Ones to Watch: Concerto Prizewinner Showcase
Saturday, 14 March 2026
YST Concert Hall
Saturday, 14 March 2026
YST Concert Hall
Ones to Watch: Concerto Prizewinner Showcase
YST ORCHESTRAL INSTITUTE WITH
JASON LAI, PRINCIPAL CONDUCTOR AND CHUA JAY ROON (BMus4), CLARINET
WOLFGANG AMADEUS MOZART
Clarinet Concerto in A Major, K. 622
PYOTR TCHAIKOVSKY
Symphony No. 5 in E minor, Op. 64
Supported by:
Overview
Mozart’s Clarinet Concerto—one of the instrument’s most beloved works—opens the programme with its luminous lyricism, graceful elegance and intimate dialogue between soloist and orchestra.
Written near the end of Mozart’s life, the concerto reveals the clarinet’s full expressive range, from radiant warmth to quiet introspection, performed here by YST Concerto Competition 2025 Prizewinner and Singapore Symphony’s 2025 President’s Young Performer clarinetist Chua Jay Roon (BMus4, clarinet).
The programme continues with Tchaikovsky’s Symphony No. 5, a sweeping and deeply emotional journey that moves from brooding uncertainty to triumphant resolve, crowned by one of the composer’s most powerful and uplifting fnales.
On this evening, we celebrate the expressive breadth of the orchestral repertoire and the vibrant dialogue between soloist and orchestra.
Supported by the Shaw Foundation Ones to Watch series.
Vice Dean’s Message
When
I am in despair, when everything feels empty and hostile, I turn to Mozart. He restores my faith in life.
Pyotr Ilyich Tchaikovsky (1873)
Welcome, and thank you for joining us for this evening’s Concerto Prizewinner Showcase with the YST Orchestral Institute under the direction of YST’s Principal Conductor, Jason Lai. Tonight’s program brings together two pillars of the orchestral repertoire—music that celebrates both the lyrical voice of the soloist and the sweeping expressive power of the symphony.
We begin with Mozart’s Clarinet Concerto in A Major, one of the most beloved works in the instrument’s repertoire. Written near the end of Mozart’s life, the concerto reveals the clarinet in all its expressive breadth—from radiant warmth to moments of quiet introspection. We are delighted to feature YST Concerto Competition 2025 Prizewinner and the Singapore Symphony Orchestra’s 2025 President’s Young Performer clarinetist Chua Jay Roon (BMus4, clarinet), whose artistry refects both the dedication of her musical journey and the vibrant community of mentors and colleagues who have accompanied it.
Mozart’s presence lingers beyond the concerto itself. Few composers admired him more deeply than Tchaikovsky, who regarded Mozart as the embodiment of musical beauty and clarity—an infuence he celebrated explicitly in works such as Mozartiana. It is therefore ftting that Mozart’s luminous voice opens a program that continues with Tchaikovsky’s Symphony No. 5. In a quiet but striking parallel, the clarinet also plays a crucial role at the start of the symphony, where its dark, low register introduces the work’s recurring “fate” motif—a theme that will return throughout the symphony in ever-changing forms.
Composed in 1888, Tchaikovsky’s symphony emerged during a period of remarkable creative productivity for the composer, following a decade that saw the completion of Eugene Onegin, the
Violin Concerto, the Serenade for Strings, the Manfred Symphony, and many other works that cemented his international reputation. Conducting the premiere himself in St. Petersburg, Tchaikovsky fashioned a symphony that unfolds as a powerful dramatic arc. The work’s recurring “fate” motif—introduced at the outset—reappears throughout the symphony in ever-changing forms: interrupting moments of lyric beauty, casting shadows over the elegance of the waltz, and ultimately transforming into a blazing proclamation in the symphony’s triumphant conclusion.
For all its emotional breadth, Tchaikovsky’s orchestral writing is remarkable for its economy. From the somber depth of the low strings at the symphony’s opening to the vivid brilliance of its climaxes, he achieves extraordinary color and impact with striking precision. In quieter passages especially, the orchestra reveals a world of subtle detail: the melancholy song of clarinet and bassoon, the quiet murmurs of the strings, and the delicate textures that animate the waltz movement.
