THE PLANETS 19 June 2019 Esplanade Concert Hall
Join in the fun to share the joy of music-making and learn from musicians of the Singapore Symphony Orchestra
2019 Audition Dates 9 March, 22 June, 7 September, 14 December
www.snyo.org.sg/audition
Wednesday, 19 June 2019, 7.30pm Esplanade Concert Hall
THE PLANETS Singapore National Youth Orchestra Joshua Tan, conductor Alyssa Goh, violin
FELIX MENDELSSOHN
Violin Concerto in E minor, Op. 64 26’
i. Allegro molto appassionato ii. Andante iii. Allegro non troppo – Allegro molto vivace
Alyssa Goh, violin
BÉLA BARTÓK
Dance Suite, BB 86a 17’
i. ii. iii. iv. v. vi.
Intermission 20’
GUSTAV HOLST
The Planets 51’
i. Mars, the Bringer of War ii. Venus, the Bringer of Peace iii. Mercury, the Winged Messenger iv. Jupiter, the Bringer of Jollity v. Saturn, the Bringer of Old Age vi. Uranus, the Magician vii. Neptune, the Mystic
With female chorus, directed by Terrence Toh
Moderato Allegro molto Allegro vivace Molto tranquillo Comodo Finale: Allegro
Concert duration: 1 hr 54 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!
SING A P OR E N AT ION A L YOU T H OR C HE S T R A 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
A leading orchestra dedicated to the training of young orchestral musicians, the Singapore National Youth Orchestra (SNYO) occupies a special place in Singapore’s music community. SNYO alumni have gone on to become full-time musicians in Singapore and with orchestras around world. Many are also educating the next generation of musicians and playing significant roles in the growth of Singapore’s vibrant cultural scene. The Orchestra’s roots can be traced to the early 20th century before moving within the purview of Ministry of Education in 1980. In 2015, SNYO became part of the Singapore Symphony Group, which also manages the Singapore Symphony Orchestra.
Recognised by the Ministry of Education as a National Project of Excellence, members in mainstream secondary schools with sustained involvement in the SNYO will have their participation in the orchestra recognised in lieu of a school-based Co-Curricular Activity (CCA). Entry into the SNYO is by a comprehensive audition process. The Orchestra currently comprises over 180 talented young musicians aged 10 to 21, representing more than 60 schools across Singapore. Consisting of two orchestras – the main orchestra and a junior training orchestra, the SNYO boasts a distinctive music talent development programme where members receive tutoring from professionals, including those from the Singapore Symphony Orchestra. Over the years, the SNYO has performed in concert venues and music festivals across Australia, Austria, Germany, Italy, Japan, Malaysia and the United Kingdom. The 2018/2019 season includes performances at the Xinghai Concert Hall in Guangzhou, the Hong Kong Cultural Centre, and a side-by-side concert with the SSO featuring violinist Ray Chen at the Esplanade Concert Hall in Singapore. At the start of the 2018/19 season, Joshua Tan assumed the position of Principal Conductor with the SNYO and Peter Stark was appointed as its first-ever Principal Guest Conductor.
JO SHU A TA N conductor
Singaporean conductor Joshua Tan’s rise to prominence on the international scene has been marked by successful debuts in Carnegie Hall, Philharmonie Berlin, Mariinsky Hall, Bunkamura, Shanghai, Beijing and Taiwan. He was featured as the top Singaporean musical talent in 2009 by Lianhe Zaobao. Joshua has also won numerous awards and scholarships, including the Second Prize of the 2008 Dimitris Mitropoulos International Competition, Bruno Walter Memorial Foundation Award, NAC-Shell Scholarship, SSO/MOE Scholarship and he is the first-ever recipient of the Charles Schiff Conducting Prize from The Juilliard School for outstanding achievement. In 2011, Joshua received the Young Artist Award of Singapore. Adept with film/multimedia, he is a Disney-approved conductor and gave the Asian premiere of Fantasia. Joshua has also conducted for the BBC’s Planet Earth Series. In opera and ballet, Joshua has conducted La traviata, Tosca, Rigoletto, Der fliegende Holländer, Lohengrin, Carmen, Don Giovanni, Manon Lescaut, Madama Butterfly, Così fan tutte, Swan Lake, Giselle and was also cover conductor for Christoph Eschenbach and Lorin Maazel. Joshua is presently Associate Conductor of the Singapore Symphony Orchestra and Principal Conductor of the Singapore National Youth Orchestra. Joshua has studied with leading conductors James DePreist, Charles Dutoit, David Zinman and Kurt Masur and is a graduate of The Juilliard School and the Eastman School of Music (High Distinction). He had a successful stint as Resident Conductor of the National Center for the Performing Arts Orchestra from 2009 to 2012 with numerous televised concerts and was Principal Conductor of the Guiyang Symphony Orchestra from 2013–2017.
