Brahms Piano Concerto 2

LAN SHUI Music Director

SUBSCRIPTION CONCERT

BRAHMS PIANO CONCERTO 2 31 August 2018

Esplanade Concert Hall

Performing Home of the SSO Hans Graf, conductor Martin Helmchen, piano

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ME S S AG E F R OM C onra d C e n t e nni a l S inga p ore Taking centre stage this year at Conrad Classics is Zemlinsky’s large-scale symphonic poem, The Mermaid (Die Seejungfrau). A piece based on the tale of the same name

by Hans Christian Andersen, it is a story of love, determination and sacrifice. It is a befitting theme for Singapore and brings home the message about Passion Made Possible. It is also the story of every team member at the Conrad Centennial Singapore, who is truly dedicated in their art to provide unparalleled service to our guests.

We are delighted to be able to collaborate with the Singapore Symphony Orchestra to put on this illustrious concert and it marks our long-standing partnership. Conrad Centennial Singapore has always been a Patron of the Arts and we will continue to support the works of artists, curators and writers. Thanks to their dedication and hard work we will continue to have these great works of art to enjoy.

With warmest regards,

HEINRICH GRAFE GENERAL MANAGER CONRAD CENTENNIAL SINGAPORE

31 Aug 2018, Fri

BRAHMS PIANO CONCERTO 2 Singapore Symphony Orchestra Hans Graf, conductor ALEXANDER VON ZEMLINSKY

The Mermaid (Die Seejungfrau) 47’00 (Singapore Premiere)

1. Sehr mässig bewegt 2. Sehr bewegt, rauschend 3. Sehr gedehnt, mit schmerzvollem Ausdruck

Martin Helmchen, piano

Intermission 20’00

JOHANNES BRAHMS

Piano Concerto No. 2 in B-flat major, Op. 83 46’00 1.

2.

3.

4.

Allegro non troppo Allegro appassionato Andante Allegretto grazioso – Un poco più presto

Concert duration: 2 hrs 10 mins Go green. Digital programme booklets are available on www.sso.org.sg.

Scan the QR code in the foyer to view a copy.

S inga p ore S y mp hon y Orc hes 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.

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.

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.

Notable SSO releases under BIS include a Rachmaninov 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.

“A fine display of orchestral bravado for the SSO and Shui” The Guardian

Supporting the Local Arts and Cultural Scene Partner of SSO since 1978 NSL is a long-standing sponsor for Singapore Symphony Orchestra (SSO). We have been instrumental in helping the Orchestra reach out to the community-at-large as SSO brings music to the world.

A leading industrial group in the Asia Pacific with businesses in Precast & Prefabricated Bathroom Unit and Environmental Services, NSL believes that while achieving business goals is important, its actions need to also create a positive impact on the community, environment and all stakeholders.

NSL LTD 77 Robinson Road #27-00 Robinson 77 Singapore 068896 Tel: 6536 1000 I Fax: 6536 1008 I www.nsl.com.sg

Hans Graf conductor Hans Graf, Music Director of the Houston Symphony from 2001 until 2013 and then the orchestra’s Conductor Laureate, also served as Music Director of the Mozarteum Orchester Salzburg (19841994), the Basque National Orchestra (Euskadi, San Sebastian) (1994-1996), the Calgary Philharmonic (1994-2002), and the Orchestre National Bordeaux Aquitaine (ONBA) (1998-2004).

He has conducted leading American orchestras (Cleveland, New York, Philadelphia, Los Angeles, San Francisco, Saint Louis, Pittsburgh, and Detroit, among others), and over the past two decades, developed a close relationship with the Boston Symphony Orchestra.

In Europe, Graf has conducted the Vienna Philharmonic, Vienna Symphony, the Concertgebouw, the Budapest Festival Orchestra, the Symphony Orchestra of the Bavarian Radio, the LPO, LSO, RPO and The Hallé, the major orchestras of France and Scandinavia, and he works often with the RPO Hilversum and the DSO Berlin.

He also appeared frequently at major European Festivals (Salzburg, Aix-enProvence, Maggio Musicale, etc.) and

conducted at the Vienna State Opera and the opera houses in Munich, Paris, Rome and Zurich.

Graf’s discography includes the complete symphonies of Mozart and Schubert, the complete orchestral works of Dutilleux and the premiere recording of Zemlinsky’s opera Es war einmal. With the Houston Symphony he recorded Bartók’s The Wooden Prince, Zemlinsky’s Lyric Symphony, Mahler’s Das Lied von der Erde and Berg’s Wozzeck, released in January 2017, which was awarded the ECHO Klassik prize 2017 and received a 2018 Grammy Award nomination.