This evening’s program also refects two complementary dimensions of orchestral life that lie at the heart of the Orchestral Institute experience. Mozart’s Concerto invites us into an intimate dialogue between soloist and orchestra, giving voice to the individuality of a young artist stepping forward. Tchaikovsky’s Fifth Symphony, by contrast, expands that dialogue into the shared energy of the full ensemble. In moving from the singular voice to the collective one, we glimpse something essential about orchestral music: that individual artistry ultimately fnds its fullest expression within a community of sound.
We thank the Shaw Foundation Ones to Watch series for its generous support, and we are grateful to share this evening’s musical journey with you.
Associate Professor Brett Stemple Vice Dean (Performance & Research)
Prizewinner’s Message
CHUA JAY ROON (BMUS4, CLARINET)
YST CONCERTO COMPETITION 2025 PRIZEWINNER
It feels especially ftting to begin wrapping up my journey here at YST with the Mozart Clarinet Concerto. For many clarinetists, this work is the bane of our existence—something we view as an unexpectedly exasperating piece that follows us throughout our careers, through endless recordings, lessons, and auditions.
In many ways, I fnd it even more challenging than the Nielsen Clarinet Concerto, with which I initially won the YST Concerto Competition. The apparent simplicity of Mozart leaves nowhere to hide, making it uniquely demanding.
Regardless, I am thrilled to take on this iconic cornerstone of the clarinet repertoire. The rare opportunity to share the stage with friends and mentors is one I will treasure deeply.
I dedicate this performance to the mentors, friends, and family who have supported me throughout the years. In particular, I wish to acknowledge my friends Earnest Syu and Venus Chai, fellow winners of the 2025 YST Concerto Competition. I hope this performance honours all who mean so much to me and refects how much I have grown, both as a person and as a musician.
Creatives & Production
Jason Lai
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.
Jason has been a prominent fgure 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 Hong Kong Philharmonic. Intent on broadening the appeal of classical music to audiences who would not normally think of going into a concert hall, Jason has built a unique reputation as a communicator with mass appeal through his television appearances in both the UK and Asia. He has appeared on the BBC as a judge in both the BBC Young Musician of the Year competition and the classical talent show Classical Star. He was also a conducting mentor in the series Maestro and won the competition with his celebrity protégé.
Since settling in Singapore he has continued with his television work and was presenter and conductor for Project Symphony, an eight part series which followed him in his quest to set up a community orchestra. Other shows for BBC World News include Heart of Asia exploring the contemporary arts and culture scene in Thailand, Indonesia, Korea and the Philippines, and Tales from Modern China, a voyage through contemporary China. Most recently in Singing to Remember for Channel News Asia, Jason set out to test the theory that regular group singing in choirs helps slow down the damaging effects of dementia.
Chua Jay Roon
SOLOIST
YST Concerto Competition 2025 prizewinner clarinetist, Chua Jay Roon (BMus4), performs Mozart’s Clarinet Concerto with the YST Orchestral Institute.
Jay Roon (b. 2003) is a clarinetist currently studying at the Yong Siew Toh Conservatory of Music, National University of Singapore, under Artist Faculty Ma Yue. She continues to develop her artistry through international festivals and masterclasses across Asia and Europe.
Her orchestral experience includes performances under performances under Lü Shao - Chia with the National Symphony Youth Orchestra (Taiwan) and under Masaaki Suzuki at the Chofu International Music Festival (Japan). She has also performed as a freelance musician with the Singapore Symphony Orchestra. In addition, she has worked with leading clarinetists including Olivier Patey, Nicolas Baldeyrou, Florent Héau and Annelien Van Wauwe.
