CONCERT PROGRAMME JANUARY 2020
THE MALTESE TENOR: JOSEPH CALLEJA SSO GALA: KAVAKOS PLAYS KORNGOLD
Martin Grubinger
THE TEARS OF NATURE 29 Feb, 7.30pm Esplanade Concert Hall Tickets: $15 - $88
Sponsored by Singapore Airlines
The Genteel Horn of Mr Han 13 Mar, 7.30pm Victoria Concert Hall Tickets: $15 - $48
A Farewell For Tasmin Little 13 Feb, 7.30pm Esplanade Concert Hall Tickets: $15 - $88 Sponsored by Tote Board
Philippe Quint THE RED VIOLIN
5 Mar, 7.30pm Esplanade Concert Hall Tickets: $15 - $88
Jan 2020 THE MALTESE TENOR: JOSEPH CALLEJA 10 Jan 2020, Fri Esplanade Concert Hall
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SSO GALA: KAVAKOS PLAYS KORNGOLD 17 Jan 2020, Fri Esplanade Concert Hall T
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For the enjoyment of all patrons during the concert: • Please switch off or silence all electronic devices. • Please minimise noises during performance. If unavoidable, wait for a loud section in the music. • No photography, video or audio recording is allowed when artists are performing. • Non-flash photography is allowed only during bows and applause when no performance is taking place. Go green. Digital programme books are available on www.sso.org.sg. Photographs and videos will be taken at these events, in which you may appear. These may be published on the SSO’s publicity channels and materials. By attending the event, you consent to the use of these photographs and videos for the foregoing purposes.
T Pre-concert Talk A Autograph Session
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 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
Orchestral playing at the peak of refinement and beauty Fanfare 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 July 2019, the SSO named Austrian conductor Hans Graf as its Chief Conductor designate, beginning in the 2020/21 concert season. Notable SSO releases under BIS 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 affiliate performing groups, we spread the love for music, nurture talent and enrich Singapore’s diverse communities.
T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
© JOAN TOMÁS
Orquestra Simfònica del Vallès in Barcelona.
DAVID GIMÉNEZ conductor Born in Barcelona, David Giménez specialised in conducting at the Hochschule für-Musik in Vienna with Karl Österreicher and at the Royal Academy of Music in London with Sir Colin Davis. Since making his debut with the Hannover NDR Orchestra in 1994, he has appeared worldwide, leading orchestras such as the Vienna Philharmonic, the London Symphony, the Philharmonia, Münchner Philharmoniker, Orchestre de Paris and Filarmonica della Scala. He is currently Principal Guest Conductor of the Bucharest Philharmonic Orchestra and Laureate Conductor of the
Opera is also an important part of David Giménez’s performance schedule. He has performed a wide operatic repertoire at Teatro alla Scala, Vienna Staatsoper, the Royal Opera House in London and many other great opera houses around the world. This season David Giménez will appear on the podiums of, among others, the Royal Philharmonic Orchestra, Radio Symphonie Orchester Wien, Sofia Philharmonic, Moscow City State Symphony – Russian Philharmonic, Bucharest Philharmonic and Shenzhen Symphony Orchestra. Important highlights will include performances of Verdi’s La traviata, Bizet’s Carmen and Bellini’s La sonnambula and several worldwide concerts for the José Carreras Farewell Tour. He will also be on the jury of the Elena Obratzova International Singing Competition in Moscow for the first time, having previously been a member of the panel for Operalia and the Giuseppe Verdi Contest in Parma. Maestro David Giménez’s recordings appear on Decca, BMG Classics, Koch-Schwann, Erato and Discmedi.
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T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
JOSEPH CALLEJA tenor Blessed with a golden-age voice that routinely inspires comparisons to “legendary singers from earlier eras: Jussi Björling, Beniamino Gigli, even Enrico Caruso” (Associated Press), Maltese-born Joseph Calleja has quickly become one of the most acclaimed and sought-after tenors today. His expansive discography and frequent appearances on the world’s leading opera and concert stages prompted NPR to hail him as “arguably today’s finest lyric tenor”, and led to his being voted Gramophone magazine’s 2012 Artist of the Year. A Grammy-nominated recording artist for Decca Classics, he has released six solo albums for the label.
Starting the 19-20 season Joseph Calleja comes back to the Chicago Lyric Opera as Rodolfo in Verdi’s Luisa Miller. He then returns to the Vienna State Opera for performances of Puccini’s Tosca with Bryn Terfel and Evgenia Muraveva. Calleja gives his house debut at the Semperoper Dresden in performances of Puccini’s La bohème before singing Tosca at the Munich State Opera and then returning to the Metropolitan Opera New York for performances of Verdi’s Simon Boccanegra and La bohème. Calleja ends the season in London at the Grange Park Opera London as Enzo Grimaldo in Ponchielli’s La Gioconda.
At 19, Calleja made his operatic debut as Macduff in Verdi’s Macbeth at the Astra Theatre in Malta, before winning an award in the Hans Gabor Belvedere Competition. He went on to win the 1998 Caruso Competition in Milan and was a prize winner in Plácido Domingo’s Operalia in 1999. 5
© BRYAN VAN DER BEEK
S S O G A L A : K A V A K O S P L A Y S K O R N G O L D | 17 JAN 2020
HANS GRAF 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 Orchestras, 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 Malaysia 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 will assume the role of 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. 6
S S O G A L A : K A V A K O S P L A Y S K O R N G O L D | 17 JAN 2020
LEONIDAS KAVAKOS violin
© MARCO BORGGREVE
Leonidas Kavakos was born in Athens and by the age of 21, had won three major competitions: the Sibelius Competition in 1985, and the Paganini and Naumburg competitions in 1988. This success led to him make the first recording in history of the original Sibelius Violin Concerto (1903/4), which won Gramophone’s Concerto Award in 1991. Kavakos now works with the world’s greatest conductor and orchestras. Recent highlights include a season as Artist-in-Residence with the Bavarian Radio Symphony Orchestra, recitals with Yo-Yo Ma and Emmanuel Ax at the Tanglewood Festival where he also appeared as conductor and soloist with the Boston Symphony Orchestra. He is ‘Artiste Etoile’ at the 2019 Lucerne Festival and an exclusive recording artist with Sony Classical. During the 2019/20 season, Kavakos joins Yo-Yo Ma and Emanuel Ax for three Beethoven programmes in Carnegie Hall.