Among his most recent CDs are the complete works for Viola and Orchestra by Paul Hindemith with Tabea Zimmermann/ DSO Berlin and Carmina Burana by Orff with the LPO. Hans Graf studied piano and conducting in Graz, in Siena with Franco Ferrara, in Bologna with Sergiu Celibidache and in Leningrad with Arvid Jansons.

Since 2013, he has served as Professor of Orchestral Conducting at the Universität Mozarteum Salzburg.

Martin Helmchen piano Born in 1982, Martin Helmchen has made a series of sensational U.S. orchestral debuts, beginning in 2011 at Tanglewood, performing the Schumann Concerto with the Boston Symphony Orchestra under Christoph von Dohnányi; in 2014, performance of the Dvorák Piano Concerto with the New York Philharmonic at Lincoln Center; in 2015, his Symphony Hall debut, performing Beethoven’s Emperor Concerto with the Boston Symphony Orchestra; and in 2016, he debuted Beethoven’s Piano Concerto No. 2 with the Chicago Symphony Orchestra.

In 2017, he returned to Symphony Hall, performing Beethoven’s Concerto No. 3 with the Boston Symphony under Andris Nelsons. Highlights of the 2018/2019 season include a recital on the prestigious “Symphony Center Presents” series at Symphony Hall in Chicago, in addition to debuts with the San Diego and Kansas City symphonies, and a return to the Boston Symphony, performing Mozart’s Concerto No. 22 with John Storgårds on the podium.

Among Helmchen’s worldwide highlights are performances with the Berlin Philharmonic, Leipzig Gewandhaus Orchestra, London Philharmonic,

Orchestre de Paris, Vienna Philharmonic, and the NHK Symphony in Japan. Other international performances have included the BBC/London, Frankfurt Radio Orchestra, NDR/Hamburg, Netherlands Philharmonic, Orchestre National de France, Royal Stockholm Philharmonic, and the SWR/Stuttgart, to name a few.

In addition to recital engagements at The Frick Collection/New York, Carnegie’s Weill Recital Hall (with cellist Marie-Elisabeth Hecker), San Francisco Performances, Wigmore Hall/London, and the Alte Oper in Frankfurt, he has appeared at the Schubertiade, Lockenhaus, and Marlboro festivals. He was Artist-in-Residence at Germany’s 2017 Schwetzingen SWR Festival.

Martin Helmchen won the 2001 Clara Haskil International Piano Competition at the age of 19, and as winner of the 2006 Credit Suisse Young Artist Award, he made his debut with the Vienna Philharmonic Orchestra under Valery Gergiev at the Lucerne Festival. His principal teachers include Galina Iwanzowa, Arie Vardie, and William Grant Naboré.

23&September 3 4 September 2018 2018 9am - 6pm 10am onwards The SSCC offers training and performance opportunities to children by developing their vocal technique, music literacy and musicianship, with an aim to help fledgling singers achieve their fullest musical potential. Singing with the SSCC requires discipline and teamwork, which in turn fosters confidence, self-esteem, and helps develop important life skills. Besides our own concerts, the SSCC offers the extraordinary experience of performing monumental choral classics with the combined forces of the Singapore Symphony choruses and orchestra. *Please note that the SSCC repertoire may include some liturgical works.

For children ages 8 (born 2010) to 15 Fee: $25 per participant Registration closing date: 15 September 2018 (Audition time slots will be pre-allocated)

SSChildrensChoir

SSO.ORG.SG/SSCCAUDITIONS

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 FIRST VIOLIN Igor Yuzefovich° Concertmaster, The GK Goh Chair Lynnette Seah~ Co-Concertmaster Kong Zhao Hui* Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Gu Wen Li Jin Li Cindy Lee Lim Shue Churn^ Sui Jing Jing Karen Tan William Tan Wei Zhe SECOND VIOLIN Midori Tramaseur^ Principal Michael Loh Associate Principal

Hai-Won Kwok Fixed Chair Nikolai Koval* Lee Shi Mei^ Chikako Sasaki* Margit Saur Shao Tao Tao Lillian Wang Wu Man Yun* Xu Jue Yi* Ye Lin* Yeo Teow Meng Yin Shu Zhan* Zhang Si Jing* VIOLA Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Tan Wee-Hsin Janice Tsai Wang Dandan Yang Shi Li CELLO Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Song Woon Teng Wang Yan Wang Zihao* Wu Dai Dai Zhao Yu Er DOUBLE BASS Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Ma Li Ming^ Jacek Mirucki Wang Xu

