SSO subscription concert
Debussy and Dvoล รกk 5 May 2017 FRI | ESPLANADE concert hall Performing Home of the SSO
LAN SHUI Music Director
5 MAY 2017 | FRI
Debussy and Dvořák Singapore Symphony Orchestra Lan Shui, conductor
CLAUDE DEBUSSY Marche écossaise sur un thème populaire
7’00
Danse sacrée et danse profane for harp and strings
9’00
Gulnara Mashurova, harp Printemps
15’00
1. Très modéré 2. Modéré
Intermission 20’00
ANTONÍN DVOŘÁK Cello Concerto in B minor, Op. 104
40’00
1. Allegro 2. Adagio ma non troppo 3. Finale: Allegro moderato Wang Jian, cello
Concert duration: 1 hr 45 mins Let’s go green. Digital programme booklets are available on www.sso.org.sg. Scan the QR code in the foyer to view a copy.
Singapore Symphony Orchestra 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 Rachmaninov series, a Debussy disc, Seascapes featuring sea-themed music by Debussy, Frank Bridge, Glazunov and Zhou Long, and the first-ever cycle of Tcherepnin’s piano concertos and symphonies. The SSO has also collaborated with such great artists as Lorin Maazel, Charles Dutoit, Gennady Rozhdestvensky, Neeme Järvi, Vladimir Ashkenazy, Lang Lang, Yo-Yo Ma, Leonidas Kavakos and Gil Shaham.
“A fine display of orchestral bravado for the SSO and Shui” The Guardian
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.
SUPERCHARGED SUNDAYS AT OSCAR’S Supercharge your afternoons at Oscar’s Sunday Brunch, from freshly shucked oysters, Boston lobsters, to premium roast London duck and free flow champagne. Balance all that indulgence at the 4 metre-long salad bar, chilled shakes and organic pastas prepared by chefs at the theatrical stations. Specially for Friends of SSO, enjoy 20% off total bill. For reservations, visit www.connoisseur.sg or call 6432 7481 Prior reservations necessary. Subject to availability. Black-out dates apply. A valid Friends card must be produced. Discount cannot be used in conjunction with other promotions, discounts or vouchers.
centennial singapore Two Temasek Boulevard, Singapore 038982 | Phone +65 6334 8888 | ConradSingapore.com
WANG JIAN
cello
Wang Jian began to study the cello with his father when he was four. While still a student at the Shanghai Conservatoire, he was featured in the celebrated documentary film From Mao to Mozart: Isaac Stern in China. Stern’s support paved the way for him to study at the Yale School of Music with Aldo Parisot. Recent and future highlights include concerts with the Munich Philharmonic, Los Angeles Philharmonic, Toronto Symphony and Swedish Chamber Orchestras. He has a regular relationship with the Hallé Orchestra with whom he has performed in the UK and China. Wang also performs with the Singapore Symphony and Hong Kong, Seoul and Osaka Philharmonic Orchestras. Amongst his many high profile concerts in China, he has played for the President and opened the season for the China Philharmonic, Shanghai Symphony and Macau Symphony Orchestras. He has also played with the China National Orchestra, Hangzhou Symphony and performed the complete Bach Cello Suites at the National Centre for Performing Arts in Beijing. Wang has performed with many of the world’s leading symphony orchestras including New York Philharmonic, London Symphony, Royal Concertgebouw, Zurich Tonhalle, Stockholm Philharmonic, Orchestre de Paris and NHK Symphony. He has also played at many festivals, included Verbier (Switzerland), Miyazaki (Japan), the BBC Proms (UK), Tanglewood and Mostly Mozart (USA). He has an extensive discography with Deutsche Grammophon, including the Bach Cello Suites. His instrument is graciously loaned to him by the family of the late Mr Sau-Wing Lam.
