Singapore Symphony Orchestra Aug 2024 Maxim Vengerov by Singapore Symphony

SSO GALA: SIBELIUS WITH MAXIM VENGEROV AND OKKO KAMU

MAXIM VENGEROV AND POLINA OSETINSKAYA IN RECITAL

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SIBELIUS WITH MAXIM VENGEROV AND OKKO KAMU

Fri, 30 Aug 2024

Esplanade Concert Hall

MAXIM VENGEROV AND POLINA OSETINSKAYA IN RECITAL

Esplanade Concert Hall 18

Sat, 31 Aug 2024

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Cover photo: Diago Mariotta Mendez (Vengerov), Asya Mineeva (Osetinskaya)

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 with its 44-week calendar of events.

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 through its school programmes. 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. In 2022, BBC Music Magazine named the SSO as one of the 23 best orchestras in the world.

In July 2022, the SSO appointed renowned Austrian conductor Hans Graf as its Music Director, the third in the orchestra’s history after Lan Shui (1997-2019) and Choo Hoey (1979-1996). Prior to this, Hans Graf served as Chief Conductor from 2020.

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. 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.

Beyond Singapore, 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 praise in major UK newspapers The Guardian and The Telegraph. The SSO has also performed in China on multiple occasions. In the 2024/25 season, the SSO will perform in Kyoto as part of the Asia Orchestra Week, as well as a three-city tour of Australia.

The SSO has released more than 50 recordings, with over 30 on the BIS label. Recent critically acclaimed albums include Herrmann’s Wuthering Heights (Chandos) and Scriabin – Poems of Ecstasy and Fire (BIS). With Singaporean violinist Chloe Chua, the SSO has recorded the Four Seasons, as well as the Butterfly Lovers Violin Concerto, and a Mozart Violin Concerto cycle with Hans Graf to be released by Pentatone Records in the 2024/25 season. The SSO also leads the revival and recording of significant works such as Kozłowski’s Requiem, Ogerman’s Symbiosis (after Bill Evans) and violin concertos by Robert Russell Bennett and Vernon Duke.

The SSO has collaborated with such great artists as Vladimir Ashkenazy, Gustavo Dudamel, Charles Dutoit, Joe Hisaishi, Neeme Järvi, Hannu Lintu, Lorin Maazel, Martha Argerich, Diana Damrau, Janine Jansen, Leonidas Kavakos, Lang Lang, Yo-Yo Ma, Mischa Maisky, Gil Shaham and Krystian Zimerman.

The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, the Singapore National Youth Orchestra, the Singapore International Piano Festival and the biennial National Piano & Violin Competition.

Singapore Symphony Orchestra

The Group’s vision is to be a leading arts organisation that engages, inspires and reflects Singapore through musical excellence. Our mission 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.

OKKO KAMU conductor

Okko Kamu began his musical career as leader of the Suhonen Quartet and a violinist in the Helsinki Philharmonic Orchestra. He began his conducting career at the Finnish National Opera, where he had previously served as Leader of the orchestra. In 1969, he started to appear as guest conductor at the Royal Opera in Stockholm, and in the same year won First Prize in the International Herbert von Karajan Conducting Competition in Berlin, which launched his international career.

Known for his versatility as a musician, Okko Kamu has conducted almost all of the world’s

foremost orchestras. Principal Guest Conductor of the Singapore Symphony Orchestra from 1995 to 2017, he is also Principal Conductor of the Finnish Radio Symphony Orchestra, Oslo Philharmonic Orchestra, Finnish National Opera, Stockholm Sinfonietta, Helsingborg Symphony Orchestra, Principal Guest Conductor of the City of Birmingham Symphony Orchestra, Lausanne Chamber Orchestra and Copenhagen Philharmonic Orchestra. As an opera conductor he has performed at such venues as the Metropolitan Opera in New York, Covent Garden in London and the Bolshoi Theatre in Moscow.

Okko Kamu’s international recording career began when he conducted three Sibelius symphonies for Deutsche Grammophon as part of a cycle shared with Herbert von Karajan for Berliner Philharmoniker and Finnish Radio Symphony Orchestra. Since then, he has made more than one hundred recordings for such companies as DGG, EMI, BIS, Ondine and Naxos. He has also recorded all seven Sibelius symphonies for BIS in 2013–2015.

Okko Kamu became a member of the Royal Swedish Academy of Music in 1994. In 2011 he was awarded the prize of the Finnish Cultural Foundation and also conferred the honorary title of Professor by the President of Finland.

MAXIM VENGEROV

violin

Universally hailed as one of the world’s finest musicians, and often referred to as the greatest living string player in the world today, Grammy award winner Maxim Vengerov also enjoys international acclaim as a conductor and is one of the most in-demand soloists.

Born in 1974, he began his career as a solo violinist at the age of five, won the Wieniawski and Carl Flesch international competitions at ages 10 and 15 respectively, studied with Galina Tourchaninova and Zakhar Bron, made his first recording at the age of 10, and went on to record extensively for high-profile labels including Melodia, Teldec and EMI, earning among others, Grammy and Gramophone artist of the year awards.

In 2024/25, Vengerov will start a three-year Perspective at Carnegie Hall, performing over 12 concerts including all Mozart concertos, all Beethoven Sonatas, orchestra concerts with the London Symphony Orchestra and Pappano, Metropolitan Orchestra and Chung, and will collaborate with artists like Kissin, Isserlis and Martha Argerich among others.

Recent highlights include Vengerov opening the season of the Orchestra Filarmonica

della Scala with Maestro Chailly, opened the Shanghai International Music Festival with Christoph Eschenbach and celebrated 40 years on stage with a sold-out Royal Albert Hall concert.

