Lan Shui's Farewell

LAN SHUI MUSIC DIRECTOR

LAN SHUI’S FAREWELL 25 & 26 January 2019 Esplanade Concert Hall

Performing Home of the SSO

ME S S AG E F R OM C H A IR M A N, Singa p ore S y mp hon y gro up Tonight is very much a night of bittersweet emotions. We bid farewell to Lan Shui with reluctance, but we also celebrate him with heartfelt gratitude for his 22 years as our Music Director.

Lan first conducted the SSO in 1993. That concert was a sensation: from the first quiet notes of Strauss’s Death and Transfiguration, to the triumphant fanfares of Mussorgsky’s Pictures, it was evident that there was a natural chemistry between conductor and orchestra. He returned a year later, and I can still remember the eloquence and intensity that he brought to Schumann’s Second Symphony. It was therefore no great surprise that when the time came to choose a new Music Director in 1996, Lan was preferred over other credible candidates.

Maestro Lan Shui was then 39 years old. He brought to the SSO boundless energy, a keen ear, impeccable technique and a natural musicality. The standing ovations we received at major venues and festivals in recent European tours are testimony to what he and the SSO have been able to achieve together through his persistent focus on raising the levels of artistic excellence.

Lan reshaped and strengthened the orchestra. He was demanding of the musicians, but was also their strongest champion behind the scenes. He has been a good friend to many. He is, I know, immensely proud of the Singapore Symphony Orchestra and we in turn are very grateful to him for his artistry, his commitment and his friendship.

We wish Lan all the very best for the next phase in his life, and look forward to seeing him back in Singapore regularly as a guest conductor in the future.

Goh Yew Lin CHAIRMAN, SINGAPORE SYMPHONY GROUP

25 & 26 Jan 2019, Fri & Sat

LAN SHUI’S FAREWELL Singapore Symphony Orchestra Lan Shui, conductor Miah Persson, soprano Anna Larsson, mezzo-soprano Singapore Symphony Chorus & Youth Choir Hallelujah Chorus Singapore Bible College Community Choir. Canticorum The Choir of the Transylvania State Philharmonic The Philharmonic Chamber Choir, Singapore Eudenice Palaruan, choral director Wong Lai Foon, choirmaster GUSTAV MAHLER

Symphony No. 2 in C minor “Resurrection” 80’

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Allegro maestoso Andante moderato In ruhig fliessender Bewegung (With quietly flowing movement) Urlicht (Primeval Light) Im Tempo des Scherzos (In the tempo of a scherzo)

25 Jan: Post-concert autograph signing with Lan Shui in the stalls foyer

Concert duration: 1 hr 35 mins

Audience Survey We’d love to hear from you.

Share your experience with us online at https://sso-surveys.questionpro.com/

S inga p ore S y mp hon y Orches t ra 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 all-time 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 Rachmaninoff series, a “Seascapes” album, two Debussy discs “La Mer” and “Jeux”, 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, Diana Damrau, Martha Argerich, Lang Lang, Yo-Yo Ma, Janine Jansen, Leonidas Kavakos and Gil Shaham.

The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, and the Singapore National Youth Orchestra.

The mission of the Group is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich Singapore’s diverse communities.

LAN SHUI conductor Lan Shui is renowned for his abilities as an orchestral builder and for his passion in commissioning, premiering and recording new works by leading Asian composers. As Music Director of the Singapore Symphony Orchestra since 1997, American Record Review noted that Shui has “turned a good regional orchestra into a world-class ensemble that plays its heart out at every concert”.

Together they have made several acclaimed tours to Europe, Asia and the United States and appeared for the first time at the BBC Proms in September 2014.

Lan Shui held the position of Chief Conductor of the Copenhagen Phil from 2007 to 2015, and from 2016 he became their Conductor Laureate. He recently concluded a four-year period as Artistic Advisor of the National Taiwan Symphony Orchestra. As a guest conductor, Shui has worked with many orchestras. In the United States he has appeared with the Los Angeles Philharmonic, San Francisco Symphony, and Baltimore and Detroit symphony orchestras. In Europe he has

performed with Deutsches SymphonieOrchester Berlin, hr-Sinfonieorchester, Danish National Symphony Orchestra, Radio-Sinfonieorchester Stuttgart des SWR, Deutsche Radio Philharmonie, Gothenburg Symphony, Tampere Philharmonic and Orchestre National de Lille. In Asia he has conducted the Hong Kong, Malaysian and Japan Philharmonic orchestras and maintains a close relationship with the China Philharmonic and Shanghai Symphony.

Since 1998 Shui has recorded over 20 CDs for BIS – including a Rachmaninov series, a “Seascapes” disc and the first-ever complete cycle of Tcherepnin’s symphonies with the Singapore Symphony Orchestra – and also music by Arnold and Hindemith with the Malmö Symphony Orchestra, which has received two Grammy nominations.

Lan Shui is the recipient of several international awards from the Beijing Arts Festival and the New York Tcherepnin Society, the 37th Besançon Conductors’ Competition in France and Boston

University (Distinguished Alumni Award) as well as the Cultural Medallion – Singapore’s highest accolade in the arts.

Born in Hangzhou, China, Shui studied composition at the Shanghai Conservatory and graduated from the Beijing Central Conservatory. He continued his graduate studies at Boston University while at the same time working closely with Leonard Bernstein at the Tanglewood Music Festival. He has worked together with David Zinman as Conducting Affiliate of the Baltimore Symphony Orchestra, as Associate Conductor to Neeme Järvi at the Detroit Symphony Orchestra, and with Kurt Masur at the New York Philharmonic and Pierre Boulez at The Cleveland Orchestra.

Miah Persson soprano Internationally renowned Swedish soprano Miah Persson has appeared at the Wiener Staatsoper; Metropolitan Opera; Royal Opera House; Aix-en-Provence Festival; Deutsche Staatsoper; Bayerische Staatsoper; Théâtre des Champs-Elysées; Theater an der Wien and at the Gran Teatro del Liceu Barcelona, among many others.

