SNYO In Concert: Elgar Cello Concerto

SNYO IN CONCERT

ELGAR CELLO CONCERTO 30 November 2019 Esplanade Concert Hall

Join in the fun to share the joy of music-making and learn from musicians of the Singapore Symphony Orchestra

2020 Audition Dates 21 March, 20 June, 5 September, 5 December

www.snyo.org.sg/audition

Saturday, 30 November 2019, 7.30pm Esplanade Concert Hall Guest-of-Honour Lim Boon Heng Chairman of Temasek Holdings

SNYO IN CONCERT

ELGAR CELLO CONCERTO Singapore National Youth Orchestra Peter Stark, conductor Ng Pei-Sian, cello MALCOLM ARNOLD

Four Cornish Dances, Op. 91 8’

EDWARD ELGAR

Cello Concerto in E minor, Op. 85 30’

i. ii. iii. iv.

Intermission 20’

SERGEI PROKOFIEV

Symphony No. 5 in B-flat major, Op. 100 46’

i. ii. iii. iv.

Adagio - moderato Lento - allegro molto Adagio Allegro - moderato - allegro ma non troppo

Andante Allegro marcato Adagio Allegro giocoso

Concert duration: 2 hrs Post-concert autograph signing with Peter Stark and Ng Pei-Sian in the stalls foyer.

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 also included 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.

“They do a great job in nurturing young talent!”

“I have many happy memories with my children at the SSO Babies’ Proms…”

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P E T E R S TA R K conductor

Peter Stark’s performances as a conductor are exhilarating, imaginative and inspiring.

At the heart of all his work lies a passion and commitment to the study and practice of music to profit humanity. Peter is a Professor of Conducting at London’s Royal College of Music (RCM), Rehearsal Director to the European Union Youth Orchestra (EUYO) and has taught nearly six hundred private students. His acclaimed courses in conducting have taken him across the world and his reputation as a teacher is renowned.

Peter’s growing media profile includes his appointment as series consultant to the popular BBC television series ‘Maestro’ and regular screen appearances as a mentor.

For this role Peter was responsible for the training of eight ‘celebrity’ students as orchestral conductors. Peter has since made live ‘Maestro’ webcam commentaries for the BBC Proms and a subsequent TV series.

Whilst having performed with a number of the world’s leading ensembles such as the London Symphony Orchestra, the Hallé, the Bournemouth Symphony Orchestra, the English Chamber Orchestra, the Orchestra of the Age of Enlightenment and the Malaysian Philharmonic Orchestra, Peter fosters a hunger to work with any orchestra that plays with spirit and enthusiasm.

In addition to his work with the world’s finest students at RCM and EUYO Peter has conducted youth orchestras ranging from the Hertfordshire County Youth Orchestra (Principal Conductor since 1994) to the New South Wales Public Schools’ Symphony Orchestra in Australia and the Toyota City Orchestra in Japan. He is Principal Conductor of the Arabian Youth Orchestra and Principal Guest Conductor of the Singapore National Youth Orchestra. Between 1985 and 2010 Peter was Conductor in Residence of the National Youth Orchestra of Great Britain, and in 2019 begins a three-year appointment as a Special Term Professor at the Zhejiang Conservatory in Hangzhou, China.

Plans for the forthcoming year include two months in Zhejiang Conservatory, a return to conduct the Ung Filharmoni ofNorway and two trips to Singapore. Two more EUYO residencies, in Ferrara, Italy and Grafenegg, Austria, complete the increasingly important role that international work plays in Peter’s profile. He also hopes 2019 will see the publication of the first of two books based on his experiences as conductor and educationalist.

The SSO is delighted to announce Mr Ng Pei-Sian, SSO Principal Cello as The HEAD Foundation Chair.

Ng Pei-Sian is Principal Cellist of the Singapore Symphony Orchestra and a faculty member at the Yong Siew Toh Conservatory of Music, Singapore.

He performs on a 1764 Giovanni Antonio Marchi cello, Bologna.

The SSO would like to express its heartfelt appreciation to The HEAD Foundation for their generous gift.

NG P E I - SI A N cello

Ng Pei-Sian was Commonwealth Musician of the Year in 2007, winner of the Gold Medal and First Prize at the 55th Royal Over-Seas League Music Competition held in London.