As one of Vengerov’s greatest passions is the teaching and encouraging of young talent, he has held various teaching positions around the world. With the vision of democratising the access of music learning, he launched his own online platform in January 2021 (www. maximvengerov.com) and created an impact across 170 countries and over 190 million reach. Vengerov plays the ex-Kreutzer Stradivari (1727) among other violins.

© DIAGO MARIOTTA MENDEZ

POLINA OSETINSKAYA

piano

In season 2024/25 Polina Osetinskaya is making a number of her solo debuts in Europe, recital, chamber and orchestral appearances in the US and returns to Baltic, Italy, Germany with different projects.

Osetinskaya has performed at Berlin Philharmonic, Vienna’s Musikverein and Concerthaus, London’s Barbican Centre, Salzburg Festspiele, Carnegie hall, Sydney Opera house, as well as in Italy, Germany, Switzerland, Slovakia, Poland, USA, Russia and Israel. She has appeared with musicAeterna, Mariinsky Orchestra, Tokyo Philharmonic Orchestra, Brno Philharmonic Orchestra, Slovak

Philharmonic Orchestra among others. Onstage partners have included Teodor Currentzis, David Russell Davies, Laurent Petitgirard, Vladimir Spivakov, Andrey Boreyko and Yan Pascal Tortelier. Osetinskaya is releasing her new album of music of Giya Kancheli, Valentin Silvestrov and Arvo Pärt in October 2024 with label Aparte, and has also released a number of recordings with the Quartz, Naxos, Sony Music, Bel-Aire, and Melodiya labels. She is also an author of a bestselling autobiography book “Farewell, sadness”.

© ASYA MINEEVA

FOR A CARING & RESILIENTSingap ore

The Orchestra

HANS GRAF

Music Director

RODOLFO BARRÁEZ

Associate Conductor

CHOO HOEY

Conductor Emeritus

LAN SHUI

Conductor Laureate

EUDENICE PALARUAN

Choral Director

WONG LAI FOON

Choirmaster

ELLISSA SAYAMPANATHAN

Assistant Choral Conductor

FIRST VIOLIN

(Position vacant) Concertmaster,

GK Goh Chair

David Coucheron

Co-Principal Guest Concertmaster

Kevin Lin

Co-Principal Guest Concertmaster

Kong Zhao Hui1

Associate Concertmaster

Chan Yoong-Han2

Fixed Chair

Cao Can*

Duan Yu Ling

Foo Say Ming

Jin Li

Kong Xianlong

Cindy Lee

Karen Tan

William Tan

Wei Zhe

Ye Lin*

Zhang Si Jing

SECOND VIOLIN

Nikolai Koval*

Sayuri Kuru

Hai-Won Kwok

Margit Saur

Shao Tao Tao

Tseng Chieh-An

Wu Man Yun*

Xu Jueyi*

Yin Shu Zhan*

Zhao Tian

VIOLA

Manchin Zhang Principal, Tan Jiew Cheng Chair

Guan Qi Associate Principal

Gu Bing Jie* Fixed Chair

Marietta Ku

Luo Biao

Julia Park

Shui Bing

Janice Tsai

Dandan Wang

Yang Shi Li

CELLO

Ng Pei-Sian Principal, The HEAD Foundation Chair

Yu Jing

Associate Principal

Guo Hao Fixed Chair

Chan Wei Shing

Christopher Mui

Jamshid Saydikarimov

Song Woon Teng

Wang Yan

Wu Dai Dai

Zhao Yu Er

DOUBLE BASS

Yang Zheng Yi Associate Principal

Karen Yeo Fixed Chair

Jacek Mirucki

Guennadi Mouzyka

Wang Xu

FLUTE

Jin Ta Principal, Stephen Riady Chair

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

BASS CLARINET

Tang Xiao Ping Assistant Principal

BASSOON

Liu Chang Associate Principal

Christoph Wichert

Zhao Ying Xue

CONTRABASSOON

Zhao Ying Xue Assistant Principal

HORN

Austin Larson Principal

Gao Jian Associate Principal

Jamie Hersch Associate Principal

Marc-Antoine Robillard Associate Principal

Bryan Chong^

Hoang Van Hoc

TRUMPET

Jon Paul Dante Principal

David Smith Associate Principal

Lau Wen Rong

Nuttakamon Supattranont

TROMBONE

Allen Meek Principal

Damian Patti Associate Principal

Samuel Armstrong

BASS TROMBONE

Wang Wei Assistant Principal

TUBA

Tomoki Natsume Principal

TIMPANI

Christian Schiøler Principal

Mario Choo

PERCUSSION

Jonathan Fox Principal

Mark Suter Associate Principal

Mario Choo

Lim Meng Keh

HARP

Gulnara Mashurova Principal

With deep appreciation to the Rin Collection for their generous loan of string instruments. Musician on temporary contract

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.

Chan Yoong-Han performs on a David Tecchler, Fecit Roma An. D. 1700, courtesy of Mr G K Goh.

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

Guest Musicians

GALA: SIBELIUS WITH MAXIM VENGEROV AND OKKO KAMU | 30 AUG 2024

FIRST VIOLIN

Wilford Goh

Lim Shue Churn

SECOND VIOLIN

Lee Shi Mei

Yvonne Lee

Martin Peh

Yew Shan

VIOLA

Patcharaphan Khumprakob

Yeo Jan Wea

DOUBLE BASS

Olga Alexandrova

Julian Li

Hibiki Otomo

BASSOON

Marc Engelhardt Principal

HORN

Alexander Oon

SIBELIUS WITH MAXIM VENGEROV AND OKKO KAMU

Fri, 30 Aug 2024

Esplanade Concert Hall

Singapore Symphony Orchestra

Okko Kamu conductor

Maxim Vengerov violin*

KELLY TANG

Emergence – Foreboding & Frenzy

World Premiere. With the support of the National Arts Council’s

Cultural Medallion Fund

SIBELIUS

Violin Concerto in D minor, Op. 47*

Intermission

SIBELIUS

Symphony No. 2 in D major, Op. 43

Duration: approximately 2 hrs (including 20 mins intermission)

POST-CONCERT SURVEY

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KELLY TANG (b. 1961)

Emergence – Foreboding & Frenzy (2024) World Premiere

Composed in 2023, the orchestral work Emergence features two movements: Foreboding and Frenzy. Tracing a transition from darkness to light, Emergence reflects how the world emerged from the Covid-19 pandemic. In particular, the music is also inspired by how people rise above the storms and struggles of life. Emergence concludes with a fragment from the traditional hymn This Is My Father’s World.

