Joel Cheong Hsin Ern, boy soprano Chong Wai Lun, chorus master
BERNSTEIN – Chichester Psalms (18’)
MAHLER – Symphony No. 6 (85’)
Today’s performance lasts approximately 2 hours, including a 20-minute intermission.
Photographs and videos will be taken at the event, in which you may appear. These may be published in OMM’s publicity channels and materials. By attending the event, you consent to the use of these photographs and videos for the foregoing purposes.
ORCHESTRA OF THE MUSIC MAKERS
“WE ARE THE MUSIC
MAKERS,
AND WE ARE THE DREAMERS OF
DREAMS.”
— Arthur O’Shaughnessy, “Ode”
The Orchestra of the Music Makers (OMM) is a Singapore-based symphony orchestra established in 2008, comprising over 140 highly-trained volunteer musicians. Although many have chosen careers outside of music, our musicians are dedicated to the high standards of music-making and community work which OMM stands for. Under the mentorship of Chan Tze Law, a leading Singaporean conductor and ViceDean of the Yong Siew Toh Conservatory of Music, OMM has become an integral part of Singapore’s classical music scene and has gained international repute for presenting works of epic proportions, including the critically-acclaimed Singapore Premieres of Bernstein’s Mass, Wagner’s Das Rheingold and Die Walküre.
OMM was among the most active arts groups in Singapore during the COVID-19 pandemic, receiving the COVID-19 Resilience Certificate for organising a wide array of digital productions, live performances, and outreach events between August 2020 to December 2021. Recordings of these digital productions have also been featured at the Expo 2020 Dubai, as well as on the Singapore Airlines Inflight Entertainment System.
Highlights of OMM's 2024-25 season include performances with Lü Shao-Chia, Paul Huang, Stella Chen and Tito Muñoz.
Orchestra of the Music Makers Ltd. is supported by the National Arts Council under the Major Company Scheme for the period from 1 April 2022 to 31 March 2025.
Website: www.orchestra.sg
Facebook: @orchmusicmakers
Instagram: @omm.sg
TikTok: @omm.sg
LÜ SHAO-CHIA CONDUCTOR
“Music director Shao-Chia Lü has brought the National Symphony Orchestra (Taiwan) to world-class status. The sound alone is a marvel—beauteous, richly rounded, perfectlybalanced,attimesofstaggeringpoweryetnever forcedorbrash,thelatteraqualityfoundonlytotheworld’s very greatest orchestras.” — der neue Merker
Taiwanese conductor Lü Shao-Chia studied music first in Taipei, then at Indiana University and University of Music and Performing Arts, Vienna. He was awarded first prizes at the Besançon (France), Pedrotti (Italy) and Kondrashin (the Netherlands) conducting competitions.
Over the course of his career, Lü has served as the General Music Director of the Koblenz Theatre (1998-2001), the Staatsorchester Rheinische Philharmonie Koblenz (1998-2004) and the Staatsoper Hannover (2001-2006). He was also Chief Conductor of the South Denmark Philharmonic (2014-2017).
Lü’s engagements include KatjaKabanova and Tosca in Gothenburg; La fanciulla del West in Stuttgart; Eugene Onegin in Berlin; as well as MadamaButterfly,Tosca and La bohème in Sydney and Melbourne. He continues to appear regularly as guest conductor at several prominent opera houses across the globe, including Opera Australia, the English National Opera, the Theatre de la Monnaie, Den Norske Opera, the Gothenburg Opera, the Oper Frankfurt, Staatsoper Hamburg, Staatsoper Stuttgart, the Deutsche Oper and Komische Oper Berlin.
Alongside his opera activities, Lü is equally at home on concert podiums. He has worked frequently with many leading European orchestras such as the Royal Concertgebouw Orchestra in Amsterdam, Münchner Philharmoniker, SWR Stuttgart, Rundfunk Sinfonieorchester Berlin, the Oslo Philharmonic, the Swedish Radio Orchestra, the Göteborg Sinfoniker, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Orchestre National de France. In Asia, he has worked with the Hong Kong Philharmonic, NHK Symphony Orchestra, New Japan Philharmonic, Seoul Philharmonic, KBS Symphony Orchestra and leading orchestras in China.