In March 2025, Jay Roon won the YST Conservatory Concerto Competition. She later performed Carl Nielsen’s Clarinet Concerto with the Singapore Symphony Orchestra at the President’s Young Performers Concert in September 2025. That same year, she appeared as a soloist with the OMM Camp Orchestra in a performance of Bruch’s Double Concerto for Clarinet and Viola. Most recently, she competed with the Singapore Nuclear Academic Family Unit (SNAFU) Wind Quintet at the Princess Galyani Institute of Music Competition (2025), where they clinched the 2nd Prize.
Outside of music, she enjoys crocheting and listening to true-crime documentaries.
Orchestral Institute
FIRST VIOLIN
_______________________________
Viktoria Ivaylova Marinova, Principal
Chen Shu-Yu
Chen Yun-Li
Lin Yi-Hsuan
Yeo See Kang
Wu Yingtong
Gao Wei Tina
Zhang Hanzhi
Varvara Gritsenko
Wang Tianyi
Syu Cheng-Yi
Peng Yiyang
SECOND VIOLIN
_______________________________
Chien Hsin, Principal
Chen Yi-Tien
Xu Zhuorui
Ng Ee-Jun
Zhao Tongzhou
Zheng Xiyan
Foong Shu Yan Ashley
Pey Kanchanabandhu
Yin Chen Ziyue
Zhan Qihui
VIOLA _______________________________
Cher Zhi Xian Timothy, Principal
Yu Yang
Yang Yvonne
Lu Mina
Liu Xuanyu
Lee Hung
Wu Haiping
Chen Wei-Yan
Chen You-Yun
CELLO
Wang Jiaye, Principal
Liu Yiduo
Lai Shin-Yen
Sun Xiaoran
Zhu Ruoning
Lev Alieiev
Chai Siming
Gan Yilin
DOUBLE BASS
Cheng Hsu-You, Principal
Huang Yung-Ting
Yu Wenpeng
Loewe Lim Li Tong
Guennadi Mouzyka*
Alexandrova Olga^
FLUTE
Chen Chih-Ying, Principal (Mozart)
Oh Seonyoung, Principal (Tchaikovsky)
Qi Yufei
Lazutina Anna Vladimirovna
Simeon Yap Sheng Kiat
PICCOLO
Simeon Yap Sheng Kiat
OBOE
Reynard Ardian Simanjuntak, Principal
Valentino Gerry Febrian Banggul
CLARINET
Yang Jinliang, Principal
Tao Nuoxi
BASSOON
Wen Xiyu, Principal (Mozart)
Liu Jiayu, Principal (Tchaikovsky)
Choi Hong Wa
FRENCH HORN
Lau En Qi, Chloe, Principal (Mozart)
Gao Xiaoxuan, Principal (Tchaikovsky)
Tseng Hua-Chih
Harsharon Kaur
Yen Shih-Hsin
Popetorn Buangam
Lin Shu-Yu, Assistant
TRUMPET
Ravit Leelasiri, Principal
Wen Chia-Chun
TROMBONE
Zhu Jianyu, Principal
Zhang Zhuoli
Low Kim Ven
TUBA
Yang Junxiang, Principal
TIMPANI
Kuo Yan-Shin, Principal
*Artist Faculty ^Guest/Alumni
Administration
ORCHESTRAL INSTITUTE
Vice Dean (Performance & Research)
Brett Stemple
Orchestra & Ensembles Manager
Yap Zi Qi
Orchestra & Ensembles Assistant
Uvahraaj S/O Anbarasan
PROGRAMMING COMMITTEE
Committee Chair
Brett Stemple
Committee Members
Abigail Sin
Faezah Zulkifi
Jason Lai
Kenny Ooi
Lim Yan
Qin Li-Wei
Yap Zi Qi
PRODUCTIONS
Artistic Coordinator &
Strategic Project Manager
Kenny Ooi
Production Coordinators
Benny Lim
Christopher Ong Yadao
Technical & Operations Managers
Zhang Feng Tee
William Yee
DEAN’S OFFICE
Executive Assistant to the Deanery
Lim Yang Zhi
Communications Offce
Faezah Zulkifi
Toh Yan Ee