FLUTE Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan PICCOLO Roberto Alvarez Assistant Principal OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo

Marc-Antoine Robillard Associate Principal Bryan Chong^ Kartik Alan Jairamin^ TRUMPET Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Sergey Tyuteykin TROMBONE Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

COR ANGLAIS

BASS TROMBONE

Elaine Yeo Associate Principal

Wang Wei Assistant Principal

CLARINET

TUBA

Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping

Hidehiro Fujita Principal TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal

BASS CLARINET Tang Xiao Ping Assistant Principal BASSOON Wang Xiaoke Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue CONTRA BASSOON

PERCUSSION Jonathan Fox Principal Mark Suter Associate Principal Lim Meng Keh Zhu Zheng Yi HARP Gulnara Mashurova Principal Charity Kiew^

Zhao Ying Xue Assistant Principal HORN Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal

*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.

Thank you for attending Martin Helmchen: Brahms Piano Concerto 2!

Piotr Anderszewski, piano ADAGIETTO: FOR MY WIFE MUSICAL LOVE LETTERS 28 SEP 2018

Piotr Anderszewski is widely acclaimed as one of the finest and most insightful pianists today. An autograph session will follow his performance of Bartok's Piano Concerto No. 3.

Lan Shui, conductor

Lars Vogt, piano LARS VOGT MOZART PIANO CONCERTO 21 WALK WITH ME IN VIENNA 19 & 20 OCT 2018

The renowned German pianist-conductor Lars Vogt returns for two nights of Viennese musical inspirations at the VCH, including Mozart's 21st Piano Concerto of "Elvira Madigan" fame.

Lars Vogt, conductor/piano Sponsored by

Olli Mustonen, piano OLLI MUSTONEN PROKOFIEV PIANO CONCERTO 2 DRAMATIC FINNISH 26 OCT 2018

Lim Yan, piano

Finnish pianist Olli Mustonen and conductor Hannu Lintu return to Singapore in Prokofiev's Piano Concerto No. 2. The two recently released a complete cycle of Prokofiev's Piano Concerti on the Ondine label. We'll have these available at Mustonen's autograph session.

SSO 40TH ANNIVERSARY GALA

Hannu Lintu, conductor

Lan Shui, conductor

MAKING MUSIC SINCE 1979 18 JAN 2019

Performing Beethoven's Emperor Concerto at our 40th anniversary gala is Lim Yan, the new Artistic Director of the Singapore International Piano Festival.

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Igor Yuzefovich, Concertmaster The GK Goh Chair

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A L E X A NDE R VON ZE MLIN SK Y (1871–1942) The Mermaid (Die Seejungfrau) 47’00 (Singapore Premiere) Zemlinsky holds a strange position in the pantheon of ‘forgotten’ turn-of-the-century Germanic composers. He is perhaps the most forgotten of them all, reduced only to occasional mention as the erstwhile teacher of Erich Wolfgang Korngold (of eventual Hollywood fame), and musical personage in the coterie of Mahler, Richard Strauss and Arnold Schoenberg.

The main criticism that he suffers from is of having music that is “not distinctive enough”. To some extent, that is true: a tendency towards expressing inspiration in various eclectic ways (instead of an easily identifiable style) as well as a certain natural facility in colourful orchestration has caused his music to become lost in the general post-Wagnerian fog. But within his large catalogue of works are some of incredible beauty: the Lyric Symphony in particular is his best-known work, though it has been eclipsed thoroughly by Mahler’s own Song of the Earth, and his chamber and vocal music are still sometimes performed. Tonight’s The Mermaid (Der Seejungfrau) is another piece that has fallen by the wayside.

Zemlinsky put down the first sketches in 1902, originally intending to illustrate an excerpt of the eponymous Hans Christian Andersen story. As work progressed, he

realised he would cover more than he had planned, and expanded the symphonic poem into a large three-movement form; he then decided to dismantle the story arc, reducing the first movement into a series of related ideas, the second into a handful of moods, and removing the narrative from the third movement altogether. The Mermaid was first performed in 1905 alongside Schoenberg’s similarly-sized Pelleas and Melisande in Vienna — and was immediately overshadowed by it.

