A Musical Flower Clock

17 March 2018, Saturday Guest-of-Honour Mr JY Pillay Rector College of Alice & Peter Tan National University of Singapore

A MUSICAL FLOWER CLOCK Singapore National Youth Orchestra Leonard Tan, conductor CAMILLE SAINT-SAËNS

Danse Bacchanale from Samson et Dalila 8’00

JEAN FRANÇAIX

L’Horloge de Flore (‘The Flower Clock’) 16’00

Joost Flach, oboe

Intermission 20’00

JOHANNES BRAHMS

Symphony No. 1 in C minor, Op. 68 45’00

1. Un poco sostenuto – Allegro

2. Andante sostenuto

3. Un poco Allegretto e grazioso

4. Adagio – Allegro non troppo, ma con brio

Concert duration: 1 hr 45 mins Non-flash photography is allowed for this concert only during curtain calls.

Use the hashtag #SNYO when you share the photos on your social media!

S ING A P OR E N AT ION A L YO U T H OR C HE S T R A The Singapore National Youth Orchestra (SNYO) occupies a special place in Singapore’s music community, having produced a strong alumni contributing significantly to both seeding the Singapore Symphony Orchestra and other community orchestras in Singapore as well as teaching the next generation of budding musicians, thereby boosting Singapore’s music and cultural scene.

As a leading orchestra dedicated to the training and development of young orchestral musicians in Singapore, the SNYO is recognised by the Ministry of Education as a National Project of Excellence. Entry into the SNYO is by a rigorous audition process.

In April 2015, the SNYO started a new chapter in its musical journey with the transfer of its management and operations from the Ministry of Education to the Singapore Symphony Orchestra. The impetus behind this change is to provide high quality leadership and artistic development for local musical talent to excel at the national level by drawing on the knowledge and expertise of Singapore’s premier professional orchestra.

Currently led by Principal Conductor Dr Leonard Tan, the SNYO is made up of over 180 talented young musicians representing more than 60 schools across Singapore.

The Orchestra boasts a unique music talent development programme where selected members receive individual instrumental tutoring from professional musicians such as those from the Singapore Symphony Orchestra.

VISION To inspire a lifelong love for music and a dedication to exceptional orchestral performance.

MISSION Through the playing of orchestral classical music, we nurture future generations of musicians and build a vibrant music community for Singapore.

L EON A R D TA N conductor

Singaporean musician Leonard Tan enjoys a rare career as a prolific conductor and internationally known scholar in music education. He is Assistant Professor of Music at the National Institute of Education, Nanyang Technological University, and Principal Conductor of the Singapore National Youth Orchestra. Under his artistic and educational leadership, the orchestra benefits from a Comprehensive Musicianship approach to orchestral curriculum, and has been praised for performances of “rare blazing intensity.”

Tan earned his doctoral degree from the world-renowned Indiana University Jacobs School of Music, where he studied orchestral conducting with David Effron, Arthur Fagen and Murray Sidlin, and participated in seminars by Leonard Slatkin, Cliff Colnot and William Jon Gray. At the Jacobs School of Music, he conducted the Indiana University Symphony Orchestra, Concert Orchestra, University Orchestra and Conductor’s Orchestra in masterpieces by composers such as Brahms, Bartók, Beethoven, and Mahler. Additional conducting studies were through masterclasses with Leif Segerstam and Alexander Polischuk in Russia, where he worked with the St. Petersburg Chamber Philharmonic, and with Johannes Schlaefli, where he conducted Academic Orchestra Zurich.

Performances under Tan’s direction have been lauded by local and international critics.

Singapore’s The Straits Times described his performance of Corigliano’s Symphony No. 3 as “masterfully helmed,” while the American press lauded his “artful conducting.” He made his conducting debut with the Singapore Symphony Orchestra at a SSO Children’s Concert, worked with artists such as the Boston Brass, and conducted performances at Vienna’s Golden Hall of the Musikverein, New York’s Carnegie Hall, and Sydney Opera House. He also guest conducted at the Indiana University Summer Music Festival. As a tuba player, he has performed professionally with the Singapore Symphony Orchestra and numerous other orchestras.