Gulnara Mashurova
harp
Gulnara Mashurova was born in Almaty, Kazakhstan. She started piano studies at the age of six and by age nine was chosen to study harp at the Pre Moscow Conservatory with Natalia Sibor. From 1991–1993 she studied with Vera Dulova at the Moscow Conservatory. Mashurova received a Bachelor and Master’s Degree in Harp Performance from the Juilliard School as a Jerome Green full scholarship recipient studying under Nancy Allen, Principal Harpist of the New York Philharmonic. She received her second Masters in Orchestra Performance with a full scholarship from the Manhattan School of Music studying under Deborah Hoffman, former Principal Harpist of the Metropolitan Opera Orchestra. Mashurova was a regular substitute with the New York Philharmonic both in live performances and recordings and has toured extensively with the orchestra. She has performed with the Metropolitan Opera Orchestra, Concertgebouw Orchestra, Suspeso Contemporary Ensemble, Absolute Ensemble, Stamford Symphony, Empire State Opera and the Silk Road Ensemble with Yo-Yo Ma. Mashurova can be heard on recordings with the New York Philharmonic, Singapore Symphony Orchestra, The Silk Road Ensemble, NHK Japan and the Absolute Ensemble. She has appeared as a soloist with the Singapore Symphony Orchestra, the Flagstaff Symphony and the Thailand Philharmonic. In 2006 and 2007 Mashurova travelled to her native Kazakhstan to promote harp repertoire by performing concertos, recitals and chamber music. In 1994 she was a finalist in the World International Harp Competition in Wales, Cardiff. She has participated in the Pacific Music Festival, Norfolk Music Festival, Spoleto Festival, USA and Spoleto Festival, Italy. In 2003, Mashurova joined the Singapore Symphony Orchestra as Principal Harpist and is on the faculty of the Yong Siew Toh Conservatory of Music. Mashurova performs on a Lyon and Healy Style 23 harp.
SSO Musicians Lan Shui
Jason Lai
Joshua Tan
Choo Hoey
Okko Kamu
Lim Yau
MUSIC DIRECTOR
ASSOCIATE CONDUCTOR
ASSOCIATE CONDUCTOR
CONDUCTOR EMERITUS
PRINCIPAL GUEST CONDUCTOR
Choral Director
FIRST VIOLIN Igor Yuzefovich° Concertmaster Lynnette Seah Co-Concertmaster Kong Zhao Hui* Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Gu Wen Li Jin Li Cindy Lee Sui Jing Jing Ikuko Takahashi^ Karen Tan William Tan Wei Zhe
Shui Bing Tan Wee-Hsin Tong Yi Ping Janice Tsai^ Yang Shi Li Zhao Yu^
CELLO Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Song Woon Teng Wang Yan Wang Zihao* Peter Wilson Wu Dai Dai Zhao Yu Er
SECOND VIOLIN Sha Katsouris^ Principal Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Nikolai Koval* Priscilla Neo 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*
DOUBLE BASS Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Raffael Bietenhader^ Ma Li Ming^ Jacek Mirucki Wang Xu
FLUTE Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan
VIOLA
PICCOLO
Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Ho Ying Ying^ Marietta Ku Luo Biao
Roberto Alvarez Assistant Principal
OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo
COR ANGLAIS
TROMBONE
Elaine Yeo Associate Principal
Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong
CLARINET Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping
BASS CLARINET
BASS TROMBONE Wang Wei Assistant Principal
TUBA Hidehiro Fujita Principal
Tang Xiao Ping Assistant Principal
BASSOON Zhang Jin Min Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue
CONTRA BASSOON Zhao Ying Xue Assistant Principal
HORN Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Kartik Alan Jairamin
TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal
PERCUSSION Jonathan Fox Principal Mark Suter Associate Principal Mark De Souza Lim Meng Keh Zhu Zheng Yi
HARP Gulnara Mashurova Principal
PIANO Shane Thio^ Principal Aya Sakou^
TRUMPET Jon Paul Dante Principal David Smith Associate Principal Lertkiat Chongjirajitra^ Sergey Tyuteykin
* With deep appreciation to the Rin Collection for their generous loan of string instruments. ° Igor Yuzefovich plays an instrument generously loaned by Mr & Mrs G K Goh ^ Musician on temporary contract
Musicians listed alphabetically by family name rotate their seats on a per programme basis.