He has performed concertos with the major Australian symphony orchestras, Singapore Symphony (SSO), Malaysian Philharmonic, Hong Kong Philharmonic, Estonian National Symphony, Oulu Symphony, Sinfonia ViVA, City of Southampton Orchestra, Philippine Philharmonic and the Orchestra of the Music Makers and performed around the world in venues including Royal Festival Hall, Wigmore Hall, Queen Elizabeth Hall, Purcell Room, Konzerthaus (Berlin), Lincoln Centre and Carnegie Hall.

Born in Sydney in 1984, he began studies in Adelaide with Barbara Yelland and later with Janis Laurs at the Elder Conservatorium of Music before winning the prestigious Elder Overseas Scholarship to study at the Royal Northern College of Music in Manchester. Ng Pei-Sian completed his studies under Ralph Kirshbaum during which he was awarded the RNCM Gold Medal, the highest prize given by the college.

Ng has had appearances in important music festivals including the Brighton, Edinburgh, Manchester International Cello Festival, Kronberg Academy, Mecklenburg-Vorpormmern Festival and Adelaide International Cello Festival. Ng performed Tan Dun’s Crouching Tiger Cello Concerto with The Festival Orchestra under the baton of the Academy Award-winning composer and also performed with Yo-Yo Ma and the Silk Road Ensemble, Cho-Liang Lin and Renaud Capuçon.

Recent highlights include a performance of Kalevi Aho’s Double Cello Concerto with his twin brother Ng Pei-Jee and the SSO and also the Asian premiere of John Tavener’s Flood of Beauty with the Yong Siew Toh Conservatory Orchestra under Jason Lai as part of Tapestry, A Sacred Music Festival. Recently, Pei-Sian played alongside Yo-Yo Ma and the SSO performing the fresh and exciting double cello concerto Violoncelles Vibrez! by Giovanni Sollima.

Pei-Sian is currently Principal Cellist of the Singapore Symphony Orchestra and a faculty member at the Yong Siew Toh Conservatory of Music, Singapore. He performs on a 1764 Giovanni Antonio Marchi cello, Bologna.

SN YO MU S IC I A N S JOSHUA TAN principal conductor LIN JUAN associate conductor PETER STARK principal guest conductor

FIRST VIOLIN Ethan Wong Yii, concertmaster Jacob Reuben Cheng Wang Hoi Ashley Foong Shu Yan Gwee Kang Ting Ian Ming-Ren Lai Esther Lam Xin Rui Jenny Park Sojeong Siew Yi Li* Soh Yi Han Megan Song Ying Hui Reina Teo Wei En Marea Sophie Toh Song Yu Hagan Tran My Dung Sarah Wong Ee Min SECOND VIOLIN Monica Toh Song Fen, principal Joanne Chan Wai Mun Ethan Chong Gin Leen Rayson Dai Siyuan Fu Xuan Megan Law Zhiyi Cindy Lee* Lian Ko-Shyan Megan Lim Pei Xuan Sun Xiaoqing Shavinne Tsai Yi Ling Adele Wee En Shuen Zhang Tian VIOLA Ng Tze Yang, principal Timothy Cher Zhi Xian Caitlin Chin Kai Li

Rachael Goh Tian Hui Shawn Gui Jin Heng Elizabeth Ip Xin En Lee Soohyurn CELLO Chloe Chen Jiaen, principal Chen Youjia Chew Hanlin Choon Hong Tzin Gao Kehan Han Chaeyoon Nicole Hee Yu En Gregory Isaac Lau En Hao Zachary Lau En Yao Li Ziyi Julia Sheng Yu Tong Isaac Tah Shern U DOUBLE BASS Damien Chew, principal Alexsalma Herbert Mark Lee Zhi Ying Gerard Ng Ting Tyng Nyi FLUTE Janelle Yuen Feng Min, principal Clement Chan Natalie Ngai Cheuk Nam Wilfred Ong PICCOLO Natasha Lee Yu Xian Wilfred Ong

OBOE Quek Jun Rui, principal John Tze-Wen Fung Joy Liu Tongrui Zhou Xinru CLARINET Kye Minjun, principal Callista Neo Claudia Toh Wen Fei E-FLAT CLARINET Vincent Goh Eng Hong* BASS CLARINET Daniel Yiau Chia Han* BASSOON Shi Jiaao, principal Jove Fong Yi Liang Rachel Ng Wei Ting Mark Wen Strange HORN Kartik Alan Jairamin*+, principal Chua Jia Xuan Andrew Jonathan Lee Petrola Sean Lloyd Biescas Rayney Poon Shao Rui Chapman Yap Zhong Heng TRUMPET Shi Ruixin, principal Chan Haowei Ray Chionh Sikai*+ Kenneth Lun Hin Joong*+