Tan’s conducting repertoire spans the entire gamut from the Renaissance to new music by living composers, music by Singaporean composers, and includes works such as Stravinsky’s L’Histoire du Soldat. As Music Director of the Philharmonic Winds, he introduced several important works for wind orchestra to the audience in Singapore. In demand internationally as a conductor, pedagogue and scholar, he has guest conducted, adjudicated and lectured in several universities and festivals internationally. He actively contributes to knowledge through cutting-edge research in music education, and has published his scholarly writings in numerous top-tier peer-reviewed journals, such as Journal of Research in Music Education and Psychology of Music. He has been invited to serve on the Editorial Boards of prestigious journals such as Philosophy of Music Education Review and Music Educators Journal, and has been awarded book contracts by Oxford University Press and Indiana University Press.

With his unique performance, education and scholarly background – possibly the first of its kind in the world – Tan designs his orchestral programme for the Singapore National Youth Orchestra with a vision to raise a new generation of passionate and well-rounded musicians. An alumnus of SNYO, he has served the orchestra for more than ten years in numerous capacities, including instrumental tutor, sectional tutor, Conductor of the SNYS, Associate Conductor and Principal Conductor of the SNYO. He loves the SNYO and cherishes every rehearsal and performance moment with the young, talented musicians.

JOO S T F L AC H oboe

Joost Christiaan Flach is currently the Head of Winds at the Nanyang Academy of Fine Arts (NAFA) School of Music in Singapore. Prior to this, he has worked as a professional oboist with the Singapore Symphony Orchestra, Bangkok Symphony Orchestra, Kuala Lumpur Symphony Orchestra and Malaysian Philharmonic Orchestra. In the years in between his tenure as an orchestral player, he was a project officer for the Ministry of Education in Singapore and also a visiting lecturer at the lnstitut Seni lndonesia in Yogyakarta for the Dutch government.

As an ardent supporter of local music education, especially that of woodwinds, he founded three classical wind ensembles in virtually all countries he worked in: Ansambel Tiup in lndonesia, Sling Wind Ensemble in Singapore and High Winds in Malaysia. These ensembles have performed in Singapore, Norway, Malaysia, lndonesia and China.

Since the start of his musical journey in Southeast Asia in 1984, he has witnessed an exponential growth of music-making in this region which can be described as ‘a road from nightclub to concert hall’. He hopes to continue to be part of this exciting development through his role as an educator at one of the leading music institutions in Singapore, developing a meaningful programme for wind instruments that correlates with the present situation of serious music-making in Southeast Asia.

S IN G A P OR E SY MP H O N Y ORC HE S T R A

DISCOVERING MUSIC!

EVERYONE IS A SOLOIST! 1 MAY 2018 Victoria Concert Hall Everyone knows what’s a concerto – one virtuoso soloist playing with an accompanying orchestra. Then of course someone comes along and says, “how about a concerto for everybody?” And that man is Béla Bartók and the name of the game is the Concerto for Orchestra, where everyone is a soloist! Associate Conductor Jason Lai puts everyone to the test!