Recent engagements include Mahler’s Fourth with the Orchestre National de Lille; recitals at the Pierre Boulezsaal, Wigmore Hall and the Concertgebouw; Mahler’s Second with the Philharmonie Luxembourg; Brahms Requiem at the Gulbenkian Foundation; Sunken Garden for Dallas Opera; The Creation at the Verbier Festival and as the Countess in Capriccio at Garsington Opera, described in The Sunday Times as “one of the most detailed and nuanced acting performances of any singer of the past decade or more...this is a nearimmaculate assumption.”

Highlights of the 2018/19 season include Mahler’s Fourth with the Wiener Symphoniker and on tour to Spain with the Orchestre Philharmonique du

Luxembourg; Michel van der Aa’s Blank Out for the Aix-en-Provence Festival; performances of Der Hirt auf dem Felsen with the New York Philharmonic; Brahms Requiem with the Gävle Symfoniorkester; the Countess in concert performances of le Nozze di Figaro with Tokyo Symphony Orchestra; title role Zaide for Munchner Rundfunkorchester; Mahler’s Second with the Singapore Symphony Orchestra and Los Angeles Philharmonic; Mozart Concert Arias on tour with the Freiburger Barockorchester; Four Last Songs with Orquestra Sinfónica do Porto Casa da Música; Bruckner Te Deum and Brahms’ Requiem with Borusan Istanbul Philharmonic Orchestra alongside a number of European recital engagements.

Further ahead Miah will sing Donna Elvira in Don Giovanni with Kammerorchester Basel; Elettra in Idomeneo for Opera di Roma; Cleopatra in Giulio Cesare at the New National Theatre and Blanche in Dialogues des Carmelites at the Liceu Barcelona.

anna larsson mezzo-soprano Anna Larsson graduated from the University College of Opera in Stockholm in 1996. Her international debut followed immediately in Mahler Symphony No. 2 with the Berliner Philharmonic Orchestra and Claudio Abbado, and her opera debut as Erda in Wagner’s Das Rheingold at the Deutsche Staatsoper Berlin conducted by Daniel Barenboim.

Among her many roles are Kundry in Wagner’s Parsifal, Herodias in Massenet’s Hérodiade, Erda in Wagner’s Siegfried and Fricka in Der Walküre, and Delilah in Saint-Saëns’ Samson and Delilah, at theatres including Teatro alla Scala, Vienna State Opera, Bayerische Staatsoper, Salzburg and Aix-en-Provence Festivals, the Royal Opera House in London, Teatro Maggio Musicale in Florence, La Monnaie Brussels, Palau des Arts Valencia, Royal Opera Copenhagen, Finnish National Opera and the Swedish Royal Opera.

In concert, Anna Larsson is internationally renowned as a consummate interpreter of Gustav Mahler’s works. She regularly sings with the world’s great orchestras including the Berlin Philharmonic,

Lucerne Festival Orchestra, New York Philharmonic, Vienna Philharmonic, Chicago Symphony, London Symphony and London Philharmonic Orchestras. She has sung with illustrious conductors including Esa-Pekka Salonen, Daniel Harding, Sir Simon Rattle, Sir Antonio Pappano, Gustavo Dudamel, Alan Gilbert and Nikolaus Harnoncourt.

In December 2010 Anna Larsson was appointed Court Singer by King Carl XVI Gustaf of Sweden, and in 2011 she opened her own concert house, Vattnäs Concert Bam. She recently made her role debut as Mistress Quickly in Verdi’s Falstaff at the Frankfurt Opera. Last season she sang Genevieve in Debussy’s Pelleas et Mélisande at both the Opéra de Paris and Deutsche Staatsoper Berlin, and returned to Netherlands Opera to revive the role of Waldtaube in Schoenberg’s Gurrelieder.

Upcoming engagements include Suor Angelica at the Norwegian National Opera as well as concert appearances for Mahler’s Symphony No. 2 with the Singapore Symphony Orchestra and Beethoven’s Mass in C with the LA Philharmonic.

Singapore Symphony Chorus EUDENICE PALARUAN choral director SHANE THIO rehearsal pianist The Singapore Symphony Chorus (SSC) made its debut in 1980, under the direction of Choo Hoey, then Music Director of the SSO and now SSO Emeritus Conductor.

In 1981, Singaporean conductor Lim Yau was appointed its Choral Director. Under his tutelage, the chorus has amassed a wide repertoire, performing such works as Macmillan’s Seven Last Words from the Cross, Arvo Pärt’s Te Deum, Britten’s War Requiem, and Bach’s St John Passion, amongst many others.

The chorus is recognised as one of the finest in the region and one of the few symphony choruses in Southeast Asia. It has performed under the baton of renowned conductors such as Peter Erdei, Eric Ericsson, John Nelson, Claus Peter Flor, Okko Kamu, and Masaaki Suzuki.

Today, presiding Choral Director Eudenice Palaruan leads the choristers, who come from a myriad of nationalities and backgrounds. In 2017, the chorus went on its first tour with the SSO, performing at the Dewan Filharmonik Petronas in Kuala Lumpur.

Singapore Symphony Youth Choir WONG LAI FOON choirmaster EVELYN HANDRISANTO accompanist An up-and-coming addition to the Singapore Symphony Orchestra’s choruses, the Singapore Symphony Youth Choir was formed in 2016 to complement the orchestra with a chorus of young people’s voices. It is a platform for young adults to pursue their interest in choral singing, as well as enable mature members of the Children’s Choir to continue their development in classical choral singing.

Comprising Singapore’s finest young choristers aged between 17 and 28, the SSYC has, despite its young age, already performed a number of choral masterpieces with the Singapore Symphony Orchestra, such as Scriabin’s Prometheus, Brahms’ Schicksalslied, Puccini’s La bohème, and Borodin’s Polovtsian Dances.

The SSYC continues to explore the best of different musical worlds and styles, ranging from orchestral to a cappella masterpieces, spanning the Renaissance to the 21st century.