Emergence – Foreboding & Frenzy is premiered by the Singapore Symphony Orchestra and supported by the Cultural Medallion Fund administered by the National Arts Council of Singapore.

Notes by composer, Kelly Tang

Instrumentation

2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, bassoon, contrabassoon, 2 horns, 2 trumpets, 2 trombones, tuba, timpani, triangle, chimes, cymbals, suspended cymbal, tam-tam, snare drum, glockenspiel, tambourine, vibraphone, wood block, harp, strings

KELLY TANG ( b . 1961) composer

Kelly Tang’s compositions have been performed by international ensembles such as the Russian National Orchestra, Warsaw Philharmonic Orchestra, Minnesota Orchestra, Nashville Symphony, Nagoya Philharmonic Orchestra, Ensemble Contemporain of Montreal, Band of Her Majesty’s Royal Marines (UK), and “The President’s Own” United States Marine Band.

In Singapore, Tang’s works are performed by the Singapore Symphony Orchestra, Singapore Chinese Orchestra, Singapore National Youth Orchestra and the T’ang Quartet. His Jazz compositions have been performed by pianist Jeremy Monteiro with Grammy® recipients Ernie Watts (saxophone) and Randy Brecker (trumpet).

Tang’s music has been presented worldwide at Berlin Konzerthaus, Musikverein Golden Hall (Vienna), Sydney Opera House, Suntory Hall (Tokyo), Palais de l'Élysée (Paris), Museum of Musical Instruments (Brussels), The Rodahal (Netherlands), Auditorium di Milano (Italy), St. Paul’s Cathedral (London), and Carnegie Hall (New York). To celebrate Singapore’s 50th anniversary in 2015, Tang’s Concerto in Three Movements was commissioned for a premiere by superstar pianist Lang Lang and the Metropolitan Festival Orchestra.

Tang received the COMPASS Artistic Excellence Award from the Composers’ and Authors’ Society of Singapore. For his contributions in the arts, Tang was conferred the Cultural Medallion in 2011 by the President of Singapore.

© HUAN STUDIOS

JEAN SIBELIUS (1865–1957)

Violin Concerto in D minor, Op. 47 (1903)

Allegro moderato

Adagio di molto

Allegro, ma non tanto

Sibelius’s Violin Concerto was the silver lining that came from his decision to give up his violin career. He had picked up the instrument as a teenager, and in a handful of years became good enough to play Mendelssohn’s Violin Concerto in the capital. The glittering success of instrumental fame did not appeal much to him, however, and he turned to compositional studies, absorbing such diverse influences as Busoni, Goldmark, Bruckner, and the seeds of Finnish music which he would go on to revolutionise.

The massive scope of this concerto has ensured its place in the core repertoire. From the timid opening melody to the specifically bass-weighted orchestral writing, the concerto seems to attempt to circumscribe the world. Sibelius was already famous as a composer by this point, with two symphonies under his belt, the second of which had met with rapturous praise by critics and audiences alike. The Violin Concerto is a symphony in all but name, with a huge first movement covering unusual rhythmic ground (the opening and recapitulation are “spelled” differently, with tiny differences in performance), and giving the violinist a massive cadenza full of extremely difficult techniques.

Predictably enough, the violinist at the premiere was not up to scratch, and the event was practically a disaster. A long process of revisions began, with the result

one year later being the glorious D minor concerto audiences today know and love. A darkly brooding second movement is shot through with the violinist soaring into the stratosphere, and a pulsing finale challenges the soloist with even more difficulties. Sibelius might have given up his violin career, but he certainly still knew the instrument well!

Notes by Thomas Ang

Instrumentation

solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings

World Premiere 8 Feb 1904, Helsinki (original version)

First performed by SSO 7 Oct 1983 (Stephanie Chase, violin)

JEAN SIBELIUS

Symphony No. 2 in D major, Op. 43 (1902)

Allegretto

Tempo andante, ma rubato

Vivacissimo

Finale: Allegro moderato

This concert hall favourite is the one and only time a Sibelius symphony would sound like this, with such triumphant sweep. All seven that he wrote are different. But all share one thing: the idea of growing themes from simple musical cells, and the synthesis of seemingly unrelated themes into greater, unified structures.

The Second Symphony begins with a shimmering, rising string figure, woodwinds and horns answering. Always listen for this 3-note figure – it is everywhere in some form in this symphony, searching and growing into its final form in the glorious finale.

No true melody really develops in this opening movement. It’s more like a series of calls and answers. One way of understanding the latent drama in this movement is to bear in mind that Sibelius had originally planned to write a cycle of story-telling tone poems based on the legend of Don Juan, similar to his Lemminkäinen Suite. When this “Orchestral Fantasy” was finished, Sibelius realised that it was in essence, a symphony. He later denied any programmatic content, only saying that “My second symphony is a confession of the soul.”

The mysterious slow movement begins with a brooding pizzicato theme on cellos and basses. Sibelius previously ascribed the music to Don Juan’s encounter with

Death – Death appearing on the ominous bassoons. The music builds to a dramatic climax exhorted by brass, before the gloom parts to reveal a serene second theme. Tranquillity and portent both speak and battle for dominance – a sense of Finlandiaish defiance is palpable.