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
Musicians’ Chair The Singapore Symphony Orchestra thanks the following organisations for supporting our Musicians’ Chair Programme. The programme supports artistic excellence initiatives in the orchestra’s annual operations. Principal Cello
Ng Pei-Sian
FIXED CHAIR, Cello
Guo Hao
CORPORATE SEATS The Singapore Symphony Orchestra appreciates the support of companies in our Corporate Seats scheme. The scheme supports the Orchestra through regular attendance of subscription concerts. $20,000 and above Petrochemical Corporation of Singapore (Pte) Ltd Japanese Chamber of Commerce & Industry, Singapore $10,000 and above Hong Leong Foundation Stephen Riady Group of Foundations Nomura Asset Management Singapore Ltd Prima Limited
1979 FUND The Singapore Symphony Orchestra gratefully acknowledges the following corporations and individuals for their contributions towards the 1979 Fund. The 1979 Fund is a campaign for contribution to the SSO Endowment Fund. Allen & Gledhill LLP Stephen Riady Group of Foundations United Overseas Bank Limited Mrs Odile Benjamin Ms Cham Gee Len Prof Cham Tao Soon Mr Chng Hak-Peng Mr Chng Kai Jin Mr Goh Yew Lin Mr Khoo Boon Hui Prof Tommy Koh Ms Liew Wei Li Prof Arnoud De Meyer Mr S R Nathan Mr Andreas Sohmen-Pao Dr Tan Chin Nam Ms Tan Choo Leng Mr Wong Nang Jang Prof Chan Heng Chee Anonymous For more information or to make a donation, please contact the Development & Sponsorship Team at 6602 4238 / 6602 4237 or peggykek@sso.org.sg.
U P COM ING CONCERT S
19 & 20 May 17 | FRI & SAT, 7.30pm VICTORIA Concert Hall
SSO Gala: Beethoven Violin Concerto • Crusell Sinfonia Concertante Lan Shui conductor Frank Peter Zimmermann violin Ma Yue clarinet Han Chang Chou horn Zhang Jin Min bassoon SSO brings its spectacular season to a close with Beethoven’s crown jewel, the Violin Concerto in D major performed in the capable hands of Frank Peter Zimmermann, and the delightful triple concerto by Finnish-Swedish composer Bernhard Crusell featuring old friends Ma Yue, Han Chang Chou and Zhang Jin Min, who will step down as Principal Bassoon after this season. The concert opens with music by Singaporean composer Jeremiah Li. ”Gorgeously ripe tone, easy swagger and intoxicating range of colour“ – Gramophone on Frank Peter Zimmermann
JEREMIAH LI Senbonzakura Gossamer Shrouds the Tal (commissioned by the SSO)
CRUSELL Sinfonia concertante in B-flat major, Op. 3 BEETHOVEN Violin Concerto in D major, Op. 61
Pre-concert Talk 6.30pm-7pm I VCH Music Studio @ L3 Post-Concert Symphony Chat Sat, 20 May 2017 I Victoria Concert Hall, stalls level
SSChi l dr ens Choi r
SSO DONORS
PATRON SPONSOR Tote Board Group (Tote Board, Singapore Pools & Singapore Turf Club) $700,000 and above Temasek Foundation Nurtures CLG Ltd $100,000 and above Christopher Ho & Rosy Ho Anonymous $50,000 and above John Swire & Sons (S.E. Asia) Pte Ltd Singapore Press Holdings Ltd Tan Chin Tuan Foundation Lee Foundation, Singapore Joseph Grimberg Far East Organization Kingsmen Exhibits Pte Ltd Mr & Mrs Goh Yew Lin Anonymous GK Goh Holdings Limited NSL Ltd TransTechnology Private Limited Aquilus Pte Ltd
$20,000 and above Interchem Pte Ltd Singapore Institute of Management Keppel Corporation Ltd Stephen Riady Group of Foundations Pontiac Land Group Van Cleef and Arpels United Overseas Bank Ltd Ms Paige Parker & Mr Jim Rogers Mdm Tan Siew Hoon Japanese Chamber of Commerce & Industry, Singapore
Holywell Foundation Kris Foundation Petrochemical Corporation of Singapore Pte Ltd Saga Tree Capital Advisors Pte Ltd Anonymous Mrs Christina Ong Doris & Andreas Sohmen-Pao Mrs Dorothy Chan Geoffrey Wong Ee Kay & Wong Ai Ai Tan Choo Leng
$10,000 and above Dr & Mrs Thomas Zuellig S R Nathan Anonymous Rubina Watch Co Pte Ltd Maisy Koh & Dr Beh Swan Gin Lim & Tan Securities Pte Ltd Christine Yeh At-Sunrice Global Chef Academy Pte Ltd Binjai Tree Boardroom Limited BTG Pactual Commodities (Singapore) Pte Ltd Bulgari Fraser And Neave (S) Pte Ltd Hong Leong Foundation Latham and Watkins LLP LGT Bank (Singapore) Ltd Marina Bay Sands Pte Ltd Nomura Asset Management Singapore Ltd One North Capital Pte Ltd OSIM International Limited Prima Limited PSA International Pte Ltd