A LY S S A G OH violin
Alyssa Goh started learning the violin under Ms Sylvia Khoo since she was three, and was admitted Fellow of Trinity College, London (FTCL) in violin performance in 2018. She also participated in masterclasses by Eugene Watanabe, Linda Fiore, See Ian Ike, and Associate Professor Zuo Jun. She joined the Singapore National Youth Orchestra in 2015 and has served as concertmistress. Through various masterclasses and music workshops conducted by renowned professional musicians, being in the SNYO has provided her with many opportunities to develop as a musician. In 2016, Alyssa participated in the 6th Singapore Performers’ Festival organised by the Singapore Music Teachers Association where she was conferred a platinum award with an accompanying scholarship grant for violin solo and won the Third Prize with her string quartet. Currently a Secondary Four student at Methodist Girls’ School (Secondary), Alyssa has also served as the concertmistress and student conductor of the school’s String Ensemble since 2018. She appreciates the opportunity to play on a 1910 Guerra, Evasio Emilio, on generous loan from the Rin Collection.
SN YO MU S IC I A N S JOSHUA TAN principal conductor LIN JUAN associate conductor PETER STARK principal guest conductor
FIRST VIOLIN Ashley Hsu Shien, concertmaster Monica Toh Song Fen, concertmaster Ethan Wong Yii, concertmaster Chan Mei Teng+ Ethan Chong Gin Leen Myra Rena Choo Jia En Deborah Chung Xin Yi* Ashley Foong Shu Yan Hoi Khai Weing+ Sean Woosung Jang Megan Law Zhiyi Napin Limcharoen Sun Xiaoqing Marea Sophie Toh Song Yu Shavinne Tsai Yi Ling Sarah Wong Ee Min SECOND VIOLIN Joanne Chan Wai Mun, principal Yuki Chew Min Er Fu Xuan Alyssa Goh Hui Yi Gwee Kang Ting Andre Hee Shao Jun Megan Lim Pei Xuan Alexandra Loh Wei Ling Marc Tze-Kai Sommen Soh Yi Han Megan Song Ying Hui Nathanelle Laura Tan Reina Teo Wei En Angelina Wong Yin Leng Yeong Jun Kai VIOLA Joelle Hsu Min, principal Timothy Cher Zhi Xian Caitlin Chin
Calvin Dai Siyang Natalie Hee Shao Jing Elizabeth Ip Xin En Linnea Lei Ng Johansson Lee Soohyurn Kristabelle Loke Shan Yuan Neo Wei Qing* Ng Ee-Jun Ng Tze Yang CELLO Chloe Chen Jiaen, principal Joash Chee Zi Zuan Chen Youjia Chew Hanlin Choon Hong Tzin Gao Kehan Nicole Hee Yu En Gregory Isaac Lau En Hao Zachary Lau En Yao Li Ziyi Isaac Tah Shern U DOUBLE BASS Charis Hadjisophocleous, principal Damien Chew Chia Ying Yin* Margaret Louise Devadason* Magdalene Gan Shu Yi* Alexsalma Herbert Hong Jingmin Mark Lee Zhi Ying Claron Tay Kia Loong* Kaitlyn Wong Ying Jie FLUTE Gail Gay, principal Natasha Lee Yu Xian Natalie Ngai Cheuk Nam Wilfred Ong Julien Quek Jun Hao PICCOLO Gail Gay Natasha Lee Yu Xian