Jason Lai, conductor

Tickets: $20 Concessions: $15

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SN YO MU S IC I A N S LEONARD TAN Principal Conductor LIN JUAN Assistant Conductor

FIRST VIOLIN Dylan Wee Hong Xuan Concertmaster Joelle Chiam Yan Lin Co-Concertmaster Neville Athenasius Ang Xin Chun+ Dominique Braam Myra Rena Choo Jia En Andre Hee Shao Jun Ian Ming-Ren Lai Soh Yi Han Sun Xiaoqing Ezekiel Tan Xin An Monica Toh Song Fen Ethan Wong Yii Amanda Yap Wen Chin Nehemiah Yen Ei Shyrn SECOND VIOLIN Katherine Anne Lau Enqi Principal Ashley Hsu Shien Co-Principal Joanne Chan Wai Mun Fu Xuan Alyssa Goh Hui Yi Napin Limcharoen Jalen Ng Shi Fangxin Reina Teo Wei En Lavinia Tsai Qi En Sarah Wong Ee Min Yeong Jun Kai

VIOLA Joelle Hsu Min Principal Calvin Dai Siyang Natalie Hee Shao Jing Linnea Lei Ng Johansson Lam Hoyan+ Lin Heshuo Ng Tze Yang Edward Tan* CELLO Chloe Chen Jiaen Joy Chen Jiale Chen Youjia Choon Hong Tzin Esther Chung Xin Yue Caroline Jung Kim Isaac Tah Shern U Aoden Teo Masa Toshi Tobias Teo Jun Wei Joanne Wong Wei Yin DOUBLE BASS Chong Yee Ching Margaret Louise Devadason Charis Hadjisophocleous Javier Heng Hong Jingmin Mary Claire John Mark Lee Zhi Ying FLUTE Clement Chan Gail Gay Natasha Lee Yu Xian Julien Quek Jun Hao Janelle Yuen Feng Min

PICCOLO Natasha Lee Yu Xian OBOE Quek Jun Rui Jasper Goh Jing Zhong Joy Liu Tongrui Zhou Xinru COR ANGLAIS Zhou Xinru CLARINET Victoria Ang Li Min Samuel Chan Lisa Wegmann BASS CLARINET Victoria Ang Li Min BASSOON Jove Fong Yi Liang Rachel Ng Wei Ting Shi Jiaao Natasha Tan Hui-Lin CONTRABASSOON Jove Fong Yi Liang Rachel Ng Wei Ting HORN Luke Chong Khi Sian Siti Nur Ariani Bte Norman Muhammad Aidil Syukri Roslan Jaben Sim Yun Heng Linnet Sim Yun Juan

TRUMPET Himari Ang Lixin Foong Jun Yu Amir Hasif Bin Rosli Abner Wong Ho Khuen TROMBONE Erwin Tan You Wei+ Toh Chang Hui BASS TROMBONE Zhou Shuai Ming TUBA Sim Kai Jun TIMPANI Amos Choo Xu Ze Kevin Tan Han Ming PERCUSSION Amos Choo Xu Ze Chloe Lim Miranda Vareck Ng Ho Wei Clive Tan Jing Jie Tan Jun Yi HARP Sapphire Melody Ho Wei Shao Principal

* Guest Musician + SNYO Alumni

S C HOOL S , C OL L EG E S A ND IN S T I T U T ION S R E P R E SE N T E D IN SN YO Ahmad Ibrahim Secondary School Anderson Junior College Ang Mo Kio Secondary School Anglican High School Anglo-Chinese Junior College Anglo-Chinese School (Barker Road) Anglo-Chinese School (Junior) Anglo-Chinese School (Primary) Anglo-Chinese School (Independent) Balestier Hill Primary School Catholic High School Catholic Junior College CHIJ (Katong) Primary CHIJ St. Joseph’s Convent CHIJ St. Nicholas Girls’ School (Secondary) Chung Cheng High School (Main) Crescent Girls’ School Dunman High School Eunoia Junior College Evergreen Secondary School Fuchun Primary School Fairfield Methodist School (Secondary) German European School Singapore Geylang Methodist School (Secondary) Hwa Chong Institution Jurong Secondary School Kong Hwa School Lakeside Primary School Maris Stella High School Meridian Junior College Methodist Girls’ School (Secondary) Nanyang Academy of Fine Arts Nanyang Girls’ High School Nanyang Junior College