Hallelujah ChoruS Hallelujah Chorus is one of the choral groups under the Hallelujah Oratorio Society (HOS). It focuses on performing oratorio and classical sacred music under the baton of conductor Maestro Rev Lee Chong Min, music director and conductor of HOS, former music lecturer of School of Church Music at the Singapore Bible College.

Choral-orchestra materworks that the Chorus has performed alongside various soloists from the Asian region include Mendelssohn’s Elijah, Hymn of Praise, St. Paul, Haydn’s The Creation, Brahms’ Requiem, Mozart’s C Minor Mass, Handel’s Messiah and Beethoven’s Missa Solemnis.

Pieces performed with the Singapore Symphony Orchestra and Singapore Symphony Chorus since 2003 include Berlioz’s Messe Solennelle and Te Deum, Mahler’s Eighth Symphony (in the 2004 Singapore Arts Festival) and Third Symphony. Janacek’s Glagolitic Mass, Beethoven’s Ninth Symphony, Choral Fantasy, Missa Solemnis and Fidelio, Hadyn’s The Creation, Mendelssohn’s Elijah, Macmillan’s Seven Last Words from the Cross, Handel’s Messiah, Luis Bacalov’s Missa Tango, Verdi’s Requiem, Brahms’ Requiem, Tchaikovsky’s 1812 Overture, Poulenc’s Gloria, Faure’s Requiem, Walton’s Belshazzar’s Feast, Stravinsky’s Symphony of Psalms, Fenton’s The Blue Planet Live, Orff’s Carmina Burana, Britten’s War Requiem, Verdi’s Te Deum and Bach’s St. John Passion.

Singapore Bible College Community Choir.

CANTICORUM Noting the impact of Singapore Bible College Chorale’s community concerts to the congregational needs of the church, the School of Church Music decided to expand the Chorale’s student membership core to include auditioned College Alumni, faculty and staff, and choristers of the Singaporean evangelical church community. Canticorum (“songs” in Latin) has been this notable community choir for two years, whose mission is to integrate performance artistry, congregational worship and witness, corporate prayer, and community spirit. Through robust collaborations with renowned instrumentalists, theologians, scholars, visual artists and dancers, the choir has since crafted contextualised hymn festivals, psalm festivals, services for church seasons and traditional sacred music concerts. Much of the designed services have been replicated in other parts of Asia. The choir holds only two main presentations every concert season, performing music from early chant, motets, cantatas, the great choralorchestral masterworks, anthems and spirituals, contemporary congregational songs and global hymnody. Early this year, the choir performed Leonard Bernstein’s Chichester Psalms and Ralph Vaughan Williams’ Five Mystical Songs for the VCH Organ Series. This coming 28 & 31 March 2019, Canticorum will perform Dan Forrest’s Jubilate Deo at the Victoria Concert Hall and the Singapore Bible College Worship Hall.

Canticorum is currently under the leadership of Dr. Joel Navarro, Lecturer and Professor of Music at the School of Church Music of Singapore Bible College (SBC).

the Choir of the Transylvania State Philharmonic Founded in 1972, the Choir of the Transylvania State Philharmonic was an initiative of the distinguished Romanian composer Sigismund Toduta. The ensemble was assembled by leading choral conductor Dorin Pop, whom in just two years brought the Choir to its leading position among Romanian choirs. Florentin Mihaescu led the choir from 1976 to international success. In 1986, Cornel Groza, a founding member himself, took over the direction of the Choir, building upon the accomplishments of his predecessors. The Choir has since performed under numerous illustrious conductors and performed all over Europe, including at the Lucerne Festival’s staging of George Enescu’s operatic masterpiece, Oedipe, for the composer’s centennial celebration.

The Choir’s radio and TV broadcasts and recordings have enjoyed critical appreciation.

Their most recent release is a Brahms album (Ein deutsches Requiem, Nänie, Schicksalslied), with the Bucharest Philharmonic on the Arte Nova label. In recent years, the Choir has been engaged in opera productions such as Puccini’s Turandot, Verdi’s Nabucco and Aida, and is a regular invitee to the Festival della Valle d’Intria in Martina Franca, where they have played a part in such operas as Casella’s La donna serpente, Mayr’s Medea in Corinto and Mercadante’s Francesca da Rimini.

THE PHILHARMONIC CHAMBER CHOIR (TPCC) The Philharmonic Chamber Choir (TPCC) — formed by Lim Yau, its Artistic Director — has excelled in giving voice to the great traditions of Western classical music: both a cappella, as well as large works for choir and orchestra. It has equally made its mark in performing the Asian a cappella repertoire.

In 2000, TPCC was awarded First Prize in the Mixed Choir Category at the Béla Bartok International Choral Competition in Debrecen. In 2002, TPCC was invited to perform alongside the Tokyo Philharmonic Chorus at the First Performing Arts Festival in Tokyo.

TPCC has worked with leading choral conductors including Stephen Cleobury, Francisco Feliciano, and Chifuru Matsubara. It has collaborated with other arts groups such as the Singapore Symphony Orchestra and Chorus, The Philharmonic Orchestra, and the Arts Fission Company.

In recognition of its Asian heritage, TPCC’s Asian a cappella concert series explores the wealth of the contemporary Asian choral repertoire. The most recent edition — Timeless Skies — featured the world premiere of Yang Guan San Die by Zechariah Goh. TPCC’s latest concerts included Skywalk — a concert featuring modern choral works; as well as Rachmaninoff’s All-Night Vigil — possibly its first full performance by a local choir.

For more information, please visit http://www.tpcc.org.sg

Eudenice Palaruan choral director Eudenice Palaruan studied at the University of the Philippines majoring in composition under Ramon Santos (National Artist for Music) and choral conducting under Joel Navarro. After finishing his Bachelor’s Degree in the Philippines, he took on a four-year study in choral conducting at the Berliner Kirchenmusikschule, Germany under Martin Behrmann.