Lü was the Music Director of the National Symphony Orchestra (Taiwan) from 2010 to 2020 and continued to serve as Artistic Advisor of the orchestra until July 2021, where he was subsequently conferred the title of Conductor Emeritus. In 2022, he also received the National Culture Award from the Taiwanese Government, one of Taiwan’s highest creative honours, for his contributions to the local music industry.
“Der Dirigent Shao-Chia Lü ist ein Meister der Zwischentöne.” (Conductor Shao-Chia Lü is a master of nuance.) — Süddeutsche Zeitung
VOICES OF SINGAPORE
Voices of Singapore (VOS) is Singapore's largest singing organisation, dedicated to transforming lives through the power of music and choral singing. With over 20 diverse singing groups and more than 1,200 members, VOS engages in various projects and festivals, making a significant impact in the local arts scene.
As an arts charity, VOS combines artistic excellence with community outreach. The VOS State Choirs strive for the highest levels of choral performance, while community outreach choirs serve special needs individuals, the elderly, and at-risk children. Choral music at VOS fosters empowerment, connection, and a sense of belonging within a vibrant community.
Through its initiatives to inspire a Singing Singapore, VOS enhances arts appreciation and positively contributes to Singapore's cultural landscape.
CHONG WAI LUN CHORUS MASTER
Trumpeter-turned-chorister Chong Wai Lun found his calling in serving the music and his fellow musicians as a conductor.
After studying at the Kodály Institute of the Liszt Ferenc Academy of Music (Hungary), he pursued his Master's Degree in choral conducting at the Royal Welsh College of Music & Drama in Cardiff, Wales (United Kingdom).
Upon his return to Singapore, Wai Lun was appointed the Music Director at the International Festival Chorus of Singapore (IFC) from 2015 to 2019. He currently dedicates his time to nurturing the choirs at Ahmad Ibrahim Secondary School and Temasek Secondary School.
At the Yong Siew Toh Conservatory of Music (YST), Wai Lun also studied orchestral conducting under the guidance of Jason Lai. Today, he is an adjunct faculty member at his alma mater, directing the YST Chamber Singers.
Wai Lun is also founder and choirmaster of the Symphonia Choralis, a professional freelance choir that collaborates extensively with the Metropolitan Festival Orchestra.
FOREWORD
Leonard Bernstein and Gustav Mahler epitomised the hybrid role of a conductor-composer — these two activities formed integral halves of their intensely creative music careers.
Both Mahler and Bernstein are regarded as two of the best conductors of the 20th century (albeit separated by two generations). From the podium, both actively championed lesserknown music. In fact it was Bernstein who led the revival of Mahler’s music in the 1960s. Aided by developments in audio and video technology, Bernstein exposed the world to Mahler’s music, paving the way for his widespread acceptance. Today, Mahler’s symphonies have become staples of the orchestral repertoire. But although many recordings have been made, Bernstein’s recording of Mahler’s Sixth still stands as one of the best available.
As a composer, Mahler is most famous for his ten symphonies (eleven if you include Das Lied von der Erde). Bernstein followed his footsteps, writing three symphonies of his own. But he also wrote several musicals, including the acclaimed West Side Story. Both composers had a knack for eclecticism. Not only did they synthesise classical traditions and vernacular music, both were also able to capture contradictory and contrasting moods in a single coherent whole — a characteristic on full display in both pieces tonight.
We hope you will have a wonderful experience this evening on these two musical journeys, both incredibly emotional, but leading to very different destinations.
LEONARD BERNSTEIN (1918-1990)
CHICHESTER PSALMS
(1965)
What is the first thing that comes to mind when you hear the name ‘Leonard Bernstein’? If your answer is West Side Story, you would not be alone — when the Dean of Chichester Cathedral commissioned Chichester Psalms in 1965, he wrote to Bernstein, “Manyofus wouldbeverydelightediftherewasahintof West Side Story about the music.”