Nanyang Primary School Nanyang Technological University National University of Singapore Ngee Ann Primary School Ngee Ann Secondary School NUS High School of Mathematics and Science Payar Lebar Methodist Girls’ School (Primary) Raffles Girls’ Primary School Raffles Girls’ School (Secondary) Raffles Institution Republic Polytechnic River Valley High School School of the Arts, Singapore Singapore American School Singapore Chinese Girls’ School Singapore Polytechnic St. Gabriel’s Secondary School St. Hilda’s Primary School St. Joseph’s Institution St. Joseph’s Institution International St. Stephen’s Secondary School Tanjong Katong Girls’ School Tanjong Katong Secondary School Tao Nan School Temasek Junior College Temasek Primary School United World College of South East Asia Victoria Junior College Victoria School Whitley Secondary School Yishun Junior College Yishun Primary School Yishun Secondary School

DA NSE B AC C H A N A L E F R OM S A MS ON E T DA L IL A 8 ’ 0 0 Camille Saint-Saëns Born 9 October 1835 (Paris, France) Died 16 December 1921 (Algiers, Algeria)

Instrumentation Piccolo, 2 flutes, 2 oboes, English horn, clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 French horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion (timbales, triangle, castanets, cymbals, bass drum), harp and strings

About the composer - A child prodigy making his concert debut at the age of ten and entering the acclaimed Paris Conservatoire at the age of thirteen for his organ and compositional studies.

- Multi-talented individual who was well-versed in areas apart from music, such as astronomy, archaeology, theatre, poetry and philosophy.

- Has had a long career of 75 years, writing over 300 works, include four symphonies, twelve operas and several concertos for piano, violin and cello.

Significance of the work - The biblical story of Samson et Dalila (‘Samson and Delilah’) was initially visioned as an oratorio, until librettist Ferdinand Lemaire suggested for it to be an opera.

- The only operatic work to be included in the standard repertoire.

- Tonight’s work is the Danse Bacchanale, an Arabic-influenced, percussion-driven dance before Samson’s destruction of the Philistine temple in Act III Scene II of the original opera.

L’HORLOG E DE F LORE (‘ T HE F L OW E R C LOC K ’ ) 16 ’ 0 0

Jean Françaix Born 23 May 1912 (Le Mans, France) Died 25 September 1997 (Paris, France)

Instrumentation 2 flutes, 2 clarinets, 2 bassoons, 2 French horns and strings

About the composer - Françaix was a neoclassical composer heavily influenced by Maurice Ravel and the composers of Les Six; the uniquely French style is evident in his orchestration.

- He studied composition under acclaimed tutor Nadia Boulanger, who also taught composers like Aaron Copland and Virgil Thomson.

- A skilled pianist, Françaix composed many works featuring the piano, as well as chamber works for almost all orchestral instruments.

Significance of the work - This was commissioned in 1957 by John de Lancie, a former principal oboist of the Philadelphia Orchestra.

- Inspiration for ‘The Flower Clock’ came from Philosophia Botanica, an influential 1751 textbook on botany and botanical Latin by Swedish Botanist Carl Linnaeus.

- In his book, Linnaeus suggested a “flower clock” garden, where several flowering plants would bloom at particular times of the day to indicate the time; this possibly appealed to Françaix’s interest in evoking antiquated bits of history and science through music.

S Y MP HON Y NO. 1 IN C MINOR , OP. 6 8

4 5’ 0 0

Johannes Brahms Born 7 May 1833 (Hamburg, Germany) Died 3 April 1897 (Vienna, Austria)

Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 French horns, 2 trumpets, 3 trombones, timpani and strings

About the composer - As one of the “Three Bs” (Bach, Beethoven and Brahms), Johannes Brahms often looked to Classical composers for inspiration.

- Brahms was deeply admired by many musicians; his music influenced Antonín Dvořák, Edward Elgar and even Arnold Schoenberg, to name a few.

- An uncompromising perfectionist, he would destroy incomplete manuscripts and left others unpublished.

