Miracle of Music - Celebrating Bach II

M I RAC L E OF M U S I C CELEBRATING BACH II 26 F E B R UAR Y 2021 WAT C H T HE ST REAM O N L IN E ON SISTIC LIVE

THE TROUT QUINTET FRI 5 MAR 2021 7.30PM SAT 6 MAR 2021 4PM & 7.30PM VICTORIA CONCERT HALL

ANDREW LITTON PIANO MUSICIANS OF THE SSO

SSO Principal Guest Conductor Andrew Litton is famed as much for his skills at the piano as well as with the conductor’s baton.

Together with SSO musicians, he presents the contemplative beauty of Mahler’s only surviving chamber work, his one-movement Piano Quartet, and the joyous artistry of Schubert’s celebrated Trout Quintet.

MAHLER PIANO QUARTET IN A MINOR SCHUBERT PIANO QUINTET IN A MAJOR, D.667 “TROUT”

TICKETS FROM $28

MIR A CLE OF M U SI C CELEBRATING BACH II 26 Feb 2021, 8pm (Online premiere on SISTIC Live) Viewable from 26 Feb to 12 Mar 2021 with valid tickets.

Singapore Symphony Orchestra Joshua Tan Associate Conductor Chan Yoong-Han1 violin Kong Zhao Hui2 violin

J .S . B ACH

Violin Concerto in A minor, BWV 10411

15 mins

J .S . B ACH

Violin Concerto in E major, BWV 10422

19 mins

T ELEM AN N

Don Quixote Suite

17 mins Concert Duration: 1 hr

This concert was recorded at Victoria Concert Hall on 4 Dec 2020.

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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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A versatile conductor, Joshua is at home with both symphonic and operatic works. His substantial repertoire for opera includes La Traviata, Rigoletto, Der Fliegende Holländer, Lohengrin, Carmen, Don Giovanni, Madama Butterfly, Così fan tutte, and Turandot, among others. He has also served as cover conductor for Christoph Eschenbach and Lorin Maazel. He is also equally adept with ballet productions and music for film/ multimedia.

J O S H U A T AN Associate Conductor

Joshua is presently Associate Conductor of the Singapore Symphony Orchestra, Principal Conductor of the Singapore National Youth Orchestra and Director of the Asia Virtuosi. He has served successful stints as Resident Conductor of the National Centre for the Performing Arts (China) Orchestra, and as Principal Conductor of the Guiyang Symphony Orchestra.

Second Prize-winner of the 2008 Dimitri Mitropoulos International Competition, Singaporean conductor Joshua Kangming Tan’s rise to prominence on the international scene has been marked by successful debuts in Carnegie Hall, Philharmonie Berlin, Mariinsky Hall and Bunkamura.

A graduate of The Juilliard School and the Eastman School of Music (High Distinction), he is an awardee of numerous scholarships and awards, such as the Young Artist Award, Singapore (2011), Bruno Walter Memorial Foundation Award, NAC-Shell Scholarship, and the SSO/MOE Scholarship.

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MI RA CLE O F M U SIC - C EL EBR ATING BAC H II | 26 F E B 2021

Joshua has conducted orchestras all around the world. These orchestras include the Mariinsky Theatre Orchestra, Beethoven Bonn Orchestra, Tokyo Philharmonic Orchestra, National Taiwan Symphony Orchestra, Hong Kong Philharmonic, Sydney Symphony Orchestra, amongst others. He has studied with various eminent conductors such as James DePreist, Charles Dutoit, David Zinman and Kurt Masur.

M IR AC L E OF M U SIC - C EL EBR ATING BAC H II | 2 6 FE B 2 0 2 1

© ALAN LIM

in concertos by Dvořák, Lalo, Berg, John Williams, Mozart, Martinů, Lutosławski, Wieniawski and Sibelius. He was invited to perform as soloist in the 2003 SSO President’s Young Performers Concert as well as the 1999 President’s Charity Concert.

C HA N Y O O N G -H AN violin Chan Yoong-Han is currently the Fixed Chair first violinist in the Singapore Symphony Orchestra. A graduate of Rice University and the University of Massachussetts in Amherst, his principal teachers include Chan Yong Shing, Beryl Kimber, Sergiu Luca, Charles Treger, David Cerone, Kurt Sassmannshaus and Dorothy Delay.

