ERIC LU AND YU-CHIEN TSENG
7 June 2019, Esplanade Concert Hall
Eric Lu, piano Yu-Chien Tseng, violin DarĂo Alejandro Ntaca, conductor
12th EDITION VICTORIA CONCERT HALL ESPLANADE RECITAL STUDIO
30 Nov – 8 Dec 2019
N AT I O N A L
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NATIONAL PIANO & VIOLIN COMPETITION
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PROGR AMME F R I , 7 J U N E 2 019 ESPL ANADE CONCERT HALL
ERIC LU & YU-CHIEN TSENG Singapore Symphony Orchestra Darío Alejandro Ntaca, conductor
RACHMANINOFF
The Isle of the Dead, Op. 29
CHOPIN
Piano Concerto No. 1 in E minor, Op. 11
Eric Lu, piano
Intermission
20'
43'
20'
BRAHMS
Violin Concerto in D major, Op. 77
Yu-Chien Tseng, violin
38'
Concert duration: 2 hrs 15 mins Post-concert autograph signing with Eric Lu and Yu-Chien Tseng in the stalls foyer
Lionel Choi, curator
S I N GA P O R E S YM PH O N Y O RC H ES TR A
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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. Under the Music Directorship of Lan Shui from 1997 to January 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 Telegraph. The SSO has also performed in China on multiple occasions.
Notable SSO releases under BIS include a Rachmaninoff series, a “Seascapes” album, two Debussy discs “La Mer” and “Jeux”, 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 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 Singapore’s diverse communities.
D A R Í O A L E J A N D R O N TA C A conductor
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The eldest son of the late piano pedagogue Alejandro Ntaca, Darío A. Ntaca began his piano lessons with his mother, Marta Rossi, and then furthered his studies under his father’s intensive guidance. He also studied orchestral conducting at The Juilliard School with Vincent La Selva and is a graduate of the State University of New York where he studied with Claudio Arrau’s assistant, Germán Diez. When he was 14, Ntaca had the privilege to meet the legendary Earl Wild, whose pianistic influence as “The Last Romantic” has been vital in his development. Ntaca has performed solo recitals in cities such as Paris, Belgrade, Bucharest, Los Angeles, Tokyo and New York. In 1985, The New York Times praised his performance at Carnegie Recital Hall. He has served as Music Director at the Guild for International Piano Competitions, being subsequently invited to be a juror at the Palm Beach International Piano Competition from 1991 until 2001. Ntaca is Music Director of the Sinfonietta Argerich, which he founded in 2004 and toured in Argentina with Martha Argerich as soloist. In addition, Martha Argerich and Ntaca have also appeared in many occasions as a piano duo, performing regularly at Teatro Colón in Buenos Aires, for the annual Martha Argerich International Festival. As Music Director of the San Luis Orchestra (SLO) in Argentina from 1990 to 1996, Ntaca toured with the SLO in the US in 1992, performing and conducting from the keyboard. Ntaca has also appeared as pianist and conductor with the Sinfonietta
de Paris, Burgas Symphony Orchestra, as well as the Moravian, Russe, Varna and Plovdiv Philharmonic Orchestras. His repertoire includes all works for piano and orchestra by Rachmaninoff, which he has performed throughout the Americas, winning unanimous acclaim from critics and distinguished artists like Martha Argerich and Alexis Weissenberg in 1990. For his performance of Rachmaninoff’s Piano Concerto No. 3, he received the “1983 Concert Award” from the State University of New York and in 1985, the Silver Medal at the Mozart International Competition in Colorado.
“Artistry of that kind is rare in pianists of any age; to find it in a 20-year old is simply astounding” – The Daily Telegraph, September 2018
ERIC LU piano
Eric Lu won First Prize at The Leeds International Piano Competition in September 2018, performing Beethoven’s Fourth Piano Concerto in the final with The Hallé and Edward Gardner. On his semi-final, The Independent praised a reading Chopin’s Second Sonata which “took one’s breath away with its measured grandeur.”