Significance of the work - Brahms first drafted the work in 1850; after revising the movements and seeking advice from Clara Schumann, among others.

- The work was finally completed in 1876, more than 20 years later.

- He put off writing the symphony, giving the reason, “You cannot have any idea what it is like always to hear such a giant marching behind you”, referring to the great composer Beethoven who had died six years before Brahms was born.

S A IN T- S A Ă‹ N S: DA NSE B AC C H A N A L E F R OM S A MS ON E T DA L IL A The oboe emerges from the resounding strings pizzicato, unaccompanied, with a soulful melody - one that features the Arabian hijaz scale conjuring an exotic atmosphere to the music.

The two melodies and dance-like motif are developed in different keys, going back and forth between the winds and strings.

The crisp castanets mark the start of a relentless section with the strings charging on, the brass persistently calling and cymbal crashes.

The hijaz scale returns once again, in a mystical melody portrayed by the oboe and flutes, supported by the procession-like timpani rhythms.

The winds and strings each introduce the dance-like motif. The shifts in harmony (especially to the Neapolitan 6th) create unrest as the motif is fragmented, intensifying the crescendo with every repeat.

hijaz mode (or more commonly known as Phrygian mode)

In this bridge to the finale the castanets reappear and push forward the repetition of motifs. Slightly dissonant brass chords add an ominous cloud to the music.

A sensuous string melody soars above octave bird-like calls from the wind instruments and harp arpeggios.

The orgiastic dance at its climax, where all motifs charge towards the end with accelerated fervour. The whole orchestra takes over the mystical melody with great majestic power.

F R A NÇ A I X : L’HORLOG E DE F LORE (‘ T HE F LOW E R C L OC K ’ ) 3am: Galant de Jour (Poisonberry) After a quiet introduction, the oboe plays a fluid melody to the strings’ pizzicato (‘plucked’) accompaniment. This melody is later imitated by the horn, clarinet and flute.

An acrobatic outline of arpeggios in the solo oboe rounds off this section of music.

10am: Cierge à Grande Fleures (Thorn Thistle) Following a dissonant unaccompanied oboe solo, an undulating viola line and lower string pizzicatos set the timely rhythm for a slow lyrical melody. The melody in this quiet section tonally inflects between major and minor modes.

5am: Cupidone bleue (Blue Catanache) This second section opens with a quirky unaccompanied cadenza showcasing open fifths and staccato grace-notes. After being taken over by the orchestral winds, the oboe switches to a lively dance tune in an unusual time signature of 5/4 (five-beats to a bar), constantly embellishing the first main theme with triplets and eccentric leaps. A small wind ensemble forms, each instrument taking on its own role and interacting with the oboe. The bassoon playing an obbligatolike bass line supporting them, while the strings add touches of colour to the music.

12 noon: Nichante du Malabar (Malabar Jasmine) The syncopated, groovy pizzicato rhythm from the strings set the stage for a jovial pas de deux (‘dance duet’) between the oboe and the clarinet. The tune is initially tonal, but gets increasingly dissonant with jazzy accidentals.

5pm: Belle de Nuit (Deadly Nightshade) The clock quietens, with viola and cello drones and an entrancing lull in the clarinets.

The oboe sings a pastoral compound triplet tune. A beautiful cross-timbral doubling between flute and viola precedes the oboe’s re-entrance, which is more modally inflected.

9pm: Silène Noctiflore (Night-Flowering Catchfly) The last movement propels itself with the dotted rhythm reminiscent of carnivals and festivals. The oboe adopts a persona closer to one of a clarinet, showcasing the playful, humorous side of the oboe. This light-hearted movement nicely sums up the seven blooms depicted in the flower clock.