However, Bernstein’s musical reputation rests on more than just Broadway. Beginning his career as a virtuoso pianist, he established himself as a celebrated conductor, composer, and author. He was also an immensely influential advocate for classical music, enthralling television audiences with educational programmes such as his Young People’s Concerts.
Bernstein’s compositional language was as versatile as his gifts. Many of his works display an eclectic sensibility, effortlessly mixing popular styles and classical traditions. Chichester Psalms is a perfect example — a melting pot of jazz and Broadway influences, choral textures, and dissonant harmonies, crafted by an American composer working with a Hebrew text and writing for an English cathedral choir.
The First Movement begins with a terrific crash as the chorus exclaims “Urah, hanevel! ” (“Awake, psaltery!”). This angular five-note motif (with every note leaping in a different direction) appears throughout the Psalms in different guises. The rousing introduction is shot through with discordant harmonies, hammered out by percussion and brass. A shout from the chorus then kicks off the main part of the movement: a jaunty, sometimes boisterous dance in a lopsided, irregular rhythm.
The Second Movement begins more serenely with a song of thanksgiving by a solo boy soprano. First accompanied by harps, the boy soprano is later joined by female voices and strings. However, they are rudely interrupted by violent shouts from the men, and a frenetic passage ensues as the chorus mutters “Why do the nations rage? ”. Amidst this, the boy’s song tries to reassert itself (and briefly succeeds!). But the movement ultimately ends in anxiety; the orchestra brings back the muttering, and the music is cut short by a violent thud.
This restlessness continues into the Third Movement with a harrowing rendition of the five-note motif. Eventually, the anguish is
overtaken by a tender prayer with a lilting, lullaby-like rhythm. The prayer unfolds and blossoms, as different voices and instruments sing in overlapping counterpoint. At the end, a quartet of solo voices ushers in what Bernstein called a “prayerforpeace” — the five-note motif, now transfigured into a hushed, a cappella chorale. In the final bars, the orchestra intones the motif distantly one last time, resolving on an “Amen”.
TEXT AND TRANSLATION
PSALM 108 VERSE 2:
Even without understanding Hebrew, a listener can instantly experience the grand awakening in the first movement, the contrast between serenity and war in the second, and the yearning and resolution in the third. Bernstein keenly conveys emotions that transcend the text — a testament not just to his compositional gifts, but also to the universality of music.
Urah, hanevel, v’chinor! Awake, psaltery and harp: A-irah shah . ar! I will rouse the dawn!
PSALM 100, ENTIRE:
Hariu l’Adonai kol haarets. Make a joyful noise unto the Lord all ye lands.
Iv’du et Adonai b’simh . a. Serve the Lord with gladness.
Bo-u l’fanav bir’nanah. Come before His presence with singing.
D’u ki Adonai Hu Elohim. Know ye that the Lord, He is God. Hu asanu, v’lo anah . nu. It is He that hath made us, and not we ourselves. Amo v’tson mar’ito. We are His people and the sheep of His pasture.
Bo-u sh’arav b’todah,
Enter into His gates with thanksgiving, H . atseirotav bit’hilah, And into His courts with praise. Hodu lo, bar’chu sh’mo. Be thankful unto Him, and bless His name Ki tov Adonai, l’olam h . as’do. For the Lord is good, His mercy is everlasting, V’ad dor vador emunato. And His truth endureth to all generations.
PSALM 23, ENTIRE:
Adonai ro-i, lo eh . sar. The Lord is my shepherd, I shall not want.
Bin’ot deshe yarbitseini, He maketh me to lie down in green pastures, Al mei m’nuh . ot y’nah . aleini, He leadeth me beside the still waters, Naf’shi y’shovev, He restoreth my soul, Yan’h . eini b’ma’aglei tsedek, He leadeth me in the paths of righteousness, L’ma’an sh’mo. For his name’s sake.
