As The Winds Blow

A S TH E WI N DS B L OW 16 JANUARY 2021

ESPLANADE CONCERT HALL

A GIFT TO THE UNIVERSE CELEBRATING BACH III THU 4 FEB 2021 7.30PM ESPLANADE CONCERT HALL

SINGAPORE SYMPHONY ORCHESTRA DARRELL ANG CONDUCTOR CHLOE CHUA VIOLIN YE LIN VIOLIN

Some 200 billion kilometres away in space, Bach’s Brandenburg Concerto No. 2 lies among other earthly sounds and music on the Golden Record, carried by the Voyager space probes since they left Earth in 1977. Bach’s legacy is humanity’s future. Likewise, Singapore’s young shining star of the violin, Chloe Chua. See her live on stage with SSO violinist Ye Lin in the universally loved Double Violin Concerto. A present from a small, distant world, a token of our music, thoughts and feelings – a gift of music to the universe.

BACH BRANDENBURG CONCERTO NO. 2 IN F MAJOR, BWV 1047 CONCERTO IN D MINOR FOR TWO VIOLINS AND ORCHESTRA, BWV 1043 BRANDENBURG CONCERTO NO. 4 IN G MAJOR, BWV 1049

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This concert is dedicated to the late Dr Goh Keng Swee, founding patron of the SSO.

AS THE WIN DS BLO W 16 Jan 2021 Esplanade Concert Hall

Woodwind & Brass Ensemble of the Singapore Symphony Orchestra

PAUL HINDEMITH

Kleine Kammermusik for Five Winds, Op. 24 No. 2

13 mins

MA LC O L M ARN O L D Three Shanties for Wind Quintet, Op. 4

7 mins

B R UCK N E R

Christus Factus Est (arr. Malmstrom)

5 mins

O S K AR B Ö H M E

Brass Sextet in E-flat minor, Op. 30 (arr. Sommerhalder)

G A B R I E L I

Canzona per sonare No. 2

3 mins

G A B R I E L I

Canzona per sonare No. 4

3 mins

MO ZART

The Magic Flute Overture (trans. H. Dutschke)

6 mins

W ILLI AM B Y RD

The Earl of Oxford’s March (arr. Howarth)

3 mins

16 mins

Concert Duration: 1 hr

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, as well as outreach and community performances take place at the 673seat Victoria Concert Hall, the home of the SSO. The orchestra performs over 60 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.

Under the Music Directorship of Lan Shui from 1997 to 2019, 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 The Telegraph. The SSO has also performed in China on multiple occasions.

In the 2020/21 concert season, the SSO welcomes renowned maestro Hans Graf as its Chief Conductor.

Notable SSO releases on the BIS label include a Rachmaninoff series, a “Seascapes” album, three Debussy discs “La Mer”, “Jeux” and “Nocturnes”, 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, Gustavo Dudamel, Vladimir Ashkenazy, Diana Damrau, Martha Argerich, Lang Lang, Yo-Yo Ma, Janine Jansen, Leonidas Kavakos and Gil Shaham.

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

The mission of the Group is to create memorable shared experiences with music.

Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities.

H ANS G RAF Chief Conductor

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T HE WOODW IND A ND BR A S S E N SE MBL E OF T HE S S O JIN TA Principal Flute

JON PAUL DANTE Principal Trumpet

RACHEL WALKER Principal Oboe

DAVID SMITH Associate Principal Trumpet

MA YUE Principal Clarinet

SERGEY TYUTEYKIN Trumpet

LIU CHANG Associate Principal Bassoon

LAU WEN RONG Trumpet

GAO JIAN Associate Principal Horn

ALLEN MEEK Principal Trombone

JAMIE HERSCH Associate Principal Horn

DAMIAN PATTI Associate Principal Trombone

MARC-ANTOINE ROBILLARD Associate Principal Horn

SAMUEL ARMSTRONG Trombone

HOANG VAN HOC Horn

WANG WEI Assistant Principal Bass Trombone

BRYAN CHONG Horn*

TOMOKI NATSUME Principal Tuba

* Musician on temporary contract.

