LAN SHUI Music Director
subscription concert
When In Rome 19 August 2017 Esplanade Concert Hall Performing Home of the SSO
Michal Nesterowicz, conductor Anna Tsybuleva, piano
19 Aug 2017, Sat
When In Rome Singapore Symphony Orchestra Michal Nesterowicz, conductor
LUDWIG VAN BEETHOVEN
Piano Concerto No. 3 in C minor, Op. 37 34’00
1. Allegro con brio 2. Largo 3. Rondo: Allegro Anna Tsybuleva, piano Intermission 20’00
Anna Tsybuleva will autograph CDs in the stalls foyer.
OTTORINO RESPIGHI
Fountains of Rome 15’00
1. The Fountain of Valle Giulia at Dawn (Andante mosso) 2. The Triton Fountain in the Morning (Vivo) 3. The Fountain of Trevi at Midday (Allegro moderato) 4. The Villa Medici Fountain at Sunset (Andante)
Pines of Rome 23’00
1. The Pines of the Villa Borghese (Allegretto vivace) 2. Pines near a Catacomb (Lento) 3. The Pines of the Janiculum (Lento) 4. The Pines of the Appian Way (Tempo di marcia)
Concert duration: 1 hr 50 mins Go green. Digital programme booklets are available on www.sso.org.sg. Scan the QR code in the foyer to view a copy.
S ing a p or e S y mp hon y Or c he s t r a ‘A fine display of orchestral bravado for the SSO and Shui’ The Guardian
Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene in the cosmopolitan city-state. In addition to its subscription series concerts, the orchestra is well-loved for its outdoor and community appearances, and its significant role educating the young people of Singapore. The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings. The SSO makes its performing home at the 1,800-seat state-of-the-art Esplanade Concert Hall. More intimate works and all outreach and community performances take place at the
673-seat Victoria Concert Hall, the home of the SSO. The orchestra performs 100 concerts a year, and its versatile repertoire spans alltime favourites and orchestral masterpieces to exciting cutting-edge premieres. Bridging the musical traditions of East and West, Singaporean and Asian musicians and composers are regularly showcased in the concert season. This has been a core of the SSO’s programming philosophy from the very beginning under Choo Hoey, who was Music Director from 1979 to 1996. Since Lan Shui assumed the position of Music Director in 1997, the SSO has performed in Europe, Asia and the United States. In May 2016 the SSO was invited to perform at the Dresden Music Festival and the Prague Spring International Music Festival. This successful five‑city tour of
Germany and Prague also included the SSO’s return to the Berlin Philharmonie after six years. In 2014 the SSO’s debut at the 120th BBC Proms in London received critical acclaim in the major UK newspapers The Guardian and Telegraph. The SSO has also performed in China on multiple occasions. Notable SSO releases under BIS include a Rachmaninov series, a Debussy disc, “Seascapes” featuring sea-themed music by Debussy, Frank Bridge, Glazunov and Zhou Long, and the first-ever cycle of Tcherepnin’s piano concertos and symphonies. The SSO has also collaborated with such great artists as Lorin Maazel, Charles Dutoit, Gennady Rozhdestvensky, Neeme Järvi, Vladimir Ashkenazy, Lang Lang, Yo-Yo Ma, Leonidas Kavakos and Gil Shaham.