Resorts World at Sentosa Pte Ltd The Silent Foundation Ltd Total Trading Asia Pte Ltd Wowz Entertainment Pte Ltd Astrie Sunindar-Ratner Prof Cham Tao Soon Mr & Mrs Choo Chiau Beng Andress Goh Lai Yan Desmond Lim Yu Jin Anonymous Anonymous Anonymous Anonymous Mrs and Mr Laura Hwang & Michael Hwang Leong Wai Leng Liew Wei Li Lito & Kim Camacho Odile & Douglas Benjamin Olivia Lum Mr & Mrs Yong Pung How Yong Ying-I
$5,000 and above Juliana and Clemente Benelli Tan Chin Nam Ross and Florence Jennings AIA Singapore Private Limited ComfortDelgro Corporation Limited CV Shipping Pte Ltd Loke Cheng Kim Foundation Beppe De Vito Ms Cham Gee Len Devika and Sanjiv Misra
Anonymous Mr and Dr Peter Sheren Professor and Mrs Lim Seh Chun Lin Diaan-Yi Goh Sze Wei Mr & Mrs Simon Cheong Mr and Mrs Steven Goh Mr and Mrs W K Leong Tan Sook Yee
$1,000 and above Anonymous Julian Chang Anonymous Judy Hunt Li Yuezhi Ronald P Stride & Janet Stride Chandra Mohan Rethnam Prive Clinic Pte Ltd Robert Khan & Co Private Limited Dimple Sameer Aswani Helen Leong Mrs Ivy Teh Kris Taenar Wiluan Ng Keng Hooi Lawrence Basapa & Celeste Basapa Marie Elaine Teo Mr Robert & Cheryl Huray Tan Khai Hee Thorsten Walther Tong Moi Eng Electronic and Engineering Pte Ltd Fred Kim Christopher & Bernice Franck Shang Thong Kai and Tiffany Choong Didier Coutte Gianluca Castaldi Toshitaka Aoki Gael Bomblain Obgyn Consultants Pte Ltd Wilmar International Limited Abigail Tan Pei Jun Alessandro Raniolo & Christine Pillsbury Anonymous Connie Chaird and Darren Yong Edmund Lin & Trina Liang-Lin Elizabeth Fong Anonymous Gan Chee Yen Mrs Heather Carmichael John Lim Juliana and Sheng Gao Kevin Chang Pang-Hua Anonymous Dr Lau Kheng Tiong Lee Suan Yew Luca & Barbara Tonello Ms Manju Vangal and Mr Arudra Vangal Michael Lien & Tan Kheng Ju Anonymous Patrick Lee Radakrishnan Somalingam Drs Raymond & Tika Tay Richard R. Smith Seah & Siak Sheila Patel Steven Luk Tan Boon Kheng Anonymous Anonymous Tony & Serene Liok
Dr Wong Yik Mun Anonymous Aznan Abu Bakar Pauline Ang Hooi Yeong Cees & Raife Armstrong Kanti Bajpai Marcie Ann Ball Bao Zhiming Steven L Bernasek John & Eliza Bittleston Michel Blanc Roberto Cartelli Chai Huei Chuen Chan Wai Leong Cynthia Chee Christopher Chen Cheng Wei Margaret Chew Sing Seng Chong Mi-Li Pamela Jennie Chua Kheng Yeng John S Davison Arnoud De Meyer Maureen Derooij Helene Fahy-Blanquet Ridzuan Farouk Warren Fernandez Christopher John Fussner Brian Holt Gambrill Rolf Gerber Goh Chiu Gak Jerry Gwee Mark Edward Hansen Donald Harding Guy J P Hentsch William H Hernstadt Ho Soo Foo Susanna Ho Choon Mei Liwen Holmes Richard Jerram Michele & Dr Daniel Kahn Lilian Khoo Khor Cheng Kian AndrĂŠ Klein Belinda Koh Yuh Ling Takashi Kousaka Michael Kuschel Kwee Nee Chia Irene Anonymous Vincent Lam Ho Ming Matthew Latham Janin Lau Ying Hui Eugene Lee Mr & Mrs Lee Kip Lin Lee Shu Yen Siong Ted Lee Leong Keng Hong Leow Oon Geok Xiao Li Bettina Lieske Lim Eng Neo
Lim Hong Eng Janet Ling Yu Fei Richard Logan Michelle Loh Loh Pong Tuan Jeffrey Loke Sin Hun Victor Loo Low Boon Hon Donny Low Low Nguok Kwong Eunice Mah Li Lien Adelina Mah Li Ting Craig McTurk Gillian Metzger Joseph Mocanu Azima Moiz Kathleen Moroney Vincent Musumeci Mr & Mrs Willem Mark Nabarro David Neo Chin Wee Hunter Nield Todd On Herve Pauze Raymond Phua Chee Whee Monica Pitrelli Derek Quah Robin Ian Rawlings Jonathan Reiter Charles Robertson Andreas Ruschkowski Bernard Jean Sabrier See Tho Kai Yin Shih Chih-Lung Naoyoshi Nick Shimoda Jeremy Snoad Bernhard Steiner Tan Boon Ngee Joyce Tan Tan Kok Huan Tan Kok Kiong Anonymous Ivan Tan Meng Cheng Robert Tan Tan Vern Han Daniel Tando Niyazi Taneri Teo Ee Peng Tian Xiao Ye Mr & Mrs Neil Tottman Peter White Wong Liang Keen Wong Yoke Kang Anthony Wu Peichan Valerie Satoru Yano Patricia Yih David Harris Zemans Zhang Jian Zhang Naxin *This list is for donations from 1 April 2016 to 31 March 2017.
