M ETA M ORP H OS E N AND M O ZAR T WITH HANS GRAF 6 NOVEMBER 2020 W A T CH THE S TR EAM O N LIN E ON S I S TI C L I VE
DIVERTISSEMENT: AN EVENING OF FRENCH MUSIC MUSIC IN THE MOONLIGHT FRI 20 NOV 2020 8PM
WATCH THE STREAM ONLINE ON SISTIC LIVE
SINGAPORE SYMPHONY ORCHESTRA DARRELL ANG CONDUCTOR
Immerse yourself in an evening of French music, some of the most remarkable and delicate gems in the classical repertoire. Ibert’s sparkling Divertissement plays alongside Ravel’s exquisite miniatures from Mother Goose, under the gossamer twilight of Debussy’s unforgettable Clair de lune. DEBUSSY CLAIR DE LUNE (ARR. CAPLET) RAVEL MA MÈRE L’OYE (“MOTHER GOOSE”)
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IBERT DIVERTISSEMENT
AS PART OF VOILAH! FRANCE SINGAPORE FESTIVAL 2020
SUPPORTED BY
ME TA MORPH O SEN AND M O Z A R T WITH HANS GRAF 6 Nov 2020, 8pm (Online premiere on SISTIC Live) Viewable from 6 Nov to 20 Nov with valid tickets.
Singapore Symphony Orchestra Hans Graf Chief Conductor
R . S T RAU SS
Metamorphosen for 23 strings
26 mins
MO ZART
Serenade No. 10 in B-flat major, K.361 “Gran Partita”
43 mins
Concert Duration: 1 hr 10 mins
T Watch our online Pre-Concert Talk on our Facebook page and YouTube channel.
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SINGAPORE SYMPHONY ORCHESTRA Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene in the cosmopolitan city-state. In addition to its subscription series concerts, the orchestra is well-loved for its outdoor and community appearances, and its significant role educating the young people of Singapore. The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings. The SSO makes its performing home at the 1,800-seat state-of-the-art Esplanade Concert Hall. More intimate works, as well as outreach and community performances take place at the 673seat Victoria Concert Hall, the home of the SSO. The orchestra performs over 60 concerts a year, and its versatile repertoire spans all-time favourites and orchestral masterpieces to exciting cutting-edge premieres. Bridging the musical traditions of East and West, Singaporean and Asian musicians and composers are regularly showcased in the concert season. This has been a core of the SSO’s programming philosophy from the very beginning under Choo Hoey, who was Music Director from 1979 to 1996. Under the Music Directorship of Lan Shui from 1997 to 2019, the SSO has performed in Europe, Asia and the United States. In May 2016 the SSO was invited to perform at the Dresden Music Festival and the Prague Spring International Music Festival. This successful five‑city tour of Germany and Prague also included the SSO’s return to the Berlin Philharmonie after six years. In 2014 the SSO’s debut at the 120th BBC Proms in London received critical acclaim in the major UK newspapers The Guardian and The Telegraph. The SSO has also performed in China on multiple occasions.
In the 2020/21 concert season, the SSO welcomes renowned maestro Hans Graf as its Chief Conductor. Notable SSO releases on the BIS label include a Rachmaninoff series, a “Seascapes” album, three Debussy discs “La Mer”, “Jeux” and “Nocturnes”, and the first-ever cycle of Tcherepnin’s piano concertos and symphonies. The SSO has also collaborated with such great artists as Lorin Maazel, Charles Dutoit, Gennady Rozhdestvensky, Neeme Järvi, Gustavo Dudamel, Vladimir Ashkenazy, Diana Damrau, Martha Argerich, Lang Lang, Yo-Yo Ma, Janine Jansen, Leonidas Kavakos and Gil Shaham. The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, and the Singapore National Youth Orchestra. The mission of the Group is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities.