Orchestra, and the Deutsches SymphonieOrchester Berlin. Among his many recordings are Beethoven’s violin sonatas with Enrico Pace, Brahms’s piano trios with Emanuel Ax and Yo-Yo Ma, Brahms’s Violin Concerto with the Leipzig Gewandhaus Orchestra under Riccardo Chailly, Brahms’s violin sonatas with Yuja Wang, and Mendelssohn’s and Mozart’s violin concertos with Camerata Salzburg. Leonidas Kavakos was awarded Gramophone Artist of the Year in 2014 and Denmark’s Léonie Sonning Music Prize in 2017. He plays the 1734 ‘Willemotte’ Stradivari violin.
Kavakos is also active as a conductor and has directed orchestras such as the Boston and London Symphony Orchestras, the New York Philharmonic, Budapest Festival 7
SECOND VIOLIN 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*
The Orchestra joshua tan Associate Conductor andrew litton Principal Guest Conductor
VIOLA
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
CELLO 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
FIRST VIOLIN 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*
DOUBLE BASS Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka Wang Xu
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FLUTE
HORN
Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan
Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Hoang Van Hoc
PICCOLO TRUMPET
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
TROMBONE
Elaine Yeo Associate Principal
Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong
CLARINET
BASS TROMBONE
Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping
Wang Wei Assistant Principal
COR ANGLAIS
TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal
BASS CLARINET PERCUSSION
Tang Xiao Ping Assistant Principal
Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh
BASSOON Wang Xiaoke Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue
HARP Gulnara Mashurova Principal
CONTRABASSOON 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.
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Guest Musicians 10 JAN
TUBA Brett Stemple Principal PERCUSSION Sng Yiang Shan Julia Tan ACCORDION Syafiqah 'Adha Sallehin
17 JAN
FIRST VIOLIN Markus Tomasi Concertmaster SECOND VIOLIN Lim Shue Churn VIOLA Ho Qian Hui Yeo Jan Wea DOUBLE BASS Joan Perarnau Garriga Principal Chia Ying Yin
Information correct at time of printing 10
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THE MALTESE TENOR: JOSEPH CALLEJA Mediterranean Sunshine 10 Jan 2020 Esplanade Concert Hall Singapore Symphony Orchestra David Giménez conductor Joseph Calleja tenor* MOZART
Overture to The Marriage of Figaro
4 mins
MOZART
“Dies Bildnis ist bezaubernd schön” from The Magic Flute*
4 mins
DONIZETTI
“Una furtiva lagrima” from L’elisir d’amore*
5 mins
VERDI
Overture to Nabucco
8 mins
VERDI
“Questa o quella” from Rigoletto*
4 mins
MASSENET
“Pourquoi me réveiller?” from Werther*
4 mins
MASCAGNI
Intermezzo from L’amico Fritz
4 mins
PUCCINI
“E lucevan le stelle” from Tosca*
12 mins 20 mins
Intermission
SHOSTAKOVICH Waltz No. 2
4 mins
TOSTI
Ideale*
5 mins
TOSTI
’A vucchella*
5 mins
JOSEPH VELLA
Il-Kebbies tal-Fanali, Op. 18*
4 mins
GIMÉNEZ
Intermezzo from La Boda de Luis Alonso
6 mins
LEONCAVALLO
Mattinata*
3 mins
Concert duration: 2 hrs
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Post-concert autograph signing with Joseph Calleja in the stalls foyer.
According to legend, Mozart only wrote this overture a few hours before the premiere of The Marriage of Figaro. With no fewer than nine musical themes, the frenetic pace sets the scene for this popular opera buffa, or comic opera. A buzzing and almost gossipy opening is interrupted by a loud entry of trumpets and drums, giving way to scampering violins, swirling flutes and oboes, reflecting the domestic intrigue of the opera plot. Witty and occasionally cynical, there is no contrasting slow section to give the listener a break, and it is over in a matter of four breathless minutes.
“Dies Bildnis ist bezubernd schon” (ed. J. Langley) from The Magic Flute (1791) This aria comes from the first scene of Mozart’s 1791 opera The Magic Flute. Prince Tamino has fallen in love with the princess Pamina after being shown an image of her by the Three Ladies. The aria, in E-flat, with a high G in the opening phrase, makes for an outburst of intense longing by the tenor. The voice is accompanied discreetly by the orchestra, which occasionally surges as the emotions bubble up, with a solo for clarinets at one point and a wave-like motif for the violins in the second section.
Dies Bildnis ist bezaubernd schön, wie noch kein Auge je gesehn! Ich fühl’ es, wie dies Götterbild, mein Herz mit neuer Regung füllt.
This image is enchantingly lovely, Like no eye has ever beheld! I feel it as this divine picture, Fills my heart with new emotion.
Dies Etwas kann ich zwar nicht nennen, doch fühl’ ich’s hier wie Feuer brennen, soll die Empfindung Liebe sein? Ja, ja, die Liebe ist’s allein.
I cannot name my feeling, Though I feel it burn like fire within me, Could this feeling be love? Yes! Yes! It is love alone.
O wenn ich sie nur finden könnte, O wenn sie doch schon vor mir stünde, ich würde, würde, warm und rein!
Oh, if only I could find her, Oh, if only she were already standing in front of me, I would, I would, with warmth and honor.
Was würde ich? Ich würde sie voll Entzücken an diesen heißen Busen drücken, und ewig wäre sie dann mein.
What would I do? Full of rapture, I would press her to this glowing bosom, And then she would be mine forever!
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T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
WOLFGANG AMADEUS MOZART (1756–1791) Overture to The Marriage of Figaro (1786)
T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
GAETANO DONIZETTI (1797–1848) “Tombe degli avi miei” from Lucia di Lammermoor (1835) Donizetti’s Lucia di Lammermoor is based on the novel The Bride of Lammermoor by Sir Walter Scott, and is set in the Lammermuir Hills of 17th-century Scotland. Lucy Ashton, whose noble family lives at Lammermoor Castle, is in love with Sir Edgar of Ravenswoods, but their families have a long blood feud. Lucy and Edgar exchange rings and promises of marriage, but during his absence in France, her family convinces her through trickery to marry someone else. Broken-hearted, she goes mad and murders her husband on their wedding night. In this Act 3 aria, Edgar is at his family tomb, unaware that Lucy is dying, and prepares to commit suicide.
Tombs of my fathers, last son of an unhappy race, receive me, I implore you. My anger's brief fire is quenched... I will fall on my foe's sword. For me, life is a horrible burden! The whole universe is a desert for me without Lucia! Yet the castle gleams with torches... Ah, the night was too short for the revels! Heartless jade! While I pine away in hopeless tears, you laugh and gloat by your happy consort's side! You amid joys, I near to death! Soon this neglected tomb will give me refuge. A compassionate tear will not fall upon it...ah! Alas, for wretched me not even the solace of the dead. You too, forget that despised marble tombstone! Never visit it, o cruel one, by your husband's side. Ah, respect at least the ashes of him who dies for you.