Wilfred Ong Julien Quek Jun Hao ALTO FLUTE Julien Quek Jun Hao OBOE Quek Jun Rui, principal Seow Yibin* Zhou Xinru ENGLISH HORN Zhou Xinru CLARINET Jin Mei Xuan, principal Samuel Chan Benny Lim Wei Cheah* Tang Kit Ying+ BASS CLARINET Samuel Chan BASSOON Jove Fong Yi Liang, principal Rachel Ng Wei Ting Mark Wen Strange Rebecca Tan See Weng HORN Linnet Sim Yun Juan, principal Chai Mei Qin+ Luke Chong Khi Sian* Andrew Jonathan Lee Noor Fauzan Mohd Khiry+ Petrola Sean Lloyd Biescas Chapman Yap Zhong Heng TRUMPET Shi Ruixin, principal Chan Haowei Lau Hui Ping+ Lee Jia Yi* Kenneth Lun Hin Joong*++
TROMBONE Toh Chang Hui, principal Reema Chatterjee Nicholas Huang Wei Han* Su Shiqi BASS TROMBONE Syed Mirza Bin Syed Mohamed Alkhairid TUBA Jordan Tan Jing Han EUPHONIUM Gordon Low Xin Hong* TIMPANI Amos Choo Xu Ze Chloe Lim Miranda Tristan Seow PERCUSSION Ang Jo Wee Amos Choo Xu Ze Chloe Lim Miranda Vareck Ng Ho Wei Irza Ahsan Pramana Tristan Seow HARP Carissa Ho Min-Yi Chloe Liow Yi Yin PIANO/CELESTA Carissa Ho Min-Yi Soh Yi Han ORGAN Isaac Lee Kian Beng++ * SNYO Alumni + MPYO Musicians ++ Guest Player
T E R R E NC E TOH choir conductor
Terrence Toh is a Singaporean choral director, music educator and chorus master. He holds a Master of Music from Boston University and has studied under Dr. André de Quadros, Dr. Owen Brian William and Dr. Diana R. Dansereau. Terrence’s research interest is in the transformative powers of music, music education and music-making. In his international debut as a conductor, Terrence led the choirs of National University of Singapore (NUS) and Tanjong Katong Secondary School to four gold awards in four competition categories at the 21st Century International Choral Festival in Genting, Malaysia. The NUS Choir was awarded the “Best Interpretation Award” and Terrence was honoured with the “Most Promising Conductor Award” in the same festival. Choral programs under Terrence’s direction have consistently garnered gold awards and distinction certificates in the annual Singapore Youth Festival. He has also led the Anglican High School (AHS) Choir and Nanyang Junior College Choir to gold awards and diplomas at the Festival of Songs 2008 in Olomouc, Czech Republic, 11th and 12th Consorso Corale Internazionale in Riva Del Garda, Italy. The AHS choir also participated in Orientale Concentus 2014, Singapore and emerged winner in the Mixed Voices Junior Youth category. On top of being a regular feature in Esplanade’s Limelight, a concert series that showcases the best school choirs in Singapore; Terrence has also been actively involved in Esplanade’s Voices – A Festival of Song, as performer and clinician. He has also served as a choral specialist for Ministry of Education’s World Youth Choral Festival (2008) and Singapore International Youth Choral Festival (2011). Terrence is the founder, artistic and music director of EVOKX, a non-profit community choir that engages youths in social and charitable causes through its outreach program and concert series, Evocation: The Art of Giving. He is also the Chorus Master of the Singapore Lyric Opera and has prepared the chorus for the company’s recent productions of Turandot (2016), L’elisir d’amore (2017) and Aida (2018).