Gam ki eilech Yea, though I walk
B’gei tsalmavet, Through the valley of the shadow of death, Lo ira ra, I will fear no evil, Ki Atah imadi. For Thou art with me.
Shiv’t’cha umishan’techa Thy rod and Thy staff Hemah y’nah . amuni. They comfort me.
Ta’aroch l’fanai shulchan
Neged tsor’rai
Thou preparest a table before me
In the presence of mine enemies, Dishanta vashemen roshi Thou anointest my head with oil, Cosi r’vayah. My cup runneth over.
Ach tov vah . esed Surely goodness and mercy
Yird’funi kol y’mei h . ayai, Shall follow me all the days of my life, V’shav’ti b’veit Adonai
And I will dwell in the house of the Lord L’orech yamim. Forever.
PSALM 2, VERSES 1–4:
Lamah rag’shu goyim
Why do the nations rage, Ul’umim yeh’gu rik? And the people imagine a vain thing?
Yit’yats’vu malchei erets, The kings of the earth set themselves, V’roznim nos’du yah . ad
Al Adonai v’al m’shih . o.
And the rulers take counsel together
Against the Lord and against His anointed. N’natkah et mos’roteimo, Saying, let us break their bonds asunder, V’nashlichah mimenu avoteimo. And cast away their cords from us.
Yoshev bashamayim He that sitteth in the heavens
Yis’h . ak, Adonai Shall laugh, and the Lord Yil’ag lamo! Shall have them in derision!
PSALM 131, ENTIRE:
Adonai, Adonai, Lord, Lord, Lo gavah libi,
My heart is not haughty, V’lo ramu einai, Nor mine eyes lofty, V’lo hilachti Neither do I exercise myself Big’dolot uv’niflaot In great matters or in things Mimeni. Too wonderful for me. Im lo Shiviti Surely I have calmed V’domam’ti, And quieted myself, Naf’shi k’gamul alei imo, As a child that is weaned of his mother, Kagamul alai naf’shi. My soul is even as a weaned child. Yah . el Yis’rael el Adonai Let Israel hope in the Lord Me’atah v’ad olam. From henceforth and forever.
PSALM 133, VERSE 1:
Hineh mah tov,
Behold how good, Umah naim, And how pleasant it is, Shevet ah . im For brethren to dwell Gam yah . ad. Together in unity.
GUSTAV MAHLER (1870-1911)
SYMPHONY NO. 6
(1903-04)
Today, Gustav Mahler is primarily known as a composer of large-scale symphonies, performed regularly by the world’s greatest orchestras. In his own lifetime however, he was primarily known as a top international conductor, while his compositions were considered mostly incomprehensible.
The complexity of his works stemmed from his philosophy that a symphony was not a mere piece of music. For Mahler, it was a larger-than-life, deeply personal artistic statement that should reflect ‘the whole world’. To realise this vision, Mahler drew inspiration not only from symphonic masterpieces of the past, but also folk music and everyday life, all while incorporating the latest innovations and developments made by his contemporaries. He distilled these diverse influences and took them to their logical conclusions, but always left his unmistakably personal imprint. Mahler includes grim marches, scenic explorations, victorious celebrations and despondent moments — often fleetingly, sometimes even simultaneously.
Today, we’ve become used to many things competing for our attention, and Mahler’s contrasting moods may not feel so jarring.
But Mahler’s contemporaries were baffled — most felt that he should stick to conducting and not compose.
With his first five symphonies, Mahler experienced his fair share of rare successes (with the Second) and failures (with most of the others). What is common to all five is that they end happily or triumphantly, with spirituality and faith playing a large role in them. For the Sixth, Mahler instead drew inspiration from the great theatrical genre of the Ancient Greeks and Shakespeare — the tragedy. Featuring the protagonist’s heroic but often futile attempts to escape fate, the genre includes classics like Oedipus Rex and Romeo and Juliet, and also modern examples like The Great Gatsby, Sweeney Todd, and Wagner’s Ring cycle.