As a chorister and vocalist he has performed with leading choirs such as the Philippine Madrigal Singers, Ateneo de Manila College Glee Club, Berlin Spandauer Kantorei, and the World Youth Choir. He was also involved in early music performance practice as a countertenor with the Berlin Monteverdichor and continuo player at the Philippine International Bamboo Organ Festival. On the podium he was the Music Director of the Ateneo de Manila College Glee Club, Assistant Choir Master of the Philippine Madrigal Singers, Principal Conductor of the San Miguel Master Chorale and the Union Church of Manila Chancel Choir.

For the past seven years he was the Resident Conductor of the International Bamboo Organ Festival where he directed some of Philippines’ leading choirs in the

performance of early European choral music and the revival of Latin American Baroque choral music.

As a composer and arranger Palaruan introduced choral and other vocal works that exhibit the indigenous Filipino sound. His works are performed by Asian and European choirs in international festivals and competitions. With his active involvement in the choralization of Philippine and other Asian indigenous music he premiered a significant volume of new Asian choral works and is often invited to give lectures on non-Western vocal aesthetics and choral arranging in the Asian context.

As a music pedagogue he taught composition and cantorship at the Asian Institute for Liturgy and Music, choral conducting subjects at the University of the Philippines College of Music and the St. Paul University Manila College of Music and the Performing Arts. Currently he is an Associate Professor at the School of Church Music in Singapore Bible College, training and mentoring young church musicians from different Asian countries.

Wong lai foon choirmaster As a founder-conductor of the Singapore Symphony Children’s Choir (SSCC), Wong Lai Foon has dedicated the past twelve years towards building up the ensemble to become the leading children’s choir in the nation. Under her direction, the SSCC has garnered much praise for its impressive choral tone, and its musically precise and polished performances, earning it the commendation of “one of the best children’s choirs in Asia” in a recent review.

In her capacity as Choirmaster, Wong oversees the SSCC’s family of ensembles, which has now grown to comprise a Concert Choir, Training Choir, three preparatory choirs, a Boys’ Ensemble and a Youth Choir. Apart from their performances with the Singapore Symphony Orchestra (SSO), both the Concert Choir and the Youth Choir have occasionally collaborated with other ensembles. A highlight from last season was the exciting collaboration between the Concert Choir and the celebrated group, The King’s Singers. The SSYC has performed with the Singapore Symphony Orchestra and Chorus in Kuala Lumpur, in an all-Brahms programme which featured the Schicksalslied and Gesang der Parzen.

Wong has prepared works for other ensembles, including the Singapore Symphony Chorus, the Singapore Lyric Opera, Westminster Opera Theatre, and The Philharmonic Chamber Choir. Some highlights include Mahler’s Symphony No. 3, Berlioz’s La Damnation de Faust, Britten’s War Requiem, Janáček’s Glagolitic Mass, Bizet’s Carmen, Puccini’s La bohème, Macbeth and Il trovatore by Verdi, as well as the Singapore premieres of James Macmillan’s Seven Last Words from the Cross, and The Blue Planet Live!.

Through her work with the SSCC, Wong aspires to inspire a generation of young choral singers to embrace the choral art and strive for musical and artistic excellence. She holds a master’s degree in choral conducting from Westminster Choir College, where she studied with Joseph Flummerfelt.

2016 EUROPE TOUR WITH GIL SHAHAM

2014 BBC PROMS

2006 JOHANN STRAUSS GALA

Dear music lover, Twenty-two years ago, Mr Goh Yew Lin asked me if I would be interested in becoming Music Director of the SSO. I was brimming with excitement at the prospect of building this young orchestra, and little did I know that I would go on to devote my best years to the SSO and to Singapore. My friendship with the SSO as Music Director began on 10 January 1997. Over the years, I have fallen in love with the incredible warmth of the people in Singapore.

To our wonderful musicians: thank you for the deep and special bond we share, for your amazing passion and patience that has enabled us to create unforgettable musical moments. Together we have achieved so many milestones. Our camaraderie is as fresh as the day we first made music together.

To the SSO Board: thank you for your support of the orchestra, for guiding me, and for being leaders who know and love the music. To my colleagues in the SSO management, thank you for being a joy to work with. You have brightened my days in the orchestra with your friendship and creativity.

To our wonderful audience: concert after concert, you have moved me with your enthusiasm and applause. You who have followed me on this musical journey: thank you for being ever so open to exploring music with us.

It has been a great privilege to serve the SSO and Singapore. I wish all of you the very best and thank you for your continued support of the SSO.

Lan Shui

Shui Lan, I’m your biggest fan – you know that. I’m so lucky to have worked with you over the years, on so many occasions, and such a variety of repertoire. I love seeing your concerts, and to go out with you and to talk about life and all those fun things that we treasure. So congratulations, Lan, on a great, great job that you’ve done. No one could have done it like you.

LIN CHO-LIANG VIOLINIST

Singapore’s classical music lovers have grown with SSO with your leadership.

SSO has also progressed tremendously with your artistic vision. You will be remembered for this legacy you have built.

TERENCE HO EXECUTIVE DIRECTOR SINGAPORE CHINESE ORCHESTRA

Congratulations to Lan Shui on a great achievement as Music Director of this wonderful orchestra. I want to thank Lan for introducing me to the Singapore Symphony and its audiences. He is a wonderful friend and colleague whom I admire greatly and I am sure he’ll continue his great musical achievements in the future.

YEFIM BRONFMAN PIANIST

Dear Lan, what you have done for this orchestra is Herculean. I have no doubt your future will be bright no matter where life leads you. I will follow you with great interest, thanking you for your part in making my life richer.

Thank you,

JOHN NELSON CONDUCTOR

Dear Lan, the SSO Music Directorship has obviously been one of your defining projects as a professional musician. It’s been a privilege to witness the orchestra’s growth alongside your own evolution as an ever-more curious and passionate artist.

Congratulations, Maestro, on all you have achieved, and best wishes for what I am sure will continue to be vital and fulfilling contributions to music, both in Singapore and beyond.