H ANS G RAF Chief Conductor
© BRYAN VAN DER BEEK
M E TAM OR PH OSEN AND M OZ AR T W ITH H ANS G R AF | 6 N O V 2 0 2 0
H A N S G RAF Chief Conductor
Hans Graf is a frequent guest with major orchestras around the world including with the Boston Symphony, the Cleveland and Philadelphia Orchestras, the New York and Los Angeles Philharmonic Orchestra, Vienna Philharmonic Orchestra, Royal Concertgebouw and Leipzig Gewandhaus Orchestras, the London Symphony Orchestra, the City of Birmingham Symphony Orchestra, the Budapest Festival Orchestra, the Gothenburg Symphony Orchestra, the Sydney and Melbourne Symphony Orchestras, the Seoul, Hong Kong and Malaysian Philharmonic Orchestras. Hans Graf’s discography includes all symphonies of Mozart and Schubert, the complete orchestral works by Henri Dutilleux and the world premiere recording of Zemlinsky’s opera Es war einmal. His recording of Alban Berg’s Wozzeck with the Houston Symphony won the ECHO Klassik 2017 award and the Grammy 2018 for Best Opera Recording.
The Austrian conductor Hans Graf is the Chief Conductor of the Singapore Symphony Orchestra from the 2020/21 concert season. He held the role of Music Director of the Houston Symphony Orchestra 2001–2013, making him the longest-serving Music Director in the orchestra’s 100 year history. Prior to this, he was Music Director of the Calgary Philharmonic and of the Orchestre National Bordeaux Aquitaine. He has also held the post of Music Director at the Mozarteum Orchester Salzburg and the Basque National Orchestra.
Hans Graf has been made Chevalier de l’Ordre de la Légion d’Honneur by the French Government (2002) and was awarded the Grand Decoration of Honour of the Republic of Austria (2007). He is also Professor Emeritus for Orchestral Conducting at the Universität Mozarteum in Salzburg. 4
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SECO N D VIOL IN
T HE ORC HE S T R A
Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Nikolai Koval* Chikako Sasaki* Margit Saur Shao Tao Tao Wu Man Yun* Xu Jue Yi* Yeo Teow Meng Yin Shu Zhan* Zhao Tian*
HANS GRAF Chief Conductor JOSHUA TAN Associate Conductor ANDREW LITTON Principal Guest Conductor
VIO LA
CHOO HOEY Conductor Emeritus
Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Janice Tsai Wang Dandan Yang Shi Li
LAN SHUI Conductor Laureate EUDENICE PALARUAN Choral Director WONG LAI FOON Choirmaster
CELL O Ng Pei-Sian Principal, The HEAD Foundation Chair Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Jamshid Saydikarimov* Song Woon Teng Wang Yan Wang Zihao* Wu Dai Dai Zhao Yu Er
FIRS T VI OL I N Kong Zhao Hui# Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Jin Li Kong Xianlong Cindy Lee Karen Tan William Tan Wei Zhe Ye Lin* Zhang Si Jing*
D O U B LE BAS S Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka Wang Xu
6
FLUTE
H O RN
Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan
Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Hoang Van Hoc
PICCOLO
TR U M P ET
Roberto Alvarez Assistant Principal
Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Sergey Tyuteykin
OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo
TR O M B O N E Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong
COR ANG L AI S Elaine Yeo Associate Principal
B A SS T R O MBONE Wang Wei Assistant Principal
CLARINE T Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping
TU B A Tomoki Natsume Principal TIM P A N I
BAS S CL AR I NE T Tang Xiao Ping Assistant Principal
Christian Schiøler Principal Jonathan Fox Associate Principal
BAS S E T HOR N
P ER CU SSIO N
Li Xin Liu Yoko
Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh
BAS S OON Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue
H A RP Gulnara Mashurova Principal
CONTRABAS S OON Zhao Ying Xue Assistant Principal
* With deep appreciation to the Rin Collection for their generous loan of string instruments. # Kong Zhao Hui performs on a J.B. Guadagnini of Milan, c. 1750, donated by the National Arts Council, Singapore, with the support of Far East Organization and Lee Foundation. Musicians listed alphabetically by family name rotate their seats on a per programme basis. 7
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PATR ON SPONSO R Tote Board Group (Tote Board, Singapore Pools & Singapore Turf Club)
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This list reflects donations that were made from 1 October 2019 to 30 September 2020. 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 above $50. You can support us by donating at www.sso.org.sg/donate or www.giving.sg/sso.