Tombe degli avi miei, l’ultimo avanzo D’una stirpe infelice Deh’! raccogliete voi. Cessò dell’ira Il breve foco... sul nemico acciaro Abbandonar mi vo’. Per me la vita E’orrendo peso! l’universo intero E’un deserto per me senza Lucia! Di liete faci ancora Splende il castello! Ah! scarsa Fu la notte al tripudio! Ingrata donna! Mentr’io mi struggo in disperato pianto Tu ridi, esulti accanto Al felice consorte! Tu delle gioje in seno, io della morte! Frà poco a me ricovero Darà negletto avello Una pietosa lagrima Non scorrerà sù quello! Fin degli estinti, ahi misero! Manca il conforto a me! Tù pur, tù pur dimentica Quel marmo dispregiato. Mai non passarvi, o barbara, Del tuo consorte a lato. Rispetta almen le ceneri Di chi morià per tè.
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Verdi, the Italian composer who towered over the Italian opera scene of the 19th century, needs no introduction. His opera Nabucco tells the story of the Babylonian King Nebuchadnezzar who sacked Jerusalem and took the Jews into exile in Babylon. Nabucco was an instant hit and has remained in the main repertoire of opera companies worldwide ever since. The overture contains the music of the famous “Va pensiero” chorus of Hebrew Slaves pining for a return to their homeland, which particularly resonated with the Italian audiences of the time, who associated the plight of the Hebrew captives with the Italian independence movement.
“Questa o quella” from Rigoletto (1851) Verdi’s opera Rigoletto tells the story of the Duke of Mantua, whose appetite for seduction is encouraged by his jester Rigoletto. The father of a woman whom the duke seduced and Rigoletto mocked placed a curse on them both. Rigoletto’s worst nightmare comes true when the duke takes a fancy to Rigoletto’s daughter Gilda. The curse comes to pass when Gilda falls in love with the duke, and is mistakenly killed by an assassin hired by Rigoletto to kill the duke. In this aria, sung by the duke in the first act, the duke states his attitude to women – one is as good as another, and fidelity is overrated. Questa o quella per me pari sono a quant’ altre d’intorno mi vedo, del mio core l’impero non cedo meglio ad una che ad altre beltà La costoro avvenenza è qual dono di che il fato ne infiora la vita s’oggi questa mi torna gradita forse un’ altra doman lo sarà. La costanza tiranna delcore detestiamo qual morbo crudele, sol chi vuole si serbi fedele; Non v’ha amor se non v’è libertà. De’ i mariti il geloso furore, degli amanti le smanie derido, anco d’Argo i cent’ occhi disfido se mi punge una qualche beltà.
Neither is any different from the rest I see around me; I never yield my heart to one beauty more than another. Feminine charm is a gift bestowed by fate to brighten our lives. And if one woman pleases me today, tomorrow, like as not, another will. Fidelity? that tyrant of the heart we shun like pestilence. Only those who want to should be faithful; without freedom there is no love. I find the ravings of jealous husbands and the frenzy of lovers ridiculous; once smitten by a pretty face I’d not let Argus’ hundred eyes deter me!
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T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
GIUSEPPE VERDI (1813–1901) Overture to Nabucco (1841)
T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
JULES MASSENET (1842–1912) “Pourquoi me réveiller?” (ed. J. Langley) from Werther (1885–1887) Werther and Manon are the only two of Massenet’s operas still regularly performed today. Werther is based on Goethe’s novel The Sorrows of Young Werther. It tells the story of the protagonist’s unsuccessful and ultimately suicidal love for his friend’s fiancée and then wife. If Werther had manned up and gotten over his misdirected passion, there would be no opera, and “Pourquoi me réveiller?”, which appears in the third act, would not have happened. Charlotte (the object of Werther’s desire) draws his attention (in an attempt to divert him from thoughts of self-destruction) to a book of Ossian that he had once started to translate. Unfortunately, its words fit his mood of growing despair. Ossian’s poem is the aria, full of wallowing self-pity.
Ah! Bien souvent mon rêve s’envole Sur l’aile de ces vers, et c’est toi, cher poète qui, bien plutôt, était mon interprète! Toute mon âme est là! Pourquoi me réveiller, ô souffle du printemps? Pourquoi me réveiller? Sur mon front, je sens tes caresses Et pourtant bien proche est le temps des orages et des tristesses! Pourquoi me réveiller, ô souffle du printemps? Demain dans le vallon viendra le voyageur, Se souvenant de ma gloire première. Et ses yeux vainement chercheront ma splendor, Ils ne trouveront plus que deuil et que misère! Hélas! Pourquoi me réveiller, ô souffle du printemps?
Ah! How often my dream takes flight On the wing of these verses, and it’s you, dear poet, who, quite soon, was my interpreter! All my soul is there! Why awaken me, oh breath of spring? Why awaken me? On my brow, I feel your caresses, and yet, very close is the time of storms and of sorrows! Why awaken me, oh breath of spring? Tomorrow in the valley will come the voyager, Remembering my first glory. And his eyes vainly will seek my splendor, They will find only mourning and suffering! Alas! Why awaken me, oh breath of spring?
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Mascagni’s L’amico Fritz, unlike his Cavalleria Rusticana, is rarely performed outside of Italy, and it is a shame, for the Intermezzo, with its ominous grave beauty, shows the rest of the opera should be explored. Set in 19th-century Alsace, on the border of France and Germany, with a set of Protestant and Jewish characters, it spins Yiddish melodies with a distinctly Italian twist.
GIACOMO PUCCINI (1858–1924) “E lucevan le stelle” (orch. J. Langley) from Tosca (1895–1899) Puccini’s Tosca was one of the 19th century’s most dramatic (some would say melodramatic) operas, and remains one of the most frequently performed operas today. The painter Mario Cavaradossi, with his known Republican sympathies, is wanted by the police. This aria occurs at the beginning of the third act, when Cavaradossi, now in prison at the Castel Sant’Angelo in Rome, has just been informed that he has an hour to live and is to be executed. Declining the last rites, he writes a letter to his lover, the opera singer Tosca. As he writes, he is overcome with memories of their happiness together. The sombre meandering clarinet solo at the beginning depicts the movement of the pen on paper, and the incipit of the bittersweet melody is repeated at the end of the opera when Tosca jumps to her death after Cavaradossi’s execution. E lucevan le stelle ed olezzava la terra stridea l’uscio dell’orto e un passo sfiorava la rena. Entrava ella fragrante, mi cadea fra le braccia. O! dolci baci, o languide carezze, mentr’io fremente le belle forme disciogliea dai veli! Svanì per sempre il sogno mio d’amore. L’ora è fuggita, e muoio disperato! E muoio disperato! E non ho amato mai tanto la vita, tanto la vita!
