DANCES OF PANAMA MUSIC FOR STRINGS 18 & 19 NOV 2021 VICTORIA CONCERT HALL
Thursday & Friday, 16 & 17 December 2021 7.30pm, Esplanade Concert Hall
Donate and book your seats: Donations for seat bookings are at $78, $98, $128, $188, $288, $498 via the concert page Exclusive priority seats available via direct bookings at director_development@sso.org.sg 2.5 times tax deduction for Singapore tax residents
D A N CES O F P ANAM A | 18 & 19 NOV 2021
D ANCES OF PAN AM A MUS I C F O R S TR I N G S 18 & 19 Nov 2021 Victoria Concert Hall Strings of the SSO Carlos Kalmar conductor
S TI LL
Dances of Panama SSO PREMIERE
15 mins
N IELSE N
Suite for Strings
16 mins
S HA W
Entr’acte SSO PREMIERE
11 mins
BRIDGE
Suite for String Orchestra SSO PREMIERE
20 mins Concert Duration: approximately 1 hr 20 mins (with no intermission)
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. In 2021, the SSO clinched third place in the prestigious Orchestra of the Year Award by Gramophone. 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 673-seat 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 second performance at the Berlin Philharmonie. 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 2020, the SSO appointed renowned Austrian conductor Hans Graf as its Chief Conductor. In a time greatly disrupted by COVID-19, the SSO continued to keep music alive and lift spirits up through a multitude of digital concerts and videos, which crossed a million views in six months. The SSO has released more than 50 recordings in its 40-year history, with more than 30 on the BIS label. The most recent critically acclaimed albums include a Rachmaninoff box set (2021), Richard Strauss’ “Rosenkavalier and Other Works” (2020), and three Debussy discs “La Mer”, “Jeux” and “Nocturnes”. The orchestra has also released albums of contemporary works linked to East Asia, including works by Chen Yi, Zhou Long, Bright Sheng, Alexander Tcherepnin, and others. 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.
H ANS G RAF Chief Conductor The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, the Singapore National Youth Orchestra, and the VCHpresents chamber music series, the Singapore International Piano Festival and the biennial National Piano & Violin Competition. 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.
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DANC ES OF PANAM A | 18 & 19 N O V 2 0 2 1
C A R L O S K AL M AR conductor
as “one of the most gripping events of the current season”. He is a regular guest conductor of the Baltimore and Milwaukee Symphony Orchestras and has recently conducted subscription concerts with the Chicago Symphony, Boston Symphony, Philadelphia, Los Angeles Philharmonic and many more. Further afield he has conducted both the NHK and Yomiuri Nippon Symphony Orchestras in Japan as well as the Singapore Symphony, Malaysian Philharmonic, Queensland and New Zealand Symphony Orchestras. Kalmar has also conducted extensively in Europe with various notable orchestras. His recordings for Pentatone with the Oregon Symphony Orchestra include two Grammy Award nominations, one for their 2012 release of “Music for a Time of War” and another for “Spirit of the American Range” featuring works by Walter Piston, George Antheil and Copland Symphony No. 3.
Carlos Kalmar is a conductor with a passion for introducing audiences and orchestras to less well-known repertoire and is regularly praised for his innovative programmes. He recently completed 18 years as Music Director of the Oregon Symphony Orchestra and continues as Artistic Director and Principal Conductor of Chicago’s Grant Park Music Festival.
Born in Uruguay to Austrian parents, Carlos Kalmar studied conducting with Karl Österreicher in Vienna and won First Prize at the Hans Swarowsky Conducting Competition. He has previously served as Music Director with the RTVE Madrid, Stuttgart Philharmonic and the Niederösterreichisches Tonkünstlerorchester in Vienna.
