CONCERT PROGRAMME JANUARY 2022
SCHUMANN PIANO CONCERTO AND MOZART’S JUPITER BEETHOVEN, 1806
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Jan 2022 SCHUMANN PIANO CONCERTO AND MOZART’S JUPITER
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14 & 15 Jan 2022, Fri & Sat Esplanade Concert Hall
BEETHOVEN, 1806 21 & 22 Jan 2022, Fri & Sat Esplanade Concert Hall
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T Pre-concert Talk on our Facebook page and YouTube channel
SINGAPORE SYMPHONY ORCHESTRA Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene in the cosmopolitan city-state. In addition to its subscription series concerts, the orchestra is well-loved for its outdoor and community appearances, and its significant role educating the young people of Singapore. The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings. In 2021, the SSO clinched third place in the prestigious Orchestra of the Year Award by Gramophone. 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. 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 second performance at the Berlin Philharmonie. 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 2020, the SSO appointed renowned Austrian conductor Hans Graf as its Chief Conductor. In a time greatly disrupted by COVID-19, the SSO continued to keep music alive and lift spirits up through a multitude of digital concerts and videos, which crossed a million views in six months. The SSO has released more than 50 recordings in its 40-year history, with more than 30 on the BIS label. The most recent critically acclaimed albums include a Rachmaninoff box set (2021), Richard Strauss’ “Rosenkavalier and Other Works” (2020), and three Debussy discs “La Mer”, “Jeux” and “Nocturnes”. The orchestra has also released albums of contemporary works linked to East Asia, including works by Chen Yi, Zhou Long, Bright Sheng, Alexander Tcherepnin, and others. 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.
H ANS G RAF Chief Conductor The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, the Singapore National Youth Orchestra, and the VCHpresents chamber music series, the Singapore International Piano Festival and the biennial National Piano & Violin Competition. 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.
© BRYAN VAN DER BEEK
SC H U M AN N PIAN O C ONC ER TO AND M OZ AR T’ S JU PITER | 14 & 1 5 JAN 2 0 2 2 BEE TH O V EN, 18 0 6 | 2 1 & 2 2 JA N 202 2
HA 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
© FELIX BROEDE
Herbert Schuch has gained a reputation as being among the most interesting pianists of his generation with his strikingly conceived concert programmes and recordings. In 2013, he received the ECHO Klassik award for his recording of Viktor Ullmann's Piano Concerto and Beethoven’s Piano Concerto No. 3. In 2014, he issued the fascinating solo CD “invocation” with works by Bach, Liszt, Messiaen, Murail and Ravel. Several CDs were released in the Beethoven Year 2020 that underline Schuch’s broad artistic radius. Highlights of Schuch's 2021/22 season include a Beethoven piano sonata cycle, duo recitals with violinist Vilde Frang, concerts with pianist Gülru Ensari at the Ruhr Piano Festival and with the Bamberg Symphony Orchestra in Hong Kong, and a new CD with works by Schubert and Janáček.
the radio orchestras of hr, MDR, WDR, NDR Hannover, the Philharmonisches Staatsorchester Hamburg, the Deutsche Radio Philharmonie, the Danish Radio, the Orchestre National de Belgique as well as the Camerata Salzburg and the Festival Strings Lucerne. The conductors with whom he has enjoyed successful associations are Pierre Boulez, Kent Nagano, Yannick NézetSéguin, Jukka-Pekka Saraste, Valery Gergiev, and many others.
Herbert Schuch has worked with many renowned orchestras, including the London Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, the NHK Symphony Orchestra, Mariinsky Theatre Orchestra under Valery Gergiev, the Residentie Orkest Den Haag, the RAI National Symphony Orchestra, the Orchestra della Svizzera Italiana, the Munich Philharmonic Orchestra, the Deutsches Symphonie-Orchester Berlin, the Bamberg Symphony, the Dresden Philharmonic and
Herbert Schuch was born in Timișoara, Romania, in 1979 and moved to Germany in 1988. He created an international stir when he won, in one year, the Casagrande Competition, the London International Piano Competition and the International Beethoven Competition in Vienna. 5
S CH U MA N N PIANO C ONC ER TO AND M OZ AR T’ S JU PITER | 14 & 15 J A N 2022
H ER B E RT SCH U CH piano
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B EET H O V EN , 1806 | 21 & 22 J A N 2022
H E ZI Y U violin
© PIA CLODI
In 2017, at age 18, the outstanding violinist He Ziyu was one of the youngest soloists to debut at the Musikverein with the Vienna Philharmonic. Ziyu won both the International Mozart Competition in Salzburg and the Yehudi Menuhin Competition in 2016, and was the Eurovision Young Musician of the Year in 2014. The 2021/22 season sees Ziyu debut with the Wiener Symphoniker and Lio Kuokman, and return visits to the Singapore Symphony Orchestra with Hans Graf and the Belgrade Philharmonic Orchestra with Howard Griffiths. Other recent highlights include performing with BBC Proms in the Park, Belfast, his debut at the George Enescu Festival, Hangzhou Philharmonic Orchestra, a return to the Mozarteum Orchester Salzburg with Ricardo Minasi, and recitals at the Konzerthaus Wien's ‘Great Talents’ series.