The blistering scherzo is a prelude to the finale, the interchange between its fast, bustling section and the contrasting lyrical pastorale serving only to heighten its internal tension. The 3-note motif is still present, including in the nine repeated notes the oboe plaintively calls to open the pastoral interlude. The second time this gentle theme comes around, Sibelius shifts into higher gear. The orchestra begins to churn and fuse its encapsulated energy, and the release is as ecstatic as it is magnificent.

The 3-note figure now blazes into full splendour. Between each soaring climax, pensive contemplation fills the orchestra, like storm clouds waiting to reveal the sun. Strings and woodwind swirl inexorably, with brass and timpani laying a carpet of solidarity in their path. Sibelius’s symphonic turbine is still ramping up. In the final pages, the trumpets take up the 3-note figure, and for the first and last time, cast a decisive fourth note into being. Here is the culmination of Sibelius’s symphonic argument, this glimpse of finality, a titanic paean in radiant D major.

The Second Symphony, completed in 1902, has always been one of Sibelius’s most popular works. Its importance during its time reflects the Finns’ fight for independence from the Russian empire. Like the 1899 Finlandia, the symphony’s heroic stature must have spoken to its people, their struggles upheld by sisu, the dauntless spirit of Finland.

Notes by Chia Han-Leon

Instrumentation

2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, strings

World Premiere 8 Mar 1902, Helsinki

First performed by SSO 5 Jun 1981

MAXIM VENGEROV & POLINA OSETINSKAYA IN RECITAL

Sat, 31 Aug 2024

Esplanade Concert Hall

Maxim Vengerov violin

Polina Osetinskaya piano

PROKOFIEV

FRANCK

RAVEL

Five Melodies, Op. 35bis

Violin Sonata No. 1 in F minor, Op. 80

Intermission

Violin Sonata in A major

Tzigane

SERGEI PROKOFIEV (1891–1953)

Five Melodies, Op. 35bis

Andante

Lento, ma non troppo

Animato, ma non allegro

Andantino, un poco scherzando

Andante non troppo

When Prokofiev fled Russia for the West in May 1918 in the wake of the October Revolution, he was given a message by someone whose identity was not revealed to him: “You are running away from events, and these events will never forgive you when you return. You will not be understood.”

The Five Melodies, Op 35bis were written in 1920, meant as wordless vocalises for the Ukrainian soprano Nina Koshetz. At that time, Prokofiev was in the USA trying to establish himself as a composer and pianist. The work was premiered in New York in 1921, and was afterwards adapted for violin and piano, a combination that would see the Five Melodies performed more regularly than its original voice-and-piano combination.

Violin Sonata No. 1 in F minor, Op. 80

Andante assai

Allegro brusco

Andante

Allegrissimo – Andante assai, come prima

After living abroad for 20 years while returning to Russia occasionally, Prokofiev believed nothing terrible could befall him so long as he said and did the right things. Coupled with an intense longing for his homeland (“The air! The soil!”) and a carrot

Prokofiev dedicated each of the melodies to a violinist: the first, third and fourth were dedicated to Polish violinist Pawel Kochánski (with whom Prokofiev performed the premiere of the violin version), the second to Cecilia Hansen, and the fifth to Joseph Szigeti. In his new re-write, Prokofiev adapted the music idiomatically, adding double stops, pizzicatos, and harmonics, making his ideas come across more vividly.

The melodies are lively little miniatures that are intensely lyrical; each melody characterised with a different tonality and tempo marking, their contrasts and made more charming when juxtaposed together as a set. Apart from No. 4, the other melodies have a contrasting middle section, the most striking of which is No. 2, featuring a muted melody that is almost impressionistic in nature.

That message/prophecy above by the Soviet minister at that time, Anatoly Lunacharsky, was to be fulfilled twenty years later, partly by circumstance and partly by Prokofiev’s lack of understanding.

dangled on a stick by the Soviet government to woo him back, Prokofiev returned to Moscow in March 1936. By then, Stalin’s Great Purge was well underway.

A rude awakening awaited Prokofiev as he returned: the political climate was vastly different, with waves of arrests, a parade of grotesque confessions in the press, and enemies of the state conveniently disappearing, never to be seen again. The authorities impounded his passport; he was

stranded at the Metropol Hotel without his wife and sons, trapped in a predicament that he hoped to avoid.

This was the situation in which Prokofiev began work on his First Violin Sonata in 1938; his description of the hauntingly ethereal passage at the end of the first movement, “Wind passing through a graveyard,” where hushed and wispy scales from the violin undulate over ambivalent chords from the piano, best encapsulates the atmosphere of the sonata, perhaps some of the darkest music that Prokofiev wrote.

He set the work aside for the Fifth Symphony and Second Violin Sonata (a reworking of his earlier flute sonata) finding it ‘difficult’ to complete; it was not until 1946 at the encouragement of violinist David Oistrakh – whom the second violin sonata was also inspired by – that Prokofiev completed this First Violin Sonata.

Structured in the style of a baroque church sonata with alternating (slow-fast-slowfast) movements, the Andante assai first movement begins with a quietly ominous line in the lower registers of the piano which occurs throughout the movement. Later on in the movement, another passage is reminiscent of the tolling peals of Russian church bells, as if looking forward to the meditative music of Arvo Pärt.

The Allegro brusco second movement is a sonic nightmare, unrelenting in its fury, contrasted with an over-the-top romantic second theme with Prokofiev’s characteristically sardonic accompaniment. Just as we think the music is about to give us some respite, it morphs into something more terrifying. The Andante third movement

is a glassy dreamscape, hazy, haunting and strangely detached music that slips away quietly into the night.

The fourth movement, Allegrissimo –Andante assai, come prima, starts off as if an exuberant Russian folk dance, rhythmically complex with constantly changing key and time signatures. Prokofiev recalls themes from the first movement, bringing back the ‘wind passing through a graveyard’ material before ending off the sonata in a mournful lament.