TROMBONE Toh Chang Hui, principal Reema Chatterjee Su Shiqi BASS TROMBONE Syed Mirza Bin Syed Mohamed Alkhairid TUBA Gordon Low Xin Hong*+ TIMPANI Amos Choo Xu Ze Chloe Lim Miranda Tristan Seow PERCUSSION Amos Choo Xu Ze Chloe Lim Miranda Putra Syahril Bin Mohamad Hilmi Kilian Lee Muliady Isaac Ng Hoi Kit Vareck Ng Ho Wei Tristan Seow HARP Carissa Ho Min-Yi Chloe Liow Yi Yin PIANO Soh Yi Han

*Guest Player + SNYO Alumni

S C HOOL S , C OL L EG E S A ND IN S T I T U T ION S R E P R E SE N T E D IN SN YO Ahmad Ibrahim Secondary School 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 Bowen Secondary School Broadrick 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 Dover Court International School Dunman High School Dunman Secondary School Eunoia Junior College Evergreen Secondary School Fairfield Methodist School (Secondary) Fuchun Primary School German European School Singapore Geylang Methodist School (Secondary) Haig Girls’ School Hwa Chong Institution Hwa Chong International School International Community School ITE College Central Jurong Pioneer Junior College Kong Hwa School 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 Primary School Ngee Ann Secondary School NUS High School of Math and Science Radin Mas Primary School Raffles Girls’ School (Secondary) Raffles Institution Republic Polytechnic River Valley High School School of the Arts, Singapore Singapore American School Singapore Chinese Girls’ School Singapore Polytechnic St. Hilda’s Primary School St. Joseph’s Institution International St. Margaret’s Primary School St. Margaret’s Secondary School St. Stephen’s School Stamford American International 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 Yumin Primary School

M A L C OL M HE NR Y A R NOL D (1921- 2006)

About the composer Sir Malcolm Arnold was an English composer and trumpeter. Born into a family of shoemakers who were also enthusiastic musicians, he was surrounded by music from his earliest days. He wrote music in almost all genres, including symphonies, concerti, chamber music, choral music, operas, a musical, five ballets commission by the Royal Ballet, and, naturally for a trumpet player, much music for brass and wind bands. In addition to being a composer, he was also principal trumpet for some years at the London Philharmonic Orchestra and the BBC Symphony Orchestra.

Unusually for a ‘classical’ composer, he was greatly interested in music for the cinema, and produced the soundtrack scores for over a hundred films, notably The Bridge on the River Kwai (1957), which won an Academy Award, and The Inn of the Sixth Happiness (1958), which won an Ivor Novello Award.

Four Cornish Dances, Op. 91 (1966) The Four Cornish Dances, Op. 91, are part of a series of dances sets. Others in this group include two sets of English Dances (Opp. 27 and 33), Scottish Dances (Op. 59), Irish Dances (Op. 126), and Welsh Dances (Op. 138). Being relatively short, the Cornish Dances may surprise a new listener, as they do not feel at all like country dances, and Arnold himself eschewed the use of folk melodies. It may be more helpful to think of them as tone poems, almost like cinematic soundtracks.

Arnold attempts to depict the people and landscape of Cornwall county, in the Southwest corner of England, with seafaring folk, brass bands, rugged landscapes, Methodist churches, a great sense of independence, mines, and its own Celtic language of Cornish (related to Welsh and Breton).

Instrumentation Piccolo, 2 flutes, 2 clarinets, 2 oboes, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, 1 tuba, timpani, tubular bells, cymbals, tam-tam, vibraphone, bass drum, suspended cymbal, tambourine, snare drum, tenor drum, harp, strings.

E DWA R D W IL L I A M E L G A R (1857- 1934)

About the composer Elgar was a prominent English composer of late European Romantic and British music. His works have contributed remarkably to symphonic literature at the turn of the 20th century.

Son of organist and music dealer William Henry Elgar, Elgar played a variety of instruments and was an exceptional violinist. Despite having no formal education in composition, he managed to establish himself as a composer in England and abroad.

His notable compositions include the Enigma Variations (1898-99), the Pomp and Circumstance March No.1 in D major (1901), the Violin Concerto (1909) and more.

