SNYO Pre-tour Concert - Journey of Friendship

6 December 2018 Esplanade Concert Hall

6 December 2018, Thursday Guest-of-Honour Prof Chan Heng Chee Chairman, National Arts Council Ambassador-at-Large, Ministry of Foreign Affairs

SNYO PRE-TOUR CONCERT JOURNEY OF FRIENDSHIP Singapore National Youth Orchestra Peter Stark, conductor Pacho Flores, trumpet LEE JIA YI

Bloom for orchestra 5’ (SNYO Commission, World Premiere)

ALEXANDER ARUTIUNIAN

Trumpet Concerto 17’

Pacho Flores, trumpet

Intermission 20’

EDWARD ELGAR

Enigma Variations, Op. 36

31’

Concert duration: 1 hr 30 mins Non-flash photography is allowed for this concert only during curtain calls.

Use the hashtag #SNYO when you share the photos on your social media!

S ING 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 schoolbased 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 will include 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.

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. Whilst having performed with a number of the world’s leading ensembles such as the London Symphony Orchestra, The Hallé, Bournemouth Symphony Orchestra, English Chamber Orchestra, 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.

A 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.

Peter is Professor of Conducting at London’s Royal College of Music and has taught nearly six hundred private students. His acclaimed courses in conducting have taken him all over the world and his reputation as a teacher is renowned. In the last two years, he has given masterclasses in conducting at the China Conservatory Beijing, the Shanghai Conservatory, and the State Conservatory in St Petersburg. In 2019, he takes up an appointment as Special Term Professor to the Zhejiang Conservatory in Hangzhou, China.

In addition to Peter’s work at the Royal College of Music in London, his career has focused on the training of young orchestras. He is Rehearsal Director of the European Union Youth Orchestra, has been Principal Conductor of the Hertfordshire County Youth Orchestra since 1994. In 2017, he was appointed Principal Conductor of the Arabian Youth Orchestra in Dubai and in the following year, he was appointed as the Singapore National Youth Orchestra’s first-ever Principal Guest Conductor. Between 1985 and 2010, Peter was Conductor-in-Residence to the National Youth Orchestra of Great Britain.

Peter is honoured to have had the privilege of assisting many of the world’s finest conductors including Pierre Boulez, Sir Colin Davis, Bernard Haitink, Lord Menuhin, Sir Roger Norrington and Klaus Tennstedt. His numerous awards include the Tagore Gold Medal from the Royal College of Music and Honorary Doctor of Music from the University of the West of England in recognition of his outstanding contribution to music.

PAC HO F L OR E S trumpet

Francisco “Pacho” Flores is a first-prize winner of the Maurice André International Competition, the world’s most important trumpet contest, as well as the first prize at the International Competition “Philip Jones” and First Prize at the International Competition “Citta di Porcia”.

A product of the ground-breaking Venezuelan System of Youth and Children Orchestras (El Sistema), he is becoming increasingly recognised for his outstanding performing and recording activity that spans the solo, chamber, and orchestral media. Equally at home in the classical and folk styles, Pacho captivates audiences with his energetic delivery and colourful tone.

His solo performances include appearances with orchestras such as Kiev Philharmonic, St. Petersburg Camerata, Ensemble Orchestra de Paris, Simón Bolívar Orchestra of Venezuela, among others. In recital, he has performed in venues such as the New York Carnegie Hall, the Paris Salle Pleyel and the Tokyo Opera City.

A founding member of the Venezuelan Simón Bolívar Brass Quintet, Pacho has also played first trumpet in the Simón Bolívar Orchestra of Venezuela, the Saito Kinen Orchestra, and the Miami Symphony, under the direction of Claudio Abbado, Sir Simon Rattle, Seiji Ozawa, Giusseppe Sinopoli, Rafael Frübeck de Burgos, and Gustavo Dudamel, among others.

A founding director of the Latin American Trumpet Academy in Venezuela, he mentors a promising generation of budding musicians and is a frequent guest at conservatories in Europe, Japan, and Latin America as permanent jury member in prestigious international competitions.

Pacho Flores is an avid champion of new music and is bringing about important innovations to trumpet performance and fabrication. His repertoire includes works by composers such as Roger Boutry, Efraín Oscher, Giancarlo Castro, Santiago Báez, Juan Carlos Nuñez and Sergio Bernal.