F E M A L E C HOR U S TERRENCE TOH choral conductor ALDEN PONG rehearsal pianist
Au Yeong Sok Mun Cheyanne Braberry Chan Pei Ee Ariel Chua Elizabeth Goh Alice Hau Xin Ru Angela Heng Elizabeth Heng Jia Wen Hoang To Quyen Faith Khong Tammie Koh Koh Ya Shi Valerie Kong Xin Yi Lai Pei Hua Brenda Laura Lee Rachel Lee Angelia Lim Mirelle Genevieve Lim Nicole Lim Sherilyn Lim Karyn Liow Michelle Loo Qisya Marican Ng Xinrong Daphne Oh Jia Ern Desiree Seng Jermaine Sia Sarah Tan Rachel Xiong Jingwei
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 Anglican High School Anglo-Chinese Junior College Anglo-Chinese School (Barker Road) Anglo-Chinese School (Independent) Anglo-Chinese School (Junior) Anglo-Chinese School (Primary) Bedok South Secondary School Canberra Primary School Catholic High School Changkat Changi Secondary School CHIJ (Katong) Primary CHIJ St. Joseph’s Convent CHIJ St. Nicholas Girls’ School CHIJ St. Theresa’s Convent Chung Cheng High School (Main) Crescent Girls’ School Dunman High School Dunman Secondary School Eunoia Junior College Evergreen Secondary School Fairfield Methodist School (Secondary) French School of Singapore Fuchun Primary School German European School Singapore Geylang Methodist School (Secondary) Hwa Chong Institution Hwa Chong International School International Community School ITE College Central
Maris Stella High School Methodist Girls’ School (Primary) Methodist Girls’ School (Secondary) Nan Chiau Primary School Nanyang Academy of Fine Arts Nanyang Girls’ High School Nanyang Junior College National Junior College National University of Singapore Ngee Ann Polytechnic Ngee Ann Secondary School NUS High School of Math and Science Raffles Girls’ School (Secondary) Raffles Institution Republic Polytechnic River Valley High School School of the Arts, Singapore Singapore Chinese Girls’ School Singapore Polytechnic St. Joseph’s Institution International St. Margaret’s Primary School St. Stephen’s School Tanjong Katong Girls’ School Tanjong Katong Secondary School Temasek Primary School United World College of South East Asia Victoria School Yishun Innova Junior College Yishun Secondary School Yu Neng Primary School
F E L I X ME NDE L S S OHN (1809 - 1847)
About the composer The German composer grew up with a wide exposure to literature and arts. He studied the piano and composition, and was also an active conductor. As a precocious young composer, Mendelssohn wrote numerous works during his childhood. At the age of 17, he composed the Overture to A Midsummer Night’s Dream. This composition demonstrated his originality and stature as a composer. Mendelssohn’s works mainly observed Classical practices while initiating some essential characteristics of Romanticism.
Violin Concerto in E minor, Op. 64 (1845) The concerto is written for his friend and violinist Ferdinand David. In 1838 he said to Ferdinand: “I would like to write a violin concerto for you next winter. One in E minor runs through my head, the beginning of which gives me no peace.” Indeed, it would not give him peace for the next six years, until he at last found time and inspiration amidst his schedule to complete it in 1844. The concerto embodies Mendelssohn’s Romantic spirit, originality and strong capacity for melody writing. It is one of the most lyrical works of its type, and remains the most frequently performed works in the repertoire of violinists.
Instrumentation Solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.
V IOL IN C ONC E R TO IN E MINOR , OP. 6 4 I. Allegro molto appassionato Recapitulation: return of home key Clarinet introduces 2nd subject
cadenza
2nd subject in the flute and oboe
The piece opens with a haunting melody in the solo violin, followed by the 2nd subject, an expressive theme with repeated notes first introduced by the clarinet. The 1st subject proceeds to be developed with restless energy. Unlike the typical concerto movement where the cadenza appears before the coda, Mendelssohn creatively places the virtuosic passage for solo violin at the end of the development section to prepare for the return to the home key for the recapitulation. The two subjects return, and following a series of intense excitement, a holding note in the bassoon bridges the piece to the next movement.
II. Andante Stormy section in minor mode
Return of the calm section in C major
A calm mood is portrayed, with the orchestra gently paving the entrance for the solo violin. The violin plays a lyrical, long phrase of melody in C major. The tonality shifts to its relative minor, with the orchestra pitting against the solo violin playing both the melody and accompaniment roles with double-stopped notes. The storm clears when the music returns to the lyrical C major theme, leading to a peaceful conclusion.
III. Allegro non troppo – Allegro molto vivace 2nd subject
Recapitulation
There is a transitional phrase in E minor for the solo violin and strings before the lively finale. The trumpet fanfare marks the beginning, and the solo violin eases into a playful “tripping� theme. In this compact sonata form movement, the 2nd subject attempts to be majestic but is overcome by the high-spirited nature of the music. In the recapitulation, the playful theme is accompanied by a broad countermelody in the orchestra. The music builds to a climax with quick notes and trills in the violin supported by the orchestra, ending off the piece in a frenetic finale.