Prokofiev died just an hour before Stalin; the crowds in the Red Square mourning the dictator and mass murderer meant that it took a few days to move Prokofiev’s coffin from his apartment across Moscow Art Theatre to a basement of his house on Myausskaya Street for a memorial, attended only by a handful of composer-musicians including Kabalevsky, Khachaturian, and Shostakovich. As a tribute, David Oistrakh played the first and third movements of this First Violin Sonata.

CÉSAR FRANCK (1822–1890)

Violin Sonata in A major

Allegretto ben moderato

Allegro

Recitativo-Fantasia: Ben moderato

Allegretto poco mosso

In 1886, when Belgian virtuoso violinist Eugène Ysaÿe got married to singer Louise Bourdeau, he was presented the manuscript of the Violin Sonata in A major by prominent organist and professor at the Paris Conservatory César Franck as a wedding present. Delighted, Ysaÿe sightread the sonata in place of a wedding speech with his friend Léontine Bordes-Pène accompanying on the piano. For the rest of his career, whenever he played this work he would tell audiences that he played it ‘con amore’ because of his personal connection to it.

Throughout the sonata’s four movements, themes recur in various forms, motivic threads binding the sonata together as a unified whole, not unlike the thematic transformation in the music of Liszt. Gentle, hushed chords from the piano open the Allegro ben moderato, joined very soon by a lilting melody from the violin. This opening material contains the seeds of which the entire sonata springs from. The music is expansive, adventurous at times, with both instruments having their own personality but coming together as loving companions.

The piano opens the Scherzo second movement with a tempestuous toccata, the violin adding to the drama with a surging off-beat line. A new theme enters, bringing a reminder of the first movement, and morphs the music into a pensive interlude. The

toccata returns, but ends the movement in a wild, mercurial sweep in D major.

The Recitativo-Fantasia opens as if an improvisation with a Wagnerian-style chromaticism that rivals the music of Tristan und Isolde; we hear snatches of the opening theme appear and disappear in the freeform music. Several times the violin tries to change the topic with flights of fancy but gives up and joins the piano in its brooding, from a nostalgic reminiscence to a heartwrenching wail of an octave-leap at the end of the movement.

All the pain eases in the Allegretto poco mosso finale, a simple, sunny melody played by the piano and closely imitated by the violin provides the recurring theme for the rondo and shaped from the melodic outline of the opening movement. This imitative canon is interspersed with new explorations of the third movement’s theme, even the wail from the previous movement is given a happy resolution as the sonata ends in loving exultation.

MAURICE RAVEL (1875–1937)

Tzigane

The great-niece of violinist Joseph Joachim, the Hungarian violinist Jelly d’Aranyi was known for her extensive collaboration with Béla Bartók among other composers. In 1922, she performed Ravel’s Sonata for Violin and Cello with cellist Hans Kindler at a private soireé in 1922. Maurice Ravel was part of the audience, and he was so charmed by her playing that he asked to hear some Hungarian gypsy tunes. D’Aranyi obliged, playing tune after tune late into the evening. “You have inspired me to write a short piece of diabolical difficulty, conjuring up the Hungary of my dreams. Since it will be for violin, why don’t I call it Tzigane?”, he wrote to her shortly after their meeting.

For the next two years, Ravel buried himself in Hungarian folklore and music, studied Liszt’s Hungarian Rhapsodies and Paganini’s Caprices, and consulted with d’Aranyi on technical matters. The result, delivered to d’Aranyi just four days before the premiere, was what Ravel called a “showpiece à la hongroise”.

The first half of Tzigane (a variant form of “gypsy” but offensive to the Romani people) sees the violinist playing alone, using every technical trick possible, in a free rhapsodic cadenza of sorts. Then the piano comes in, as if a cimbalom (in the original version Ravel specifies the use of a luthéal – an iron mechanism that, when mounted on a piano, makes the piano sound like a Hungarian cimbalom), in a wild dance that is sparkly, playful and slightly manic. At the end of

d’Aranyi’s performance, Ravel concluded that he had no idea what she was doing as she played the piece, but I certainly liked it”.

Notes by Natalie Ng

To Our Donor Patrons

We would like to express our deepest appreciation to the following individuals and organisations who support our mission to create memorable shared experiences with music in the past year.

Without your support, it would be impossible for the SSO to continue to strive for artistic excellence and touch the hearts of audiences.

PATRON SPONSOR

Tote Board Group

(Tote Board, Singapore Pools & Singapore Turf Club)