Orchestra della Rai, Orchestra della Toscana, Peking Symphony, Shanghai Philharmonic, Ulster Philharmonic Orchestra, Wiener Kammerorchester, Wiener Philharmoniker and Zagreb Philharmonic Orchestra. Ziyu began playing the violin with Zhang Xiangrong in his native China at age 5. At 10, he was invited by Paul Roczek to study at the University Mozarteum, Salzburg. Ziyu finished his Masters studies in summer 2021 and continues his postgraduate studies with Benjamin Schmid and Paul Roczek. Ziyu is currently continuing his residency at Musikverein Vienna with Altenberg Trio Wien and plays a Rocca violin made in 1853, kindly loaned by a private sponsor.
Ziyu has performed with the Bochumer Symphoniker, China Philharmonic, Filarmonica del Teatro Comunale di Bologna, Georgian Philharmonic, Macau Orchestra, Mariinsky Orchestra, National Center for the Performing Arts Orchestra, National 7
SEC O N D V IOL IN
T HE ORC HE S T R A HANS GRAF Chief Conductor ANDREW LITTON Principal Guest Conductor CHOO HOEY Conductor Emeritus LAN SHUI Conductor Laureate EUDENICE PALARUAN Choral Director WONG LAI FOON Choirmaster
Michael Loh Associate Principal Nikolai Koval* Hai-Won Kwok Chikako Sasaki* Margit Saur Shao Tao Tao Wu Man Yun* Xu Jueyi* Yeo Teow Meng Yin Shu Zhan* Zhao Tian* VIO L A Manchin Zhang Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Janice Tsai Dandan Wang Yang Shi Li
FIRS T VI OL I N
C EL L O
(Position vacant) Concertmaster, GK Goh Chair Kong Zhao Hui1 Associate Concertmaster Chan Yoong-Han2 Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Jin Li Kong Xianlong Cindy Lee Karen Tan William Tan Wei Zhe Ye Lin* Zhang Si Jing*
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 Wu Dai Dai Zhao Yu Er D O U B LE BAS S Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka Wang Xu
FLUTE
TR U M P ET
Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan
Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong TR O M B O N E
PICCOLO Roberto Alvarez Assistant Principal
Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong
OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo COR ANGL AI S Elaine Yeo Associate Principal CLARINET Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping BAS S CL AR I NE T Tang Xiao Ping Assistant Principal BAS S OON
B A SS T R O MBONE Wang Wei Assistant Principal TU B A Tomoki Natsume Principal TIM P A N I Christian Schiøler Principal P ER CU SSIO N Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh H A RP Gulnara Mashurova Principal
Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue CONTRAB AS S OON Zhao Ying Xue Assistant Principal HORN Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Hoang Van Hoc
* With deep appreciation to the Rin Collection for their generous loan of string instruments. 1 Kong Zhao Hui performs on a J.B. Guadagnini of Milan, c. 1750, donated by the National Arts Council, Singapore, with the support of Far East Organization and Lee Foundation. 2 Chan Yoong-Han performs on a David Tecchler, Fecit Roma An. D. 1700, courtesy of Mr G K Goh. Musicians listed alphabetically by family name rotate their seats on a per programme basis.