In May 2011 Kalmar made his highly acclaimed Carnegie Hall debut with the Oregon Symphony Orchestra. The concert was titled “Music for a Time of War”, and it was noted by New York critic Alex Ross 4
DANCES O F P A N A MA | 18 & 1 9 NOV 2 0 2 1
FIRST VIOLIN Chan Yoong-Han Acting Concertmaster/Fixed Chair Cao Can Chen Da Wei Duan Yu Ling Foo Say Ming Jin Li Cindy Lee Karen Tan William Tan Wei Zhe Ye Lin SECOND VIOLIN Zhao Tian Nikolai Koval Hai-Won Kwok Margit Saur Shao Tao Tao Wu Man Yun Xu Jueyi Yeo Teow Meng Yin Shu Zhan
VIOLA Guan Qi Marietta Ku Luo Biao Julia Park Shui Bing Dandan Wang Yang Shi Li CELLO Yu Jing Jamshid Saydikarimov Song Woon Teng Wang Yan Zhao Yu Er DOUBLE BASS Karen Yeo Jacek Mirucki Wang Xu
5
D A N CES O F PANAM A | 18 & 19 NOV 2021
Strings of the SSO
SEC O N D V IOL IN
T HE ORC HE S T R A HANS GRAF Chief Conductor ANDREW LITTON Principal Guest Conductor CHOO HOEY Conductor Emeritus LAN SHUI Conductor Laureate EUDENICE PALARUAN Choral Director WONG LAI FOON Choirmaster
Michael Loh Associate Principal Nikolai Koval* Hai-Won Kwok Chikako Sasaki* Margit Saur Shao Tao Tao Wu Man Yun* Xu Jueyi* Yeo Teow Meng Yin Shu Zhan* Zhao Tian* VIO L A Manchin Zhang Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Janice Tsai Dandan Wang Yang Shi Li
FIRS T VI OL I N
C EL L O
(Position vacant) Concertmaster, GK Goh Chair Kong Zhao Hui1 Associate Concertmaster Chan Yoong-Han2 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*
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 Wu Dai Dai Zhao Yu Er D O U B LE BAS S Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka Wang Xu
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 TR O M B O N E
PICCOLO 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 COR ANGL AI S Elaine Yeo Associate Principal CLARINET Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping BAS S CL AR I NE T Tang Xiao Ping Assistant Principal BAS S OON
B A SS T R O MBONE Wang Wei Assistant Principal TU B A Tomoki Natsume Principal TIM P A N I Christian Schiøler Principal P ER CU SSIO N Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh H A RP Gulnara Mashurova Principal
Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue CONTRAB AS 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. 1 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. 2 Chan Yoong-Han performs on a David Tecchler, Fecit Roma An. D. 1700 donated by Mr Goh Yew Lin. Musicians listed alphabetically by family name rotate their seats on a per programme basis.
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DANC ES OF PANAM A | 18 & 19 N O V 2 0 2 1
WILLIAM GRANT STILL (1895–1978) Dances of Panama (1948) SSO PREMIERE I II III IV
Tamborito Mejorana y Socavón Punto Cumbia y Congo
William Grant Still, Black American pioneer, was an incredibly accomplished musician by all standards, having a ravenous appetite for discovery of music as well as being a very fine cellist himself in both the classical and jazz realms. He was involved in the Harlem Renaissance alongside figures like Langston Hughes and Countee Cullen, and was the first African-American composer to have a symphony performed by a major orchestra (the Rochester Philharmonic Orchestra). In recent years his music has finally started getting the worldwide attention it deserves, being richly written and wonderfully crafted, as tonight’s selection will show. These dances were originally written for string quartet, and were later rearranged for string orchestra. His exposure to the originating music was due to Elisabeth Waldo, a friend, who in turn knew the first transcriber of Panamanian folk dance music. The Caribbean nation had its own music built up from a confluence of African slaves, Spanish colonisers, and native inhabitants, and that proved fruitful material for Still, who produced four varied movements imitating various folk instruments and rhythms.
Red Inside and in the Open Air (1916) by Amadeo de Souza-Cardoso
Instrumentation Strings World Premiere 1948 16
I II III
Prelude Intermezzo Finale
Nielsen had a strange and varied life, and remained very much an outsider to composer circles throughout. Even though he played in orchestras and bands and was even honoured by the Danish government at his 60th birthday, he was ultimately at odds with his own career as a musician and wrote that he would rather have been apprenticed to a merchant or pursued some “useful trade”.
A glowing review from the performance proclaimed that Nielsen “obviously has a great deal on his musical mind that he wants to say”, probably referring to the Finale, where dramatic ebb and flow of the music is sustained as if in an operatic scene. The composer, humbly playing violin in the orchestra at the first performance, was called upon to take many curtain calls — his first taste of real success!