And the stars were shining, And the earth was scented. The gate of the garden creaked And a footstep grazed the sand... Fragrant, she entered And fell into my arms. Oh, sweet kisses and languorous caresses, While trembling I stripped the beautiful form of its veils! Forever, my dream of love has vanished. That moment has fled, and I die in desperation. And I die in desperation! And I never before loved life so much, Loved life so much!
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T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
PIETRO MASCAGNI (1863–1945) Intermezzo from L’amico Fritz (1891)
T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
GAETANO DONIZETTI (1797–1848) “Una furtiva lagrima” (ed. J. Langley) from L’elisir d’amore (1831) “Una furtiva lagrima” appears in Act 2 of the comic opera L’elisir d’amore (“The Elixir of Love”) by Gaetano Donizetti. It is sung by Nemorino when he finds that the magical potion he bought to win the heart of Adina, works. Nemorino is in love with Adina, but she is not interested in a relationship with an innocent, rustic man. To win her heart, Nemorino, with all the money he has in his pocket, buys a love elixir (actually a cheap wine sold by a travelling quack doctor), but when he sees Adina weeping, he believes that she has fallen in love with him, and he is sure that the ‘elixir’ has worked. Una furtiva lagrima negli occhi suoi spuntò: Quelle festose giovani invidiar sembrò.
A furtive tear in her eyes appeared: Those festive young girls she seemed to envy.
Che più cercando io vo? Che più cercando io vo? M’ama! Sì, m’ama, lo vedo, lo vedo.
What more need I look for? What more need I look for? She loves me! Yes, she loves me, I see it, I see it.
Un solo istante i palpiti del suo bel cor sentir! I miei sospir confondere per poco a’suoi sospir! I palpiti, i palpiti sentir, confondere i miei coi suoi sospir.
For a single instant the beats of her beautiful heart to hear! My sighs to blend for a while with her sighs! Her heartbeats, her heartbeats to hear, my sighs with hers to merge.
Cielo, si può morir; di più non chiedo, non chiedo. Ah, cielo! Si può! Si può morir! Di più non chiedo, non chiedo. Si può morir! Si può morir d’amor.
Heavens! One could die! More I cannot ask, I cannot ask. Oh, heavens! One could, one could die! More I cannot ask, I cannot ask. One could die! One could die of love!
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Composed as part of Shostakovich’s Suite for Variety Orchestra, Waltz No. 2 is one of his most famous works. The ‘variety’ element is supported by Shostakovich’s addition of a full saxophone section, a celeste, and two pianos in the original scoring. This composition is in ABA form, with the outer sections firmly rooted in C minor, and the short work moves between E-flat major and C minor (relative major/minor keys), creating a certain unsteadiness to the piece. The unrelenting bass line is prominent throughout, with double basses and snare drum constantly on this line. The work is reminiscent of a comic toy soldier march, and the lightness of the melody creates a haunting beauty.
FRANCESCO PAOLO TOSTI (1846–1916) Ideale (1882, orch. A. Vindrola) Francesco Paolo Tosti established himself in Rome as a pianist, violinist, singer, and composer. After becoming a naturalised citizen in England in 1906, he was knighted in 1908. A publisher once offered Tosti 10,000 lire apiece, if he could write a minimum of four songs per year. He is known for his Italian salon ballads, and was one of the most popular songwriters in Britain in the mid-1880’s. Ideale, composed in his Roman period, is characteristic of Tosti’s musical style, with long flowing melodic phrases, expressive without being overly dramatic. The narrator romantically explains how he followed an ideal (a lover or more abstract belief?) and longingly asks for it to return. Io ti seguii come’iride di pace Lungo le vie del cielo Io ti seguii come un’amica face De la notte nel velo E ti sentii ne la luce e nell’aria Nel profumo dei fiori E fu piena la stanza solitaria Di te e dei tuoi splendori
I followed you like a rainbow of peace along the paths of heaven; I followed you like a friendly torch in the veil of darkness, and I sensed you in the light, in the air, in the perfume of flowers, and the solitary room was full of you and of your radiance.
In te rapito, Al suon de la tua voce Lungamente sognai E de la terra ogni affanno, ogni croce In quel giorno scordai Torna, caro ideal, torna un istante A sorridermi ancora E a me risplenderà nel tuo sembiante Una novella aurora Torna, caro ideal, torna, torna!
Absorbed by you, I dreamed a long time of the sound of your voice, and earth’s every anxiety, every torment I forgot in that dream. Come back, dear ideal, for an instant to smile at me again, and in your face will shine for me a new dawn. Come back, dear ideal, come back!
Translation by John Glenn Paton
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T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
DMITRI SHOSTAKOVICH (1906–1975) Waltz No. 2
T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
’A vucchella (arr. L. Logi) Tosti’s ’A vucchella falls in the genre known as canzone Napoletana (Neapolitan songs), a genre that includes the more famous O sole mio, Santa Lucia, and Funiculì, funiculà. Hallmarks of this genre are the text, always in Neapolitan language, and the content, usually a serenade or a love song. ’A vucchella sets a text written for Tosti by the Italian poet and war hero Gabriele D’Annunzio in the early 1900s. The focus on the mouth of the beloved may be meant to symbolise the entire face, and the slightly withered rose petals may refer to the lips of an older woman (a notorious womaniser, D’Annunzio was known to enjoy women of all ages). Sì, comm’a nu sciorillo Tu tiene na vucchella Nu poco pocorillo appassuliatella.
Yes, like a little flower, You have a sweet mouth A little bit withered.
Meh, dammillo, dammillo - è comm’a na rusella Dammillo nu vasillo Dammillo, Cannetella!
Please give it to me it is like a little rose Give me a little kiss, give, Cannetella!
Dammillo e pigliatillo Nu vaso piccerillo Comm’a chesta vucchella.
Give one and take one, a kiss as little as your mouth
Che pare na rusella Nu poco pocorillo appassuliatella.
which looks like a little rose a little bit withered.
Translation by Antonio Giuliano
20
Joseph Vella was Malta’s leading composer and conductor, producing over 150 major works during his lifetime, including 10 concertos, 5 symphonies, 5 oratorios and 8 song cycles including the first ever written for the Maltese language. His works have been widely performed and critically acclaimed in Europe, USA and Japan. Vella is acknowledged as the first symphonist in the history of Maltese music.