B É L A B A R TÓK (1881 - 1945)
About the composer Hungarian composer, pianist, teacher and ethnomusicologist, Bartók’s compositions were notably nationalistic. Along with his compatriot composer Zoltán Kodály, he made a vast collection of Hungarian folk music which he drew upon for ideas of musical transcriptions as well as original works. During his lifetime, a significant number of Bartók’s works were faced with strong resistance from listeners due to his unconventional use of harmonies and irregular metre in rhythm. During the Second World War, Bartók reluctantly fled for New York. In his time there, his works such as the Concerto for Orchestra and Third Piano Concerto started becoming critically acclaimed.
Dance Suite (1923) The Dance Suite is one of three commissioned works for the 50th anniversary of the formation of Hungary’s capital Budapest. The other two works were composed by Ernst von Dohnányi and Zoltán Kodály respectively. As with many of Bartók’s works, the Dance Suite was inspired by folk music. In this composition, he combined ideas of melodic and rhythmic elements from multi-ethnic folk music. This piece radiates with optimism and lustre, and has gained immense popularity.
Instrumentation 2 flutes (both double piccolos), 2 oboes (2nd doubles English horn), 2 clarinets (2nd doubles bass clarinet), 2 bassoons (2nd doubles contrabassoon), 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussions, harp, piano, celesta, strings.
DA NC E S UI T E This six-movement suite, played as one continuous piece, draws inspiration from various ethnic folk dance and music materials of Arabian, Hungarian, and Romanian origin. An plaintive violin melody first introduced in the 1st movement recurs in the piece, serving as a leitmotif and bridging each movement from one to the next.
I. Moderato The piece begins with the bassoon playing a characteristic four-note chromatic motif influenced by Arabian folk music. Articulated chords in the strings punctuate in the background, fluctuating the rhythmic drive. After a frenzied section, the violins introduce a plaintive melody. This melody has qualities of the Hungarian Magyar folk music in its free and slow expressive character. The movement ends off with the clarinet and an accompanying horn call.
- Rhythm of the chromatic motif in the beginning of I. Moderato - Bartók’s placement of articulations in the phrase creates a shifted rhythm or irregular meter effect. - This 4-bar rhythmic sequence is also typically used in Transylvanian-Hungarians’ Kánástanc (Hogherder’s dance) music.
II. Allegro molto Quick and energetic line in the strings comprising repeated minor thirds in displaced rhythms
followed by glissandos. The energetic repetition of these elements maintains a motoric drive. A stark contrast in tone and texture presents itself, in the interlude to the next movement, when plaintive melody returns in the clarinet.
I. Moderato
II. Allegro molto
III. Allegro vivace
Arabian motif introduced by bassoon
Repeated minor thirds in displaced rhythms
Hungarian bagpipe tune
III. Allegro vivace The mood is lightened when a joyful Hungarian bagpipe tune is introduced by the woodwinds. The strings join in later leading to a loud climax of insistent repeated chords. The next section introduces a dance tune with Romanian folk influences and changing metres as follows: 2/4, 5/8, 3/4, 7/8. The music then transitions back to the joyful theme, and ends off with a brief combination of both the tunes.
IV. Molto tranquillo The English horn and bass clarinet first introduce the slow, meandering theme of the movement echoing that of an Arabian dance influence. The theme is developed with varying tonal colours in each restatement using different instruments. The musical sparseness of unison lines in the woodwinds contrasts with the richness of harmony in the strings as the music alternates between the woodwinds stating the Arabian tune and the strings answering with in soft whispers of almost shimmering chords. At the end of this poignant movement, the bridging plaintive melody is heard in the violins and celesta.
“Meandering� theme
V. Rhythmic ostinato
IV. Molto tranquillo
VI. Finale (Allegro) Fusion of previously heard motifs and themes
V. Comodo The rhythmic ostinato (a continually repeated musical fragment) gathers momentum as more instruments jump into the fray. Unlike the other movements, the primary musical idea here lacks a specific ethnicity influence. Instead, it has a primitive rustic character.