A Stomvi artist, he performs with instruments tailored specially for him by this prestigious firm and actively participates in the development and innovation of their instruments.

Francisco “Pacho” Flores recently became an exclusive artist with Deutsche Grammophon and will produce with this leading label a series of recordings that represent his rich and varied musical interests.

L E E JI A Y I composer

Lee Jia Yi (b. 1996) is a Singaporean composer currently pursuing her Bachelor of Music degree at the Yong Siew Toh Conservatory of Music under a full scholarship. She is a fourth-year composition student studying with A/P Ho Chee Kong. Earlier this year, she completed an exchange semester at Peabody Institute.

Jia Yi’s music often combines extended instrumental techniques with atonal textures, with an emphasis on structure. She is also interested in the idea of timbre and indeterminacy in music. Her compositions have been performed both locally and internationally, in Vietnam, Italy, Croatia and the United States; she has also worked with Ensemble MultilatÊrale (Paris), Trio SurPlus (Freiburg) and Ensemble Phoenix (Basel).

Jia Yi also plays the trumpet and was a member of the Singapore National Youth Orchestra from 2014-2016.

SSO GALA RAY CHEN 15 MARCH 2019 Esplanade Concert Hall Borodin Overture to Prince Igor Prokofiev Violin Concerto No. 2 in G minor, Op. 63 Tchaikovsky Symphony No. 5 in E minor, Op. 64 Andrew Litton, conductor Ray Chen, violin Singapore Symphony Orchestra with the Singapore National Youth Orchestra Tickets from $25

SN YO MU S IC I A N S JOSHUA TAN Principal Conductor LIN JUAN Assistant Conductor PETER STARK Principal Guest Conductor

FIRST VIOLIN Alyssa Goh Hui Yi Concertmaster Ethan Wong Yii Concertmaster Neville Athenasius Ang Xin Chun* Dominique Braam Joanne Chan Wai Mun Joelle Chiam Yan Lin Ethan Chong Gin Leen Katherine Anne Lau Enqi Jalen Ng Soh Yi Han Ezekiel Tan Xin An Sarah Wong Ee Min Yeong Jun Kai SECOND VIOLIN Monica Toh Song Fen Principal Gwee Kang Ting Ashley Hsu Shien Sean Jang Woosung Ian Lai Ming-Ren Megan Law Zhiyi Megan Lim Pei Xuan Napin Limcharoen Alexandra Loh Wei Ling Shi Fangxin Sun Xiaoqing Reina Teo Wei En

VIOLA Ng Tze Yang Principal Timothy Cher Zhi Xian Calvin Dai Siyang Andre Hee Shao Jun Natalie Hee Shao Jing Elizabeth Ip Xin En Linnea Lei Ng Johansson Lee Soohyurn Kristabelle Loke Shan Yuan CELLO Chloe Chen Jiaen Principal Chen Youjia Chew Hanlin Choon Hong Tzin Esther Chung Xin Yue Goh Jue Shao Koh Xuan Wen Li Ziyi Isaac Tah Shern U Joanne Wong Wei Yin DOUBLE BASS Charis Hadjisophocleous Principal Damien Chew Magdalene Gan Shu Yi* Mark Lee Zhi Ying Gerard Ng Kaitlyn Wong Ying Jie FLUTE Janelle Yuen Feng Min Principal Natasha Lee Yu Xian Julien Quek Jun Hao

PICCOLO Natasha Lee Yu Xian Julien Quek Jun Hao OBOE Quek Jun Rui Principal Jasper Goh Jing Zhong Joy Liu Tongrui Zhou Xinru CLARINET Jin Mei Xuan Principal Tian Mengxi BASSOON Shi Jiaao Principal Jove Fong Yi Liang Rachel Ng Wei Ting

BASS TROMBONE Syed Mirza Bin Syed Mohamed Alkhairid TUBA Jordan Tan Jing Han TIMPANI Amos Choo Xu Ze Kevin Tan Han Ming PERCUSSION Chloe Lim Miranda Vareck Ng Ho Wei Tristan Seow Irza Ahsan Pramana HARP Chloe Liow Yi Yin