Mic h a l Ne s t e r ow ic z conductor
Principal Guest Conductor of Sinfonieorchester Basel, Michalł Nesterowicz is in demand worldwide for his dynamic performances and eloquent interpretations of the symphonic repertoire. Michal’s 2017/18 season includes his debuts with the Gewandhausorchester, Nederlands Philharmonisch Orkest, Brucknerorchester Linz, Staatsorchester Kassel, Lahti Symphony Orchestra and Malaysia Philharmonic Orchestra. Following hugely successful visits in the past seasons he will be returning to the Royal Philharmonic Orchestra, Orquestra Simfònica de Barcelona, Orquesta Sinfonica de Galicia, Orchestra Sinfonica Siciliana, Prague Radio Symphony Orchestra, Malmö Symfoniorkester, Singapore Symphony Orchestra, National Taiwan Symphony Orchestra, Orchestre National de Lille, and the Orquestra Filamonica de Minas Gerais amongst others. In the 2016/17 season he made his debut with the Royal Concertgebouw Orchestra as well as his first appearances in Berlin and Vienna (with the Konzerthausorchester and Tonkünstler-Orchester Niederösterreich respectively) and the Auckland Philharmonia and RTÉ National Symphony Orchestra of Ireland. He also consolidated relationships with the Bilbao Orkestra Sinfonikoa, Arthur Rubinstein Philharmonic Orchestra of Lodz, Residentie Orkest, Noord Netherlands Orkest, Real Filharmonia de Galicia, Orquesta Ciudad de Granada and Orquesta Sinfónica de Navarra. Nesterowicz has appeared on multiple occasions with the NDR Elbphilharmonie Orchester, Tonhalle-Orchester Zürich, Münchner Philharmoniker, Orchestre Philharmonique de Nice and Royal Liverpool Philharmonic Orchestra; and has worked with the likes of the WDR Sinfonieorchester Köln, Deutsches Symfonie-Orchester Berlin, Gulbenkian Orchestra, Orchestre Philharmonique du Luxembourg, Buffalo Philharmonic, BBC Symphony Orchestra, Copenhagen Phil, Orchestre National Bordeaux Aquitaine and Orchestra della Svizzera Italiana. Michal Nesterowicz was the winner of the Cadaqués Orchestra European Conducting Competition in 2008 and among the prizewinners of the 6th Grzegorz Fitelborg International Conducting Competition in Katowice.
A nn a Ts y b ul e va piano
Winner of the Leeds International Piano Competition 2015, Anna Tsybuleva was born in 1990 and grew up in Russia. She started piano studies at the age of six with her mother, Svetlana Tsybuleva, later continuing her studies at the Moscow Conservatory with Ludmila Roschina, and at the Basel Music Academy with Claudio Martinez Mehner. Recent concerto appearances include with the Hallé Orchestra under Sir Mark Elder, the St. Petersburg Philharmonic Orchestra, the Royal Philharmonic Orchestra, the Basel Symphony Orchestra and the Mariinsky Orchestra. Anna Tsybuleva’s success at the Leeds International Piano Competition has led to many important engagements both in the UK and internationally, including recitals at the Salle Cortot Paris, Tonhalle Zürich, Palais des Beaux-Arts in Brussels, Klavier-Festival Ruhr and Philharmonie Luxembourg and in Hong Kong. She also appeared at the Chipping Campden Festival in 2016, stepping in for Paul Lewis. Future engagements include the Hallé and Royal Liverpool Philharmonic Orchestras, and at various festivals throughout the UK and internationally. In January 2017 she made her debut at Wigmore Hall in London.