As concertmaster he has led the Singapore Symphony Orchestra, Singapore Festival Orchestra (SFO), Metropolitan Festival Orchestra (MFO), Orchestra of the MusicMakers (OMM) and The Philharmonic Orchestra (TPO). As part of Singapore’s Golden Jubilee celebrations in 2015, YoongHan was concertmaster of the MFO for the Sing50 concert in the National Stadium, as well as concertmaster of the OMM in its performance of Mahler’s Eighth Symphony.

Yoong-Han has participated and performed in the Aspen Music Festival, Singapore Arts Festival, Adelaide Bach Festival, The Singapore Encore (Brussels) and Cascade Head Music Festival, amongst others. YoongHan is also a violist in the Take5 Piano Quintet Series since 2007.

Yoong-Han has performed solo with the Singapore Symphony Orchestra, Szeged Symphony of Hungary, Singapore Chinese Orchestra, Singapore Youth Orchestra, Orchestra of the Music Makers, SAF Chinese Orchestra and Braddell Heights Symphony

In Singapore Yoong-Han is the recipient of the 2000 Shell-NAC Arts Scholarship and the 2004 NAC Young Artist Award. He is also a member of the Board of re:SOUND Collective.

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MI RA CLE O F M U SIC - C EL EBR ATING BAC H II | 26 F E B 2021

K O N G Z H AO H U I violin Kong Zhao Hui began learning the violin at the age of five, with his father Kong Guangtian. At the age of 11, he was admitted to the Central Conservatory of Music in Beijing and studied with Wang Zhenshan and Sui Keqiang. He also worked with violin masters including Yehudi Menuhin, Isaac Stern and Yfrah Neaman.

In 1984, Kong graduated with distinction from the Central Conservatory of Music, where he stayed on to teach. He went on to become the concertmaster of the Beijing Concert Hall Philharmonic Chamber Orchestra and guest concertmaster of the China Broadcasting Symphony Orchestra.

In 1987, Kong was invited to perform in the First International Music Festival of Macao, where he played The Butterfly Lovers Violin Concerto to great acclaim. To date, Kong has performed this work in over a hundred well-received concerts.

Orchestra, Queensland Youth Orchestra, Macao Orchestra, Macao Chinese Orchestra, Taipei Symphony Orchestra, Taipei Chinese Orchestra, Evergreen Symphony Orchestra, The Presidential Symphony Orchestra of Turkey and the Orchestre Symphonique de Bretagne.

A passionate and virtuosic violinist, Kong is currently Associate Concertmaster of the Singapore Symphony Orchestra and guest concertmaster of the Shenzhen Symphony Orchestra. He 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, and a 1750 Nicolò Gagliano, on generous loan from the Rin Collection.

As a soloist, Kong has toured Asia, Europe and Australia and has performed with the Central Philharmonic, China National Symphony, China Philharmonic, National Ballet of China Symphony, as well as many other Symphony Orchestras and Chinese Orchestras in China; Singapore Chinese Orchestra, Malaysian Philharmonic Youth 7

SECO N D VIOL IN

T HE ORC HE S T R A

Michael Loh Associate Principal Nikolai Koval* Hai-Won Kwok Chikako Sasaki* Margit Saur Shao Tao Tao Wu Man Yun* Xu Jue Yi* Yeo Teow Meng Yin Shu Zhan* Zhao Tian*

HANS GRAF Chief Conductor JOSHUA TAN Associate Conductor ANDREW LITTON Principal Guest Conductor

VIO LA

CHOO HOEY Conductor Emeritus

Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Janice Tsai Wang Dandan Yang Shi Li

LAN SHUI Conductor Laureate EUDENICE PALARUAN Choral Director WONG LAI FOON Choirmaster

CELL O Ng Pei-Sian Principal, The HEAD Foundation Chair Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Jamshid Saydikarimov* Song Woon Teng Wang Yan Wang Zihao* Wu Dai Dai Zhao Yu Er

FIRS T VI OL I N (position vacant) Concertmaster, GK Goh Chair Kong Zhao Hui# Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Jin Li Kong Xianlong Cindy Lee Karen Tan William Tan Wei Zhe Ye Lin* Zhang Si Jing*