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# H e lp Us P la y O n Mus ic fo r a l l t i m e, th e m us ic of h o p e — During our absence from the concert halls since Circuit Breaker, you welcomed the SSO into your homes as we performed our new digital concerts for you. We are now working hard to put up live concerts in front of a live audience in the coming months. If you miss the SSO, please #HelpUsPlayOn by responding to this appeal.

“I miss the excitement of catching a live concert, online concerts aren’t quite the same…”

More than 700,000 people across Singapore enjoyed SSO concerts for free during Circuit Breaker - that’s seven times the number of people who would normally encounter the SSO in concert in a year

Every digital concert costs $25,000 more than a concert for live audience

“…my biggest heartache was foregoing Beethoven’s Gala Concert this year!”

The SSO is an arts charity and depends on donations and matching grants, which we need to survive. We need your help. Your donation unlocks matching grants that we need to sustain our digital operations. For every dollar donated, we will receive another from the Cultural Matching Fund. So your donation will make twice the difference.

These are challenging times for many, but if you are able to help, please #HelpUsPlayOn and consider making a gift to the SSO. For tax and other patron benefits, please visit www.sso.org.sg/support-us/patron-benefits

Ways You Can Donate: - Visit giving.sg/sso/HelpUsPlayOn or sso.org.sg/donate to make a donation via Credit Card - Scan the QR code in PayLah! or PayNow For more information, please contact: - Ms Nikki Chuang at nikki@sso.org.sg - Ms Charmaine Fong at charmaine.fong@sso.org.sg

AS TH E W INDS BL OW | 16 JAN 2 0 2 1

What is the oldest musical instrument?

While The Flintstones shows cavemen playing dinosaur double basses and tortoise-shell drums, it is far more likely that early man first made music with his voice. The oldest musical instruments found by archaeologists have been flutes of bird bone and mammoth ivory in Germany, some 40,000 years old. Flutes and the wind family, as well as the brass family, work on the same basic principle as the voice – all of these rely on a vibrating column of air, or more precisely, the breath, which is intimately linked with life itself. Who would have thought the vuvuzela had such an ancient family tree?

The Festival of Pan (1648)

by Giovanni Benedetto Castiglione Greek God Pan reclines with a flute in hand

PAUL HINDEMITH (1895–1963) Kleine Kammermusik for Five Winds, Op. 24 No. 2 I II III IV V

Lustig. Mäßig schnell Viertel Walzer. Durchweg sehr leise Ruhig und einfach Schnelle Viertel Sehr lebhaft

The German composer Paul Hindemith, despite being primarily a violinist and violist, seems to have had a fascination with the wind family, and the second set of his eight compositions entitled Kleine Kammermusik (“Little Chamber Music”) Op. 24, is scored for flute, clarinet, oboe, bassoon, and horn.

Unlike the string or brass ensembles, with their rather more homogenous tone, the wind quintet is composed of instruments with very different tones, an effect exploited skillfully by composers.

adventures, ending unexpectedly. The second movement is a waltz, conjuring up images of sinister funfair clowns. The slow third movement is restful and flowing, while the fourth is a brief driven scherzo where each instrument receives a brief cadenza, each linked by an impatient repeated note figure. The finale is sprightly and cheerful, requiring the musicians to keep their cool through the chromaticism, challenging syncopations, and Stravinsky-like ostinatos.