Mahler wrote this Symphony over two summers from 1903–04 at the height of his career as celebrity director of the Vienna Court Opera (now State Opera). He had also recently become a young father of two daughters. Musicologists over the decades have tried to understand what compelled Mahler, at the height of his creative powers and with a happy family life, to be drawn towards the tragedy. Wild theories abound.
The most popular myth is that he ‘foretold’ his fate through the Symphony, with the three hammer blows in the finale representing three devastating incidents to come — the year after the Symphony’s premiere, he was forced to step down from the Opera, his eldest daughter died, and he was diagnosed with an incurable heart ailment.
Like every great tragedy, Mahler’s Sixth Symphony traces an immense arc, bringing the listener through the ups and downs of life: joy and love, struggles against fate, and inevitable defeat. It was also one of his most personal symphonies. As his wife recounted, “not one of his works cameasdirectlyfromhisinmostheartas this…” — clearly seen in its overtly emotional content, sarcastic utterances, and moments of wonder.
“After he had drafted the first movement, he came down from the wood to tell me he had tried to express me in a theme. ‘Whether I’ve succeeded, I don’t know; but you’ll have to put up with it.’ This is the great soaringthemeofthefirstmovement oftheSixthSymphony.IntheScherzo, he represented unrhythmical games ofthetwolittlechildren,totteringin zigzags over the sand. Ominously, the childish voices became more and more tragic, and at the end died out in a whimper. In the last movement, he described himself and his downfall, or as he later said, his hero: ‘It is the hero, on whom falls three blows of fate, the last of which fells him as a tree is felled.’ Those were his words. Not one of his workscameasdirectlyfromhisinmost heart as this…”
— Alma Mahler’s recount of the Symphony’s genesis
The striving against fate begins immediately. The First Movement opens with a pounding, relentless march which constantly breaks into skittish running figurations. As the march grinds to a halt, a rattling snare drum ushers in the “fate motif” or motto (a recurring motif) — a militaristic rhythm pounded by the timpani, together with a bright major chord which sours into minor. This motto permeates not only the First Movement, but the Symphony as a whole. After a hushed chorale, we are introduced to a “great soaring theme” representing Mahler’s wife, Alma — the first real moment of joy.
After the opening is repeated, the themes begin to coalesce. The Alma theme is subsumed by the marching rhythm, and the music continues to drive forward, punctuated with maniacal trills and clattering xylophones. Suddenly, as though breaking into the eye of the storm, an eerie stillness comes over the music. Distant cowbells are heard, which Mahler described as “the last terrestrial sounds penetrating into the remote solitude ofmountainpeaks”. But just as we settle into an oasis of proper serenity, the peace is dashed by the reappearance of the march, harsher than before. Ultimately, the Alma theme emerges victorious, bringing the movement to a triumphant end.
The Scherzo abruptly drags us back to the relentless pounding of the opening, complete with the trills and xylophone. This immediate contrast was Mahler’s original idea — later on, he swapped the order of the inner movements, placing the calmer Andante between the first movement and Scherzo.
Portrait of Alma Mahler
The pounding first section gives way to “unrhythmical games ” of children, marked altväterisch ( “old-fashioned ”, but literally “grandfatherly ”) which stutters and limps with extra ‘wrong’ beats. These two sections alternate throughout, with each iteration more grotesque than the last. By the end, the children’s dance is completely downtrodden, fading out in a whisper.
The Andante provides some respite, opening with a gentle lullaby, accompanied by lilting motifs. Within this tranquil mood, the harmonies shift and glisten, recalling the major-minor gesture of the motto. As the lullaby fades, a more pressing, elegylike theme is introduced. As these two contrasting moods meld together, it almost culminates in melancholic heartbreak, but the lullaby-theme surges in, now strong and confident “withgreatfeeling ”. Gradually, the music relaxes, and the Andante fades into quietness.