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The Second World War was not a good time for German music, despite Hitler’s penchant for the art form. Richard Strauss, given presidency of the Reichsmusikkammer (Reich Music Chamber) due to his international fame and influence, had been unable to influence as much policy as he had naïvely hoped, though he did manage to use his power to protect Jewish colleagues and members of his family. With everyone from all circles pulling strings and doing favours for each other, the circumstances for Metamorphosen arose: Strauss was not in good health by 1944, and the Nazis denied him the permission for the traditional cure of going to Switzerland for a spa break.
The overarching sombre mood is broken by moments of pure joy and the occasional flash of thunder, but the piece winds to a close with a 4-bar quote of the Funeral March from Beethoven’s Eroica symphony. Only a few days after completing the music, Strauss was to write in his diary:
Several eminent musicians came up with a plan for a Zürich commission, with a subsequent invitation for rehearsals and the first performance. This was finalised towards the end of 1944, and by early 1945 Strauss had sketched some musical material for a small ensemble of strings, but the Allied bombing and utter destruction of the Wiener Staatsoper (Vienna State Opera) in March 1945 inspired Strauss to tie together the work within a month. The score was completed on the 12th of April, and the story goes that the final forces — 10 violins, 5 violas, 5 cellos, and 3 double basses — were all Paul Sacher had left at his disposal as the founder and director of the Collegium Musicum Zürich.
Strauss’s reputation as a Nazi collaborator has largely been rehabilitated, and he resumed conducting and composing until the end of his life in September 1949.
Instrumentation 10 violins, 5 violas 5 cellos, 3 double basses
With a technique honed from decades of writing for opera, the existence of a dramatic narrative in this piece was never in doubt, though he never spoke or wrote about any firm meanings behind the title or the music.
World Premiere 25 Jan 1946, Switzerland First performed by SSO 29 Oct 1993 15
| 26 SE P 20 2 0
“The most terrible period of human history is at an end, the twelve-year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany’s 2,000 years of cultural evolution met its doom.”
MET KA HACH MOURP N W H OSEN ONG CAND ONDU MCOZ TSARDEBU T W ITH SSY,H ANS W AGGNER R AFAND | 6SH NOV OSTAK 2020 O V IC H
RICHARD STRAUSS (1864–1949) Metamorphosen for 23 strings (1945)
K AHC H U N W O N G C O NM D UE C TAM TS OR DEBU PH OSEN SSY, WAND AG SSO NER MNATIONAL OZAND AR T SH W ITH OSTAKOV DAYH ANS C ONC IC GER RHAF T | |21 65 SAUG NEOPV 22002200
WOLFGANG AMADEUS MOZART (1756–1791) Serenade No. 10 in B-flat major, K.361 “Gran Partita” (c. 1781) I II III IV V VI VII
Largo – Allegro molto Menuetto Adagio Menuetto: Allegretto Romanze: Adagio – Allegretto – Adagio Thema mit Variationen Rondo: Allegro molto
The music of Mozart was always close to Strauss’s own musical personality, and important recordings of Mozart symphonies have survived from the early years of technology. Strauss’s early compositions demonstrate his admiration for Mozart, and indeed, his Op. 7 Serenade for Winds was modelled after Mozart’s masterful Gran Partita.
horns. The absence of flutes gives this work a mellower tone throughout, missing Mozart’s typical brilliant flute writing. Some performances go so far as to leave out the string bass, substituting it with contrabassoon to achieve a fully woodwind sound. It took some forensic work digging through Mozart’s other compositions to prove that the paper he wrote the Gran Partita on was a type he used in 1781, which places the date of composition as coming after his mature opera Idomeneo. (Coincidentally, for the 150th anniversary of Idomeneo, Richard Strauss was commissioned to produce an “updated” version for the Wiener Staatsoper.)