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SSO MU S ICIAN S Lan Shui Music Director joshua tan Associate Conductor jason lai Associate Conductor andrew litton Principal Guest Conductor Choo Hoey Conductor Emeritus Eudenice Palaruan Choral Director
FIRST VIOLIN Igor Yuzefovich° Concertmaster Lynnette Seah Co-Concertmaster Kong Zhao Hui* Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Gu Wen Li Jin Li Cindy Lee Sui Jing Jing Karen Tan William Tan Wei Zhe SECOND VIOLIN Zhao Yingna^ Principal Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Nikolai Koval* Chikako Sasaki* Margit Saur
Shao Tao Tao Edward Tan^ Lillian Wang Wu Man Yun* Xu Jue Yi* Ye Lin* Yeo Teow Meng Yin Shu Zhan* Zhang Si Jing* VIOLA Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Lim Chun^ Liu Hang^ Luo Biao Julia Park^ Shui Bing Tan Wee-Hsin Janice Tsai^ Yang Shi Li Yeo Jan Wea^ CELLO Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Ding Xiao Feng^ Lin Juan^ Song Woon Teng Wang Yan Wang Zihao* Peter Wilson Wu Dai Dai Zhao Yu Er DOUBLE BASS Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Foo Yin Hong^ Julian Li^ Ma Li Ming^ Jacek Mirucki Wang Xu
FLUTE
TRUMPET
Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan
Roberto Alvarez Assistant Principal
Jon Paul Dante Principal David Smith Associate Principal Lertkiat Chongjirajitra^ Alongkorn Kamonngam^ Lau Wen Rong David Rouault^ Sergey Tyuteykin
OBOE
TROMBONE
Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo
Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong
COR ANGLAIS Elaine Yeo Associate Principal
Wang Wei Assistant Principal Jasper Tan^
CLARINET
TUBA
Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping
Hidehiro Fujita Principal
PICCOLO
BASS TROMBONE
TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal
BASS CLARINET Tang Xiao Ping Assistant Principal BASSOON Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue CONTRA BASSOON Zhao Ying Xue Assistant Principal HORN Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Hoang Van Hoc^ Kartik Alan Jairamin
PERCUSSION Jonathan Fox Principal Mark Suter Associate Principal Derek Koh^ Hyunmi Lim^ Lim Meng Keh Zhu Zheng Yi HARP Gulnara Mashurova Principal PIANO Shane Thio^ Principal CELESTE Aya Sakou^
*With deep appreciation to the Rin Collection for their generous loan of string instruments. °Igor Yuzefovich plays an instrument generously loaned by Mr & Mrs G K Goh ^Musician on temporary contract Musicians listed alphabetically by family name rotate their seats on a per programme basis.
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mu s ic i a n c h a ir The Singapore Symphony Orchestra thanks the following organisations for supporting artistic excellence initiatives through our Musician Chair Programme. GUO HAO Fixed Chair Cello
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1979 f und The Singapore Symphony Orchestra gratefully acknowledges the following corporations and individuals for their contributions towards the 1979 Fund. The 1979 Fund is a campaign for contribution to the SSO Endowment Fund. $20,000 and above Ms Tan Choo Leng $15,000 and above Mr S R Nathan
$10,000 and above Prof Cham Tao Soon Prof Chan Heng Chee Ms Liew Wei Li Up to $5,000 Ms Cham Gee Len Dr Tan Chin Nam Mrs Odile Benjamin
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A S TANDing ovat ion to PATRONs a nd f r ie nds OF THE ART S 2017 The Singapore Symphony Group would like to congratulate all our donors who received the Patron of the Arts Awards last month. Conferred by the National Arts Council, the Patron of the Arts Awards celebrate and recognise organisations and individuals who have contributed significantly to the development of the arts in Singapore.
DISTINGUISHED PATRON OF THE ARTS
Keppel Corporation Ltd Marina Bay Sands Singapore Press Holdings Ltd Temasek Foundation Nurtures CLG Ltd United Overseas Bank Ltd Joseph Grimberg Christopher Ho and Rosy Ho
PATRON OF THE ARTS
Aquilus Pte Ltd Conrad Centennial Singapore Far East Organization Hong Leong Foundation Kris Foundation Lee Foundation Pauline Chan and Jean Nasr Goh Yew Lin Paige Parker and Jim Rogers
FRIEND OF THE ARTS
G K Goh Holdings Ltd John Swire & Sons (S.E.Asia) Pte Ltd Kingsmen Exhibits Pte Ltd NSL Ltd Richemont Luxury (S) Pte Ltd Singapore Airlines Ltd Tan Chin Tuan Foundation TransTechnology Pte Ltd Lito Camacho Odile Benjamin Cham Tao Soon Chan Heng Chee Dorothy Chan Grace Fu Hai Yien Dr and Mrs Michael Hwang Maisy Koh and Dr Beh Swan Gin Eugene Lai Leong Wah Kheong