The Finale emerges from this silence, but it is far from tranquil. Instead, a wash of cymbals, tremolos, and harps usher in a chilly, twilight soundscape — straight out of a sci-fi or horror soundtrack. An outburst of the motto rhythm fades into a menacing theme intoned by solo tuba. The appears several times throughout the finale, often interrupting a climax in the music. In fact, the whole Finale is Sisyphean in nature. Again and again, it builds and strives towards a destination, only to be knocked down just before it arrives. After being thrust back into the twilight soundscape, the first great ascent begins. Initially militaristic, the ascent transforms, becoming yearning and sweeping. However, it is never resolved properly. At its peak, a literal hammer blow lands, and the music careens into chaos, setting off threatening brass declamations and fevered running figurations.
After a brief moment of respite, a new battle-like section ensues. As its incessant rhythms fade, a different kind of build-up begins: a stately procession which grows and intensifies. Yet again, a second hammer blow falls at its peak, throwing us back into chaos. The tension continues to escalate, but even this is cut short — with an echoing tam-tam strike, we are pulled back to the twilight soundscape from the opening.
A calmer mood emerges, with low bells tolling in the distance together with the cowbells from the first movement. As we exit this quiet section, the music begins its final, longest climb. Motifs from across the Symphony are combined, with the distinctive motto rhythm pounded out from time to time.
But this final struggle is just as ill-fated; the tam-tam drags us into the twilight
The Singapore Premiere of DasRheingold, 2023. (Photo by Yong Junyi)
THE MUSIC MAKERS
MUSIC DIRECTOR
Chan Tze Law
VIOLINS
Chan Yoong Han CONCERTMASTER
Zhao Tian PRINCIPAL SECOND VIOLIN
Wilford Goh ASSOCIATE PRINCIPAL
Joanne Tseng ASSOCIATE PRINCIPAL
Kimberlyn Wu ASSOCIATE PRINCIPAL
Nicole Chan
Chloe Chee
Kayler Chu
Chui Yingqi
Chloe Goh
Nathanael Goh
Placida Ho
Regan Ho
Ho Yin Shan
Esther Lam
Jaslyn Lee
Pauline Lee
Ariel Lim
Loi Si Xian
Gloria Loo
Estee Ng
Preston Ng
Keith Ong
Poh Jer Lin
Chester Tan
Natalie Tan
Tan Xue Hui
Joanne Teo
Josiah Teo
Gary Teoh
Saenghaengfah Tosakul
Adele Wee
Teryl Zhao
Zheng Kai
VIOLA
Wang Dandan PRINCIPAL
May Loh ASSOCIATE PRINCIPAL
Shannon Chan
Christopher Cheong
Joan Fun
Skyler Goh
Elizabeth Ip
Lam Hoyan
Claudia Loo
Jayson Loo
Nathalie Nguyen
Aaron Soh
Jonan Tan
Samuel Tan
Oliver Tan
Toh Xue Qian
CELLO
James Ng PRINCIPAL
Trinh Ha Linh ASSOCIATE PRINCIPAL
Rachael Chan