MAESTRO CIRCLE

Mr & Mrs Goh Yew Lin

Stephen Riady Group of Foundations

Estate of Tan Jiew Cheng

Temasek Foundation

The HEAD Foundation

SYMPHONY CIRCLE

Dr & Mrs Antoine & Christina Firmenich

Christopher Fussner

Holywell Foundation

Lee Foundation

Lee Li Ming

Paige Parker & Jim Rogers

Jacqueline Yeh

Yong Hon Kong Foundation

Dr Thomas & Mrs Mary Zuellig

CONCERTO CIRCLE

Prof Chan Heng Chee

Cara & Tamara Chang

Geraldine Choong & Dennis Au

Elaine and Eduardo Saverin Foundation Ltd

Far East Organization

Frans & Marie-Pierre

Geh Min

Miriam & Merle Hinrich

IMC Group Asia (S’pore) Pte Ltd

Karim Family Foundation

Kris Foundation

Mavis Lim Geck Chin

NEO Group

Paul & Lena Ng

Andreas & Doris Sohmen-Pao

Dr Edwin Tan

UOB

Geoffrey & Ai Ai Wong

Wong Hong Ching

GU BING JIE

FIXED CHAIR VIOLA

OVERTURE PATRONS

Odile & Douglas Benjamin

BINJAITREE

BreadTalk Group

Lito & Kim Camacho

Cavazos Tinajero Family

Cham Gee Len

Prof Cham Tao Soon

Alan Chan

Vivian P J Chandran

Chen Xiaoyan

Robert Chew

Chng Hak-Peng

Daniel Choo & Family

Chopard Asia Pte Ltd

Dr & Mrs Choy Khai Meng

Prof Arnoud De Meyer

Embassy of France in Singapore

Energeo Systems Pte Ltd

Karen Fawcett & Alisdair Ferrie

FRED Jewelry

Dorian Goh & Rathi Ho

Goh Swee Chen

Haidilao Hotpot

Hong Leong Foundation

Illumia Medical Pte Ltd

Vanessa & Darren Iloste

JCCI Singapore Foundation

Ross & Florence Jennings

Jin Lu

Vivian Kao & Shou Zi Chew

Jeffrey Khoo

Dr & Mrs Adrian Koh

Mr & Mrs Koh Chye Hock

Kenneth Kwok

Mark Lee & Kelly Keak

Lee Ming San

Leong Wai Leng

LGT Bank (Singapore)

Liew Wei Li

Lim Boon Heng

Marina Bay Sands

Devika & Sanjiv Misra

NEON Global

NSL Ltd

Christina Ong

PCS Pte Ltd

Poh Khim Hong

Prima Limited

Xu Ren

Priscylla Shaw

Martin Siah & Wendy Long

Prof Gralf & Silvia Sieghold

Sirivadhanabhakdi

Eugene Sng

Tan Meng Cheng Ivan

Joy & Han Li Toh

Tow Heng Tan

Tower Capital Asia

V3 Group Limited (OSIM)

Watson Farley & Williams LLP

Woh Hup (Private) Limited

Grace Yeh

Yong Ying-I

Zeng Fuzu

Zeng Liqing

Anonymous (4)

SERENADE PATRONS

Marcelo Viccario Achoa & Silvia Bordoni

Su Pin & Mervin Beng

John & Eliza Bittleston

Bryan Carmichael

Chua Hwa Choon

Hartley & Hong Lynn Clay

Gan Seow Ann

Liwen & Steven Holmes

Rebecca Hong

Katherine Kennedy-White

Maisy Koh

Lorinne Kon

Mr & Mrs Paterson Lau

Leong Wah Kheong

RHAPSODY PATRONS

Ang Jian Zhong

Lawrence & Celeste Basapa

Hans Michael Brandes

Cheong Hee Kiat

Evelyn Chin

Chor Siew Chun

Adrian Chua Tsen Leong

Ee Kim Lock

Gallery Nawei Pte Ltd

The Gangoso Family

Jerry Gwee

Ho Bee Foundation

Hwang Chih Ming

Sylvie Khau

Belinda Koh

In Memory of Timothy Kok Tse En

Krishnan Family

Winston & Valerie Kwek

Lau Soo Lui

Jennifer Lee

Sean Lee

Gin & Douglas Leong

Darren Lim & En Yu Tan

D-Y Lin

Michelle Loh

Joanna Ludkiewicz & Robert Hunziker

Christopher & Clarinda Martin

msm-productions

Ms Oang Nguyen & Dr Dang Vu

Poh Tiong Choon Logistics Limited

SC Global Developments Pte Ltd

Dr June & Peter Sheren

Tan Seow Yen

G. Yu & G. Hentsch

Anonymous (6)

Caroline Lim

Charmaine Lim

Dr Victor Lim

JN Loh

Prof Tamas Makany & Julie Schiller

Francoise Mei

Meng

Stephanie Mualim

Kenneth Oo

Esmé Parish & Martin Edwards

Terese Poh

Ian & Freda Rickword

Farhana Sharmeen

The Sohn Yong Family

Julian Tan

Aileen Tang

Tang See Chim

Anthony Tay

Amanda Walujo

Eric Wong

Wu Peihui

Anonymous (5)

PRELUDE PATRONS

Hyder Ahmad

Aloha Dental Clinic

Ang Seow Long

Anthony & Chloe Tan from ACE Team Foundation

BDA Partners Pte Ltd

Maria Christina van der Burgt

John Cai

Gavin Chan

Pauline Chan

Chang Chee Pey

Chang Julian

Jeanie Cheah

Cynthia Chee

Christopher Chen Li Hsian

YC Chen

Zhihong Chen

Andrew Cheong Zhiren

Dr Chew Chee Tong

Faith Chia

Chin Soon Yenn

Anthony Chng

Pamela Chong

Ruby Chong

Tiffany Choong & Shang Thong Kai

Clarissa Chow

Belinda Chua

Jennie Chua

Pierre Colignon

Jeremy Ee

J-P & Colette Felenbok

John & Pauline Foo

Dr Foo Swee Sen

Foo Yunxuan

Gan Yit Koon

Soumyadip Ghosh

Goh Chiu Gak

Goh Hui Kok Michael

Prof Goh Suat Hong

Yvette Goh

Heinrich Grafe

Ilya Gutlin

Winston Hauw

HC & Jennifer

Henry & Tiffany

Nishioka Hiroyuki

Dr Ho Su Ling

In memory of 黄招娣 (Huang Zhao Di)