Written in 1922, this whimsical work begins with what feels almost like a march of buffoonish toy soldiers getting into various

Instrumentation flute, oboe, clarinet, bassoon, horn 14

I II III

A S T H E W I N DS BL OW | 16 J A N 2021

MALCOLM ARNOLD (1921–2006) Three Shanties for Wind Quintet, Op. 4 Allegro con brio Allegro semplice Allegro vivace

Perhaps as a playful nod to Britain’s dominance of the seas in the 19th century, the Three Sea Shanties by English composer Malcolm Arnold (1921–2006) showcases three sea “shanties” (songs sung by sailors of merchant navies, accompanying synchronized labour), and spins miniature musical landscapes around each of them with the same quintet as before.

The first movement is based on What do we do with a drunken sailor, with wobbly atonality and unpredictable changes of tempo to show the unsteadiness, and at one point the sailor’s mind seems to wander almost to a Spanish lady named Carmen.

The second movement states the lovely melody Boney was a warrior five times, with the lightest of accompaniments. The finale, based on Johnny come down to Hilo, is an energetic melody passed around each of the instruments, in hypnotic Webern style.

The Battle of Cape Finisterre

by British marine artist William Anderson Instrumentation flute, oboe, clarinet, bassoon, horn

Brass instruments have always had serious associations – heroism, martialness, sombreness, and sacredness. Trumpets, from which all the other brass instruments evolved, were indispensable for adding brilliance to occasions, and are mentioned even in Jewish temple ceremonies. Trumpets of various sorts were carried by Ancient Greek and Roman armies who played them in battles and triumphs, trumpets were part of the funeral processions of the Ancient Romans, silver and gold trumpets accompanied the Egyptian Pharoah Tutankhamun into the tomb, trumpets play the morning Reveille and the solemn Last Post.

The mediæval slide trumpet became the renaissance sackbut, the immediate ancestor of the modern trombone, and the sound of sackbuts (and trombones) was considered especially sombre and noble, bearing associations with death and the afterlife, and according to legend, a trombone will be played by the angel who announce the Final Judgement on the Last Day. 15

AS TH E W INDS BL OW | 16 JAN 2 0 2 1

ANTON BRUCKNER (1824–1896) Christus Factus Est (arr. Malmstrom) The sombre motet Christus factus est

by Austrian composer and organist Anton Bruckner (1824–1896), with its text speaking of the death of Christ, is appropriately fitting played on four trombones, as Bruckner himself often gave prominence to the lower brass instruments in his orchestral compositions. Darkly intense and expressively sorrowful, this piece alternates between meditative passages and dramatic statements.

Instrumentation 3 trombones, bass trombone, tuba

OSKAR BÖHME (1870–1938) Brass Sextet in E-flat minor, Op. 30 (arr. Sommerhalder) I II III IV

Adagio ma non tanto — Allegro molto Scherzo: Allegro vivace Andante cantabile Allegro con spirito

In a lighter mood, the Brass Sextet in E-flat minor, Op. 30, by German composer and trumpeter Oskar Böhme (1870–1938), was written at the height of his career, when he played in the orchestra of the Mariinsky Theatre in St Petersburg, in the last years of the Russian Empire. Böhme, on account of his German heritage, fell victim to Stalin’s Great Terror, despite having been in Russia for over 40 years, suffered internal exile, and died while working on the Turkmenistan Canal. Fortunately, none of that may be felt in his earlier works, mostly for brass ensemble.

begins, ending in sparkling finale. The second, Allegro vivace, sways charmingly with syncopations and convivial spirits, like a German dance. The third, Andante cantabile, takes us where the cold northern wind seems to slow everything down, and the minor key reminds us we are in Russia.

The final Allegro movement, in 6/8 time, returns the genial warmth of the earlier movements, with variations and playful melodies conjuring up images of sparkling evening balls in the glorious days of Tsarist Russia.

This sextet was published in 1911, but may have been written as early as 1906.

The first movement Adagio ma non tanto in sonata form, begins like a German chorale, before the irrepressible bubbliness

Instrumentation horn, 3 trumpets, trombone, tuba 16

The first notable composer for brass ensemble was the Venetian Giovanni Gabrieli (1557–1612), perhaps the flashiest of Venetian composers before Vivaldi. The Venetian style, centred around St Mark’s Cathedral in Venice, was showy and splendid, impressing 17th-century visitors from as far away as Japan.