While the subtitle “Gran Partita” was not Mozart’s own, the Serenade that Mozart composed was definitely substantially larger than any similar work in the period, both in ensemble size and length. These “serenades” (and similar “divertimento”/“divertissement”-type pieces) were commissioned by rich patrons who could afford to pay ensembles to play in their stately homes. Mozart went above and beyond and delivered a piece music longer than most of his symphonies, structured in seven movements and featuring some parts of great instrumental difficulty.
The polyphony on display in this piece shows Mozart’s interest in unusual instrumental combinations, and the interplay between different instrument groups is clearly derived from symphonies of that period. The music goes beyond mere entertainment fare, and the opening movement reaches real symphonic depths. The dances always include slight touches of humour (nothing as blatant as in his later Musical Joke!), showing his intention that they should be appreciated as much as his other “serious”
Scored for two oboes, two clarinets, two basset horns, four horns, two bassoons, and a string bass, the circumstances of the work’s genesis are not entirely clear. Curiously enough, no flutes are in this ensemble, which instead sports four 16
MET A MO RP H OSEN AND M OZ AR T W ITH H ANS G R AF | 6 NOV 2020
musical works, and the technical skill of the lively finale looks forward to the large-scale final movements of mature works like the 39th Symphony. Programme notes by Thomas Ang
Instrumentation 2 oboes, 2 clarinets 2 basset horns, 2 bassoons 4 horns double bass World Premiere Unknown First performed by SSO 6 Apr 2012 17
PRESIDENT’S YOUNG PERFORMERS CONCERT AUDITION IT’S TIME FOR YOU TO SHINE.
If you are a Singaporean instrumentalist performing on Western classical instruments such as strings, woodwind, brass and percussion, audition now to perform with the Singapore Symphony Orchestra at our President’s Young Performers Concert 2021.
Joshua Tan SSO Associate Conductor and conductor of the President's Young Performers Concert
ELIGIBILITY Applicants should be Singapore citizens of no more than 25 years of age, as of 1 July 2021. APPLICATION INSTRUCTIONS: Please prepare and submit the following: 1. Applicant’s biography 2. A high-quality video featuring applicant’s recent performance of a concerto written for chamber-sized orchestra. 3. The composer’s name, title of work, duration of each movement and edition (if applicable). Submission and Application form: ssoperfor.ms/PYPC2021audition < SCAN TO APPLY APPLICATION DEADLINE 30 December 2020 For enquiries, please email to pypc@sso.org.sg. Shortlisted applicants will be notified by email in January 2021 to participate in a live audition scheduled to take place in February 2021. Shortlisted applicants should be prepared to play the concerto in full and should arrange for their own piano accompanist to play the orchestral part. 18
BOA R D OF D IRE C T ORS & C OMMI T T E E S CHAIR Mr Goh Yew Lin SSO COUNCIL
BOARD OF DIRECTORS Ms Yong Ying-I (Deputy Chair) Mr Ang Chek Meng Mr Chang Chee Pey Mr Chng Hak-Peng Mr Chng Kai Fong Mr Warren Fernandez Prof Arnoud De Meyer Mr Heinrich Grafe Ms Liew Wei Li Mr Sanjiv Misra Mr Paul Tan Dr Kelly Tang Mr Geoffrey Wong Mr Yee Chen Fah NOMINATING AND EXECUTIVE COMMITTEE Mr Goh Yew Lin (Chair) Prof Arnoud De Meyer (Treasurer) Mr Paul Tan Ms Yong Ying-I
HUMAN RESOURCES COMMITTEE Ms Yong Ying-I (Chair) Prof Arnoud De Meyer Mr Yee Chen Fah Dr Kelly Tang INVESTMENT COMMITTEE Mr Geoffrey Wong (Chair) Mr David Goh Mr Sanjiv Misra AUDIT COMMITTEE Mr Yee Chen Fah (Chair) Mr Heinrich Grafe Ms Lim Mei SNYO COMMITTEE Ms Liew Wei Li (Chair) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson
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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.