CONTRABASSOON Rachel Ng Wei Ting

ORGAN Isaac Lee Kian Beng+

HORN Jaben Sim Yun Heng Principal Marcus Kwek Yu Rong*+ Petrola Sean Lloyd Biescas Linnet Sim Yun Juan

* SNYO Alumni + Guest Musician

TRUMPET Foong Jun Yu Principal Himari Ang Lixin Shi Ruixin TROMBONE Toh Chang Hui Principal Reema Chatterjee

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 Anderson Junior College Ang Mo Kio 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) Balestier Hill Primary School Canberra Primary School Catholic High School Catholic Junior College CHIJ (Katong) Primary CHIJ (Kellock) CHIJ St. Joseph’s Convent CHIJ St. Nicholas Girls’ School (Secondary) Chung Cheng High School (Main) Crescent Girls’ School Dunman High School Evergreen Secondary School Fairfield Methodist School (Primary) Fairfield Methodist School (Secondary) Fuchun Primary School German European School Singapore Geylang Methodist School (Secondary) Henry Park Primary School Hwa Chong Institution Jurong Secondary School Kong Hwa School Lakeside Primary School Maris Stella High School Meridian Junior College Meridian Secondary 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 Nanyang Primary School Nanyang Technological University National University of Singapore Ngee Ann Polytechnic Ngee Ann Primary School Ngee Ann Secondary School NUS High School of Mathematics and Science Paya Lebar Methodist Girls’ School (Primary) 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 St. Joseph’s Institution International St. Stephen’s School Tanjong Katong Girls’ School Tanjong Katong Secondary School Tao Nan School Temasek Junior College Temasek Primary School United World College of South East Asia Victoria Junior College Victoria School Whitley Secondary School Yishun Junior College Yishun Primary School Yishun Secondary School Yu Neng Primary School

B LOOM F OR OR C HE S T R A

5’

Bloom explores the growth of a single sound as it develops and expands into various harmonies, textures and eventually a chaotic mass of sound. This process is depicted through several perspectives; from the overall structure of the piece to each individual gesture. The loudest and most chaotic section of the piece uses some form of indeterminacy, in which performers are required to repeat short gestures of sound, yet deliberately not aligned with each other. This creates a huge mass of sound and texture, as though many different sounds are heard at once.

Hence, each performance of the piece will be unique.

This piece was inspired by my fascination of combining different instrumental timbres and exploring the development of sound. The chaotic section is influenced

by Lutosławski’s Symphony No. 4, and attempts to emulate my experience of being in a rehearsal space where musicians are warming up; you hear different phrases repeated at their own pace which are completely contrasting, and yet they are somehow able to coexist with each other.

Programme note by Lee Jia Yi

T R UMP E T C ONC E R TO 17 ’

Alexander Grigorevich Arutiunian Born on 23 September 1920 (Yerevan, Armenia) Died on 28 March 2012 (Yerevan, Armenia)

Instrumentation Solo trumpet, 2 flutes (second doubles piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, 1 tuba, timpani, percussion (triangle, snare drum, brass drum, cymbals), harp and strings.

About the composer Arutiunian was an Armenian composer and pianist. He was one of the best known composer in the Soviet Union, and was an active figure in the musical scene as an educator, composer and artistic director.

He received numerous awards locally and abroad, such as the State Prize of the USSR in 1949 and the title People’s Artist of Armenia in 1960.

His works reveal strong Armenian folk music influences, as well as the combination of Classical and Romantic music elements. Notable compositions include Motherland (1948), Trumpet Concerto (1950), Sayat-Nova (1967), Armenian Scenes (1984) and Armenia-88 (1988).

Significance of the work Arutiunian’s trumpet concerto is one of his best-loved compositions due to its rich colours, lyricism and dramatic flair. It draws upon Armenian folk music’s rhythmic and melodic characteristics. This concerto is regarded as a standard work in the repertoire of trumpet players.

E NIG M A VA RI AT IONS , OP. 3 6 31’

Edward Elgar Born on 2 June 1857 (Broadheath, England) Died on 23 February 1934 (Worcester, England)

Instrumentation Piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, organ (optional) and strings

About the composer Elgar is an English composer placed highly in late European Romantic music and British music of his time. His works contributed to a remarkable part of the symphonic literature.