Leong Wai Leng Michael Lien and Tan Kheng Ju Desmond Lim Lim Boon Heng Mavis Lim Gek Chin Olivia Lum Andreas and Doris Sohmen-Pao Astrie Sunindar-Ratner Tan Choo Leng Alfred Wong Wong Fong Fui Geoffrey Wong and Ai-Ai Wong Wong Ngit Liong and Tan Siew Hoon Christine Yeh Timber Yeh Yong Pung How Yong Ying-I Thomas and Mary Zuellig
u p c omi n g c o nc ert s
25 August 2017
Fri | 7.30pm Esplanade Concert Hall Subscription Concert
EMPEROR AND PATHÉTIQUE Power And Majesty Beethoven Piano Concerto No. 5 in E-flat major, Op. 73 “Emperor” Tchaikovsky Symphony No. 6 in B minor, Op. 74 “Pathétique” Kahchun Wong, conductor Shai Wosner, piano Pre-concert Talk 6.30pm | library@esplanade
31 August 2017
Thu | 7.30pm Esplanade Concert Hall
SSO POPS CONCERT: A NIGHT AT THE MOVIES ZIMMER Themes from Interstellar and Sherlock Holmes: A Game of Shadows WILLIAMS Themes from War Horse, Star Wars: Attack of the Clones and The Force Awakens HOWARD The Sixth Sense Jason Lai, conductor
GOLDSMITH Themes from Alien MORRICONE Themes from Cinema Paradiso JONES Themes from Last of the Mohicans SILVESTRI What Lies Beneath
LUDWIG VAN BEETHOVEN (1770 -18 27 ) Piano Concerto No. 3 in C minor, Op. 37
34’00
Beethoven considered this work the best of his first three piano concertos, a judgment still maintained today by most listeners. Yet its premiere in Vienna on 5 April 1803 was hardly auspicious. It marked Beethoven’s first public failure as a performer and composer. The music was not appreciated and his playing of the solo part was criticised, perhaps understandably in light of the situation described by Beethoven’s friend Ignaz von Seyfried, who turned pages: “I saw almost nothing but empty leaves; at the most on one page or the other a few Egyptian hieroglyphs wholly unintelligible to me, scribbled down to serve as clues to him. He gave me a secret glance whenever he was at the end of one of the invisible passages, and my scarcely concealable anxiety not to miss the decisive moment amused him greatly.” In any event, though, Beethoven was certainly in august company. Three different noblemen attended in one capacity or another: Prince Lichnowsky, who fed the orchestra at the final rehearsal, which began at eight in the morning on the day of the premiere and lasted most of the day amidst a mood of utmost panic and short tempers; Prince Louis Ferdinand of Prussia, to whom Beethoven dedicated the concerto; and the aforementioned Ritter (knight) von Seyfried. Also on the programme of this enormous concert were two more Beethoven premieres – the Second Symphony and the oratorio Christ on the Mount of Olives – as well as the First Symphony. Although laid out in the traditional three-movement format of fast-slow-fast, this concerto departs somewhat from previous concerto style, particularly in its emotional depth and drama (qualities always associated with the key of C minor for Beethoven), and in the intricacy of interaction between soloist and orchestra. The Allegro con brio's opening orchestral passage is the longest of any Beethoven concerto, and is outstanding for its urgency and sense of reserved power. A second theme in E-flat major, lyrical and flowing, provides contrast of mood as well as of tonality. Both piano and orchestra develop these themes with considerable complexity.
The second movement, in the remote key of E major, is characteristically slow, reflective and deeply moving. Sir Donald Francis Tovey calls it “the climax of Beethoven’s powers of solemn expression in his first period”, and to Richard Rodda it is “one of the most Romantic pieces that Beethoven ever composed”. Soloist and orchestra are more often heard individually than together. In fact, aside from the central episode, where the piano has a purely accompanimental role to the dialogue between solo flute and bassoon, piano and orchestra join in fewer than twenty bars. The soloist announces the sublimely beautiful, hymn-like subject in a twelve-bar solo, which is then repeated by the orchestra in its richest sonorities. The piano initiates the second paragraph, and only afterwards do piano and orchestra begin to mingle. In the finale, Beethoven combines elements of both rondo and sonata form: rondo in the alternation of the initial theme with other material, sonata in the contrast of two tonal areas, C minor and E-flat major, the latter presented as a descending scale to a merrily “skipping” rhythm. Startling harmonic sidesteps, a short fugal development, a brief cadenza and a presto coda all contribute to the sustained interest in this movement, one imbued throughout with verve, vigour and rhythmic energy.