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Eric begins the 2018/19 season by performing with the Royal Liverpool Philharmonic and Vasily Petrenko, and continues with further concerts with The Hallé and Sir Mark Elder. Other forthcoming dates include a concert with the Oslo Philharmonic and recitals at the Wigmore Hall, Southbank Centre, St George’s Bristol, Elbphilharmonie, BOZAR Brussels, Philharmonie Luxembourg and Gewandhaus Leipzig. November 2018 saw the release of Eric’s first recording for Warner Classics, featuring his Beethoven and Chopin from The Leeds. Previous releases include an all-Chopin recital on the Fryderyk Chopin Institute’s own label; and Mozart, Schubert and Brahms on Genuin Classics. Born in Massachusetts in 1997, Eric has already worked with the Minnesota Orchestra, New Jersey Symphony, Orchestra of the Eighteenth Century, Warsaw Philharmonic and Qatar Philharmonic; and performed at Carnegie Hall, Alte Oper Frankfurt, Taipei National Concert Hall, Tokyo Metropolitan Hall, Auditorio Nacional Madrid and Seoul Arts Center.
Eric Lu first came to international attention as a prize winner at the 2015 Chopin International Competition in Warsaw aged just 17, and on winning the 2017 International German Piano Award and the US National Chopin Competition. He is currently studying at the Curtis Institute of Music in Philadelphia where his teachers include Jonathan Biss and Robert McDonald, and is also a pupil of Dang Thai Son.
YU-CHIEN TSENG violin
Yu-Chien (Benny) Tseng is rapidly building an international reputation as a young soloist of enormous promise. After his German debut with the Saarbrucken Radio Orchestra, his performance of the Beethoven Violin Concerto was praised for being “Classically balanced without showing off; Sensitive, discreet nuances; Highly cultured sound; graceful and playful, relaxed elegance without attitude – Exemplary!”
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Following his win at the XV International Tchaikovsky Violin Competition in 2015, he has made a series of major debuts with the London Philharmonic Orchestra, Munich Philharmonic, Mariinsky Theatre Orchestra and Czech Philharmonic Orchestra. A student of eminent pedagogues Aaron Rosand and Ida Kavafian at the Curtis Institute of Music, Tseng previously won first prizes at the Singapore International Violin Competition, Sarasate Violin Competition in Pamplona, Spain and the Isang Yun Violin Competition in Korea. Signed to Deutsche Grammophone in 2016, his first recital disc “Reverie” was released in January 2017. His second album, with Maestro Mikhail Pletnev and the Russian National Orchestra, features Tchaikovsky’s Violin Concerto, released in November 2018. Yu-Chien has appeared as a soloist with the Philadelphia Orchestra, London Philharmonic Orchestra, Mariinsky theatre Orchestra, National Symphony Orchestra of Belgium, Orquesta Sinfónica de Navarra, Singapore Symphony Orchestra, Taiwan Philharmonic, China
Philharmonic Orchestra, Hong Kong Sinfonietta and many others. He has worked with maestros such as Valery Gergiev, Jiří Bělohlávek, EsaPekka Salonen, Osmo Vänskä, Jacek Kaspszyk, Kahchun Wong, and most recently Mikhail Pletnev who has invited him to perform in Tokyo in 2019. The 18/19 season’s highlights included Penderecki’s Violin Concerto No. 1 as part of the composer’s 85th birthday celebrations; his debuts with the orchestras of the Hungarian Radio Symphony, Shanghai Symphony, Tokyo Philharmonic with Mikhail Pletnev and a debut at the Festival Castro in Mexico. Yu-Chien performs on the 1732 Giuseppe Guarneri del Gesu Ex-“Castelbarco-Tarisio” on loan from the Chi-Mei Culture Foundation, Taiwan.