Il-Kebbies tal-Fanali
The Lamplighter
Kull fl-għaxija kif ma’ l-għabex tnin u tmut saħħet il-jum jiġi Majsi bis-sellum u jixgħelli taħt it-tieqa fanal ċkejken li tal-lejl itaffi d-diqa
Every evening as with the twilight wastes and dies the strength of day, Majsi comes along with his ladder and he kindles under my window a little lantern which soothes the anguish of the night.
Saħħti wkoll qed inħossha tmut kuljum iżda msejkna l-Poeżija kull fl-għaxija dlonk tixxabbat mas-sellum u ġo qalbi tixgħel naqra ta’ fanal illi jtaffi ftit id-diqa sa ma jmut ta’ ħajti l-fdal
My strength also I feel a-dying every day, but darling Poesy every evening climbs up the ladder and in my heart lights a tiny lantern which soothes a little the anguish until what is left of my life dies.
Alla ħares ma kienx Majsi illi jagħmel ftit tad-dija u ma’ Majsi Alla ħares ma kenitx il-Poeżija!
God defend me, had it not been for Majsi making his little point of light; and with Majsi – God defend me – had it not been for Poesy!
Words by Anton Buttigieg Translated by Arthur John Arberry in A Maltese Anthology, Oxford University Press.
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T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
JOSEPH VELLA (1942–2018) Il-Kebbies tal-Fanali, Op. 18 (1973)
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SPONSORED BY
The 2020 season marks the final time veteran English violinist Tasmin Little performs on stage. Cherish this opportunity to hear as well as meet her this February!
Russian-American violinist Philippe Quint takes you through the astonishing 300-year tale of the haunted "Red Violin", immortalised in the classic 1998 film.
13 Feb Esplanade Concert Hall
5 Mar Esplanade Concert Hall
Gerard Schwarz, conductor Tasmin Little, violin Singapore Symphony Orchestra
Andrew Litton, conductor Philippe Quint, violin Singapore Symphony Orchestra
SSO IN YOUR COMMUNITY
Our free community concerts are back this March – join us for an hour at each venue for an appealing programme suitable for family and friends!
12 Mar · Victoria Concert Hall 14 Mar · ITE College West 15 Mar · Gardens by the Bay, The Meadow Darrell Ang, conductor Singapore Symphony Orchestra
VCHPRESENTS: CHAMBER SONGS OF NOSTALGIA
Heartfelt opera arias contrastingly paired with Chinese songs of nostalgia is the centre of this intimate programme featuring up-and-coming Chinese baritone Zhou Zhengzhong, accompanied by Singaporean pianist Lim Yan.
29 Mar Victoria Concert Hall Zhou Zhengzhong, baritone Lim Yan, piano
T H E M A L T E S E T E N O R : J O S E P H C A L L E J A | 10 JAN 2020
GERÓNIMO GIMÉNEZ (1854–1923) Intermezzo from La Boda de Luis Alonso (1897) Gerónimo Giménez y Bellido was a Spanish conductor and composer who won a First Prize in Harmony and Counterpoint at the Paris Conservatoire at the age of 17, beating out fellow classmate Claude Debussy. Most of his career was dedicated to writing zarzuelas, a peculiarly Spanish genre of musical theatre, which mixes spoken and sung scenes (incorporating elements of opera, popular song, and dance). His most famous zarzuela was La Boda de Luis Alonso, where the title character was a historical dancing master, so the zarzuela is an excuse for lots of dancing. The zesty Intermezzo is a medley of several traditional Spanish dances.
RUGGERO LEONCAVALLO (1857–1919) Mattinata (1904, arr. L. Logi) Mattinata was the first song ever written expressly for the Gramophone Company (now EMI). Composed by Ruggero Leoncavallo in 1904, the song was dedicated to the great tenor Enrico Caruso, who was the first to record it in 1904 with the composer himself at the piano. Though it sounds like a Neapolitan folk song (Leoncavallo was a native of Naples) it is totally the composer’s own invention. Gifted as a writer as well as a composer, he wrote the words and the music for this irresistible lover’s serenade urging his lady to rise and greet the morning (and by implication, the singing lover). L’aurora di bianco vestita Già l’uscio dischiude al gran sol; Di già con le rosee sue dita Carezza de’ fiori lo stuol! Commosso da un fremito arcano Intorno il creato già par; E tu non ti desti, ed invano Mi sto qui dolente a cantar.
The dawn, dressed in white, has already opened the door to the sun, and caresses the flowers with its pink fingers. A mysterious trembling seems to disturb all nature. And yet you will not get up, and vainly I stand here sadly singing.
Metti anche tu la veste bianca E schiudi l’uscio al tuo cantor! Ove non sei la luce manca; Ove tu sei nasce l’amor.
Dress yourself also in white, and open the door to your serenader! Where you are not, there is no light; where you are, love is born.
Ove non sei la luce manca; Ove tu sei nasce l’amor.
Where you are not, there is no light; where you are, love is born.
Programme notes by Edward C. Yong 24
SSO GALA: KAVAKOS PLAYS KORNGOLD Melodic Magnificence 17 Jan 2020 Esplanade Concert Hall Singapore Symphony Orchestra Hans Graf conductor Leonidas Kavakos violin
DVORÁK
KORNGOLD
Scherzo Capriccioso, Op. 66
12 mins
Violin Concerto in D major, Op. 35
24 mins 20 mins
Intermission
TCHAIKOVSKY
Symphony No. 6 in B minor, Op. 74 “Pathétique”
Concert duration: 2 hrs
T
Pre-concert Talk | 6.30pm, library@esplanade
A
Intermission autograph signing with Leonidas Kavakos in the stalls foyer.
46 mins
Antonín Dvorák seemed to possess an almost inexhaustible supply of melodic ideas, such that his fellow composer, Brahms, once said that any composer would be honoured to have the ideas which Dvorák discarded.
effects, before giving way to a more contemplative middle section led by the cor anglais singing a wistful song. The intensity is gradually ramped up, and the opening and waltz themes are recalled, bringing the Scherzo Capriccioso to a rousing, celebratory conclusion.