Cello Concerto in E minor, Op. 85 (1919) At the beginning of the 20th century, Elgar moved from chamber music to large-scale orchestra works. His Cello Concerto was written after the First World War. This tragic time of great loss marked a change in Elgar’s style – a return to the intimacy of chamber music.

Elgar began writing the Cello Concerto in London, in 1918. It was completed in the summer of 1919, a time when he witnessed another loss - his wife Alice’s ailing health. She attended the premiere of the Cello Concerto in October, but died the following April. Along with her, part of Elgar’s creative spark died too. He wrote no major music for the remaining 14 years of his life.

The Cello Concerto is intimate, poignant and mournful. While written for full orchestra, the way he uses it is sparse and translucent. It is as if he has trimmed off the colourful frills of Romantic fashion, to expose a broken heart.

Instrumentation Solo cello, 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 4 horns in F, 2 trumpets in C, 3 trombones, tuba, timpani, and strings.

SE R G E I SE R G E Y E V IC H P R OKOF IE V (1891- 1953)

About the composer Sergei Prokofiev was born in 1891 in Ukraine, then part of the Russian Empire. He began composing at age 5 and was enrolled in the St. Petersburg Conservatory at 13, and grew up to be a star.

Although he was praised as a great composer, pianist and conductor, Prokofiev was among the many composers in the Soviet Union who came under the control and censorship of the government. He faced many struggles to compose while trying to overcome problems with the authorities as well as his health and finances.

Despite his difficult life, Prokofiev is remembered today as one of the 20th century’s greatest composers. His music is distinctive for its melodic sweetness combined with stinging harmonies – think ‘sweet and sour’. Besides the popular children’s musical tale, Peter and the Wolf, his piano concertos, violin concertos, symphonies and many choral and piano works are highlights of any concert where they can be heard.

Symphony No. 5 in B-flat major, Op. 100 (1944) “It is a symphony about the spirit of man” – said Prokofiev about his Fifth Symphony.

It was written in 1944, during one of the happiest times in the composer’s life. He was at the height of his fame in the Soviet Union, and his music was performed everywhere.

Although Prokofiev gave no programme regarding the music, it is often described as celebrating human and national triumph.

Instrumentation Piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, tambourine, snare drum, woodblock, bass drum, tam-tam, piano, harp, and strings.

A R NOL D: F OUR C OR NISH DA NC E S , OP. 91

I. Vivace

II. Andantino

An unsettling middle section, with swirling mists and the impression of a distant horror, before the original theme of mystery and desolation returns.

The opening, with bold leaping rhythms driven by brass, utilises the Cornish motif of repetition on a single note, reminiscent of a seafarer’s song.

After a breathtaking ride on crashing waves, the movement ends suddenly, leaving the listener in suspense as to what is to come next.

Harp and tubular bells set an exotic mood to a meandering tune.

Ominous percussion comes in, like waves on a deserted rocky cliff.

III. Con moto e sempre senza parodia The marching band goes on tour around the town, and Arnold himself, while indicating this was to be played ‘without parody’, may have smiled while writing the conclusion with an ‘Amen’.

Brasses introduce a hymn-like melody, repeated by the whole orchestra. This was intended by the composer to represent the Methodist fervour of the Cornish people.

IV. Allegro ma non troppo A 6/8 jig-like tune on the flute introduces some uncertainty, followed by a 2/2 on brass, and the jig on the whole orchestra.

The first theme comes back, with insistent percussion, and the movement ends with the first theme played at half speed in a blazing climax.

A strong 2/2 rhythm (but not melody) taken from the traditional May Day Dance at Padstow opens the movement.

E L G A R : C E L LO C ONC E R TO IN E MINOR , OP. 8 5 I. Adagio - moderato The concerto opens with an unexpectedly raw and anguished cello solo and is immediately consoled by a short response in the winds and horns.

The strings play the theme a third time, which the solo cello turns into an episode of both tenderness and pain.

Violas take up a generous, flowing elegiac theme, which the cello joins, in a passionate conversation with the orchestra.

A contrasting lyrical E major section, wistfully recalling the carefree days of Elgar’s youth.

II. Lento - allegro molto A series of pizzicato chords in the low register sets the mood for a meditative slow movement, but quick changes of tempo and mood follow.

A fast section with virtuosic rapid-fire repetitions, slightly reminscent of the Flight of the Bumblebee, but remaining intimate and personal.