Choo Vee Shen
ASSOCIATE CONDUCTOR
Seow Yibin
Lavinia Chu
Constantin Duisberg
Sharon Ham
Koh Liong Tiek
Zachary Lau
Charis Low
Edward Neo
Isaac Tah
Tang Ya Yun
Joel Tay
Tobias Teo
DOUBLE BASS
Chia Ying Yin PRINCIPAL
Julian Li ASSOCIATE PRINCIPAL
Hyoseok Lee
Lee Mian Jun
Lee Zi Xuan
Li Jiaying
Alvin Liew
Alwyn Loy
Kevin Seah
FLUTE
Cheryl Lim PRINCIPAL
Alvin Chan
Rachel Ho
Kelsey Tan
PICCOLO
Alvin Chan
Rachel Ho
Natalie Ngai
OBOE
Tay Kai Tze PRINCIPAL
Chan Chen
Ng Wei Xiang
Quek Jun Rui
Seow Yibin
ENGLISH HORN
Seow Yibin ASSOCIATE PRINCIPAL
Quek Jun Rui
CLARINET
Benjamin Wong PRINCIPAL
Chua Jay Roon
Natalie Gail
Miao Kaiwen
E-FLAT CLARINET
Miao Kaiwen
BASS CLARINET
Desmond Chow
BASSOON
Lu Meng PRINCIPAL
Li Rui Dan
Lim Tee Heong
Shi Jia Ao
CONTRABASSOON
Kee Rui Han
FRENCH HORN
Xavier Tan PRINCIPAL
Bryan Chong ASSOCIATE PRINCIPAL
Hoang Van Hoc ASSOCIATE PRINCIPAL
Nigel Leong ASSOCIATE PRINCIPAL
Joey Gao
Harsharon Kaur
Andrew Jonathan Lee
Lee Yan Liang
Ong Hwee Ling
TRUMPET
Lau Wen Rong PRINCIPAL
Lee Jinjun ASSOCIATE PRINCIPAL
Koh Mi Yo
Lim Jit Xin
Alvin Quek
Muhammad Raimi
TROMBONE
Don Kow PRINCIPAL
Hendrik Kwek ASSOCIATE PRINCIPAL
Benjamin Lim
BASS TROMBONE
Aldwyn Tan
TUBA
Tan Yao Cong PRINCIPAL
HARP
Karen Tay PRINCIPAL
Chloe Lam
Kaitlyn Tan
Renee Yadav
CELESTA
Ng Yun Wen
TIMPANI
Joachim Lim PRINCIPAL
Cheong Kah Yiong ASSOCIATE PRINCIPAL
PERCUSSION
Derek Koh PRINCIPAL
Rei Lim ASSOCIATE PRINCIPAL
Keyon Toh
Isabel Chin
Tan Sheng Rong
Wong Ting Feng
OMM BOARD AND MANAGEMENT
BOARD OF DIRECTORS
Lee Guan Wei Daniel CHAIRMAN
Jenny Ang
Assoc. Prof Chan Tze Law
Christopher Cheong
Susan Loh
Jesher Loi
Sanjiv Malhotra
Toh Xue Qian
Prof Bernard Tan ADVISOR
MANAGEMENT TEAM
PROGRAMMES
ARTISTIC DEVELOPMENT
Christopher Cheong HEAD
Nathanael Goh
Michael Huang
Lee Jinjun
Fredrick Suwandi
Oliver Tan
Isaac Tah
HUMAN RESOURCE
Ang Zien Xu
Nathanael Goh
Lee Jinjun
Lee Yuru
Rei Lim
Jayson Loo
Estee Ng
Fredrick Suwandi
Kelsey Tan
Josiah Teo
Kimberlyn Wu
COMMUNITY ENGAGEMENT
Isaac Tah HEAD
Ang Zien Xu
Natasha Lee
Shi Jia Ao
DEVELOPMENT
SPONSORSHIP
Edward Neo HEAD
Christopher Cheong
Kenny Ooi
Rayner Tan
BRANDING & MARKETING
Michael Huang HEAD
Chan Chen
Chua Jay Roon
Chloe Goh
Elizabeth Ip
Josiah Teo
LIBRARY & LOGISTICS
Wu Tianhao HEAD
Lee Jinjun
Rei Lim
Edward Neo
Muhammad Bin Roslee
Isaac Tah
Joshua Tan
Tan Yao Cong
TECHNOLOGY
Chay Choong HEAD
Lam Yun En
Tasya Rukmana
CORPORATE SERVICES
FINANCE
Neo Wei Qing HEAD
Edward Neo
Shi Jia Ao
AUDIENCE EXPERIENCE
Rayner Tan HEAD
Lam Hoyan
Estee Ng
Jorim Sim
VOS CHORUS
CHORUSMASTER
Chong Wai Lun
BOY SOPRANO
Joel Cheong Hsin Ern
SOPRANO
Apple Joyce So
Caerissa Tung