D O U B LE BAS S Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka Wang Xu

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FLUTE

TR U M P ET

Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan

Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Sergey Tyuteykin

PICCOLO

TR O M B O N E

Roberto Alvarez Assistant Principal

Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo

B A SS T R O MBONE Wang Wei Assistant Principal TU B A

COR ANG L AI S

Tomoki Natsume Principal

Elaine Yeo Associate Principal TIM P A N I CLARINE T

Christian Schiøler Principal Jonathan Fox Associate Principal

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

P ER CU SSIO N

Tang Xiao Ping Assistant Principal

Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh

BAS S OON

H A RP

Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue

Gulnara Mashurova Principal

BAS S CL AR I NE T

CONTRABAS S OON Zhao Ying Xue Assistant Principal HORN Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Hoang Van Hoc

* With deep appreciation to the Rin Collection for their generous loan of string instruments. # Kong Zhao Hui 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.

Musicians listed alphabetically by family name rotate their seats on a per programme basis.

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M IR AC L E OF M U SIC - C EL EBR ATING BAC H II | 2 6 FE B 2 0 2 1

Musicians MI R A CLE O F MUS IC - CE L E BRA T I NG BA CH I I | 2 6 F EB 2 021

CONDUCTOR Joshua Tan VIOLIN SOLOISTS Chan Yoong-Han Kong Zhao Hui FIRST VIOLIN Cindy Lee Acting Concertmaster Cao Can William Tan SECOND VIOLIN Chikako Sasaki Zhao Tian Margit Saur VIOLA Zhang Manchin Yang Shi Li CELLO Wang Yan DOUBLE BASS Wang Xu HARPSICHORD Shane Thio^

^ Guest musician 10

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M IR AC L E OF M U SIC - C EL EBR ATING BAC H II | 2 6 FE B 2 0 2 1

From the first notes to their last, Bach’s two solo violin concertos brim with the finest music of the Baroque era. Clocking in at less than 20 minutes each, these works have enraptured and inspired generations of musicians and music-lovers. And yet, no one knows why, when or even where Bach wrote them. It is widely believed that they were likely written between 1717 to 1723, when Bach was in the employment of Leopold, Prince of Anhalt-Köthen and served as his Kapellmeister, managing the prince’s orchestra and writing music for the court.

Portrait of J.S. Bach at the organ, 1725.

JOHANN SEBASTIAN BACH (1685–1750) Violin Concerto in A minor, BWV 1041 I II III

[Allegro] Andante Allegro assai

The only surviving manuscript of the A minor concerto dates from 1730, when Bach was director of the collegium musicum, or music society, of Leipzig. The society met for weekly two-hour concerts at the Zimmermannsches Kaffeehaus (Zimmermann Coffee House), presenting an array of opera, chamber music, secular cantatas (including Bach’s famous Coffee Cantata) and orchestral works, to as many as 150 attendees each session. As you can imagine, coffee sales were so good that Zimmermann did not charge the society or attendees for concerts.

The concerto’s style owes much to the lively flair and energy of Vivaldi. Bach was a huge admirer of his Italian contemporary, and when he got his hands on the Red Priest’s scores, he spent countless hours studying them assiduously, through years of copying and transcribing them into other keys or instruments. Although Bach never once travelled out of his home country of Germany, his genius easily assimilated and then innovated upon this Italian wellspring of music. The result is simply the foundation of modern concertos, which these paragons of the Baroque laid out for posterity.

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I II III

Allegro Adagio Allegro assai

The three notes of the E major triad opening Bach’s BWV 1042 is as simple as it is effective, giving rise to a joyous Allegro in celebration of this sunlit key. Two interludes in the minor provide a thoughtfully piquant contrast – with the second one, the soloist leaves behind the orchestra and soars to an intoxicating height, almost inviting a cadenza, but instead plunges us back to earthly joy with the opening theme.

In the slow movement, most of the orchestra fades away after completing its introduction, at one point leaving the solo violin alone with only the violas. This melancholy Andante is a fine example of the depth of feeling Bach could evoke, rivalling any Romantic composer.

The following Adagio is distinguished by the freely rhapsodic line of the solo violin, spinning a song of sorrow over the repeated ostinato of the orchestra.

The finale leaps into a gigue, breathlessly gathering pace and urgency in its dance. It is notable for its use of bariolage, a string technique involving rapid alternation of notes between adjacent strings, creating a streaking melody anchored around a repeating note on an open string. Another well-known example by Bach comes from his solo violin Partita No. 3.