Gabrieli’s Canzona per sonare 2 and 4, full of contrasts of volume and textures, were likely used as filler accompaniment for processions, church services, and civic occasions.

Instrumentation horn, 2 trumpets, trombone, tuba

WOLFGANG AMADEUS MOZART (1756–1791) The Magic Flute Overture (trans. H. Dutschke) While Mozart’s (1756–1791) last opera The Magic Flute may have had a flute at its heart, the main colour of the overture is provided by the brass instruments, like in so many of Mozart’s works, so it is no wonder that an all-brass transcription of the Overture works very well.

The slowly stately chordal opening, with the horns underlining the dignity and solemnity, gives way to an allegro theme with the instruments merrily chasing each other, reflecting the lightness of the comic elements in the tale. Ascending scale motifs in a call-and-answer format between instruments provide the second theme. The solemn chords return briefly before the fugal chase begins anew as Mozart develops the music in sonata form, and the dizzying whirlwind finally ends in a satisfying series of chords.

Instrumentation 4 horns 17

A S T H E W I N DS BL OW | 16 J A N 2021

GIOVANNI GABRIELI (1557–1612) Canzona per sonare No. 2 & Canzona per sonare No. 4

AS TH E W INDS BL OW | 16 JAN 2 0 2 1

WILLIAM BYRD (1543–1623) The Earl of Oxford’s March (arr. Howarth) Brass ensembles often play music written for other instruments. The Earl of Oxford’s March by William Byrd (1540–1623) is an arrangement of The Marche before the Battell from his 1591 keyboard book My Lady Nevells Book, and is a rare example of programmatic music in Byrd’s output.

Like his peers in the nobility, Oxford was trained for commanding troops in the front lines, so the piece itself is dashing and militaristic, with many passages sounding like trumpet calls or drum beats.

Programme notes by Edward C. Yong

The title is a reference to Edward de Vere (1550–1604), 17th Earl of Oxford, an accomplished courtier poet, musician, generous patron of writers and musicians.

Oxford was a friend of Byrd’s, saving him from financial ruin at least once, and the march may have been composed in his honour, either in response to a specific request or in gratitude for his patronage.

Instrumentation horn, 4 trumpets, 4 trombones, tuba

Manuscript from My Lady Nevells Book by Byrd © British Library

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BOA R D OF D IRE C T ORS & C OMMI T T E E S CHAIR Mr Goh Yew Lin SSO COUNCIL

BOARD OF DIRECTORS Ms Yong Ying-I (Deputy Chair) Mr Ang Chek Meng Mr Chang Chee Pey Mr Chng Hak-Peng Mr Chng Kai Fong Mr Warren Fernandez Prof Arnoud De Meyer Mr Heinrich Grafe Ms Liew Wei Li Mr Sanjiv Misra Mr Paul Tan Dr Kelly Tang Mr Geoffrey Wong Mr Yee Chen Fah NOMINATING AND EXECUTIVE COMMITTEE Mr Goh Yew Lin (Chair) Prof Arnoud De Meyer (Treasurer) Mr Paul Tan Ms Yong Ying-I

HUMAN RESOURCES COMMITTEE Ms Yong Ying-I (Chair) Prof Arnoud De Meyer Mr Yee Chen Fah Dr Kelly Tang INVESTMENT COMMITTEE Mr Geoffrey Wong (Chair) Mr David Goh Mr Sanjiv Misra AUDIT COMMITTEE Mr Yee Chen Fah (Chair) Mr Heinrich Grafe Ms Lim Mei SNYO COMMITTEE Ms Liew Wei Li (Chair) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson

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The mission of the Singapore Symphony Group is to create memorable shared experiences with music.

Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities.

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