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

His notable compositions include Enigma Variations (1898-99), Pomp and Circumstance March in D Major (1901), Cello Concerto in E minor (1919) and more.

Significance of the work This piece is a series of 14 variations on a theme ‘Enigma’, each inspired and nicknamed after a friend or family’s initials. Elgar carried out a series of improvisation on the theme, and the piece was his take on imagining how each of his friends would have written their own variation. Listeners were entertained at guessing the characters portrayed.

Following the premiere of the composition on 19 June 1899, Elgar was brought to national prominence and today, it is one of his most frequently performed pieces.

B LOOM F OR OR C HE S T R A

APPREHENSIVE

The first attack*, played by the horn and harp, acts as a seed for the entire piece from which it will grow and develop throughout the piece. The strings emerge from this initial attack and gradually slide to introduce new pitches. Each time they reach a new pitch, they are supported by attacks by the winds, brass and harp.

VIB

Two masses of sound (one from the winds, one from the brass) overlap. The oscillating line continues; meanwhile, the pizzicato (plucked strings) attacks from the strings and harp trigger the entries of each oscillating line.

All the individual sounds that were introduced before come together for the first time. From this mass of sounds, an oscillating line emerges that is layered and passed along to various instruments in the winds and brass.

* When the notes played are marked with an accent, they are referred to as “attack� due to the articulated nature of the sound expected.

The music gets slightly faster from this point. The oscillating line now develops into waves that alternate in the flutes and clarinets. In the strings, a long line develops from the opening string texture.

Two sound masses overlap again. The oscillating idea previously in the winds and brass are now elongated in the strings, creating a thick texture that seems to be slowly pulsating.

After a while, the attacks separate from their lines; more sound masses from the winds and brass overlap.

CHAOTIC

The string pizzicatos trigger the entries of the winds and brass, which highlight notes from the long line.

FORCEFUL

BRANT

DISSIPATING

Three loud attacks played by the whole orchestra mark the end of the chaotic section.

After each attack, a residual sound is heard: first in the extreme high register and second in the extreme low register. The third attack is extremely short, and what remains is the resonance that echos through the hall.

This section is indeterminate. Each performer is assigned a short gesture of sound to be played repeatedly while avoiding alignment with each other. The result is a huge mass of sound and texture, as though all the sounds are in bloom and fighting over one another.

After the loud attacks, the sounds start to disintegrate and overlap with one another. Fragments from the chaotic section are heard, and the texture gradually thins out; until a single sound similar to the beginning of the piece is heard. Almost abruptly, the piece ends with a loud attack from the orchestra.

Programme note by Lee Jia Yi

T R UMP E T C ONC E R TO An extended single-movement concerto with distinguishable sections ANDANTE MAESTOSO

Opening tremolo in strings pave the way for a cadenzalike entrance on the solo trumpet. This introductory motif is based on the Hungarian Gypsy scale.

ALLEGRO ENERGICO

MENO MOSSO

Second Theme – The clarinet introduces an expressive, lyrical melody. This melody is picked up and developed by the solo trumpet, strings, woodwinds, and horn.

First Theme – The strings play an articulated line, based on the introductory motif. The solo trumpet then introduces the first theme, a free-spirited and energetic melody which is later played by the strings.

Hungarian Gypsy Scale or Double Harmonic Minor Scale

The speed quickens immediately as the first theme reappears on the clarinet. The solo trumpet takes charge and drives the music forward.

TEMPO I

Second theme appears in the horns and the music now tosses the first and second theme motifs between the solo trumpet and orchestra.

The orchestra interlude plays the second theme.

MENO MOSSO

Solo trumpet makes a muted entrance, distinctly changing the tone color. Mellow and beautiful melodies are played in an improvisatory manner by the trumpet. The clarinet solo transitions the music to the next section.

The introductory motif is played quietly in the clarinet, bassoon and cellos, preparing for the next section.

TEMPO I

The articulated introductory theme returns, and is repeated by different sections in the orchestra.

As with the beginning of the movement, the solo trumpet announces the first theme.

CADENZA

The orchestra comes in at the end of the cadenza, quickly bringing the concerto to a rousing close.

