geoffrey Yu
Mr Goh Geok Khim
Mr Goh Yew Lin
Mr Hamish McMillan Dyer
Mdm 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
The Community Foundation of Singapore
Far East Organisation*
Hong Leong Foundation*
Keppel Corporation Limited
Kris Foundation
Lee Foundation*
National Arts Council
Shaw Founwdation
Singapore Airlines Ltd
Singapore Pools
Singapore Technologies Electronics Ltd
Singapore Technologies Engineering
Singapore Technologies Pte Ltd
Singapore Technologies Telemedia
Singapore Telecommunications Ltd
Singapore Totalisator Board
Yong Loo Lin Holdings
Anonymous donor
* Founding Partners of the Singapore International Violin Competition
ANNUAL MEMBERS
Bowen Enterprises Pte Ltd
Prof Bernard Lanskey
Assoc Prof Brett Stemple
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 Shaun Hoang
Ms Xuan Nguyen and Mr Uche Diala
Anonymous donors
INSTRUMENT DONORS
Mr Goh Yew Lin
Paul McNulty fortepiano
Mr Tan Kah Tee
Bösendorfer Imperial Model 290
Bösendorfer Johann Strauss
MUSIC COLLECTIONS
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
ACKNOWLEDGEMENTS
ORCHESTRAL INSTITUTE AND ENSEMBLES
VICE DEAN OF ENSEMBLES
BRETT STEMPLE
ORCHESTRA MANAGER
YAP ZIQI
ASSISTANTS
NESTOR JOSE SOLORZANO MEJIAS
QUEK JUN RUI
QUEK JUN HAO JULIEN
HOI KHAI WEING
EDGAR JAVIER LUCENA RODRIGUEZ
SHO YONG SHUEN
FOO YUE NING
PROGRAMMING AND PRODUCTIONS
TANG I SHYAN
POO LAI FONG
HOWARD NG
MIKE TAN
WAH PENG
ALISON WONG
INTERN
JULIA HILL
COMMUNICATIONS AND ENGAGEMENT
ONG SHU CHEN