Dvorák also achieved a mastery of translating musical elements from folk dances in the countryside to the concert hall – evident from his early Slavonic Dances. He also mastered formal classical structures, in which he housed and developed his musical ideas. Written in less than a month between 6 April and 2 May 1883, the Scherzo Capriccioso is one of the strongest such examples where Dvorák displays his mastery of all these attributes. While not contained within a symphony, the Scherzo Capriccioso takes Dvorák’s own Slavonic Dances and Rhapsodies as its starting point, but also anticipates Mahler’s large-scale symphonic scherzos. It combines both rural and urban dances within a symphonic structure, while expanding the traditional scherzo form. Instrumentation 2 flutes, piccolo, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, bass drum, harp, strings
This winning combination has resulted in this Scherzo’s popularity, with the Chicago Symphony reporting that “it was among the pieces suggested by audience members for the Orchestra’s ‘Popular (Request) Programs’ as early as 1894.” An opening flourish with rustic horn calls and foot-stamping rural dance rhythms soon segues into an elegantly lilting waltz in the strings. These two main themes alternate, dressed in brilliantly colourful orchestral
World Premiere 16 May 1883, Prague First performed by SSO 27 May 1999 27
S S O G A L A : K A V A K O S P L A Y S K O R N G O L D | 17 JAN 2020
ANTONÍN DVORÁK (1841–1904) Scherzo Capriccioso, Op. 66 (1883)
S S O G A L A : K A V A K O S P L A Y S K O R N G O L D | 17 JAN 2020
ERICH WOLFGANG KORNGOLD (1897–1957) Violin Concerto in D major, Op. 35 (1945–1947) I II III
Moderato nobile Romanze Allegro assai vivace
Erich Korngold was proclaimed by Gustav Mahler as a genius at the age of 10 and by 23, his opera Die tote Stadt (“The Dead City”) had brought him international renown. He also conducted and arranged Johann Strauss II’s operettas, and developed a close working relationship with the director, Max Reinhardt.
to adapt and enlarge Mendelssohn’s score for this film, and it was a great success for the nascent film industry. Warner Brothers next engaged him for Captain Blood, which won Korngold his first Academy Award nomination. He signed an exclusive contract with Warner Brothers, paving the way for him to eventually write a total of 23 film scores and winning two Academy Awards. Together with Max Steiner and Bernard Herrmann, he also set the foundations for the symphonic film score which we hear today.
A Jew, Korngold fled the advancing Nazi armies for America at the onset of the Second World War, where Reinhardt was directing A Midsummer Night’s Dream for Warner Brothers. Reinhardt engaged him
Above: Korngold orchestrating the 1938 American film “Robin Hood”. The star of the movie, Basil Rathbone, on the right. Source: Leo Baeck Institute 28
Korngold played a theme at the piano, and Huberman exclaimed “that will be my concerto … promise me that you’ll write it!”
Sadly, when the concerto was completed in 1947, Huberman was unable to fit it into his performance schedule before his untimely death that year. Korngold presented the score to Jascha Heifetz instead, who learnt the piece within a few weeks – and encouraged Korngold to make it even more difficult. It was premiered on 15 February 1947. In the concerto, Korngold combined the rich and emotive musical language inherited from Mahler and Richard Strauss, with the finesse and technical precision honed over the years at Warner Brothers. This proved to be a hit with audiences. He wrote, “The reception of the Violin Concerto in St. Louis was triumphal … a success just as in my best times in Vienna.” A reviewer predicted that the concerto would remain in the repertoire for as long as Mendelssohn’s concerto, to which Korngold replied “I do not need more than that!”.
Instrumentation 2 flutes, 1 doubling on piccolo, 2 oboes, 1 doubling on cor anglais, 2 clarinets, bass clarinet, 2 bassoons, 1 doubling on contrabassoon, 4 horns, 2 trumpets, bass trombone, timpani, glockenspiel, xylophone, vibraphone, cymbals, bass drum, harp, celesta, strings
Moderato nobile The first movement features themes from Another Dawn and Juarez, with lush, soaring lyricism juxtaposed with more spirited moments.
World Premiere 15 Feb 1947, St. Louis (Jascha Heifetz, violin)
Romanze The beautiful second movement features a theme from Anthony Adverse dressed as a Romance.
First performed by SSO 17 May 1996 (Jin Li, violin) 29
S S O G A L A : K A V A K O S P L A Y S K O R N G O L D | 17 JAN 2020
Allegro assai vivace The more overtly virtuosic third movement opens with a rousing jig which becomes a set of dazzling variations. The soloist is required to display extreme virtuosity throughout, and a broadly sweeping second theme from The Prince and the Pauper leads to a triumphant climax.
The Polish virtuoso violinist, Bronislaw Huberman – a family friend of the Korngolds – would ask, “So, Erich, where’s my violin concerto?” At some point in 1945, Korngold played a theme at the piano, and Huberman exclaimed, “that will be my concerto … promise me that you’ll write it!” This theme was subsequently used for the opening of the Violin Concerto.
S S O G A L A : K A V A K O S P L A Y S K O R N G O L D | 17 JAN 2020
PYOTR ILYICH TCHAIKOVSKY (1840–1893) Symphony No. 6 in B minor, Op. 74 “Pathétique” (1893) I II III IV
Adagio – Allegro non troppo Allegro con grazia Allegro molto vivace Adagio lamentoso
head on. While he dodges its inevitability with outwardly bombastic gestures of public triumph in his previous symphonies, he finally accepts that he can no longer run away from it and closes with resigned silence.
Tchaikovsky’s Sixth comprises four movements. The third movement ends triumphantly and often draws applause as a result. There are arguments for and against applause at this juncture – we leave the choice to you.
Tchaikovsky wrote at a breakneck pace, and completed a large section of the Sixth Symphony within four days in February 1893. By the end of August, he had completed it, and it was premiered on 28 October 1893. Tchaikovsky thought that neither the audience nor the orchestra liked the Symphony, given the subdued applause at the end, but decided two days later, that “it is not that it wasn’t liked, but it has caused some bewilderment.” Perhaps due to this lukewarm reception, he asked his brother, Modest, for help with giving the Symphony a title. Modest first suggested “Tragic”, then revised his suggestion to “Pateticheskaya”, which means passionate in Russian. The French version Pathétique is used widely today.
Tchaikovsky’s obsession with fate is well documented, with the strident fanfare of the Fourth Symphony and “motto theme” of the Fifth being two such examples. Since his first encounter with Bizet’s opera Carmen in 1875, Tchaikovsky considered the opera to be “perhaps the most outstanding operatic work of our age”. In addition to its multitude of popular tunes, Tchaikovsky was probably also drawn to the strong hand of fate present in the opera. Some 18 years later, Tchaikovsky paid homage to his favourite opera by incorporating a transformation of Don Jose’s (who fatefully kills the title character) showstopping aria, La fleur que tu m’avais jetée, into his Sixth and final Symphony.