PROFESSOR BE RNARD LANSKEY DEAN, YONG SIEW TOH CONSERVATORY NATIONAL UNIVERSITY OF SINGAPORE

Ever since I’ve had the pleasure of working with you at Detroit Symphony Orchestra, I’ve come to value you highly as a musician as well as a friend. I’m certain the SSO will miss you dearly. I can’t imagine anything but great things ahead of you. All the best for the future, dear Lan! NEEME JÄRVI CONDUCTOR

ZHOU LONG

YO-YO MA

CHEN YI

LAN SHUI

BRIGHT SHENG

TAN DUN

Lan, you are a true artist in its purest sense. You’ve brought your warmth, care, intelligence into your music making with SSO, which you have single-handedly established as one of the top orchestras in the world.

Remembering our meaningful and wonderful work together with the SSO and its dynamic Music Director Lan Shui in the past 30 years, all of our excellent projects bring fond and touching memories. We deeply treasure the beautiful friendship with everybody in the SSO and celebrate the SSO’s unmistakable contributions to the culture of our time.

BRIGHT SHENG COMPOSER

CHEN Y I AND ZHOU LONG COMPOSERS

Lan Shui Congratulations to you for taking the SSO through one heck of a musical evolution since you started so long ago. You will be sorely missed indeed. Thank you for all our thoroughly enjoyable collaborations over the years.

KAM NING VIOLINIST

Shui Lan, you are somebody who is so special to musical life, because of your almost naively taking in all of the expressions in the world and leading others in a very gentle way, to advocate for the many human voices all around the world. Thank you for everything that you do, for humanity and for music.

YO-YO MA CELLIST

Lan is a true artist who devotes his life and passion to music – there is no doubt that his extraordinary commitment of 22 years to the SSO has made the orchestra one of Asia’s finest.

QIAN ZHOU VIOLINIST

HE A R T F E LT T H A NK S TO S S O C OR P OR AT E PAT R ON S A ND SP ON S OR S We would like to express our deepest appreciation to the following companies and organisations that support our mission to create memorable shared experiences with music.

Major Corporate Patrons Temasek Foundation Nurtures CLG Ltd Far East Organization Santa Lucia Asset Management Pte Ltd Interchem Pte Ltd John Swire & Sons (S.E. Asia) Pte Ltd Aquilus Pte Ltd Lee Foundation, Singapore G K Goh Holdings Ltd Kingsmen Exhibit Pte Ltd NSL Ltd Major Corporate Sponsors Conrad Centennial Singapore SMRT Corporation Singapore Airlines Ltd Singapore Press Holdings Ltd

Join our p res t igio u s lis t of cor p orat e pat rons and sp onsors Support Singapore’s national orchestra and form a special relationship with one of the country’s most celebrated arts groups. By committing to growing the arts through the SSO, you can increase your organisation’s visibility and reach an influential and growing audience. Corporate donors may also enjoy attractive tax benefits.

For more information on donations and sponsorships, please write to director_development@sso.org.sg

combine d C HOR U S SOPRANO Au Zexian Karen Aw Iris Boehmer Gwendolyn Brewer Alexis Chen Jessey Chia Chin Onn Li Chin Phaik Sue Chin Li Han Chow Hsun Cheng Connie Chung Nia Edwards Grace Goh Maria Erika Goh Karin Hesse

Huang E-Chin Sonja Lam Lee Yun Xin Leung Wing Mui Eleesha Lewis Priscilla Lian Janice Lim Sherilyn Lim Ng Beng Choo Ng Kong Tiok Ong Lay Kee Chloe Ong Ylva Reinhold Sarah-Tabea Sammel Sarah Santhana

Shalina Sivanendran Tiffany Tam Tan Li Szu Carine Tan Tan Yuqing Patricia Teng Sachiko Tomimori Masumi Tsuchiya Agnieszka Veriga Anne Wightman Wong Kae Chee Wu Wan Jin Lucy Yapp

ALTO Päivi Aalto Pauline Ang Arnie Arfiee Boey Yoke Ping Chan May San Chan Mei Yoke Patricia Chong Celia Felz Friederike Herrmann Mervi Hiltunen Truly Hutapea Noelle Kong Susan Kurniawati Kelly Lai Lee Yew Ping

Evelyn Lee Dorothy Lee-Teh Deborah Liew Wendy Lim Trixi Lim Lin Wei Denise Liu Rose Loh Kerris Loh Sharon Low Jemaima Pagsibigan Ananya Ravi Lian Kim Selby Desiree Seng Josephine Sim

Yvonne Soh Natividad Solaguren Samyukta Sounderraman Ena Su Jien Nee Tai Josie Tan Elsie Tan Tan Li En Winnie Tsin Helena Whalen-Bridge Karen Yau Alice Yek Ellena Yeo Abigail Yeo Karen Yip Taylor

TENOR Jean-Michel Bardin Kerryn Chan Chan Kum Kit Chen Xiaogang Calvin Chin Chng Chin Han Edwin Orlando Cruz Hor Xinrong James How Joshua Lau Lee Koon Yong Lee Chia Liang

Norman Lee Lim Hong Meng Lim Han Vincent Liu Loh Shao Wei Melvin Loy Jeroven Marquez Ronald Ooi Wesley Oon Ryan Padgett Pang How Tze Yann Perron

BASS Ang Jian Zhong Marcus Chan Joseph Chow William Chua Winsen Citra Ruben Ciungan Clive Chow Alfonso Yuji Cortez Arthur Davis Joseph Kennedy Khor Gui Wei Paul Kitamura Aaron Koh Ku Chung Chiang Robert Laszlo

Lim Yu Sim Caleb Liu Jon Loh Rares Munteanu Kevin Neeson Catalin-Ioan Nistor Jared Vaughn Robertson Calin Loan Rus James Shin-Gay Philip Sia Gratian-Emanuel Silaghi Bjorn Soo Tan Liang Rong Daniel Tay Danial Elias Teo

