Halcyon Days

H ALC YON DAYS A TIME FOR MOZART AND GRIEG 31 MAR & 1 APR 2021 V I C T O R I A CONCERT HAL L

SPARKLE & SERENITY BEETHOVEN AND MOZART FRI 16 APR 2021 8PM

WATCH THE STREAM ONLINE ON SISTIC LIVE

ALBERT TIU PIANO MUSICIANS OF THE SSO

Mozart’s Clarinet Quintet is one of the most heartwarming treasures of our musical legacy, evoking a haven of rapturous beauty and serenity. Beethoven’s Piano Quartet No. 3 rings clearly of the influence and sparkle of Mozart, and it will only surprise you a little to learn that he wrote them when he was just 15, in 1785. Join the musicians of the SSO in these two gems of the late 18th century, there’s not a single note you won’t enjoy.

TICKETS FROM $8 MOZART CLARINET QUINTET IN A MAJOR, K.581 BEETHOVEN PIANO QUARTET NO. 3 IN C MAJOR, WOO 36

H ALCYON D AY S A TIME FOR MOZART AND GRIEG 31 Mar & 1 Apr 2021 Victoria Concert Hall Singapore Symphony Orchestra Joshua Tan Associate Conductor

MO ZART

Overture to Lucio Silla, K.135

G R IEG

Holberg Suite, Op. 40

21 mins

MO ZART

Symphony No. 29 in A major, K.201

28 mins

9 mins

Concert Duration: 1 hr

T Watch our online Pre-Concert Talk on our Facebook page and YouTube channel.

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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flourishing society. We want to inspire positive change and contribute towards building an inclusive, resilient and vibrant community, while fostering a caring and compassionate nation.

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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 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.

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.

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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H A LCY O N D A YS | 31 M A R & 1 A PR 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.

SEC O N D V IOL 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 L A

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

C EL L 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 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*

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 ANGL AI S

Tomoki Natsume Principal

Elaine Yeo Associate Principal TIM P A N I CLARINET

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

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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H AL C YON DAYS | 31 M A R & 1 APR 2 0 2 1

Musicians H ALC YO N D A YS | 3 1 M A R & 1 A P R 2 0 2 1

OBOE Rachel Walker Carolyn Hollier

CONDUCTOR Joshua Tan FIRST VIOLIN Kong Zhao Hui Acting Concertmaster /Associate Concertmaster Zhang Si Jing Foo Say Ming Karen Tan Kong Xianlong

HORN Jamie Hersch Marc-Antoine Robillard TRUMPET David Smith Sergey Tyuteykin

SECOND VIOLIN Xu Jue Yi Chikako Sasaki Shao Tao Tao Margit Saur

TIMPANI Christian Schiøler

VIOLA Zhang Manchin Janice Tsai Shui Bing CELLO Ng Pei-Sian Wu Dai Dai DOUBLE BASS Karen Yeo Wang Xu

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2020/21 Season Patrons Our story began just over four decades ago when we played our first concert in January 1979.

This journey would not have been possible without patrons who believe in sharing the gift of music.

Thank you for your generosity.

PATR ON SPONSOR Tote Board Group (Tote Board, Singapore Pools & Singapore Turf Club)

MAE STR O C IR C L E Mr & Mrs Goh Yew Lin Temasek Foundation The HEAD Foundation

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P R ELU D E PAT RO NS Ang Seow Long Kaiyan Asplund & family Jocelyn Aw Dr Daniel N. Bach Prof Kanti Bajpai Lawrence & Celeste Basapa Dr Taige Cao Bryan Carmichael Cavazos Tinajero Family Chan Ah Khim Dr Cynthia Chee Dr Christopher Chen Cheng Eng Aun Jase Cheok Dr Faith Chia Chong Eun Baik Belinda Chua Chung Sui Foh Sally Chy Creative Eateries Pte Ltd Arthur Davis Jeremy Ee Elizabeth Fong Gan Chee Yen Gan Yit Koon Pavitar Kaur Gill Goh Chiu Gak Michael & Clémentine Gryseels-Culot Ilya Gutlin Richard Hartung Mr & Mrs Winston Hauw William Hernstadt Kelvin Ho Shaun The-Huan Hoang Vanessa & Darren Iloste Mr & Mrs Simon Ip