CinQin Ho
Diana Narbutaite
Estelle Ng
Evelyn Puah
Ginny Soh Zhi Ni
Gwendolyn Wong
Isabel Yee Zi Qi
Jessy Ng
Jewelle Woo
Jolene Cheong
Karen Kwok
Kelly Kiew Wen Yi
Kristina Fassi
Kurnia Kusumaningrum
Laura Wang
Liudmila Kokoulina
Loh Wai Sim
Low Ai Ling
Nicole Lee Kah Hui
Priscilla Lim
Shireen Sanbhnani
Tan Jing Yi (Kennigrace)
Teo Zi Yi
Wang Hua
Xinyan Yang
ALTO
Agnes Tjandranegara
Alisa Pan
Andrea Tan
Anna-Maria Haas
Arielle Leung
Chan Xi
Chin Xuan Ning
Cindy Chua Tsin Li
Cornelia Wong
Dorcas Low
Geannie Er
Germaine Leong
Hannah Adams
Jasmine Lam
Josephine Sim
Joyce Ang
Katelyn Guo
Krystin Foo
Lim Bee Na
Liu Yanjun
Melisa Leung
Ong Wei Ling
Pamela Phua
Sophie Ng Jing Yi
Sureeporn Ho
Tabitha Chong
Tan Shiao Yeh
Tay Hwee Ling
Maurine Tsakok
Yeoh Jeok Eng
TENOR
Bryan Ho
Chan Yong Jun
Daniel Goh
Derrick Kam
Enoch Chong
Fu Hanqing
Ho Teng Seng
Jerome Lau
Jerome Ng
Jeroven Marquez
Johann Wong Hui Hann
Jon Loh
Kenneth Chan
Lam Jia Jin
Malcolm Lim
Michael Angelo
Reuel Theseira
Shane Seah
Wilson Tai
Yan Jin
Zhu Yulin
BASS
Adam Lee
Andrew Ng
Caleb Liu
Choo Yong Han, Luka
Collier Ow
Elliot Koh
Graham Evans
Jaspar Lor
Johannes Tan
Nicholas Goh
On Tai Jim
Quek Chiow Lin Charlie
See Thong Hwee
Sing Yu Xuan
Tan Kok Ho
Yen Phang
Zachary Wong
22 & 23 AUG 2024
7.30pm, Esplanade Concert Hall
CARMINA BURANA
SINGAPORE AND MELBOURNE SYMPHONY ORCHESTRAS IN CONCERT
Singapore and Melbourne Symphony Orchestras
Singapore and Melbourne Symphony Choruses
Singapore Symphony Children’s Choir
Jaime Martín conductor
Warren Trevelyan-Jones Chorus Director (MSO)
Eudenice Palaruan Choral Director (SSC/SSYC)
Wong Lai Foon Choirmaster (SSCC)
Siobhan Stagg soprano
Andrew Goodawin tenor
Christopher Tonkin baritone
MARIA GRENFELL Fanfare for a City
DE FALLA Three Dances from The Three-Cornered Hat
STRAVINSKY The Firebird Suite
ORFF Carmina Burana
T icket s from $28
Yong Siew Toh Conservatory Concert Hall, NUS
Tickets via BookMyShow $38/$28 www.resoundcollective.org
Franz Schubert
Guest musician:
Andrew Filmer viola
String Quartet in C minor, D.703 (String Quartet No.12, Quartettsatz)
Antonín Dvořák
String Quintet No. 3 in E flat major, Op. 97, B180
Felix Mendelssohn
String Quartet in E Minor, Op. 44, No. 2
Edward Tan, violin
Kim Kyu Ri, violin
Martin Peh, viola
Lin Juan, cello
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Lydea Gn Wei En
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Orchestra of the Music Makers Ltd. (UEN: 201002361G) is an Institution of a Public Character (IPC) and donations are eligible for 2.5 times tax deduction.
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