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OTTORINO RE SPIGHI (1879 -193 6) Fountains of Rome
15’00
The early 20th-century figure Ottorino Respighi was a multi-talented, multifaceted musician: violinist, violist, conductor, educator, administrator, editor and composer who wrote songs like a German, operas like an Italian and orchestral music like a Russian. An early stint as principal violist in the St. Petersburg Opera Orchestra was followed by a period as violinist in the Mugellini Quintet (1903-1908), all the while studying composition with Luigi Torchi and Giuseppe Martucci in his native Bologna, with Rimsky-Korsakov in Russia and with Max Bruch in Berlin. In 1908, he turned his back on performing and devoted the rest of his life to composition. Respighi’s fascination for music of bygone eras led to his popular works, including the ballet La Boutique fantasque (based on Rossini’s music), The Birds (old harpsichord pieces), and Ancient Airs and Dances (17th- and 18th-century lute music). His interest in historical matters brought forth the music by which he is best remembered today, a trilogy of symphonic evocations of ancient Rome: Fountains of Rome (1917), Pines of Rome (1924) and Feste romane (Roman Festivals, 1928). All three works burst with brilliant effects, resplendent orchestration and intoxicating rhythms, largely learned from Respighi’s teacher Rimsky-Korsakov, but also derived from personal study of the scores of Richard Strauss, Debussy and Stravinsky. Rome, the “Eternal City,” was a “natural” for a musician of Respighi’s antiquarian inclinations, a city steeped in history, studded with monuments and statues, richly endowed with great art and architecture. The composer wondered aloud why no one “had ever thought of making the fountains of Rome sing, for after all, they are the very voice of the city.” Fountains of Rome received its premiere, appropriately enough, in Rome on 11 March 1917, with Arturo Toscanini conducting the Augusteo Orchestra. This was Respighi’s first big success as an orchestral composer. The work remained for many years his most famous composition, and it is still regarded as one of his finest. In the score published by Ricordi, Respighi wrote a description of the sights and sounds evoked by the four connected sections:
“The first part of the poem, inspired by the Fountain of Valle Giulia, depicts a pastoral landscape; droves of cattle pass and disappear in the fresh damp mists of a Roman dawn. “A sudden loud and insistent blast of horns above the whole orchestra introduces the second part, the Triton Fountain. It is like a joyous call, summoning troops of naiads and tritons, who come running up, pursuing each other and mingling in a frenzied dance between the jets of water. “Next there appears a solemn theme borne on the undulations of the orchestra. It is the Fountain of Trevi at midday. The solemn theme, passing from the woodwind to the brass instruments, assumes a triumphal character. Trumpets peal; across the radiant surface of the water there passes Neptune’s chariot, drawn by sea horses, and followed by a train of sirens and tritons. The procession then vanishes while faint trumpet blasts resound in the distance. “The fourth part, the Villa Medici Fountain, is announced by a sad theme which rises above a subdued warbling. It is the nostalgic hour of sunset. The air is full of the sound of tolling bells, birds twittering, leaves rustling. Then all dies peacefully into the silence of the night.”
Pines of Rome
23’00
In Pines of Rome, Respighi uses landscapes with pines in and around Rome as points of departure to conjure up visions and reminiscences of the great city. “The century-old trees which so characteristically dominate the Roman landscape become witnesses to the principal events in Roman life”, wrote Respighi. Like Fountains of Rome, the first performance of Pines was given in Rome. Bernardino Molinari conducted the same orchestra, the Augusteo Orchestra, on 14 December 1924.