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Robert Khan & Co Pte Ltd Alexey Rumyantsev Audrey Ruyters Mr & Mrs Ralf Schmidt Retno Setyaningsih Naoyoshi Nick Shimoda Omar Slim Marcel Smit & Hanneke Verbeek Veiter Soo Yukari Takada Casey Tan Khai Hee Tan Cheng Guan Dr Tan Chin Nam Daniel Tan Gordon HL Tan Tan Lian Yok Tan Pei Jie Tan Yee Deng Tee Lin Ling Abel Teo Daniel Teo Valerie Thean Alicia Thian & Brian Bonde Oliver Trianto Q. Mevr. Marie-Christine Van Meel Rebecca Ruth Watters Kris Wiluan Paul Winfindale & Huong Nguyen Eric Wong Wong Lai Foon Haruna Yamabayashi Ivan Yeo Lillian Yin Yong Seow Yin Anonymous (29)

This list reflects donations that were made from 1 January 2020 to 31 December 2020.

We would like to express our sincere thanks to donors whose names were inadvertently left out at print time.

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H AL C YON DAYS | 31 M A R & 1 APR 2 0 2 1

WOLFGANG AMADEUS MOZART (1756–1791) Overture to Lucio Silla, K.135 (1772) One of the tragedies of famous composers with prolific outputs is that large portions of their output, no matter how brilliant, end up being neglected. Not many of us can claim to be familiar with all of Haydn’s 123 baryton trios, Vivaldi’s 39 bassoon concerti, Massenet’s 34 operas, Palestrina’s 105 masses, Telemann’s 45 settings of the Passion, or Schubert’s 600-plus lieder.

Mozart’s own contredanses, cassations, and marches have suffered the same fate.

An example is his 1772 opera Lucio Silla, K.135, composed when he was 16, and premiered in Milan to full houses over nearly 30 performances. The plot concerns a relatively obscure love triangle set in the later days of the Roman Republic.

Unfortunately, like the other operas of Mozart’s earlier period, the vocal parts were written to suit the abilities and tessiture of specific singers, making modern casting for them difficult, and so are rarely performed.

Lesser-known works are less likely to sell tickets, so producers stick to more famous operas, resulting in a vicious cycle.

The overture is the best-known part of the opera, due to its inclusion as concert filler material, and is in the old Italian overture form of fast-slow-fast, almost a miniature symphony. It begins with a formal D major molto allegro opening, with brass fanfares setting us firmly in the military setting of Ancient Rome, before leading us into a playful A major second theme. An elegant andante section follows, before a whirling returns us to a 6/8 Molto allegro that opens the opera.

Instrumentation 2 oboes, 2 horns, 2 trumpets, timpani, strings World Premiere 26 Dec 1772, Milan First performed by SSO 9 Jul 2015 14

I II III IV V

H A LCY O N D A YS | 31 M A R & 1 A PR 2021

EDVARD GRIEG (1843–1907) Holberg Suite, Op. 40 (1884) Praeludium (Allegro vivace) Sarabande (Andante espressivo) Gavotte (Allegretto) Air (Andante religioso) Rigaudon (Allegro con brio)

1884 was the bicentennial of Ludvig Holberg (1684–1754), Norway’s most distinguished author, and one of Grieg’s two tributes was a piano suite titled Fra Holbergs tid (“from Holberg’s Time”). This was arranged for string orchestra the next year, and is a set of five movements based on 18th-century dance forms. Grieg described the process as akin to donning a rococo powdered wig, but the suite has remained one of his most admired works.

The opening Praeludium (prelude) is an Allegro vivace full of waves of energy and rhythm, with a lyrical melody sailing buoyantly above, and appropriately for the Classical sonata form, a musical development appears, before the original melody returns joyously.

Portrait of Ludvig Holberg from Alfred Jacobsen's Billeder til Skolebrug, 1922.