CLAUDE DEBUSSY (1862-1918)
Marche écossaise sur un thème populaire
7’00
One could attend symphony concerts for a lifetime and never hear the Marche écossaise sur un thème populaire (”Scottish March on a Popular Theme“). The strange little piece that opens tonight’s program sounds only remotely like the Debussy we are familiar with through works like La Mer, Images, or the Nocturnes. Drone-like effects suggest Scottish bagpipes. The only clue that it might be by Debussy is the constantly changing orchestration, not generally a characteristic of marches. This obscure, rarely-heard March was originally composed for piano duet in 1891 upon commission from one General John Meredith Read. Read was American, but was descended from the Scottish Ross clan. He was appointed consul-general to France in 1869. Read wanted a march based on the traditional melody of the Ross clan, the melody played by the Band of Pipers on festive occasions and in battle, but this is hardly what Debussy gave him. The march tune is present most of the time, but what Debussy does with it is scarcely march-like in spirit until near the end. The title could have more appropriately been “Adventures and Transformations of a March Tune”. The central section marked Calme might seem at first to introduce new material, but no, it consists of still more transformations of the march melody. The final section has a march-like swagger, but even here Debussy thwarts our preconception of what a march should be by replacing the traditional march meter of 2/4 and its associated “um-pah um-pah” with something different: 6/8 (two groups of three). Debussy orchestrated the March in 1908, at which point the title became simply Marche écossaise, but he waited until 1913 to hear it played at a rehearsal conducted by Désiré-Emile Inghelbrecht.
CLAUDE DEBUSSY
Danse sacrée et danse profane for harp and strings
9’00
The harp one sees on the concert stage today is known as the double-action pedal harp, invented around 1810 by the Parisian piano firm of Érard. Unlike the piano, which has a string for every note of the chromatic scale, the harp’s strings are tuned only to the notes of the diatonic major scale (the equivalent of all the white notes on the piano); to reach additional notes, the harpist must rely on the seven pedals, each of which can be set in two different notches (hence, “double-action”), raising the pitch of a string by either a semitone or a full tone. In 1897, another Parisian piano maker, Pleyel, sought to simplify this system by introducing a “chromatic harp” consisting of a separate string for every pitch and no pedals. The strings of the chromatic harp were arranged in two overlapping rows, one for each hand. In 1904, Pleyel commissioned Debussy to write a test piece for students of this instrument at the Brussels Conservatoire. Debussy responded with the Danse sacrée et danse profane (”Sacred and Secular Dances“). The chromatic harp was not deemed a success, and it became obsolete within two decades. But the exquisite Danse sacrée et danse profane has survived, and is now a repertory favourite played on the standard pedal harp. The first performance was given in Paris on 6 November 1904 at the Concerts Colonne with Lucille Wurmser-Delcourt as the soloist. The dedication went to Gustave Lyon, the actual designer of the chromatic harp. After a brief introduction by strings, the harp presents a chordal theme which is then developed and decked out with chromatic touches for the Danse sacrée. Lines for both harp and strings move mostly stepwise throughout, evoking images of ritual chant and incantations. The Danse profane moves to a somewhat quicker pace in waltz rhythm. Strings steal in with a gently undulating theme that recurs periodically. The harp writing is more varied and adventurous here, but the solo instrument never plays a full presentation of the theme; instead it weaves gentle arabesques around it and invents decorations of gossamer delicacy.