Respighi’s introduction in the published score runs as follows (freely adapted and expanded): I. The Pines of the Villa Borghese – Children are at play in the pine grove of the Villa Borghese, dancing the Italian equivalent of “Ring around a Rosy”; they mimic marching soldiers and battles; they chatter like excited swallows at evening, then swarm away. II. Pines near a Catacomb – We see the shadows of the pines, which crown the entrance to a catacomb. From the depths rises a mournful chant (low horns) which floats through the air like a solemn hymn, then slowly and mysteriously dies away. III. The Pines of the Janiculum – A slight tremor disturbs the night air. The full moon reveals the profile of the pines on the Janiculum, a hillside park near the Vatican. A nightingale is singing. The use of the recorded birdsong represents the first time a well-known composer employed modern recording playback techniques within a musical work. IV. The Pines of the Appian Way – Misty dawn over the Appian Way, the ancient highway extending 560 kilometers from modern Brindisi to Rome. A magical countryside guarded by solitary pines. The indistinct, incessant rhythm of muffled footsteps. In the poet’s mind appears a vision of past glories: In the grandeur of the rising sun, an army advances inexorably on the Capitoline Hill to the accompaniment of brass fanfares. Programme notes by Robert Markow
b oa r d of dir ec tor s & COMMITTE e S patron President Tony Tan Keng Yam
board of directors Mr Goh Yew Lin (Chairman) Ms Yong Ying-I (Deputy Chairman) Mr Ang Chek Meng Mrs Odile Benjamin Mr Chng Hak-Peng Mr Lionel Choi Prof Arnoud De Meyer Mr Heinrich Grafe Mr Kwee Liong Seen Ms Liew Wei Li Ms Lim Mei Prof Lim Seh Chun Mr Andreas Sohmen-Pao Ms Tan Choo Leng Mr Paul Tan Dr Kelly Tang Mr Yee Chen Fah Nominating and Executive Committee Mr Goh Yew Lin (Chairman) Mr Paul Tan Ms Yong Ying-I
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Mr Rick Ong (Head) Mr Alan Ong (Finance) Ms Goh Hoey Fen (Finance) Mr Mohamed Zailani bin Mohd Said
ORCHESTRA MANAGEMENT Mr Ernest Khoo (Head) Mr Chia Jit Min Ms Tan Wei Tian Stage Management Ms Kimberly Kwa (Stage Manager) Ms Chin Rosherna Mr Ramayah Elango Mr Abdul Wahab bin Sakir Mr Mohamed Zailani bin Mohd Said Mr Muhammad Fariz bin Samsuri Mr Radin Sulaiman bin Ali LIBRARY Mr Lim Yeow Siang (Head) Mr Lim Lip Hua Ms Priscilla Neo
Community Outreach Ms Kathleen Tan Ms Vanessa Lee Choral Programmes Ms Regina Lee Ms Whitney Tan PROGRAMMES (VCH) Ms Michelle Yeo (Head) Ms Erin Tan DEVELOPMENT & SPONSORSHIP Ms Peggy Kek (Head) Mr Anthony Chng Ms Nikki Chuang Ms Zhang Jingchao MARKETING COMMUNICATIONS & CUSTOMER EXPERIENCE Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Myrtle Lee Ms Hong Shu Hui Ms Melissa Tan Ms Cheryl Pek Ms Khairani Basman Ms Dacia Cheang Ms Nur Shafiqah Bte Othman
HUMAN RESOURCES & ADMINISTRATION Mr Desmen Low Ms Shanti Govindasamy SINGAPORE NATIONAL YOUTH ORCHESTRA Ms Pang Siu Yuin (Head) Ms Shirin Foo Mr Tan Yong Qing Ms Tang Ya Yun ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong
A S ta nding Ovat ion to o ur c or p or at e Pa r t ne r s Patron Sponsor
Tote Board Group
Corporate Partners Official Airline
Official Hotel
Official training partner
Official Radio Station
Official outdoor media partner
Official Postage Sponsor
Sponsors
LEE FOUNDATION
Supported by various corporate sponsors and individual donors, the Singapore Symphony Orchestra is a not-for-profit company limited by guarantee and registered under the Charities Order.
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