Source: Aarhus University Library skolehistorie.au.dk

A peaceful Andante Sarabande follows in contrast, where strings bring us a theme with harmonies reminiscent of Bach’s chorales. A cello solo soars, becoming a duet, taking us away from the Baroque dance in a Classical direction.

The third movement is a Gavotte, with standard lead-in of two strong beats, in a light lilting dance marked poco più mosso.

The celli begin a melody that becomes an exchange between the strings, a rising theme that ascends to the higher violins.

Grieg maintains the mood of lightness by 15

H AL C YON DAYS | 31 M A R & 1 APR 2 0 2 1

generous use of pizzicato and syncopation.

Bach’s Air on the G String may have inspired the fourth movement, an Air marked Andante religioso, as they share a minor key opening, a sustained melody above, and repeated notes in the bass. The second half subtly changes the melancholic mood by bringing major-key harmonies back, but the long singing melody continues to spin its way through the textures.

The work closes with a sprightly Rigaudon that has touches of the Baroque concerto grosso, where violin and viola soloists have passages to show off, contrasting with the full sections. The soloist passages are reminiscent of Norwegian folk music, with their droning fiddles, and the music unexpectedly takes a serious turn when we enter the minor key and a slower tempo. A brief explosive return to the opening theme marks the end.

Instrumentation strings World Premiere 7 Dec 1884, Bergen (solo piano version premiered by Grieg) First performed by SSO 14 Nov 1981 16

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H A LCY O N D A YS | 31 M A R & 1 A PR 2021

WOLFGANG AMADEUS MOZART Symphony No. 29 in A major, K.201 (1774) Allegro moderato Andante Menuetto. Allegretto – Trio Allegro con spirito

Written in 1774 when Mozart was 18, as part of a set of seven for the PrinceArchbishop of Salzburg, the Symphony No. 29 in A major K.201 was considered unremarkable by its recipient – no record or remark on its premiere survives. Yet it held a special significance for Mozart, who carried it around with him for the rest of his life, scheduling it for performance whenever he could.

Under the tutelage of Joseph Haydn, the “Father of the Symphony”, the young Mozart created not only a synthesis of the various symphonic styles then current, but developed it in a way distinctively his own, and this symphony is a perfect example of his early maturity shining in the graceful Viennese style of balance between vigorous energy and lyrical elegance.

Halcyon Days, 1882

by Karl Schweninger Junior

A pregnant, gentle opening to the Allegro moderato gains momentum swiftly in bursts of intensity punctuated by dramatic octave jumps. We almost expect the bubbling to boil over, but Mozart keeps cool, restraining the orchestra as he leads it into the melodic ideas of the lyrical second theme. A small development follows, with chasing scales, before a tender reflective passage appears briefly. A recapitulation ends the overturelike moment, leaving the listener almost expecting an opera to begin.

The second movement, a serene Andante, 17

H AL C YON DAYS | 31 M A R & 1 APR 2 0 2 1

is poised and radiant. Softly glowing muted strings suggest gentle sunlight through forest foliage, double-dotted rhythms suggest rococo court music, yet the soulful woodwinds add a wistful edge and depth.

18th century clichés are transformed into such spontaneous and lovely phrases that while repeated and repeated, the movement still seems too short.

A menuetto, the court dance par excellence of the 18th century follows, but any attempt at dancing is thwarted by the rebellious young composer’s creative treatment – a briskly aggressive and almost business-like opening with staccato phrases and dotted rhythms sabotaging convention, before giving way to a smoother reflective trio to soothe any ruffled feathers.

The Allegro con spirito hunt-style finale is where the galloping energy returns in a chase with the horns in their natural element as symbols of the hunt, but always with Mozart’s signature dramatic development (note the octave leap in the first theme) and attention to detail (the grace-note-accented second theme represent the barks of hunting hounds). Mozart infuses this movement with an irresistible sense of fun, never dipping into the dark melancholy that punctuates his later works, and the music remains elegant and poised to the end.

Programme notes by Edward C. Yong

Instrumentation 2 oboes, 2 horns, strings World Premiere Unknown First performed by SSO 8 May 1981 18

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BOA RD 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 Mr Alex Lee 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

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

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ARTISTIC PL ANNING

CEO OFFICE

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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.