Rhythms used in various combinations in V. Comodo
VI. Finale (Allegro) An opening of superimposed fourths is followed by a vigorous fanfare-like repetition of minor thirds in the brasses. What comes next is a fusion of all the themes in the previous movements – the characteristic opening melody of the 1st, the joyful melody from the 3rd, the ostinato from 5th, and the energetic melody from the 2nd. The plaintive melody returns in the tranquil section before a spirited ending to the piece. The fusion of all the different themes is significant in celebrating and commemorating the unification of the two Hungarian cities Pest and Buda into the consolidated city of Budapest
G U S TAV HOL S T (1874 - 1934)
About the composer An English composer and music teacher, Holst was notable for his excellence in orchestration. His dedication to choral music shows in his musical output, which also displayed a blend of international flavours inspired from various influences such as English folksong and Hindu Sanskrit texts. Holst was not one to stick with convention. He was constantly learning, experimenting and expressing his unique self in his works. Although he faced constant setbacks in his span of career as his musician, he was not put off by them, and he persevered through his passion for music.
The Planets (1914-1916) Holst took an astrological instead of astronomical approach in The Planets suite. As in astrology, Earth is the reference point, hence it is not included in the suite. His inspiration came from the personalities of the planets. He gave each of them nicknames (not necessarily related to their Roman counterparts) like “Mars: The Bringer of War” etc. The style of orchestra differed for each of the planets making it an interesting aural experience for the audience. The Planets was extremely well-received at its premiere, and secured Holst’s international reputation as a composer.
Instrumentation 4 flutes (3rd doubles piccolo 1, 4th doubles bass flute and piccolo 2), 3 oboes (3rd doubles bass oboe), English horn, 4 clarinets, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tuba, tenor tuba, 2 timpani, percussions, 2 harps, celesta, organ and strings. Hidden female chorus in last movement.
T HE P L A NE T S I. MARS
The Bringer of War
A five-beat rhythmic figure is pounded out from the beginning. A soaring melody unhurriedly unfolds in the brasses, from the lower to the upper register. Thick chordal moving lines and fanfare-like exclamations above shifting harmonies and fluctuating dynamics give the movement a restless ominous sense. The repeated rhythmic figure brings to mind the drum beats of military character.
II. VENUS
The Bringer of Peace
A calm sublime mood descends in Venus after the unsettling drive of Mars. The horn plays a lonely, yearning call that is answered gently by the woodwinds. The harp joins in adding lustre to the woodwind chords, lifting the tonality from melancholy to sublimity. Various solo melodies are played in different instruments to gentle syncopated chords. The horn call returns in the midst, and the rest of the movement pans out with sensitive harmonies and gentle rocking.
III. MERCURY
The Winged Messenger
Light, playful melodies interweave in the woodwinds. The music is fleet, with the use of bright timbres, portraying a swift nimble messenger. The fast-moving music builds to a passionate central climax that is quickly abandoned for its original nature.
IV. JUPITER
The Bringer of Jollity
A shimmering brilliance resulting from a continuous repetition of a quick three-note figuration from the pentatonic scale is followed by an energetic brass motif. A three-note motif of leaps is then introduced in the horns and repeated with slight variations on different instruments. It is then generously expanded in the horns with the woodwinds following on. A flamboyant melody appears suddenly in the horns and is passed around the orchestra. A transitional passage where a three-note figure is tossed about leads to the central section of this movement. A grand and solemn melody makes its entrance in the strings in one of the most majestic passages in the orchestral repertoire. Stately accompaniment go along with the melody, building it up to a high point before quickly transitioning back to the shimmer and energy of the opening. The music moves quickly and effortlessly through various transitions embodying the jolly personality of Jupiter.
V. SATURN
The Bringer of Old Age
A stolid pulse sets the foundation upon which the double basses enter with heavy sighs. The “sighs” are passed around different instruments. The movement, initially steady, slowly progresses to an explosive rage with increasingly insistent chords. Before long, the power subsides and the “sighs” return. A mysterious galactic vibe sets in as the harps and horns dovetail their strands of musical figuration to a drawn-out melody rising slowly to the higher registers. Saturn is portrayed to be wise, but the music seems lonely and weary perhaps from eternal existence.