The work’s historical reception should not prevent us from enjoying its real craft and beauty, however. It can be heard as an “absolute music” symphony, without its programme, as indeed it was at its premiere. Or, left with hints as to its fairytale provenance, the listener can draw their own conclusions as to which portion of the story is being illustrated at any given moment. Particularly prominent is the use of solo violin, which is easily interpreted as representing the mermaid herself, while the raw sweeping energy of the music immediately calls to mind the moods of the ocean.

Low winds and high strings set the scene for a misty, mysterious opening movement – “Sehr mässig bewegt” (“Very moderate in movement”). Clarinet and flute chatters paint in the salty spray. The tempo picks up later, with swelling strings and horns giving a very full, cinematic sound. Vivid orchestral colours are put to great use here, with dancing rhythms and many tempo changes hinting at the plot of the fairy tale: the music builds to a huge climax near the end of the first movement before the storm calms.

The second movement – “Sehr bewegt, rauschend” (“Much movement, thunderous”) – starts with an outburst before settling down into a fluid dance movement. The solo violin floats on top of the orchestra, supported by rich melodies in the cello, and the full orchestra erupts in joy. Unlike a traditional symphony, this movement is adamantly not a slow movement: Zemlinsky marks it sehr bewegt, full of movement, as the story dissolves into picture-painting. Indeed, at points, the music is so wonderfully orchestrated as to resemble ballet scenes.

Among the large number of works inspired by mermaid legends, Zemlinsky’s symphonic poem stands out for its large scale. To be sure, the form of symphonic poem had been growing steadily in the past half a century, but at over 40 minutes, The Mermaid definitely tested the orchestra at its premiere — as well as the patience of later critics. Widely disparaged, it was abandoned within five years, with the composer leaving it off a work list he submitted to his publisher. Zemlinsky later

Instrumentation 4 flutes, 2 doubling on piccolos 2 oboes cor anglais 2 clarinets E-flat clarinet bass clarinet 3 bassoons 6 horns 3 trumpets 4 trombones tuba timpani cymbals, suspended cymbal, triangle, glockenspiel, chimes 2 harps strings World Premiere: 25 Jan 1905, Vienna First performed by SSO: 31 Aug 2018

PROGRAMME NOTES

The finale inhabits a sadder emotional terrain, full of chromatic harmonies recalling some of Strauss’ finest music.

Marked “Sehr gedehnt, mit schmerzvollem Ausdruck” (“Very flexible, with sorrowful expression”), a mournful folk-like tune appears near the start, almost a barcarolle. The opening music returns, now totally changed by the musical events of the past half an hour. The solo violin, high in its register, ushers in the final section, supported by high instruments, and after a grand climax, the mood turns to utter peace: the sea has claimed the mermaid...

moved to Vienna to escape the Nazi threat in Germany, then to the United States, and died in 1942. Many decades passed before it was finally revived in the 1980s; it has since enjoyed growing prominence and a well-deserved place in the repertoire.

JOH A NNE S B R A HM S (18 3 3–18 97 ) Piano Concerto No. 2 in B-flat major, Op. 83 46’00 Brahms’ two piano concertos are among the biggest behemoths of the genre.

Certainly, they are the longest to still be performed with any regularity at all, lasting roughly 50 minutes each. (The 75-minute Busoni masterpiece is only trotted out as an occasional curiosity.) An excellent pianist, Brahms was the soloist at the 1881 premiere in Budapest, and the work proved an immediate success.

In the middle period of his creativity, and already well-established as a composer by this time, Brahms was seeking newer modes of expression. This concerto explores a more mature musical ground than the youthful energy of his earlier essay. Here we find something more intimate: something more akin to chamber music, despite a typically Brahmsian tendency to loquaciousness.

The concerto is structured in four movements, lending it the outward appearance of a symphony — and indeed, this work resembles a symphony with piano, especially considering how the piano is tightly woven into the orchestral texture. The first movement opens with a horn solo, under which the piano softly unfolds rippling arpeggios before answering, almost like a sonata.

The orchestra then takes over, and the conversation begins almost immediately; there is no interminable opening tutti here, unlike in the Violin Concerto. Over the next fifteen minutes a movement of Classical mould emerges, though it is draped in Romantic-era finery.

Brahms’ own description of the concerto, in a letter to a friend, was “a little piano piece”. He described the second movement scherzo as a “little wisp” — quite an understatement! The stormy character of this hemiola-filled movement shows Brahms employing his favourite musical device to the point of obsession. The virtuosity in the piano part is characteristic of his piano music around this time, with huge leaps, fistfuls of chords, and bombastic octave passages.