Arjun Jolly & Priyanka Nayar

Ad Ketelaars

Khim

Elizabeth Khoo

Ernest Khoo

Dr & Mrs Khoo Teng Kew

Dr Khoo Wei Ming

Khor Cheng Kian

Koh Siew Yen Terri

Kye

Colin Lang

Dr & Mrs Winson Lay

SuYin L

Kristen Lee

Lee Mun Ping

Dr Norman Lee

Lee Wei Jie

Colin & Janet Leong

Voon S Leong

Wendy Leong Marnyi

Li Danqi & Liu Yi

Derek Lim

Edith & Sean Lim

Lim Yuin Wen

Rachel Lin

Ling Yang Chang

Sam & Claire Loh

Low Boon Hon

Alwyn Loy

Fabian Lua

Benjamin Ma

April Mak

Andre Maniam Mattopher

Minwei

Dr Tashiya Mirando

John Morley

Ngiam Shih Chun

Mdm Ngo Hwee Bee

Ong Chee Siong

Ong Kay Jin Jason

Xinyi Ong

Victor Ow

Pigar & William

Robert Khan & Co Pte Ltd

Danai Sae-Han

Jason Salim & Tan Hwee Koon

Kadir Satar

Hisaaki Sato

Sayawaki Yuri

Thierry Schrimpf

Shi Lei

Marcel Smit & Hanneke Verbeek

Soh Leng Wan

Ronald & Janet Stride

Superb Cleaning Pte Ltd

Andrew & Jacqueline Tan

Casey Tan Khai Hee

Christine Tan & Jeremy Ting

Gillian & Daniel Tan

Gordon HL Tan

Dr Tan Lay Kok

Michelle Tan

Min Tan

Dr Giles Tan Ming Yee

Dr Pamela Tan

Tan Peng Peng

Tan Siew Ling Celine

Linda Tan Soo

Tan Yee Deng

Tay Kim Ann

David Teng

Teo Eng Chai

Teo Kien Boon

Kyra Teo

Teo Wee Poh

Alessandro Tesei

Alicia Thian & Brian Bonde

Alan & Akashnee Thompson

Yang Tian

The Tomsik Family

Wang Lei & Gao Bo

Wang Meng

Wang Pei Zhong

Kris Wiluan

Dr Wong Hin Yan

Jinny Wong

Wicky Wong

Valerie Wu

Elaine Xu

Yan Xia

Yeow Ooh Teng

Lillian Yin

Yong Seow Kin

Zhang Zheng

Zheng Hongbo

Zhu Yulin

Anonymous (37)

This list reflects donations that were made from 1 Jul 2023 to 30 Jun 2024. We would like to express our sincere thanks to donors whose names were inadvertently left out at print time. The Singapore Symphony Group is a charity and a not-for-profit organisation. Singapore tax-payers may qualify for 250% tax deduction for donations made. You can support us by donating at www.sso.org.sg/donate or www.giving.sg/sso.

SUPPORT THE SSO

How can you help?

While SSO is supported partially by funding from the Singapore government, a significant part can only be unlocked as matching grants when we receive donations from the public. If you are in a position to do so, please consider making a donation to support your orchestra – Build the future by giving in the present.

As a valued patron of the SSO, you will receive many benefits.

COMPLIMENTARY TICKETS*

Subscription/ Chamber and Organ /Family/ SIPF Gala/Christmas/ Pops

SSO Special Gala Concerts

DONOR RECOGNITION & PUBLIC ACKNOWLEDGEMENT

Concert booklets and website

Patron of the Arts Nomination

Donors’ Wall at VCH

OTHER BENEFITS

Invitation to special events

Donations of $100 and above will entitle you to priority bookings, and discounts^ on SSG Concerts. For tax residents of Singapore, all donations may be entitled to a tax deduction of 2.5 times the value of your donation.

*Complimentary ticket benefits do not apply to Esplanade & Premier Box seats, or supporters who give through a fundraising event.

^Discounts are not applicable for purchase of Esplanade & Premier Box seats.

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. To find out more, please visit www.sso.org.sg/support-us, or write to Nikki Chuang at nikki@sso.org.sg

SPECIAL RECOGNITION

A Standing Ovation

We recognise major gifts that help sustain the future of the Singapore Symphony Group. The recognition includes naming of a position in the SSO or in our affiliated performance groups such as the Singapore National Youth Orchestra and the Singapore Symphony Choruses.

SSO CONCERTMASTER GK GOH CHAIR

In July 2017, the SSO established the GK Goh Chair for the Concertmaster. Mr Goh Geok Khim and his family have been long-time supporters of the national orchestra. We are grateful for the donations from his family and friends towards this Chair, especially Mr and Mrs Goh Yew Lin for their most generous contribution.

Mr Igor Yuzefovich was the inaugural GK Goh Concertmaster Chair. The position is currently vacant.

NG PEI-SIAN PRINCIPAL CELLO

JIN TA PRINCIPAL FLUTE

SSO PRINCIPAL CELLO

THE HEAD FOUNDATION CHAIR

In recognition of a generous gift from The HEAD Foundation, we announced the naming of our Principal Cello, “The HEAD Foundation Chair” in November 2019. The Chair is currently held by Principal Cellist Ng Pei-Sian.

SSO PRINCIPAL FLUTE

STEPHEN RIADY CHAIR

In recognition of a generous gift from Dr Stephen Riady, we announced in May 2022 the naming of our Principal Flute, “Stephen Riady Chair”. The position is currently held by our Principal Flutist Jin Ta.

SSO PRINCIPAL VIOLA

TAN JIEW CHENG CHAIR

In recognition of a generous gift from the Estate of Tan Jiew Cheng, we announced in February 2024 the naming of our Principal Viola, “Tan Jiew Cheng Chair”. The position is currently held by our Principal Violist Manchin Zhang.

For more information, please write to director_development@sso.org.sg.

MANCHIN ZHANG PRINCIPAL VIOLA

CORPORATE PATRONAGE

JIAN ASSOCIATE PRINCIPAL HORN

HEARTFELT THANKS TO OUR CORPORATE PATRONS

Temasek Foundation

The HEAD Foundation

Stephen Riady Group of Foundations

Lee Foundation

Holywell Foundation

Aquilus Pte Ltd

TransTechnology Pte Ltd

IN-KIND SPONSORS

Raffles Hotel Singapore

SMRT Corporation

Singapore Airlines

Conrad Centennial Singapore

Symphony 924

Form a special relationship with Singapore’s national orchestra and increase your brand recognition among an influential and growing audience.