CLAUDE DEBUSSY
Printemps
15’00
Early in 1885, having won the coveted Prix de Rome, 23-year-old Debussy left Paris to take up residency at the Villa Medici. But he quickly became profoundly disillusioned with the terms of the Prix. Living conditions were uncomfortable, petty rivalry was rife among the other residents, and worst of all, he was expected to send periodically back to Paris samples of academically correct work (envois). He managed to send one envoi, and then decided to terminate his Roman sojourn after the second year. To assuage the authorities, he hastily composed a second envoi, which was Printemps (”Spring“), his earliest completed orchestral work. Debussy professed that his intent in Printemps was “somehow to express the slow, agonising birth of beings and of objects in nature, then the gradual blossoming, and finally an outburst of joy at being reborn to a new life”. This sounds remarkably similar to Stravinsky’s description of the genesis of his Sacre du printemps (The Rite of Spring), written 26 years later. Presumably, however, Debussy’s inspiration really came from a totally benign source, Botticelli’s famous painting Primavera. In any case, Debussy’s Printemps has nothing to do with a musical depiction of a season or nature. The title merely alludes to the general concept of growth, the growth of an initial theme (played in the opening bars by flute and piano) as it flowers throughout the orchestra in different colours, rhythms, moods and melodic shapes. Printemps reveals a composer who has not quite yet found his own voice (the concluding march-like section sounds more like Saint-Saëns than Debussy), but many of Debussy’s fingerprints of style can nevertheless be detected in what was still the spring of his own career. The first performance in the form we hear it tonight (a re-orchestration by Henri Büsser) took place on 18 April 1913 (just five weeks before the premiere of Stravinsky’s Sacre) at a concert of the Société nationale de musique in Paris.
SWIRE–SSO
Ticketing Scheme for Students Anglo-Chinese School (Independent)
Choa Chu Kang Secondary School
Gan Eng Seng School
Angsana Primary School
Chongzheng Primary School
Guangyang Secondary School
Bedok Green Secondary School
Chung Cheng High School (Main)
Hillgrove Secondary School
Blangah Rise Primary School
Concord Primary School
Hong Kah Secondary School
Boon Lay Garden Primary School
Damai Primary School
La Petite Ecole
Bukit Merah Secondary School
DEL-Care Edu Centre Pte Ltd
Maris Stella High School
Canossa Convent Primary School
Dunman High School
Methodist Girls’ School (Secondary)
Catholic High School (Secondary)
Endeavour Primary School
Montfort Junior School
CHIJ Secondary (Toa Payoh)
Fairfield Methodist School (Primary)
Nan Chiau Primary School
CHIJ-Katong Convent Secondary School
Fuchun Primary School
Nanyang Academy of Fine Arts
Nanyang Girls’ High School
Pei Hwa Secondary School
National Junior College
Raffles Girls’ School (Secondary)
Naval Base Secondary School
Raffles Institution
Ngee Ann Polytechnic
River Valley High School
North Spring Primary School
School of the Arts Singapore
North View Secondary School
Sengkang Primary School
North Vista Primary School
Shelton College International Pte Ltd
Northland Primary School
Shuqun Primary School
NUS High School of Mathematics and Science
Singapore Chinese Girls’ School (Secondary)
Pasir Ris Crest Secondary School
Singapore Management University
Paya Lebar Methodist Girls’ School (Primary)
Singapore National Youth Orchestra
PCF Sparkletots Kampong Chai Chee Pei Chun Public School
Singapore Polytechnic St Andrew’s Secondary School St Joseph’s Institution International
Stamford American International School Tanglin Trust School Tanjong Katong Girls’ School Teck Whye Secondary School Temasek Junior College UWC South East Asia Victoria Junior College Woodlands Ring Secondary School Yew Tee Primary School Yishun Junior College Yishun Town Secondary School Yumin Primary School Zhenghua Primary School
Since its launch in January 2013, the SWIRE-SSO Ticketing Scheme has benefitted over 29,000 students, enabling them to enjoy worldclass performances by the SSO in the Esplanade Concert Hall and Victoria Concert Hall at subsidised ticket prices as low as $10. Larger school groups were also rewarded with a free music appreciation talk in their campus to enhance their concert experience. To learn more about the SWIRE-SSO ticketing benefits for students, please email shafiqah@sso.org.sg or call 6602 4245. Schools are able to use the Tote Board Arts Grant to subsidise up to 50% (excluding GST) of the ticket price.