The final Allegro assai is another example of ritornello, but this time, Bach brings back the repeating orchestral passage in its exact form, 16 bars worth, five times in total. The soloist’s intervening displays of virtuosity are also 16 bars long, except the final instance – twice the length to explore a harmonically different swath of music. Barely three minutes have passed before the final refrain brings the concerto to a felicitous close.

Instrumentation Strings with harpsichord continuo

Instrumentation Strings with harpsichord continuo

First performed by SSO 13 Mar 2004

First performed by SSO 21 Sep 1979 17

MI RA CLE O F M U SIC - C EL EBR ATING BAC H II | 26 F E B 2021

JOHANN SEBASTIAN BACH Violin Concerto in E major, BWV 1042

The structure of each movement is the ritornello (Italian for “little return”), in which an orchestral passage recurs throughout, intersecting the solo violin. One would expect the orchestra and soloist to quote each other’s material, but unusually, the ritornello that the orchestra begins with is not taken up by the solo violin. Instead, it takes off on a completely different tack.

Each orchestral refrain is continually embellished by the soloist, who in turn extracts material from the ritornello for its own part. The result is a coruscating interchange creating unity within variety.

M IR AC L E OF M U SIC - C EL EBR ATING BAC H II | 2 6 FE B 2 0 2 1

And, that is all we have, for sure, of Bach’s concertos for solo violin. He is believed to have written more which remain undiscovered. Bach did leave behind a large number of harpsichord concertos, BWVs 1052 – 1059, whose manuscripts are dated to around the late 1730s. It is widely believed that these are transcriptions of earlier concertos. BWV 1054 in D major, for example, is this E major violin concerto which he later transcribed and transposed down a tone.

transcribing the harpsichord concertos “back” into what might be their original forms for various instruments. The “retrotranscribed” Violin Concerto in D minor, BWV 1052, for example, is every bit as impressive as the A minor and E major concertos.

The prospect of what else Bach could have written truly boggles the mind. “He completely understood the possibilities of all stringed instruments,” wrote his son, Carl Philipp Emanuel Bach. That we have these timeless musical treasures to play and hear today is truly an immeasurable gift. They are, like their composer, miracles of music.

Advocates of the period performance movement have spent much effort

GEORG PHILIPP TELEMANN (1681–1767) Don Quixote Suite (Ouverture-Suite, TWV 55:G10 “Burlesque de Quixotte”, c.1761) Telemann was no less an icon of Baroque music than J.S. Bach. He was a self-thought, prolific composer of every genre, influential through the late Baroque into the early Classical era. Although four years Bach’s senior, when Telemann died in 1767, Haydn was 35 and Mozart, 11. He was in fact the founder of the Leipzig Collegium Musicum whose directorship Bach later inherited. Bach’s son, Carl Philipp Emanuel, was so named in honour of his godfather, Telemann.

Already in his eighties, near the end of his life, Telemann wrote two works based on Cervantes’ classic novel, Don Quixote: a serenata (or very light “opera”), Don Quichotte auf der Hochzeit des Comacho, and a Burlesque de Quixotte, a comically light-hearted suite of orchestral snapshots.

Hand-coloured aquatint of Telemann, 1750.

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2. Awakening of Don Quixote Swaying gently like a reverse lullaby, the undulating motif in the violins seems to imitate the snoring rhythms of the sleeping Don Quixote.

3. Attack on the Windmills With thrusting octave leaps, the orchestra frantically depicts the knight’s heroic attempts to battle his imagined giants.

4. Sighs of Love from Princess Dulcinea A yearning, two-note motif continually whispers the sighs of love Don Quixote has for his imaginary mistress, who is in fact just a farm girl.

5. Sancho Panza Mocked / Sancho Panza Tossed on a Blanket Do you hear the upwards “throwing” motif? That’s Sancho Panza, Don Quixote’s long-suffering servant, being tossed on a blanket as punishment after his master leaves an inn without paying for his stay.

6. Rosinante’s Gallop / Sancho Panza’s Donkey A portrait of Don Quixote’s old horse, Rosinante and Sancho Panza’s Donkey, in the form of two confident equestrian menuets framing the donkey’s more hesitant trio.