The slow movement that follows returns to the home key of B-flat major for a deep breath before the sheer activity of the finale. Filled with long drawn-out melody, the cello solo that opens it is justifiably famous; the warmth and gentleness shows Brahms at his most sentimental. This movement features the cello as an equal partner to the piano, an idea perhaps drawn from Tchaikovsky’s own Second Piano Concerto, which was premiered as Brahms was writing this work. Brahms later recycled the cello melody as a song (Op. 105, No. 2).

The finale brims with uncontrolled invention and is easily separated into five parts, with five main themes overall.

Amidst developments, recollections and foreshadowings, the Hungarian section is

especially striking, as is the final tarantella.

The sheer size of this movement means it carries the most musical weight, and indeed it takes a master to balance the disparate elements.

Since its premiere, it has never fallen out of regular performance, and has been championed by all the big names: Horowitz, Richter, Schnabel, Rubinstein.

Today it remains a staple of concert programmes.

Instrumentation 2 flutes, 1 doubling on piccolo 2 oboes 2 clarinets 2 bassoons 4 horns 2 trumpets timpani strings World Premiere: 9 Nov 1881, Budapest

RECOMMENDED LISTENING

First performed by SSO: 14 Nov 1980 (Illana Vered, piano)

1) Mendelssohn: The Piano Concertos Martin Helmchen, Philippe Herreweghe & Royal Flemish Philharmonic Orchestra (PentaTone, 2010)

PROGRAMME NOTES

Programme notes by Thomas Ang

MALAYSIAN PHILHARMONIC ORCHESTRA From Across The Causeway

1 Sep 2018 7:30PM

Eiji Oue, conductor Gonzalo Esteban, clarinet VIVIAN CHUA Mercu Kegemilangan COPLAND Clarinet Concerto BEETHOVEN Symphony No. 5 in C minor, Op. 67

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Mr Goh Yew Lin (Chairman) Ms Yong Ying-I (Deputy Chairman) Mr Ang Chek Meng Mrs Odile Benjamin Mr Chng Hak-Peng Mr Lionel Choi 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

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Audit Committee Mr Yee Chen Fah (Chairman) Mr Heinrich Grafe Ms Lim Mei Endowment Fund Committee Mr Goh Yew Lin (Chairman) Mr David Goh Mr Sanjiv Misra

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

SSO LADIES’ LEAGUE Mrs Odile Benjamin (Chairlady) Mrs Kwan Lui (Deputy Chairlady) 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

M A N AG E ME NT CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng

CEO OFFICE

PROGRAMMES (VCH)

Ms Shirin Foo Mr Lim Yeow Siang Mr Edward Loh Mr Chris Yong

Ms Erin Tan

HUMAN RESOURCES & ADMINISTRATION

DEVELOPMENT & PARTNERSHIPS

Mr Desmen Low Ms Melissa Lee Ms Evelyn Siew

ORCHESTRA MANAGEMENT Mr Ernest Khoo (Head) Mr Chia Jit Min Ms Tan Wei Tian Concert Operations Ms Kimberly Kwa (Production Manager) Ms Chin Rosherna Mr Ramayah Elango Mr Md Fariz bin Samsuri LIBRARY Mr Lim Lip Hua Ms Priscilla Neo Ms Wong Yi Wen PROGRAMMES (SSO) Ms Kua Li Leng (Head) Ms Teo Chew Yen Community Outreach Ms Kathleen Tan Ms Vanessa Lee Choral Programmes Ms Regina Lee Ms Whitney Tan

Ms Peggy Kek (Head) Corporate Communications Ms Leong Wenshan Mr Chris Yong Development & Sponsorship Mr Anthony Chng Ms Nikki Chuang

SINGAPORE NATIONAL YOUTH ORCHESTRA Ms Pang Siu Yuin (Head) Ms Yuen May Leng Mr Tan Yong Qing Ms Tang Ya Yun ABRSM

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 Cheryl Pek Ms Dacia Cheang Ms Nur Shafiqah bte Othman CORPORATE SERVICES Mr Rick Ong (Head) Mr Alan Ong (Finance) Ms Goh Hoey Fen (Finance) Mr Jeffrey Tang (IT) Mr Md Zailani bin Md Said

Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong

Supported by

Patron Sponsor

TOTE BOARD GROUP

Official Hotel

Official Radio Station

Official Airline

Sponsors

LEE FOUNDATION

The Singapore Symphony Orchestra is a charity and not-for-profit organisation. You can support us by donating at www.sso.org.sg/donate.

sso.org.sg