Qi Jian Alan Smith Ian Tan Ben Wong Caleb Yeo Paul Yong

Clement Wong Raymond Wu

SSO MU S IC I A N S Lan Shui Music Director joshua tan Associate Conductor andrew litton Principal Guest Conductor Choo Hoey Conductor Emeritus Eudenice Palaruan Choral Director WONG LAI FOON Choirmaster

Shao Tao Tao Ikuko Takahashi^ Wu Man Yun* Xu Jue Yi* Ye Lin* Yeo Teow Meng Yin Shu Zhan* Zhang Si Jing* Zhao Tian* VIOLA Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Tan Wee-Hsin Janice Tsai Wang Dandan Yang Shi Li Yeo Jan Wea^

FIRST VIOLIN

CELLO

Igor Yuzefovich1 Concertmaster, The GK Goh Chair Lynnette Seah2 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 Lim Shue Churn^ Karen Tan William Tan Wei Zhe Yew Shan^

Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Lin Juan^ Song Woon Teng Wang Yan Wang Zihao* Wu Dai Dai Zhao Yu Er

SECOND VIOLIN Markus Gundermann^ Principal Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Nikolai Koval* Yoko Mano^ Priscilla Neo^ Chikako Sasaki* Margit Saur

DOUBLE BASS Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Julian Li^ Ma Li Ming^ Jacek Mirucki Wang Xu FLUTE Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan

PICCOLO

TRUMPET

Roberto Alvarez Assistant Principal

Jon Paul Dante Principal David Smith Associate Principal Nitiphum Bamrungbanthum^ Chen Guang^ Alongkorn Kamonngam^ Teerapol Kiatthaveephong^ Lau Wen Rong Sergey Tyuteykin

OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo COR ANGLAIS Elaine Yeo Associate Principal CLARINET Ma Yue Principal Li Xin Associate Principal Chen Wei Leng^ Liu Yoko Tang Xiao Ping BASS CLARINET Tang Xiao Ping Assistant Principal BASSOON Wang Xiaoke Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue CONTRABASSOON Zhao Ying Xue Assistant Principal HORN Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Mayumi Anzuchi^ Hoang Van Hoc Kartik Alan Jairamin^ Jo Kishigami^ Todor Popstoyanov^ Xu Yiqi^ Zeng Yun^

TROMBONE Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong BASS TROMBONE Wang Wei Assistant Principal TUBA Hidehiro Fujita Principal TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal PERCUSSION Jonathan Fox Principal Mark Suter Associate Principal Joachim Lim^ Lim Meng Keh Lim Xing Hong^ Michael Tan^ Zhu Zheng Yi HARP Gulnara Mashurova Principal Eilidh McRae^ ORGAN Joanna Rajammal Paul^

*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 Lynnette Seah performs on a J.B. Guadagnini of Milan, c. 1750, donated by the National Arts Council, Singapore, with the support of Far East Organization and Lee Foundation. ^Musician on temporary contract Musicians listed alphabetically by family name rotate their seats on a per programme basis.

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MAKE A GIFT OF MUSIC The SSO has turned 40 and we hope that you're still enjoying our music.

If you’ve loved our concerts, please do consider making a donation for our birthday. Your gift to our national orchestra will give less well-off students and other underserved communities the chance to come to our concerts for free, or on discounted tickets.

Did you know?

Our free concerts and events delight over 45,000 people every year Ticket revenue accounts for less than 10% of our total budget To keep our concerts accessible, we keep ticket prices as low as $10

The government and the Tote Board together provide more than half of our funding needs, but a large part of it is in the form of matching funds, where the money will only get to us if we raise funds from the public.

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From all of us at the SSO, thank you for your generous support! *Singapore tax-payers may qualify for 250% tax deduction for donations above $50.

HE A R T F E LT A PP R EC I AT ION TO S S O 4 0 t h A nni v ersar y A p p eal Donors We would like to express our heartfelt gratitude to all our patrons who have responded to the SSO's 40th Anniversary Appeal so far. It would be impossible for our national orchestra to continue to strive for artistic excellence, touch the hearts of Singaporeans with our music, and make Singapore proud, if we didn't have ardent patrons like you.

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G U S TAV M A HL E R (18 6 0 –1911) Symphony No. 2 in C minor “Resurrection” 80’ The concept of a symphony has changed over time since its beginnings in the early 18th century. Generally described as an orchestral composition in several parts (or movements), it has been in a constant state of expansion. Composers from Haydn, to Beethoven, Schumann and Liszt all drove its development in form and feeling.

Mahler was different, with his allencompassing vision and ambition, he expanded its scope greatly. He viewed the Symphony as a work that “the whole world is actually reflected [in] …”, and Julian Johnson described the result as “a mix of musical styles and genres… one moment abstract, the next programmatic…”

To realise this vision, Mahler absorbed innovations and developments made by other composers, mixed and matched them, and brought them to their logical conclusions — all with his unmistakable personal imprint. There are dancing folk tunes, victorious celebrations and despondent moments — often fleeting and sometimes even concurrent. Sigmund Freud related a conversation he had with Mahler in his later years which may explain this particular peculiarity. The young Mahler had run away from home in despair one day after his father treated his mother very badly. Suddenly, he heard the

Viennese children’s song “Ach Du Lieber Augustin” (known to us as “The More We Get Together”), and “from this moment on, deep tragedy and superficial entertainment were tied indissolubly in his soul…”

These contrasting moods may not be that jarring to us today with so many diverse things competing for our attention, but Mahler’s contemporaries were baffled by it.

Mahler was regarded as one of the best conductors of his time, but few understood his compositions. Mahler’s then lacklustre reputation as a composer resulted in a half-empty hall for the premiere of this Second Symphony. He had to use his personal funds and borrow money from friends to finance the concert, and free tickets were given out to musicians and conservatory students.

Despite a torrent of negative reviews by critics, the audience received this Symphony ecstatically – unusual for the premiere of Mahler’s symphonies. His sister, Justine recounted, “I saw grown men weeping and youths falling on each other’s necks… it was indescribable!” The Symphony changed the life of the then 19-year-old Bruno Walter who decided then that “here was a mission for my life … to devote my life to Mahler’s work”, and went on to become one of the greatest conductors of the 20th century.