ANTONÍN DVOŘÁK (1841-1904)
Cello Concerto in B minor, Op. 104
40’00
Dvořák’s Cello Concerto holds a position of honour in being one of the three or four best-known in the repertory. Many listeners consider it the ne plus ultra of cello concertos. Dvořák actually made two attempts at writing a cello concerto. The first was at age 24, at the outset of his career. He never orchestrated this concerto. Thirty years later, when Dvořák was nearing the end of a distinguished career, he reconsidered the medium when he heard Victor Herbert’s Second Cello Concerto in E minor in Brooklyn. At the time, Dvořák was finishing up a three-year stint as Director of the National Conservatory in New York (1892-95), and Herbert (the same Herbert of operetta fame – Babes in Toyland, Naughty Marietta, etc.) was principal cellist of the Metropolitan Opera Orchestra. Dvořák was deeply impressed with Herbert’s ability to juxtapose the sound of the solo cello with a large orchestra, and his means of solving the treacherous balance problems. Stimulus to take up the challenge himself came from another source as well, also a cellist. This was Hanuš Wihan, a close friend of Dvořák and the finest cellist in Bohemia. Dvořák wrote his Cello Concerto for Wihan, who was also to have given the premiere which took place on 19 March 1896 in London with the composer conducting. For many years, it was thought that the reason the honour went to another cellist (Leo Stern) was because Dvořák and Wihan had had a falling out over the matter of inserting a cadenza in the last movement. (There is none, and Dvořák adamantly refused to incorporate one, despite Wihan’s urging.) Recent research has revealed that it was due rather to a conflict of dates and misunderstanding over scheduling that kept Wihan from the premiere. The concerto’s dedicatee did eventually play the work. Like many of Dvořák’s best large-scale works, the Cello Concerto brims with melodic invention of the highest calibre. The first movement’s principal theme, announced at the outset by clarinets, proves to be not only memorable in itself, but capable of almost infinite development and transformation by both orchestra and soloist. Dvořák himself said of the second theme, heard initially in the solo horn, that “I am always moved when I play it”, and critic Donald
Tovey thought it was “one of the most beautiful passages ever written for the horn”. Yet when the solo cello plays it sometime later, it seems to embody the very soul of that instrument, and when the orchestra takes over the theme, it again seems perfectly conceived for that medium in full symphonic panoply. The second movement, in ABA form, is more subdued, though no less replete with exquisite lyricism. Biographer Otakar Šourek describes it as a “hymn of deepest spirituality and amazing beauty”. The central episode has autobiographical significance. When Dvořák learned that Josefina Kaunitzová, a youthful flame of his, was seriously ill, he incorporated into the slow movement one of Josefina’s favourite pieces, a song he had written years before (“Leave me alone”, Op. 82, No. 1). A short, stormy introduction in G minor leads into a melody of ravishing sweetness sung by the solo cello, and decorated with a filigree of arpeggios by the violins. The strongly rhythmic character of the rondo finale’s principal theme suggests a Bohemian dance. Dvořák considered the concerto complete when he left New York in the summer of 1895. But back in his native land, he revised the finale to include a gentle, autumnal epilogue of some sixty bars that was based largely on the same song he had used in the second movement. Most believe that this was done as a gesture in honour of Josefina, who died on 27 May of that year, but this has not been unequivocally proven. The concerto seems headed for a quietly reflective ending, but with the cello perched on a trill on high B, the clarinet, then muted horn, bring us out of the reverie with a reference to the concerto’s opening moments, and the work moves swiftly to a brilliant conclusion.