The soloist and orchestra engage in a game of catching, chasing each other around.

The soloist slips back into the mournful theme.

Very unusually, the movement ends with a sparsely-accompanied extended soliloquy on the cello, without catharsis or resolution, but in barren despair.

The movement ends with a satisfying full stop, which we did not get at the beginning of the first movement.

III. Adagio The orchestra is pared down to function almost as sympathetic reverberation, to allow the cello to sing a broad serene melody above it.

Full reprise of the serene melody, with the orchestra becoming more actively involved. Lyricism and understated tender elegance reign, nonetheless.

IV. Allegro - moderato - allegro ma non troppo A recitative on the solo cello continues the sense of determination, but with more extroversion.

The brusque and aggressive opening is in stark contrast to the gentleness of the preceding movement.

Elgar marked this lively section with “risoluto�, and the soloist continues the mood of determination that later turns into a melancholic soliloquy.

The intimacy of the music dissipates into boisterous dancing as the orchestra joins the soloist.

The ending of the movement is marked by the cello playing the introductory phrases.

Flashbacks to previously-heard material pop up like nostalgic sparks from the fire, as the music’s glow fades, making for what may be the most moving music in the cello literature.

The soloist brings anguish back, eloquently wallowing with the second theme.

The orchestra sweeps the cello out of despondency as the tempo quickens for an impassioned farewell.  

PROKOFIE V: SYMPHONY NO. 5 IN B -FL AT MA JOR, OP. 100 I. Andante

The symphony opens, with a simple lyrical melody played in unison by flute and bassoon, later taken up by strings.

Flute and oboe sing the lyrical second theme above a trembling, arpeggiated accompaniment in the strings, leading to a climax in the strings.

A complementary idea is given by tuba and other low instruments, and is combined with the main theme.

II. Allegro marcato

A locomotive-like two-note motif drives the first section of the music, with a playful klezmer-like clarinet introducing the principal theme, followed by variations.

Celli and basses bring back the first theme, which spreads through the whole orchestra. the unsettled fragment also comes back.

Two short motifs close the exposition.

One, with dotted rhythms on brass, arrives on the crest of the movement’s first climax; the other an angular, unsettled fragment tossed off by high woodwinds, violins and cellos.

Central section with bold swaggering statements from the woodwinds, full of the spicy ‘wrong notes’ that give bold flavour to much of Prokofiev’s faster music.

Violas and clarinets play a lyrical theme above insistent percussion, giving the impression of a determined march forward to space-age modernity.

Brass bring back the main theme, announcing the recapitulation. Low brass begin a coda, backed by bass drum and timpani.

Upward surging figures on cellos and basses as the second theme comes back.

The bold swaggering phrases return.

Lumbering and slow, the music builds up like an engine warming up.

Great waves of sound based on the main theme, leading to a great climax without a sense of finality.

The scherzo comes back, bringing the movement to an animated and riveting conclusion.

III. Adagio A newer and more insistent melody appears in the strings, accompanied by a chiming piano.

Trumpet and bassoon start an ominous funeral march, complete with drumrolls.

Brooding low strings set the scene for a plaintive melody introduced by the clarinets. This melody is then taken over by soaring strings.

IV. Allegro giocoso Strings and brass start the locomotive engine, and a clarinet begins the giocoso (jokey) theme above them.

This motif will return at the start of each major section of this movement.

Opening dialogue between strings and winds, recalling the opening theme of the symphony, but now in five-part harmony.

A more pastoral theme appears, on the flute and oboe.

Development threatens to take the music away from the intended tracks of B flat major, but the train is not derailed on this giddy ride.

The plaintive melody returns in a high register on the piccolo, suspended above a shimmering string accompaniment, like the breaking of sunlight at the end of a rainstorm.

The melodies interact and conflict, leading to a violent and stormy clash.

The main theme triumphs over the interruptions, to end on a unison B flat for the whole orchestra.

New thematic material appears.

A sober hymn-like melody in the strings leads to stability after the woodwind flights.

The lyrical main theme returns, only to keep getting interrupted by angular manic alien-like figurations.

Programme notes by Edward C. Yong/ Leon Chia

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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 Mr Lim Boon Heng for gracing the SNYO concert as Guest-of-Honour National Arts Council Temasek Foundation Tutors of the Singapore National Youth Orchestra Parents of the Singapore National Youth Orchestra members Principals of the participating schools

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