While Tchaikovsky refused to spell out a clear programme for the Sixth, the inexorable hand of fate is surely present, and there are cryptic notes in the Symphony’s sketches about life’s aspirations and disappointments. He did however admit that it had the character of a requiem, and many have tried to read something tragic and autobiographical in this work.
After completing what would become a seasonal hit, The Nutcracker, Tchaikovsky set out to work on a symphony. His usual compositional insecurities were strangely absent, and he described this symphony as “the best thing I ever composed or shall compose.” In it, he finally confronts fate 30
Adagio lamentoso The finale opens with an anguished cry, with its melody broken across the string section. Tom Service points out that “no single instrumental group plays the [main] tune heard”, making it “an amazing, pre-modernist idea.” Tchaikovsky allows some warmth to steal in and soothe some of the despair, but the mood continues to darken and become threatening. A single tam-tam stroke cuts through, and the music disintegrates slowly over a faltering pulse to a deathly close.
In this work, Tchaikovsky remodelled the symphony in his personal style. His expulsion of the traditional positive and affirming symphonic finale provided later composers such as Mahler, Shostakovich and even Sibelius with new expressive possibilities, which they each took forward in their very unique ways.
Programme notes by Christopher Cheong
Adagio – Allegro non troppo The first movement opens on a sepulchral note in the bassoon, which grows into the martial yet impulsive first theme. However, before long, Tchaikovsky introduces his gorgeous transformation of La Fleur on the violins, directed to be played “tenderly, songfully and elastically”. The development of these two themes scale intense emotional heights, with many magical moments mixed in by the master composer.
Instrumentation 3 flutes, 1 doubling on piccolo, 2 oboes, 2 clarinets, 1 doubling on bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, tam-tam, strings
Allegro con grazia The two central movements are more relaxed. The second movement is a wonderfully lyrical waltz, albeit with a limp – yet it seems to be absolutely determined to maintain a semblance of joy.
World Premiere 28 Oct 1893, St. Petersburg (conducted by Tchaikovsky) First performed by SSO 6 Nov 1981 31
S S O G A L A : K A V A K O S P L A Y S K O R N G O L D | 17 JAN 2020
Allegro molto vivace A robust and brilliant march then ensues. Tchaikovsky’s biographer John Warrack wrote, “on the face of it, this is a sprightly march; yet it is barren, constructed out of bleak intervals, and for all the merriness of its manner, essentially empty, with a coldness at its heart.”
This is undoubtedly linked to Tchaikovsky’s sudden death just nine days after the Symphony’s premiere – officially due to cholera. On 6 November, the Sixth was performed at a memorial for the composer. The Russian Musical Gazette stated that the symphony was “indeed a sort of swan song, a presentiment of imminent death.” Conspiracy theories remain as to whether this was accidental or suicidal, and it is unlikely that we will ever find an objective answer as to whether the composer intended this as a musical farewell.
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BECOME A CORPORATE PATRON Support Singapore’s national orchestra and form a special relationship with one of the country’s most celebrated arts groups. Starting this concert season, we are introducing a new Corporate Patron recognition scheme that caters to the changing needs of corporate philanthropy. Our concerts provide classy entertainment and prestigious branding opportunities. By committing to growing the arts through the SSO, you can increase your name recognition among an influential and growing audience. Corporate donors may also enjoy attractive tax benefits. Corporate Patron packages begin at $30,000. Benefits include: 1. Tax Benefits 2. Patron of the Arts Nomination 3. Acknowledgement - Public acknowledgment in SSO concert booklets and website - Public acknowledgement on Donor Wall situated at Victoria Concert Hall (Home of the SSO) 4. Complimentary tickets 5. Priority booking 6. Discounts for ALL SSG concerts 7. Invitations to special events (e.g., rehearsals, receptions, meet-the-musicians sessions)
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upcoming concerts
Feb 9 Feb | Victoria Concert Hall Wu Wei sheng Joshua Tan conductor Musicians of the SSO
13 Feb | Esplanade Concert Hall Gerard Schwarz conductor Tasmin Little violin Singapore Symphony Orchestra
21 & 22 Feb | Esplanade Concert Hall Joe Hisaishi conductor Singapore Symphony Orchestra
24 Feb | Victoria Concert Hall François Espinasse organ
29 Feb | Esplanade Concert Hall Robert Spano conductor Martin Grubinger percussion Singapore Symphony Orchestra
VCHPRESENTS: CHAMBER ENDLESS SOUND 无限的笙 An unmissable demonstration of the ancient Chinese instrument’s phenomenal capabilities
A FAREWELL FOR TASMIN LITTLE PROKOFIEV Selections from Romeo and Juliet, Op. 64 BRUCH Violin Concerto No. 1 in G minor, Op. 26 BRAHMS Symphony No. 3 in F major, Op. 90
WILLOW ARTS PRESENTS JOE HISAISHI IN CONCERT WITH THE SSO VCHPRESENTS: ORGAN ORGAN, FRANÇAIS
FREE
MARTIN GRUBINGER • THE TEARS OF NATURE KNUSSEN The Way to Castle Yonder TAN DUN The Tears of Nature RACHMANINOFF Symphony No. 3 in A minor, Op. 44
Mar 5 Mar | Esplanade Concert Hall Andrew Litton conductor Philippe Quint violin Singapore Symphony Orchestra
12 Mar | Victoria Concert Hall
PHILIPPE QUINT • THE RED VIOLIN BERNSTEIN Candide Overture CORIGLIANO The Red Violin, Concerto for Violin and Orchestra SHOSTAKOVICH Symphony No. 10 in E minor, Op. 93
LUNCHTIME CONCERT @ VCH
Darrell Ang conductor Singapore Symphony Orchestra
40
FREE
Mar 13 Mar | Victoria Concert Hall Darrell Ang conductor Han Chang Chou horn Singapore Symphony Orchestra
14 Mar | ITE College West Darrell Ang conductor Singapore Symphony Orchestra
15 Mar | Gardens by the Bay Darrell Ang conductor Singapore Symphony Orchestra
20 Mar | Victoria Concert Hall Dance Studio Cindy Lee violin Musicians of the SSO
21 & 22 Mar | Victoria Concert Hall Jessica Gethin conductor Singapore Symphony Orchestra
27 & 28 Mar | Victoria Concert Hall Stephen Layton conductor Jassy Husk soprano Zhou Zhengzhong baritone Singapore Symphony Orchestra and Choirs
29 Mar | Victoria Concert Hall Zhou Zhengzhong baritone Lim Yan piano
THE GENTEEL HORN OF MR HAN LULLY Overture and Dances from Le Bourgeois gentilhomme MOZART Horn Concerto No. 2 in E-flat major, K.417 R. STRAUSS Le Bourgeois gentilhomme, Op. 60
SSO IN YOUR COMMUNITY: SOUTHWEST SINGAPORE
FREE
SYMPHONY IN THE GARDENS: GARDENS BY THE BAY
FREE
VCHPRESENTS: INTIMATE MOMENTS THE COLOURFUL WORLD OF ANIMALS HAYDN Selections from String Quartet No. 3 in C major, Op. 33 “The Bird” SCHUBERT Allegro vivace from Piano Quintet in A major, D. 667, “Trout” FAURÉ Papillon, Op. 77 SAINT-SAËNS Selections from Carnival of the Animals
CONCERTS FOR CHILDREN JOURNEY AROUND THE WORLD FAURÉ: CANTIQUE ET REQUIEM FAURÉ Cantique de Jean Racine, Op. 11 BRITTEN Simple Symphony, Op. 4 PÄRT Cantus in memory of Benjamin Britten FAURÉ Requiem in D minor, Op. 48
VCHPRESENTS: CHAMBER SONGS OF NOSTALGIA A programme of heartfelt opera arias contrastingly paired with Chinese songs of nostalgia
41
Esplanade Presents
Classics
Midori
(USA)
& Festival Strings Lucerne (Switzerland)
Leader and Artistic Director, Daniel Dodds
Singapore Debut!