7. Don Quixote at Rest This exciting finale is not quite what is expected from the title: Don Quixote has returned to his dreams of future adventures.

Programme notes by Chia Han-Leon

Instrumentation Strings with harpsichord continuo First performed by SSO 12 Mar 1993 19

MI RA CLE O F M U SIC - C EL EBR ATING BAC H II | 26 F E B 2021

1. Overture The Suite opens with a grand Overture in French style, perfumed with genteel dotted rhythms, interrupted by the comic interjections of Sancho Panza’s donkey.

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BOA R D OF D IREC 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

S S O M U S I C I A N S’ C O M M I T T E E Mr Jamie Hersch Mr Ng Pei-Sian Mr Mark Suter Mr Christoph Wichert Ms Elaine Yeo Mr Yeo Teow Meng

Prof Cham Tao Soon (Honorary Chair) Mr Alan Chan (Chair) Mrs Odile Benjamin Prof Chan Heng Chee Mr Choo Chiau Beng Dr Geh Min Mr Goh Geok Khim Mr Khoo Boon Hui Prof Tommy Koh Ms Lim Mei Mr JY Pillay Dr Stephen Riady Ms Priscylla Shaw Prof Gralf Sieghold Mr Andreas Sohmen-Pao Prof Bernard Tan Dr Tan Chin Nam Ms Tan Choo Leng Mr Tan Soo Nan Mr Wee Ee Cheong S S O L A D I E S’ L E A G U E Mrs Odile Benjamin (Chair) Mrs Kwan Lui (Deputy Chair) Mrs Celeste Basapa 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

SIN G A P OR E S Y MP HO N Y G ROUP M A N AG E ME N T

CHIEF E XECUTIVE OFFICER Mr Chng Hak-Peng

ARTISTIC PL ANNING

CEO OFFICE

C O R P O R AT E S E R V I C E S

Mr Hans Sørensen (Head)

Ms Shirin Foo

Ms Lillian Yin (Head)

Programmes (SSO) Ms Kua Li Leng Ms Teo Chew Yen Ms Jodie Chiang

Customer Experience Mr Randy Teo Ms Dacia Cheang Ms Nur Shafiqah bte Othman

Finance, IT & Facilities Mr Rick Ong Mr Alan Ong Ms Goh Hoey Fen Mr Md Zailani bin Md Said

Community Outreach Ms Vanessa Lee Ms Samantha Lim Choral Programmes Ms Regina Lee Ms Whitney Tan

DE VELOPMENT & PA R T N E R S H I P S Corporate Communications Ms Haslina Hassan

Programmes (VCH) Ms Erin Tan Ms Lynnette Chng

Development Ms Chelsea Zhao Ms Nikki Chuang Ms Charmaine Fong

ORCHESTR A MANAGEMENT

MARKE TING C O M M U N I C AT I O N S

Mr Ernest Khoo (Head)

Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Elizabeth Davis Ms Myrtle Lee Ms Jana Loh Ms Hong Shu Hui Ms Sherilyn Lim Ms Melissa Tan

Orchestra Mr Chia Jit Min Ms Karis Ong Concert Operations Ms Kimberly Kwa Ms Chin Rosherna Mr Ramayah Elango Library Mr Lim Lip Hua Ms Wong Yi Wen Mr Avik Chari

D I G I TA L S S O Ms Cindy Lim (Lead) Mr Chia Jit Min (Asst Lead) Mr Chia Han-Leon Mr Hans Sørensen

Human Resources & Administration Mr Desmen Low Ms Melissa Lee Mr Cheah Heng Seng Ms Evelyn Siew Legal Mr Edward Loh S I N G A P O R E N AT I O N A L YOUTH ORCHES TR A Ms Pang Siu Yuin (Head) Ms Tang Ya Yun Ms Tan Sing Yee ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong C O V I D -1 9 R E S P O N S E C O O R D I N AT I O N Ms Lillian Yin (Lead) Mr Rick Ong (Asst Lead)

S UPPOR T E D BY

PATRO N S P ON S OR

MATCHE D BY

M A JO R D ON OR S

Mr & Mrs Goh Yew Lin

S E A S O N PA R TN E R S Official Community Partner

Official Outdoor Media Partner

Official Airline

S EA S O N PATRO NS

Aquilus Pte Ltd

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.