This instance aside, Mahler’s Symphonies were generally not well received in his lifetime and were met with confusion. It was only a handful of conductors such as Walter, Klemperer and Mengelberg who carried the torch in the early 20th century,

before others like Stokowski, Mitropoulos, Barbirolli and, notably, Bernstein, pushed Mahler’s music into the mainstream in Europe and America in the 1950s. Since then, Mahler has become one of the mostperformed and recorded composers.

The Second Symphony was conceived following a rather peculiar incident. On the night of 20th January 1888, Mahler returned home after conducting Weber’s comic opera Die drei Pintos. With the wreaths he received after the performance, he arranged flowers and candles around his bed, laid down in the middle, and imagined himself to be in a coffin at his own funeral.

The first movement opens with an angry onslaught driven by the lower strings.

It gradually grows into a steady funeral march. Mahler describes: “we stand at the funeral of a well-loved person. His struggles, passions and aspirations come to mind… in this moment of emotion, we ask: “What now? Do we exist after death?

Is life only a confused dream, or is there a meaning to it all?” Several possible answers are whispered - the hope of

World Premiere 13 Dec 1895, Berlin First performed by SSO 6 & 7 Jun 1994

eternal life after death is briefly suggested, as is the “calm of the sea” breathed by the flute. These are however no match for the grinding, brutal force of dark despair which extinguishes all hope, keeping the movement grimly rooted to the ground.

PROGRAMME NOTES

This bizarre act spurred Mahler to begin drafting the first movement, an extensive funeral march that he titled Totenfeier (“Funeral Rites”). Thus began an arduous six-year journey from 1888 to 1894 to bring the Symphony to completion, during which Mahler faced interruptions due to his hectic conducting schedule and a lack of creative inspiration – notably revived upon hearing Klopstock’s Resurrection Ode at conductor Hans von Bülow’s funeral, which formed the basis of the finale.

Instrumentation 4 flutes, all doubling on piccolos 4 oboes, 2 doubling on cor anglais 4 clarinets, 1 doubling on bass clarinet and another doubling on E-flat clarinet E-flat clarinet 4 bassoons, 2 doubling on contrabassoons 6 horns plus 4 off-stage 4 trumpets plus 4 off-stage 4 trombones tuba 2 timpani (1 doubling off-stage) Glockenspiel, 3 bells, triangle, cymbals, suspended cymbals, rute, tam-tams, snare drums, bass drum (off-stage) triangle, cymbal and bass drum 2 harps organ

After a pause, a breath of fresh air wafts in as the second movement brings a Ländler, an Austrian folk dance, to the forefront. It is in this pastoral landscape where “a ray of pure sunlight illuminates a happy moment from the departed person’s life”, as well as the wistful, sombre ones. Melancholic moments depict a “sad recollection of his youth and lost innocence”.

A return of the “Cry of Despair” brings us to the fifth movement, as the brasses open up the “Fright Fanfare”. We are thrust from the more personal perspective of the earlier movements into that of the epic.

Mahler ushers in the Apocalypse — the end of the world according to the Christian faith, complete with the destruction of the world and second resurrection of the saints.

Two strikes of the timpani unleash the third movement, bringing on a sinister and sarcastic whirl of notes as we “awaken from that melancholic dream and are forced to return to this tangled life of ours.” Here, Mahler observes the ceaseless and meaningless motion of the daily grind as an outsider – “watching a dance through a window and hearing no music; the turning and twisting seems senseless. The world looks like this when you lose yourself, distorted and crazy, as if reflected in a concave mirror… the tortured soul cries out in despair.” This abruptly slips into silence, and is replaced by a new sound - the sound of a human voice.

A sudden stillness takes over, and distant horn calls lead us into the movement proper. A great percussion crescendo, representing an earthquake, leads us to an apocalyptic march. It builds to an overwhelmingly dark climax as “the graves spring open, and all of creation comes writhing out … marching along in a mighty procession: beggars and rich men, common folk and kings. All terrified, for none are just in the sight of God.”

The fourth movement provides an oasis with the setting of the poem, Urlicht (“Primal Light”). Mahler writes, “Poised as if on the edge of a great chasm the moving voice of simple faith sounds in our ears and draws us back from the darkness of oblivion...The struggle of the human soul for God ... comes to the forefront.”

This interlude ends beautifully, lingering upon the word Leben (Life).

Fanfares from another world interrupt the frightened and pleading men, all building up to the return of the dreadful “Cry of Despair”. Suddenly, all is calm as we enter the eternal realm. Back on earth, the last calls of the Bird of Death trill and fade away – the “last quivering echo of earthly life.”

Silence falls, and in that calm, the chorus is heard alone, intoning the Resurrection hymn. Solo voices break free and soar with Mahler’s words, laying all previous existential doubts to rest: “Oh believe!

Thou were not born in vain! Hast not lived in vain, suffered in vain!” An almost

spiritual certainty takes hold, with the chorus, orchestra and organ blazing forth.

The journey is brought to an exhilarating and glorious climax over the words, “what you have struggled for shall carry you to God!”

RECOMMENDED LISTENING Mahler: Symphony No. 2 Benjamin Zander & Philharmonia Orchestra (Linn Records, 2013)

“An overwhelming love lightens our being.

We know and are.”

Programme notes by Christopher Cheong

Primal Light

O Röschen rot!

Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein!

Je lieber möcht’ ich im Himmel sein!

O little red rose!

Humankind lies in greatest need!

Humankind lies in greatest pain!

Much rather would I be in Heaven!

Da kam ich auf einen breiten Weg; Da kam ein Engelein und wollt’ mich abweisen.

Ach nein! Ich liess mich nicht abweisen!

Ich bin von Gott und will wieder zu Gott!

Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!

Then I came onto a broad path; And an angel came and wanted to turn me away.

But no, I would not be turned away!

I am from God and would return to God! The dear God will give me a little light,

— from Des Knaben Wunderhorn (“The Boy’s Magic Horn”)

Will light me to eternal, blissful life!