The trumpet plays a cadenza, an unaccompanied passage showing off the lyricism and virtuosic capabilities of the instrument with musical ideas from the themes in the concerto.

E NIG M A VA RI AT IONS, OP. 3 6 THEME

I. “C.A.E”

The tune for the theme was derived one evening while Elgar was improvising on the piano. His wife Alice interrupted him in the midst, “Edward, that’s a good tune… Play it again, I like that tune!” she said.

Initials for Elgar’s wife (Caroline) Alice Elgar.

An accomplished writer, Alice was nine years o Elgar. This variation carries on without a pause theme, possibly signifying an attachment betw and his wife.

The rocking triplet motif in oboe and bassoon, acting as a countermelody, is a tune Elgar whistles to Alice when he arrives home.

Theme “B” A new colour emerges as the tonality shifts to its parallel major. The woodwinds introduce a fluid melody played above sustained harmony.

Theme “A” The violins play a sighing wistful melody, the main theme, in response to soft chords planted by the strings.

Variation ends on a sustained G major chord.

Theme “A” returns with a countermelody in the cellos.

Gentle scene emerges with the “B” fluid melody.

Upper strings play the “A” theme in unison with flute and clarinet.

Theme resolves back to the gent scene.

Brasses playing “A” theme join in for a sonorous passionate climax.

older than from the ween Elgar

II. “H.D.S-P”

III. “R.B.T.”

IV. “W.M.B.”

Hew David Steuart-Powell – a famous pianist and chamber musician whom Elgar worked with.

Richard Baxter Townshend – Elgar captures Townshend’s impression of an old man in an amateur theatrics, where his deep voice occasionally raises to a high pitch when excited.

William Meath Baker – Townshend’s brother-in-law who has a tendency to slam doors with a loud bang behind him.

A harried “A” theme is set in the bass line.

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Violins play quick, fragmented chromatic lines that is later taken over by woodwinds.

Clarinets play a smooth ascending triplets motif growing into a blooming climax.

Bassoon plays a climbing oscillating line to the whimsical “A” tune.

Bassoon articulates low notes followed by oboe with a playful “A” tune, capturing Townshend’s low to high pitched voice.

Curious ending gesture of pizzicato followed by held chord.

The “A” and “B” themes storms in an articulated and forceful manner.

The stormy “A” theme returns.

The oboe plays a brisk “A” tune.

V. “R.P.A.”

VI. “YSOBEL”

VII. ”TROYTE”

Richard Penrose Arnold – friend of Elgar and a self-taught pianist. A likeable and talented man. Son of poet Matthew Arnold. The “chirpy” tune heard in this variation is recognised as Arnold’s laughter.

Isabel Fitton – Elgar’s pupil who played the viola.

Troyte Griffith – The music represents Elgar’s failed attempt to teach his friend, an architect, how to play the piano.

The flute plays a ripple-like “B” theme followed by a chirpy tune in the woodwinds.

Pensive melody with “A” theme returns.

Violins play a pensive melody while the “A” theme is heard in the bassoon and low strings.

“Chirpy” tune returns.

Pensive melody returns for the last time and fades away.

A luscious “B” theme is played by strings.

Winifred No the County Orchestra A depicts the landscape

Bassoons take the lead on the “B” theme.

Arpeggio flourishes in the clarinet accompany a longing viola solo.

Violas open with a motif that features a large leap. The bassoon accompaniment in thirds is based on the “A” theme.

Rising melod based on “A” theme is introduced b woodwinds.

Viola motif ends the movement.

Violins play frantic cascading lines.

Wide intervals are hammered on timpani followed by an exciting entrance of “B” theme.

VIII. “W.N.”

IX. “NIMROD”

orbury – secretary of of Worcester Choral and ssociation. The music peaceful and picturesque of her home in Sherridge.

The rising melody is now embellished by an oboe trill making it sound like laughter.

Nickname for August Johannes Jaeger – ‘Jaeger’ is German or ‘hunter’, and the biblical Nimrod is a great hunter. Jaeger is a close friend who is both a strong supporter and constructive critic to Elgar’s works.

The winds weaves in and the orchestra gradually builds up in volume before fading away.

dy y Rising melody is taken on by the woodwinds and strings.