CORPORATE GIVING

We provide our Corporate Patrons with impressive entertainment and significant branding opportunities. Through our tailored packages, corporates may benefit from:

• Publicity and hospitality opportunities at an SSO concert or your private event,

• Acknowledgement and mentions in SSO’s key publicity channels,

• National Arts Council (NAC) Patron of the Arts nominations,

• Tax benefits.

Packages start at $10,000 and can be tailored to your company’s branding needs.

PARTNERSHIP

We partner with various corporates through tailored in-kind sponsorship and exchange of services. Current and recent partnerships include Official Hotel, Official Airline, and we offer other exciting titles.

For more details, please write to Chelsea Zhao at chelsea.zhao@sso.org.sg.

GAO

BOARD OF DIRECTORS & COMMITTEES

CHAIR

Goh Yew Lin

BOARD OF DIRECTORS

Yong Ying-I (Deputy Chair)

Geoffrey Wong (Treasurer)

Chang Chee Pey

Chng Kai Fong

Prof Arnoud De Meyer

Warren Fernandez

Kenneth Kwok

Liew Wei Li

Sanjiv Misra

Lynette Pang

Prof Qin Li-Wei

Yasmin Zahid

Yee Chen Fah

Andrew Yeo Khirn Hin

NOMINATING AND EXECUTIVE COMMITTEE

Goh Yew Lin (Chair)

Chng Kai Fong

Prof Arnoud De Meyer

Lynette Pang

Geoffrey Wong

Yong Ying-I

HUMAN RESOURCES COMMITTEE

Yong Ying-I (Chair)

Chng Kai Fong

Prof Arnoud De Meyer

Heinrich Grafe

Doris Sohmen-Pao

INVESTMENT COMMITTEE

Geoffrey Wong (Chair)

Sanjiv Misra

David Goh

Alex Lee

AUDIT COMMITTEE

Yee Chen Fah (Chair)

Warren Fernandez

Lim Mei

Jovi Seet

SNYO COMMITTEE

Liew Wei Li (Chair)

Prof Qin Li-Wei

Benjamin Goh

Vivien Goh

Dr Kee Kirk Chin

Clara Lim-Tan

SSO MUSICIANS’ COMMITTEE

Mario Choo

David Smith

Wang Xu

Christoph Wichert

Yang Zheng Yi

Elaine Yeo

Zhao Tian

SSO COUNCIL

Alan Chan (Chair)

Odile Benjamin

Prof Chan Heng Chee

Dr Geh Min

Heinrich Grafe Khoo Boon Hui

Lim Mei

Paige Parker

Dr Stephen Riady Priscylla Shaw

Prof Gralf Sieghold

Prof Bernard Tan

Dr Tan Chin Nam

Wee Ee Cheong

SINGAPORE SYMPHONY GROUP ADMINISTRATION

CHIEF EXECUTIVE OFFICER

Kenneth Kwok

DEPUTY CEO, PROGRAMMES & PRODUCTION

Kok Tse Wei

DEPUTY CEO, PATRONS & CORPORATE SERVICES

Jenny Ang

ORGANISATION DEVELOPMENT

Lillian Yin

CEO OFFICE

Shirin Foo

Musriah Bte Md Salleh

ARTISTIC PLANNING

Hans Sørensen (Head)

Artistic Administration

Jodie Chiang

Terrence Wong

Jocelyn Cheng

Michelle Yeo

OPERATIONS

Ernest Khoo (Head)

Library

Lim Lip Hua

Wong Yi Wen

Adlina Bte Ashar

Cheng Yee Ki

Orchestra Management

Chia Jit Min (Head)

Charis Peck Xin Hui

Kelvin Chua

Production Management

Noraihan Bte Nordin

Nazem Redzuan

Leong Shan Yi

Asyiq Iqmal

Khairi Edzhairee

Khairul Nizam

Benjamin Chiau

COMMUNITY IMPACT

Community Engagement

Kua Li Leng (Head)

Whitney Tan

Samantha Lim

Lynnette Chng

Choral Programmes

Kua Li Leng (Head)

Regina Lee

Chang Hai Wen

Mimi Syaahira

Singapore National Youth Orchestra

Ramu Thiruyanam (Head)

Tang Ya Yun

Tan Sing Yee

Ridha Ridza

ABRSM

Patricia Yee

Lai Li-Yng

Joong Siow Chong

Freddie Loh

May Looi

PATRONS

Development

Chelsea Zhao (Head)

Nikki Chuang

Sarah Wee

PATRONS

Communications, Digital & Marketing

Cindy Lim (Head)

Communications

Elliot Lim

Elizabeth Low

Digital & Marketing

Chia Han-Leon

Calista Lee

Myrtle Lee

Hong Shu Hui

Jana Loh

Remy Pang

Customer Experience

Randy Teo

Dacia Cheang

Joy Tagore

CORPORATE SERVICES

Finance, IT & Facilities

Rick Ong (Head)

Alan Ong

Goh Hoey Fen

Loh Chin Huat

Md Zailani Bin Md Said

Human Resources & Administration

Valeria Tan (Head)

Janice Yeo

Fionn Tan

Netty Diyanah Bte Osman

SSO Chamber and Organ Series October

3 OCT 2024

7.30pm, Victoria Concert Hall

SSO CHAMBER SERIES A LOVE OF FRENCH MUSIC

4 OCT 2024

7.30pm, Victoria Concert Hall

SSO CHAMBER SERIES ENCHANTING RAVEL

27 OCT 2024 4pm, Victoria Concert Hall

SSO ORGAN SERIES A GOTHIC HALLOWEEN

Male Chorus of the Singapore Symphony Chorus

Eudenice Palaruan

Choral Director & organ

Ellissa Sayampanathan

Assistant Choral Conductor

Shane Thio celesta & piano

Boey Jir Shin organ