7pm: Geranium Triste (Mourning Geranium) Here, the orchestra is reduced to solo viola and cello, flutes and clarinets, with the oboe playing a bittersweet tune juxtaposed against the comical clarinet arpeggios and fleeting flute melodies. Again, the melody becomes increasingly dissonant and contrapuntal before it returns towards the end of this section.

B R A HM S: S Y MP HON Y NO. 1 IN C MINOR , OP. 6 8 1. Un poco sostenuto – Allegro

Build-up to timpani trills through quickening string arpeggios

Winds play a ‘leap’ melody

Oboe enters with a meandering tune dovetailing into the cellos

Second subject enters on the oboe

Bassoon and oboe solo

INTRODUCTION

EXPOSITION

The powerful introduction features a pulsating tonic pedal on the timpani, drumming beneath one of the symphony’s main ideas: three notes, each a semitone apart, ascending in the violins and cellos in syncopation, and descending in the winds and violas. The second idea is more morose; the disjunct melody portrayed by the winds is almost akin to sighing.

With a second stroke of the timpani, the exposition is in full throttle. Brahms paints the scene of tumultuous waves through the disjunct leaps of the first subject and syncopated orchestration. A chromatic oboe second subject appears after the storm, soon taken over by the clarinet and horn. The calm is broken by an insistent figuration that starts with three-descending note motif reminiscent of the start of the movement.

Sonata Form A widely used musical form popularised in the Classical era, the sonata form features two subjects, the first and second, in the exposition section. Transitional motifs may be included to bridge subjects, and some composers, like Beethoven and Brahms, may include a closing theme as well. The development section expectedly fragments and varies the subjects in a tonally volatile section, before recalling all the themes in full in the recapitulation, usually in the home key. The aforementioned composers were also keen on including codas at the end, a little “tailpiece� to end off the movement.

Shadows of the introduction; the contrary motion of strings and winds Fugal texture

Second subject enters on the oboe again

Build-up through beckoning calls between strings and winds, ascending chromatically

DEVELOPMENT

The development is quick and frenzied, with the three-descending note motif being the subject of continuation. Near the end of the development, you will hear many iterations of the first subject, cut short over time by a subsequent re-entrance. This, together with the unresolved cadences, builds tension towards the climatic return.

RECAPITULATION

Much of the music returns in full form in the recapitulation.

CODA

The coda echoes the thematic material of the introduction in a more solemn rendition.

The movement ending sees the return of the pulsating tonic pedal on the timpani and closes softly with a harmonious wind chord and a final string pizzicato.

2. Andante sostenuto

Lower string arpeggios Winds and strings dialogue

Intense violin melody, in the minor key Soft horns

Oboe’s yearning tune

Switches to the minor key Enduring, elegant oboe solo, dovetailing into clarinet solo

“A” SECTION

The second movement is expressive and passionate. A long, chromatic, almost unending melody is heard in the luscious strings, forming the subject of the “A” section. The winds reflects the same expressiveness in the second part of the phrase

“B” SECTION

The “B” section displays a meandering melody, and exhibits Brahms’ tendency for major-minor modalities.

Solo violin plays the yearning tune with oboe and horn.

An inkling of the introduction in the first movement

Wind harmonies accompany the strings’ impassioned melody Winds and brass developing on the last phrase

“A” SECTION

Punctuated cadential chords

CODA

The return of the “A” section has the winds playing the melody, accompanied by eager string pizzicatos. The coda develops the themes of this movement one last time, before ending with the calm harmonies of the winds and brass.

3. Un poco Allegretto e grazioso

Flutes, oboes play falling motif

Clarinet solo, now agitated

Clarinet solo

Oboe solo

Violin takes over, clarinet plays brief arpeggios

Surging lower strings, interspersed by violins and violas Clarinet returns with scherzo

The scherzo is pastoral and elegant.

The clarinet plays a pendulum-like, meandering melody, which evolves into an agitated, minor line provoked by pulsating strings.