The whole orchestra plays in this intense stirring climax.

Violins introduce a soulful melody based on “A” theme.

The music fades to a quiet close.

Powerful sustained notes in the brass is pitted against impassioned melody in the strings.

X. “DORABELLA” Dora Penny – a friend whose stutter is playfully imitated in the variation.

Solo viola plays a melody that later joined by the section and clarinets.

The “stutter” section returns.

New theme appears in strings with ascending scales and chromatic lines.

Light trills in violins and staccato notes in the woodwinds parody Dora’s stutters,

XI. “G.R.S.” George Robert Sinclair – depicts his bulldog Dan’s active escapade.

XII. ”B.G.N.” Basil Nevinson – a cellist whom Elgar occasionally visits to play chamber music with.

Violas join the cellos.

Starts with solo cello followed by an expressive melody based on “A” theme in the cellos.

“B” theme appears briefly as counterpoint to “A” theme.

Ends with solo cello.

The asterisks tak initials “L.M.L.” fo who was on a se of composition. of a local compo 1896 and a mem Worcestershire Ph

Clarinet plays a from Mendelssoh Calm Sea and Prosperous Voya

Light-hearted dialogue between strings and upper woodwinds.

Dan’s rejoicing “bark” on the timpani as he gets back on the river bank.

The “A” and “B” themes changes character to depict the dog’s energetic paddling in the water.

Scrambling falling lines in strings depicts Dan falling into the River Wye.

Orchestra p undulating l gently rockin the sea.

XIII. “***”

XIV. “E.D.U.”

ke place of the or Lady Mary Lygon ea voyage at the time She was the funder osition competition in mber of the Philharmonic Society.

phrase hn’s

age.

‘Edoo’ – Alice’s pet name for Elgar. This finale includes the themes the two variations from Alice (I. C.A.E.) and Jaeger (IX. Nimrod), signifying the importance he held towards the two figures in his life.

The original version of this variation was much shorter. An extension was written upon Jaeger’s urge.

Whistle tune from C.A.E. in the oboe and bassoon.

Clarinet solo returns.

Dialogue returns.

plays an line, like a ng motion of

Gentle scape from C.A.E. “A” theme turns triumphant as played by brasses.

Nimrod theme played in a grand, march-like style.

Tutti orchestra plays with excitement and drama, tossing about the various themes.

The pipe organ joins in at the conclusion, leading the piece to a grand, blazing end.

Programme notes by SNYO horn player Linnet Sim

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 Mr Hoo Cher Liek Senior Specialist, Music The Singapore National Youth Orchestra wishes to thank Prof Chan Heng Chee for gracing the SNYO concert as Guest-of-Honour National Arts Council Temasek Foundation Nurtures Tan Chin Tuan Foundation Ms Wang Siao Hua for the donation of her double bass to the SNYO Tutors of the Singapore National Youth Orchestra Parents of the Singapore National Youth Orchestra members Principals of the participating schools

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VI DEO GAMES CL ASSICS THE IRISH QUEEN OF GAMES MUSIC 5 April 2019 Esplanade Concert Hall Behold! The SSO presents the Irish Queen of Games Music, Eímear Noone, in a grand musical party of Video Games Classics! The award-winning composer and conductor, responsible for such fan favourites as “Malach” from World of Warcraft, will be joined by the Singapore Symphony Youth Choir in a journey of fantastic tunes from the rich worlds of World of Warcraft, The Legend of Zelda, Skyrim, Final Fantasy and Tetris. When past and present collide, the fate of all worlds hangs in the balance.

Eímear Noone, conductor Victoria Songwei Li, soprano Jade Tan, mezzo-soprano Singapore Symphony Youth Choir Wong Lai Foon, choirmaster Tickets from $28

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SNYO Goes On Tour Joshua Tan conductor Pacho Flores trumpet Lee Jia Yi Bloom for orchestra (SNYO Commission) Arutiunian Trumpet Concerto Elgar Enigma Variations , Op. 36

GUANGZHOU 23 December 2018, 3pm Xinghai Concert Hall

HONG KONG

26 December 2018, 7.45pm Hong Kong Cultural Centre Concert Hall

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