SSO MUSICIANS
JOSHUA TAN Associate Conductor ANDREW LITTON Principal Guest Conductor CHOO HOEY Conductor Emeritus LAN SHUI Conductor Laureate EUDENICE PALARUAN Choral Director WONG LAI FOON Choirmaster
FIRST VIOLIN 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 Lim Shue Churn^ Karen Tan William Tan Wei Zhe SECOND VIOLIN Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Kong Xian Long^ Nikolai Koval* Priscilla Neo^ Chikako Sasaki*
Margit Saur Shao Tao Tao Wu Man Yun* Xu Jue Yi* Ye Lin* Yeo Teow Meng Yin Shu Zhan* Zhang Si Jing* Zhao Tian* VIOLA Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Tan Wee-Hsin Janice Tsai Wang Dandan Yang Shi Li Yeo Jan Wea^ CELLO Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Song Woon Teng Wang Yan Wang Zihao* Wu Dai Dai Zhao Yu Er DOUBLE BASS Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka Wang Xu FLUTE Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan
PICCOLO Roberto Alvarez Assistant Principal OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo COR ANGLAIS Elaine Yeo Associate Principal CLARINET Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping
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TRUMPET Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Sergey Tyuteykin TROMBONE Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong BASS TROMBONE Wang Wei Assistant Principal TUBA Brett Stemple^
BASS CLARINET Tang Xiao Ping Assistant Principal
TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal
BASSOON Wang Xiaoke Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue
PERCUSSION Jonathan Fox Principal Mark Suter Associate Principal Lim Meng Keh Zhu Zheng Yi
CONTRABASSOON Zhao Ying Xue Assistant Principal
HARP Gulnara Mashurova Principal
HORN Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Chua Tek Xin^ Hoang Van Hoc Amir Sharipov^
* With deep appreciation to the Rin Collection for their generous loan of string instruments. # Lynnette Seah 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. ^ Musician on temporary contract Musicians listed alphabetically by family name rotate their seats on a per programme basis.
SERGEI R ACHM ANINOFF (18 7 3 –19 4 3 )
The Isle of the Dead, Op. 29 Rachmaninoff’s predilection for dark colors, sombre moods and pathos found no greater manifestation than in his symphonic poem The Isle of the Dead. Inspiration for this remarkable score came from a painting of the same title by the Swiss artist Arnold Böcklin (1827–1897). Böcklin’s painting exists in five versions. Rachmaninoff’s direct source was a black and white reproduction he saw in Paris in 1907. His imagination was seized by this grim, gloomy picture with its stark, brooding cliffs, ghostly cypress trees and the image of a black-draped rower steering a small boat across the water with a casket and a single mourner. The association with Charon gliding across the black water of the Styx is too close to be ignored. Böcklin, who spent much of his life in Italy, presumably had a specific Mediterranean island in mind for his painting (Pondikonisi, which lies off the shores of Corfu; some authorities maintain it was Ponza, largest of the Pontine Islands in the Tyrrhenian Sea), but, as biographer Patrick Piggott observes, “the suggestive power of Rachmaninoff’s music carries the listener into regions of the imagination far beyond the range of the Swiss painter’s art, and it must be emphasized that it was not so much the quality of Böcklin’s painting which stimulated Rachmaninoff as its subject.” The score was composed in 1909 and first performed on May 1 of that year in Moscow with the composer conducting. The baleful mood is established in the opening bars. A mantle of oppressive gloom hangs over the music. A restless, undulating motif with five beats to the bar (usually 2 + 3; sometimes 3 + 2) suggests the slow dip and pull of Charon’s oars, or perhaps the gentle lapping of the waves. The pervasive motif slowly builds to a powerful climax. Solemn brass pronouncements punctuate the way. Despite the muted colours
and grave mood, there is an awesome sense of impending doom. Suddenly the spirit takes flight: the lopsided 5/8 rhythm changes to a regular 3/4, the minor tonality yields to major, the mood becomes urgent and even passionate. Rachmaninoff referred to the long-breathed melody in E-flat major as the “life” theme, to which the dead soul recalls the pleasures of life on earth. Intimations of the “Dies irae” motif (the Latin chant for the dead in the Catholic liturgy) mingle with the “life” theme. The latter is finally stamped out; dark mutterings of the “Dies irae” float about; the unnerving, rocking motif in 5/8 rhythm returns; the colours darken; Charon continues on his way in Stygian gloom as the music dies away into inaudibility. Programme note by Robert Markow
FRÉDÉRIC CHOPIN (1810 –18 4 9 )
Piano Concerto No. 1 in E minor, Op. 11 1. Allegro maestoso 2. Romanze – Larghetto 3. Rondo – Vivace Chopin is possibly the composer most subject to oversaturation today, with endless YouTube and Spotify “easy classical” compilations mining his œuvre to fill playlists. This concerto has in particular been co-opted for use in all sorts of TV and film productions. The knock-on effect that classical music is unchallenging background sound unfortunately skips over the amount of detail and quality that exists in the music. Actually written after the Second Concerto, it was published first, earning it an earlier opus number. Chopin was only 20, but had gained recognition in his native Poland with bravura performances of his earlier compositions; he premiered this concerto in Warsaw at the end of 1830 to great acclaim, before he left to settle in Paris.