As horns take over, a sequence of the theme is heard

Climatic build-up

Using the enharmonic note of E-flat, the music moves into B major in the trio. A series of three repeated notes, followed by a traversing melodic line, forms the main theme. The sequential treatment of the theme makes each instrument bounce off the figurations with one another.

Opening clarinet solo returns with winds playing in triplets accompaniment

Horns herald in the scherzo

Strings take over the scherzo melody

Meandering melody dialogue between winds

through continuous modulations

The return of the scherzo sees the meandering clarinet melody’s return intertwined with the traversing melodic line in the trio. As the scherzo’s return is cut short by the soft, gentle return of the trio, the pace of the music slows down for a quiet, cadential finish.

Strings take over trio melody

4. Adagio – Allegro non troppo, ma con brio

Climbing, accelerating strings pizzicato

Brass calling to each other

Tremolo strings and timpani sets the tone for the horn’s grandeur solo

Rendition of the blissful melody in the winds

Horn “alphorn melody” Rumbling lower strings amidst winds

Second subject

Oboes extend the melody

Trombone chorale

The final movement opens with a dramatic, almost mournful chord that trails away with bassoons and violas. After a gripping unison string pizzicato passage and an intense build-up, we hear the horn’s “alphorn melody”, passed from player to player seamlessly. (The same is then heard in the flutes.) A solemn trombone chorale precedes the return of the mountain tune in the horn, before the introduction closes the bridge to the first subject.

Fugato-like dialogue of ascending and descending scales

Alphorn melody in flute, imitated by horn

The first subject of the exposition is a blissful melody in the mellow registers of the violins, with lower strings pizzicato and counter melodies. This is often compared to Beethoven’s 9th Symphony’s “Ode to Joy” theme. The second subject is a sweet, descending tune in the violins, which slowly modulates to E minor. Brahms then expands on a triplet figuration derived from the counter melody.

Triplet figures in violas accompanies oboe

Alphorn melody returns with the soft timpani rolls

Second subject returns in varied dynamics and orchestration

Triplet figures take over

Hammer chords

Alphorn melody overlaid on a diminished chord

Fugato-like development of the first subject, similar as before

Triplet figuration builds to a climax again

Trombone chorale played with a full brass section

The first subject is recalled in full for the last time in the movement, in the recapitulation/development.

Over the course of the last section, the subjects return in slightly varied appearances, and the motifs in the introduction are played in its full orchestral glory, building momentum to end the work with a bang.

Programme notes by Cindy Ow, SNYO alumnus

AC K NOW L E DG E ME N T S SNYO COMMITTEE Ms Liew Wei Li (Chairlady) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson With support from Ministry of Education, Arts Education Branch Mrs Valarie Wilson Director, Arts Education Mrs Lillian Chen Deputy Director, Music & Drama Mr Hoo Cher Liek Senior Specialist, Music The Singapore National Youth Orchestra wishes to thank Mr JY Pillay for gracing the SNYO concert as Guest-of-Honour National Arts Council Temasek Foundation Nurtures Tan Chin Tuan Foundation Nanyang Academy of Fine Arts Tutors of the Singapore National Youth Orchestra Parents of the Singapore National Youth Orchestra members Principals of the participating schools Special Thanks to Donors at the 2017 SSO Benefit We would also like to say a big thank-you to the donors who gave through the SSO Benefit 2017. Their donations have made it possible for us to repair our old instruments and buy new instruments and equipment, including a timpani set, some cornets, instrument cases and music stands. Our young musicians carry their shiny new lighter instrument cases with care, pride and a visible lift in their steps.

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13 April 2018 | Esplanade Concert Hall Celebrate this iconic film of over 50 years and the winner of ten Academy AwardsŽ, including Best Picture. The SSO plays Leonard Bernstein’s electrifying score and memorable songs with lyrics by Stephen Sondheim live, while the newly re-mastered film is shown in glorious high definition on the big screen with the original vocals and dialogue intact.

Joshua Tan, conductor

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