“Steeped in Scandinavian Romanticism, there are obvious debts to Grieg” Regardless of his own misgivings, he remains Denmark’s most famous composer, and his early Suite for Strings demonstrates him in the full flush of youth. Steeped in Scandinavian Romanticism, there are obvious debts to Grieg, and his position on avoiding what he saw as German delight in “complications” was already firm. The pulsing accompaniment of the Prelude gives way to a soaring climax, and at the premiere, the Intermezzo was so popular with the audience that it had to be played again. That waltz, light-hearted and full of humour, is still sometimes performed separately.
Instrumentation Strings World Premiere 8 Sep 1888, Copenhagen First performed by SSO 19 Mar 2006 17
D A N CES O F PANAM A | 18 & 19 NOV 2021
CARL NIELSEN (1865–1931) Suite for Strings (1888)
DANC ES OF PANAM A | 18 & 1 9 N O V 2 0 2 1
CAROLINE SHAW (b. 1982) Entr’acte (2011) SSO PREMIERE The music of Haydn is refracted and turned in upon itself in this ingenious piece by Shaw, who sprang to international fame by becoming the youngest winner of the Pulitzer Prize for music in 2013. Her music is firmly in the mould of American post-modernism, but the usual cadences and repetitions of that tradition are coloured by her exposure to various world-music traditions and by her own work as instrumentalist, composer, conductor, and singer. Originally written for string quartet, the unpredictability of harmony and use of extended techniques demonstrate a composer completely at home with her medium. Simple harmonic progressions are given a sense of unreality in long pizzicato passages and are further smeared with chromatic lines and glissandi. Major and minor chords seem to lose and gain meaning as time passes. When the opening figure comes back, gaps have opened up in the music, and the upper strings dissipate into the ether, leaving the cello to strum mournfully by itself.
Instrumentation Strings World Premiere Apr 2011 (Brentano Quartet at Princeton University) 18
D A N CES O F P ANAM A | 18 & 19 NOV 2021
FRANK BRIDGE (1879–1941) Suite for String Orchestra (1909) SSO PREMIERE I II III IV
Prelude Intermezzo Nocturne Finale
There are many English works for string orchestra that are good, but only a few enter into the pantheon of the great, and Bridge’s Suite makes a very strong case at its inclusion. By 1909, Bridge had begun to explore richer harmonies and take on the musical developments coming from the Continent, and although it would be another decade before his music took a real turn towards his advanced late style, the richer harmonies and thematic variations drawing a thread through this work foreshadow the explorations of the Fantasy-Quartet and The Sea. The first hint of real modernity comes at the very end of the Prelude and is brushed aside by the jollity of the Intermezzo, a jolly dance in full English country manner. The Nocturne that follows is a truly profound movement, combining Debussy and Wagner, and especially revelling in the warmth of the viola, which was enjoying a renaissance in Britain thanks to Lionel Tertis. The Finale springs out of the quiet depths, but it does feel like the music has been changed by the preceding movement, and Bridge cannot resist indulging himself with some lushly chromatic lyrical moments before surging to an exciting finish.
Frank Bridge (1922) photographed by Herbert Lambert © National Portrait Gallery, London
Programme notes by Thomas Ang
Instrumentation Strings World Premiere Unknown 19
BOA RD OF D IRE C T ORS & C OMMI T T E E S CHAIR Goh Yew Lin SSO COUNCIL
BOARD OF DIRECTORS Yong Ying-I (Deputy Chair) Chang Chee Pey Chng Hak-Peng Chng Kai Fong Prof Arnoud De Meyer Warren Fernandez Liew Wei Li Sanjiv Misra Prof Qin Li-Wei Paul Tan Geoffrey Wong Yee Chen Fah Andrew Yeo Khirn Hin Yasmin Zahid
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NOMINATING AND EXECUTIVE COMMITTEE
Yee Chen Fah (Chair) Warren Fernandez Lim Mei Jovi Seet
Goh Yew Lin (Chair) Prof Arnoud De Meyer (Treasurer) Paul Tan Geoffrey Wong Yong Ying-I
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S S O M U S I C I A N S’ C O M M I T T E E Mario Choo Guo Hao David Smith Wang Xu Christoph Wichert Elaine Yeo Zhao Tian
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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.