PROGRAMME NOTES

Urlicht

Die Auferstehung

The Resurrection

Aufersteh’n, ja aufersteh’n wirst du, Mein Staub, nach kurzer Ruh! Unsterblich Leben! Unsterblich Leben Wird, der dich rief, dir geben.

Rise again, yes, you will rise again, My dust, after brief rest!

Immortal life! Immortal life Will He, who called you, grant you.

Wieder aufzublüh’n, wirst du gesät!

Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben.

To bloom again, you were sown!

The Lord of the Harvest goes And gathers sheaves, Us, who died.

— Friedrich Gottlieb Klopstock

O glaube, mein Herz, o glaube: Es geht dir nichts verloren!

Dein ist, ja Dein, was du gesehnt, Dein, was du geliebt, Was du gestritten!

O believe, my heart, believe: Nothing will be lost to you!

Yours, yes, yours is what you longed for, Yours what you loved, What you fought for!

O glaube: Du wardt nicht umsonst geboren!

Hast nicht umsonst gelebt, gelitten!

O believe: You were not born in vain!

You have not lived in vain, nor suffered!

Was entstanden ist, das muss vergehen!

Was vergangen, auferstehen!

Hör’ auf zu beben!

Bereite dich zu leben!

All that has come into being must perish!

All that has perished must rise again!

Cease from trembling!

Prepare to live!

O Schmerz! Du Alldurchdringer!

Dir bin ich entrungen!

O Tod! Du Allbezwinger!

Nun bist du bezwungen!

O Pain, piercer of all things!

From you I have been wrested!

O Death, conqueror of all things!

Now you are conquered!

Mit Flügeln, die ich mir errungen, In heissem Liebesstreben Werd’ ich entschweben Zum Licht, zu dem kein Aug’ gedrungen!

Sterben werd’ ich, um zu leben!

With wings I won for myself, In love’s ardent struggle, I shall fly upwards To that light which no eye has ever seen!

I shall die so as to live!

Aufersteh’n, ja aufersteh’n wirst du, Mein Herz, in einem Nu! Was du geschlagen, Zu Gott wird es dich tragen!

Rise again, yes, you will rise again, My heart, in the twinkling of an eye!

What you have conquered, Will bear you to God!

— Gustav Mahler

boar d of direc tors & C OMMI TT E e S board of directors

SSO Council HUMAN RESOURCES Committee Ms Yong Ying-I (Chair) Prof Arnoud de Meyer Mr Yee Chen Fah Dr Kelly Tang Endowment Fund Committee Mr Goh Yew Lin (Chair) Mr David Goh Mr Sanjiv Misra Audit Committee Mr Yee Chen Fah (Chair) Mr Heinrich Grafe Ms Lim Mei

Nominating and Executive Committee

SNYO Committee

Mr Goh Yew Lin (Chair) Prof Arnoud de Meyer Mr Paul Tan Ms Yong Ying-I

Ms Liew Wei Li (Chair) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson

SSO Musicians’ Committee Mr Chan Wei Shing Mr Jon Paul Dante Mr Jamie Hersch Mr Ng Pei-Sian Mr Mark Suter Mr Christoph Wichert Mr Yeo Teow Meng

Prof Cham Tao Soon (Honorary Chair) Mr Alan Chan (Chair) Mr Choo Chiau Beng Dr Geh Min Mr Goh Geok Khim Mr Khoo Boon Hui Prof Tommy Koh Mr JY Pillay Dr Stephen Riady Ms Priscylla Shaw Dr Gralf Sieghold Mr Andreas Sohmen-Pao Dr Tan Chin Nam Ms Tan Choo Leng Mr Tan Soo Nan Mr Wee Ee Cheong SSO LADIES’ LEAGUE Mrs Odile Benjamin (Chair) Mrs Kwan Lui (Deputy Chair) Mrs Celeste Basapa Mrs Maisy Beh Mrs Kim Camacho Mrs Rosy Ho Ms Judy Hunt Prof Annie Koh Dr Julie Lo Mrs Clarinda TjiaDharmadi-Martin Ms Paige Parker Ms Kris Tan Ms Manju Vangal Mrs Grace Yeh

PROGRAMME NOTES

Mr Goh Yew Lin (Chair) Ms Yong Ying-I (Deputy Chair) Mr Ang Chek Meng Mrs Odile Benjamin Mr Chng Hak-Peng Mr Lionel Choi Mr Warren Fernandez Prof Arnoud De Meyer Mr Heinrich Grafe Ms Liew Wei Li Ms Lim Mei Mr Sanjiv Misra Mr Andreas Sohmen-Pao Mr Paul Tan Dr Kelly Tang Mr Yee Chen Fah

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

Hans Sørensen (Head)

Ms Shirin Foo Mr Lim Yeow Siang Mr Chris Yong

Ms Lillian Yin (Head)

Programmes (SSO) Ms Kua Li Leng Ms Teo Chew Yen Ms Jodie Chiang Community Outreach Ms Kathleen Tan 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 Ms Tan Wei Tian Concert Operations Ms Kimberly Kwa Ms Chin Rosherna Mr Md Sufiyan Mr Ramayah Elango Mr Md Fariz bin Samsuri Library Mr Lim Lip Hua Ms Priscilla Neo Ms Wong Yi Wen

DEVELOPMENT & PARTNERSHIPS Ms Peggy Kek (Head) Corporate Communications Ms Leong Wenshan Development Mr Anthony Chng Ms Chelsea Zhao Ms Nikki Chuang MARKETING COMMUNICATIONS & CUSTOMER EXPERIENCE Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Myrtle Lee Ms Jana Loh Ms Hong Shu Hui Ms Melissa Tan Ms Dacia Cheang Ms Nur Shafiqah bte Othman

Finance, IT & Facilities 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 Legal Mr Edward Loh SINGAPORE NATIONAL YOUTH ORCHESTRA Ms Pang Siu Yuin (Head) Ms Yuen May Leng 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

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