VI. URANUS The Magician
Four unison notes being hammered in the brasses opens the movement. The melody that follows is based on punchy rhythms. This rhythm then accompanies a merry tune that gets played by different instruments. The mood changes with a boisterous circus-like melody but before long the opening four unison notes return. What follows is a relentless march-like build-up to the climax ending with a glissando flourish in the organ. The quiet that descends is broken by the opening four unison notes and jarring brass chords. Uranus is the planet of sudden and unexpected changes, illustrated by the freedom and originality in the music of this movement.
VII. NEPTUNE The Mystic
Although restrained in dynamic range, this movement explores musical textures and timbres. Amid woodwind chordal lines, the celesta and harps glisten and glitter. The mood is mystical and eerily mysterious. Moving lines in the woodwinds set the stage for a long soprano drone from the female chorus to emerge. The chorus later settles in with enchanting wordless singing. The ethereal music is captivating. The choir slowly fades off at the end, as if it had gone far into the distance. This movement leaves us wondering‌ just what else is out there?
Programme notes by SNYO horn player and intern Linnet Sim
SNYO
Chamber Concert 28 July 2019, Sun | 4pm Victoria Concert Hall Immerse in the magical world of Harry Potter and other classical music favourites performed by members of the Singapore National Youth Orchestra in this chamber music concert. Enjoy some of the most popular works in the chamber repertory, including Dvořák’s popular “American” Quartet and Schubert’s “Trout” Quintet. Also on the programme are works for brass choir, woodwind trio, cello sextet and percussion ensemble.
Tickets: $8
SSO.ORG.SG
@SNYO.sg www.snyo.org.sg
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 Dr Koh Chee Kang Senior Specialist, Music The Singapore National Youth Orchestra wishes to thank National Arts Council Temasek Foundation Nurtures Tan Chin Tuan Foundation Staff and musicians of Malaysian Philharmonic Youth Orchestra for this collaboration SNYO alumni participating in this concert Family of the late Mr Chia Sin Soo for the donation of a violin and cello to the SNYO Tutors of the Singapore National Youth Orchestra Parents of the Singapore National Youth Orchestra members Principals of the participating schools
S ING A P OR E S Y MP HON Y G R OUP M A N AG E ME N T CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng ARTISTIC PLANNING
CEO OFFICE
CORPORATE SERVICES
Mr Hans Sørensen (Head)
Ms Shirin Foo Mr Lim Yeow Siang
Ms Lillian Yin (Head)
Programmes (SSO) Ms Kua Li Leng Ms Teo Chew Yen Ms Jodie Chiang Community Outreach Ms Vanessa Lee Choral Programmes Ms Regina Lee Ms Whitney Tan Programmes (VCH) Ms Erin Tan ORCHESTRA MANAGEMENT Mr Ernest Khoo (Head) Orchestra Mr Chia Jit Min Concert Operations Ms Kimberly Kwa Ms Chin Rosherna Mr Ramayah Elango Mr Md Fariz bin Samsuri Library Mr Lim Lip Hua Ms Priscilla Neo Ms Wong Yi Wen
Customer Experience Mr Randy Teo Ms Dacia Cheang Ms Nur Shafiqah bte Othman DEVELOPMENT & PARTNERSHIPS Ms Peggy Kek (Head) Corporate Communications Ms Leong Wenshan Ms Haslina Hassan
Finance, IT & Services Mr Rick Ong Mr Alan Ong Ms Goh Hoey Fen Mr Jeffrey Tang Mr Md Zailani bin Md Said Human Resources & Administration Mr Desmen Low Ms Melissa Lee Ms Evelyn Siew
Development Mr Anthony Chng Ms Chelsea Zhao Ms Nikki Chuang
Legal Mr Edward Loh
MARKETING COMMUNICATIONS
Ms Pang Siu Yuin (Head) Mr Tan Yong Qing Ms Tang Ya Yun
Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Myrtle Lee Ms Jana Loh Ms Hong Shu Hui Ms Sherilyn Lim Ms Melissa Tan
SINGAPORE NATIONAL YOUTH ORCHESTRA
ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong
PATRON SPONSOR
@SNYO.SG
SUPPORTED BY
RECOGNISED BY