Midori
Photo Credit Timothy Greenfield-Sanders
10 Mar 2020, Tue 7.30pm
An evening of works by Ludwig van Beethoven Violin Concerto in D major, Op 61 Romance for Violin and Orchestra No.2 in F major, Op 50 Romance for Violin and Orchestra No. 1 in G major, Op 40 Symphony No. 4 in B-flat major, Op 60
Tickets from $45
BOOK NOW!
www.esplanade.com/midori
SISTIC hotline: 6348 5555. School or group bookings: 6828 8389 or email boxoffice@esplanade.com. Admission age: 6 & above, unless otherwise stated. Ticket prices exclude SISTIC fees. Terms and conditions apply.
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Information correct at time of print.
Esplanade Concert Hall
Festival Strings Lucerne
board of directors & C O M M I T T E e S chair Mr Goh Yew Lin board of directors
S S O C ouncil
Ms Yong Ying-I (Deputy Chair) Mr Ang Chek Meng Mrs Odile Benjamin Mr Chang Chee Pey Mr Chng Hak-Peng Mr Chng Kai Fong Mr Lionel Choi 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
Mr Yee Chen Fah (Chair) Mr Heinrich Grafe Ms Lim Mei
Prof Cham Tao Soon (Honorary Chair) Mr Alan Chan (Chair) 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 Dr Gralf Sieghold Mr Andreas Sohmen-Pao Dr Tan Chin Nam Ms Tan Choo Leng Mr Tan Soo Nan Mr Wee Ee Cheong
SNYO Committee
SSO LADIES’ LEAGUE
Nominating and Executive Committee Mr Goh Yew Lin (Chair) Prof Arnoud De Meyer 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 Endowment Fund Committee Mr Goh Yew Lin (Chair) Mr David Goh Mr Sanjiv Misra Audit Committee
Ms Liew Wei Li (Chair) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson
S S O M usicians ’ C ommittee Mr Jon Paul Dante Mr Jamie Hersch Mr Ng Pei-Sian Mr Mark Suter Mr Christoph Wichert Ms Elaine Yeo Mr Yeo Teow Meng
Mrs Odile Benjamin (Chair) Mrs Kwan Lui (Deputy Chair) Mrs Celeste Basapa Mrs Maisy Beh 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
SINGAPORE SYMPHONY GROUP MANAGEMENT
CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng
ARTISTIC PLANNING
CEO OFFICE
Mr Hans Sørensen (Head)
Ms Shirin Foo Mr Lim Yeow Siang
Programmes (SSO) Ms Kua Li Leng Ms Teo Chew Yen Ms Jodie Chiang Community Outreach Ms Vanessa Lee Ms Samantha Lim Choral Programmes Ms Regina Lee Ms Whitney Tan Programmes (VCH) Ms Erin Tan Ms Lynnette Chng ORCHESTRA MANAGEMENT Mr Ernest Khoo (Head) Orchestra Mr Chia Jit Min Ms Karis Ong Concert Operations Ms Kimberly Kwa Ms Chin Rosherna Ms Chen Chin-Hsuan Mr Ramayah Elango Mr Md Fariz bin Samsuri Library Mr Lim Lip Hua Ms Priscilla Neo Ms Wong Yi Wen
Customer Experience Mr Randy Teo Ms Dacia Cheang Ms Nur Shafiqah bte Othman DEVELOPMENT & PARTNERSHIPS Ms Peggy Kek (Head) Corporate Communications Ms Leong Wenshan Ms Haslina Hassan
CORPORATE SERVICES Ms Lillian Yin (Head) Finance, IT & Facilities Mr Rick Ong Mr Alan Ong Ms Goh Hoey Fen Mr Md Zailani bin Md Said Human Resources & Administration Mr Desmen Low Ms Melissa Lee Ms Evelyn Siew Legal Mr Edward Loh
Development Ms Chelsea Zhao Ms Nikki Chuang Ms Charmaine Fong
SINGAPORE NATIONAL YOUTH ORCHESTRA
MARKETING COMMUNICATIONS
Ms Pang Siu Yuin (Head) Mr Tan Yong Qing Ms Tang Ya Yun
Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Elizabeth Davis Ms Myrtle Lee Ms Jana Loh Ms Hong Shu Hui Ms Sherilyn Lim Ms Melissa Tan
ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong
2019/20 Season
CHAMBER ORGAN
ENDLESS SOUND 9 Feb, 4pm
Wu Wei, sheng Joshua Tan, conductor Musicians of the SSO
ORGAN, FRANร AIS 24 Feb, 12.30pm
SUPPORTED BY the Singapore Chapter of the American Guild of Organists
Franรงois Espinasse, organ
CHAMBER
INTIMATE MOMENTS
THE COLOURFUL WORLD OF ANIMALS 20 Mar, 7.30pm Cindy Lee, violin Musicians of the SSO
SONGS OF NOSTALGIA 29 Mar, 4pm
Zhou Zhengzhong, baritone Lim Yan, piano
SUPPORTED BY
sso.org.sg/VCHpresents
PATRON SPONSOR
Supported by
Patron Sponsor
Matched By
Major Donors
mr & mrs goh yew lin
Season Partners Official Radio Station
Official Airline
Season Patrons
christopher & rosy ho
Aquilus pte ltd
LEE FOUNDATION
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 talents 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.
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