Piano virtuosity aside, Chopin struggled with writing for other instruments. His attempt at a piano trio has never made it into the repertoire, and his songs were never published during his lifetime, having failed to win over audiences. The orchestral writing in the concerti has been criticised over the years as being clumsy and boring for the musicians — indeed, Chopin’s publishers printed solo versions that did away with an accompaniment altogether. The majestic opening tutti harks back to a Classical style, with a big orchestral statement introducing all the themes before the piano enters. The piano writing and use of harmony are clearly Romantic, however, with some moments of real poignancy amidst the drama in the development section. The following Romanze is truly a song without words, and the piano is clearly in the spotlight here, with soft strings supporting the soloist’s fantasy. A jovial, upbeat krakowiak (a Polish dance) finishes off the concerto, with plenty of finger-fireworks on display. 10
Programme note by Thomas Ang
JOHANNES BRAHMS (18 3 3 –18 9 7 )
Violin Concerto in D major, Op. 77 1. Allegro non troppo 2. Adagio 3. Allegro giocoso, ma non troppo vivace In the summer of 1878, a year after completing his Second Symphony, Johannes Brahms returned to the lakeside town of Pörtschach in southern Austria to compose his only Violin Concerto. A pianist himself, Brahms wrote to his good friend and violin virtuoso, Joseph Joachim, for advice and assistance in technical matters. Joachim studied the solo part in great detail and provided many suggestions on what he felt should be changed. Interestingly, Brahms seems
to have not taken many of Joachim’s suggestions into account – except for fingerings and bowings – when finalising his concerto. While composing, Brahms had to change his original plan for the concerto, writing to Joachim, “the middle movements have fallen out; naturally they were the best! I have replaced them with a poor adagio.” The planned scherzo took root in Brahms’ Second Piano Concerto a few years later. Joachim received the finalised solo part in midDecember 1878, and performed the Concerto’s premiere just two weeks later, on New Year’s Day 1879, at a Gewandhaus concert in Leipzig with Brahms conducting. It was received moderately well, but the Viennese premiere two weeks later received a warmer reception – with Brahms recalling that the orchestral players “wanted rather to hear [Joachim] than play their own notes. At their desks they were always looking sideways – quite fatal, though understandable.” After these performances, Joachim managed to successfully persuade Brahms to make some further changes to the score before it was published – and this is the version we know today. Originally conceived in four movements, the Violin Concerto is a work best viewed on a grand, symphonic scale. The first movement takes its time to introduce its two main themes played by the orchestra, before the soloist enters with dramatic flourish. A quick-fire riposte between the solo violin and orchestra gives way to the violinist taking the opening theme from its initial cello-led depths to soaring heights in the stratosphere. Brahms takes care to contrast the dramatic and fiery moments with the illusion of the violinist bringing time to a standstill on a beautiful high note, and sighing reflections on the yearning second theme. Near the end of the movement, Brahms allows the soloist to improvise a cadenza – Joachim’s is the most well-known and frequently performed, but there is a wealth of options available.
Violinist Pablo de Sarasate once complained that the Adagio of the second movement required the violinist to “listen, violin in hand to how the oboe plays the only melody in the whole piece”. While hardly the “only melody” in the concerto, it is one of Brahms’ finest – long-breathed and tranquil. The soloist soon enters and rhapsodises on this melody, even finding time to ruminate in an uneasy central section, before the oboe returns to bring the movement to a restful conclusion. The finale features a springy Hungarian-styled dance in an unusually overt display of musical flair. The gypsy spirit pays homage to Joachim’s heritage and the corresponding movement of Bruch’s Violin Concerto – which Joachim had previously introduced to Brahms. Witty interjections and jolly tunes permeate the movement, and trumpets and timpani bring the movement to a strong climax with the final dance. The music abruptly unwinds before coming back together, ending with a flourish. Programme note by Christopher Cheong
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