Programme notes by Robert Markow
Board Of Directors & Committees
PATRON President Tony Tan Keng Yam
BOARD OF DIRECTORS Mr Goh Yew Lin (Chairman) Ms Yong Ying-I (Deputy Chairman) Mr Ang Chek Meng Mrs Odile Benjamin Mr Chng Hak-Peng Mr Lionel Choi Prof Arnoud De Meyer Mr Heinrich Grafe Mr Kwee Liong Seen Ms Liew Wei Li Ms Lim Mei Prof Lim Seh Chun Mr Andreas Sohmen-Pao Ms Tan Choo Leng Mr Paul Tan Dr Kelly Tang Mr Yee Chen Fah
NOMINATING AND EXECUTIVE COMMITTEE Mr Goh Yew Lin (Chairman) Mr Paul Tan Ms Yong Ying-I
AUDIT COMMITTEE Mr Yee Chen Fah (Chairman) Mr Kwee Liong Seen Ms Lim Mei
SSO COUNCIL
SSO LADIES’ LEAGUE
Prof Cham Tao Soon (Chairman) Mr Alan Chan Ms Chew Gek Khim 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
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 Tjia-DharmadiMartin Ms Paige Parker Ms Kris Tan Ms Manju Vangal Mrs Grace Yeh
MUSICIANS' COMMITTEE Mr Chan Wei Shing Mr Jon Paul Dante Mr Jamie Hersch Mr Jin Ta Mr Ng Pei-Sian Mr Marc-Antoine Robillard Mr Mark Suter Mr Christoph Wichert Mr Yang Zheng Yi Mr Yeo Teow Meng
SNYO COMMITTEE ENDOWMENT FUND COMMITTEE Prof Cham Tao Soon (Chairman) Mr David Goh Mr Paul Supramaniam Mr Anthony Teo
Ms Liew Wei Li (Chairlady) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson
Management
CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng
CEO OFFICE
PROGRAMMES (VCH)
Mr Edward Loh Mr Chris Yong
Ms Michelle Yeo (Head) Ms Erin Tan
ORCHESTRA MANAGEMENT
DEVELOPMENT & SPONSORSHIP
Mr Ernest Khoo (Head) Mr Chia Jit Min Ms Tan Wei Tian
Ms Peggy Kek (Head) Mr Anthony Chng Ms Nikki Chuang Ms Zhang Jingchao
Stage Management Ms Kimberly Kwa (Stage Manager) Ms Chin Rosherna Mr Ramayah Elango Mr Abdul Wahab bin Sakir Mr Mohamed Zailani bin Mohd Said Mr Muhammad Fariz bin Samsuri Mr Radin Sulaiman bin Ali
LIBRARY Mr Lim Yeow Siang (Head) Mr Lim Lip Hua Ms Priscilla Neo
PROGRAMMES (SSO) Ms Kua Li Leng (Head) Ms Teo Chew Yen Ms Jolene Yeo Community Outreach Ms Kathleen Tan Ms Vanessa Lee Choral Programmes Ms Regina Lee Ms Whitney Tan
MARKETING COMMUNICATIONS & CUSTOMER EXPERIENCE Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Myrtle Lee Ms Hong Shu Hui Ms Melissa Tan Ms Cheryl Pek Ms Khairani Basman Ms Dacia Cheang Ms Nur Shafiqah Bte Othman
CORPORATE SERVICES Mr Rick Ong (Head) Mr Alan Ong (Finance) Ms Goh Hoey Fen (Finance) Mr Mohamed Zailani bin Mohd Said
HUMAN RESOURCES & ADMINISTRATION Mr Desmen Low Ms Shanti Govindasamy
SINGAPORE NATIONAL YOUTH ORCHESTRA Ms Pang Siu Yuin (Head) Ms Shirin Foo Mr Tan Yong Qing Ms Tang Ya Yun
ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong
Empowering lives. Nurturing communities.
We believe in building a sustainable future with the community – wherever we operate. In more than 30 countries, we reach out and give back through lending a hand to the needy and under-privileged, promoting education, caring for the environment as well as cultivating appreciation of the arts. We make it a part of our business to lay the foundation for a brighter future, one upon which successive generations will thrive.
Keppel Corporation Limited 1 HarbourFront Avenue #18-01 Keppel Bay Tower Singapore 098632 I www.kepcorp.com
Patron Sponsor
A Standing Ovation for Our Corporate Partners Official Hotel
Official training partner
Official Postage Sponsor
Official Radio Station
Official Airline
Partners
LEE FOUNDATION
Supported by various corporate sponsors and individual donors, the Singapore Symphony Orchestra is a not-for-profit company limited by guarantee and registered under the Charities Order.
Singapore Symphony orchestra
www.sso.org.sg