Musicians SC H UMA N N P IA N O CO N CE RT O A ND M OZA RT ’ S JUP I T E R | 14 & 15 JA N 2022
FIRST VIOLIN Markus Tomasi* Concertmaster Kong Zhao Hui Associate Concertmaster Duan Yu Ling Kong Xianlong William Tan Zhang Si Jing SECOND VIOLIN Ye Lin Shao Tao Tao Xu Jueyi Yin Shu Zhan VIOLA Manchin Zhang Marietta Ku Luo Biao Janice Tsai CELLO Yu Jing Chan Wei Shing Wu Dai Dai DOUBLE BASS Yang Zheng Yi Wang Xu
FLUTE Jin Ta Roberto Alvarez OBOE Pan Yun Carolyn Hollier CLARINET Ma Yue Tang Xiao Ping BASSOON Christoph Wichert Aw Yong Tian* HORN Gao Jian Jamie Hersch Bryan Chong* Alexander Oon* TRUMPET David Smith Lau Wen Rong TIMPANI Christian Schiøler
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BEETH OVEN , 1 8 0 6 | 2 1 & 2 2 J A N 2 0 2 2
FIRST VIOLIN Markus Tomasi* Concertmaster Chan Yoong-Han Fixed Chair Cao Can Foo Say Ming Cindy Lee Karen Tan SECOND VIOLIN Zhao Tian Nikolai Koval Yin Shu Zhan Chikako Sasaki Margit Saur
FLUTE Jin Ta OBOE Rachel Walker Carolyn Hollier CLARINET Ma Yue Liu Yoko BASSOON Liu Chang Zhao Ying Xue
VIOLA Manchin Zhang Guan Qi Luo Biao Yang Shi Li
HORN Jamie Hersch Marc-Antoine Robillard Hoang Van Hoc Alexander Oon*
CELLO Ng Pei-Sian Guo Hao Jamshid Saydikarimov
TRUMPET Jon Paul Dante Lau Wen Rong
DOUBLE BASS Yang Zheng Yi Jacek Mirucki
TIMPANI Christian Schiøler
* Guest musician 11
SC H U M AN N PIAN O C ONC ER TO AND M OZ AR T’ S JU PITER | 14 & 1 5 JAN 2 0 2 2
SC HUMA NN PI ANO CO N C E R T O AN D MOZAR T’S J U PI TER HA N S G R A F A N D H E R B E R T S C H U C H 14 & 15 Jan 2022, Fri & Sat Esplanade Concert Hall Singapore Symphony Orchestra Hans Graf Chief Conductor Herbert Schuch piano*
M O ZART
Symphony No. 33 in B-flat major, K.319 SSO PREMIERE
20 mins
S C HU M AN N
Piano Concerto in A minor, Op. 54*
31 mins
M O ZART
Symphony No. 41 in C major, K.551 “Jupiter”
31 mins Concert Duration: approximately 1 hr 35 mins (with no intermission)
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I II III IV
Allegro assai Andante moderato Menuetto & Trio Finale. Allegro assai
Mozart’s lesser-known 33rd Symphony is mostly overshadowed by its neighbours (the “Paris” and “Haffner” symphonies), but is also less often performed due to its rather light orchestration, and commentaries sometimes refer to it somewhat dismissively as a chamber symphony. Be that as it may, it is a perfectly good example of the younger Mozart’s craft, and dates from the very end of his Salzburg period before he moved to Vienna.
found throughout: the contrapuntal middle section of the last movement is clearly a step towards future greatness, and, in fact one of the new themes Mozart introduces in the first movement is identical to that in the “Jupiter” finale. One could not possibly guess that Mozart had just lost his mother — pure exuberance reigns at the end!
Originally composed in the Italian manner, the Minuetto was added on later to update it to Germanic standards. Even so, this symphony already demonstrates Mozart’s penchant for breaking the rules. Here, instead of writing a “proper” sonata form, Mozart chooses to introduce new themes in the development section of the first movement, and continues doing the same for the middle of the second and final movements, showing off his musical imagination. The extra third movement also contains an angular melody full of wide jumps that, in any other composer’s hands, would prove clumsy and hard to work with, but here is treated with pure Mozartean grace.
Instrumentation 2 oboes, 2 bassoons, 2 horns, strings
This symphony was composed before Mozart embarked on serious study of Bach’s music, and so does not contain the detailed inner parts that come to characterise his famous later work. But important seeds can be
World Premiere Unknown 13
S CH U MA N N PIANO C ONC ER TO AND M OZ AR T’ S JU PITER | 14 & 15 J A N 2022
WOLFGANG AMADEUS MOZART (1756–1791) Symphony No. 33 in B-flat major, K.319 (1779) SSO PREMIERE
SC H U M AN N PIAN O C ONC ER TO AND M OZ AR T’ S JU PITER | 14 & 1 5 JAN 2 0 2 2
ROBERT SCHUMANN (1810–1856) Piano Concerto in A minor, Op. 54 (1841–1845) I II III
Allegro affettuoso Intermezzo Allegro vivace
To audiences used to the Classical and early Romantic concerto, where the orchestra plays for a few minutes and lays out the themes for the piano to take up, Schumann’s opening gambit must have been incredibly dramatic and shocking. Not many composers had broken this mould previously (Beethoven being one, with a gently pulsing No. 4), and especially not this way, where the piano and orchestra are inextricably interwoven throughout the course of the first movement. By 1841, Schumann had already attempted several other piano concertos, none of which he could bring himself to finish. These efforts dated back more than a dozen years, and even as early as 1833 he was writing to his future father-in-law about something “in A minor”, but it would take many years before he finished construction of a onemovement Fantasie, which proceeded to be a flop. It was only at the suggestion of his wife, the virtuoso Clara Wieck, that he revised the Fantasie and added another two movements, and was finally successful in persuading a publisher to take on the work.
Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings
Clara Wieck performed the premiere, which was conducted by its dedicatee Ferdinand Hiller, and a year later, repeated the performance under the baton of Felix Mendelssohn. After this troubled conception, the concerto won immediate popularity and went on to be one of the most performed and recorded concerti ever.
World Premiere 4 Dec 1845, Dresden (Clara Schumann, piano) First performed by SSO 31 Oct 1980 (Idil Biret, piano) 14
I II III IV
Allegro vivace Andante cantabile Menuetto & Trio. Allegretto Molto allegro Credit for the finest bon mot about this work might be due to Brahms, who, despite living in quaking fear of Beethoven’s shadow his whole life, remarked at the end of his life that “Beethoven's first symphony did impress people colossally. But the last three symphonies by Mozart are much more important.”
Mozart’s incredible burst of productivity in the summer of 1788 produced three huge symphonies in the space of two months, in addition to two piano trios, a piano sonata (the famous “teaching” sonata K.545 in C major) and a violin sonatina. No. 41, as the last of this trio and the culmination of his work in the symphonic form, is without doubt one of the greatest symphonies ever written in the history of orchestral music.
Programme notes by Thomas Ang
The study of Bach’s music had paid off richly by this time, and Mozart also possessed greater maturity to go with his new skills. The symphony begins simply, in Haydnesque manner — Mozart was familiar with the music of both Haydn brothers — and, over the half-hour span of his longest symphony, builds into a crackling fugue in the finale which continues to astonish listeners over 200 years later. A piece with a reputation as outsize as this might seem to fit its nickname well, but in all probability, Mozart never heard the symphony performed, nor knew anything about the moniker (which has been theorised to originate from his impresario friend Salomon or from the Cramer publishing house). Critics and audiences alike were bowled over by it in the beginning of the 19th century, however, and its sheer scale certainly looked forward to the Romantic period.
Instrumentation flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings World Premiere Unknown First performed by SSO 11 Sep 1979 15
S CH U MA N N PIANO C ONC ER TO AND M OZ AR T’ S JU PITER | 14 & 15 J A N 2022
WOLFGANG AMADEUS MOZART Symphony No. 41 in C major, K.551 “Jupiter” (1788)
BEETH OV EN, 1806 | 21 & 2 2 JAN 2 0 2 2
BE ETHOVEN , 1806
HA N S G R A F A N D H E Z I Y U 21 & 22 Jan 2022, Fri & Sat Esplanade Concert Hall Singapore Symphony Orchestra Hans Graf Chief Conductor He Ziyu violin*
B EET H O V E N
Symphony No. 4 in B-flat major, Op. 60
34 mins
Violin Concerto in D major, Op. 61*
42 mins Concert Duration: approximately 1 hr 30 mins (with no intermission)
T Watch our online Pre-Concert Talk on our Facebook page and YouTube channel.
16
I II III IV
Adagio. Allegro vivace Adagio Allegro vivace Allegro ma non troppo opening movement. The third movement reflects Beethoven’s pushing of boundaries – what was normally an ABA becomes an ABABA in his hands, and the traditional minuet gives way to a scherzo.
In 1806, Beethoven spent the summer as a guest of his Bohemian patron, Karl Alois, Prince Lichnowsky, at his country seat in Silesia (now divided up between Poland, Germany, and the Czech Republic). On a visit to the nearby castle of Count Oppersdorff, the count commissioned a new symphony from Beethoven, and thus we came to have the Fourth Symphony, premiered in Vienna in 1807. Sandwiched between the two giants: Symphony No. 3 "Eroica" and Symphony No. 5, it has suffered comparative neglect.
The final movement was marked Allegro ma non troppo and shows the influence of Beethoven’s teacher Haydn. Cheerful animated semiquavers in the strings form the first subject and keep the mood light, while a second subject from the oboe gives us some textural change. The motum perpetuum is interrupted when snatches of the main theme are suddenly played at half speed or punctuated by rests, as if the orchestra were breaking down as a joke, before the full orchestra abruptly comes back for the punchline.
The symphony begins with an ominous minor-key Adagio where the theme is first played on the double basses and then carried upwards suspensefully through the strings and winds – it is as if we have woken up in a dark room and trying to figure out where we are in the brooding gloom. A series of major chords announce that we have found the curtains and thrown them open, with light suddenly streaming in through the Allegro vivace – and then the music alternates between major and minor as it develops back in the ‘right’ key of B-flat major. The development is ingenious in how it leads us back to the recapitulation, a codetta based on the main theme.
Instrumentation flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings World Premiere c. Mar 1807, private concert in Vienna
The Adagio second movement in E-flat major is in rondo form, and unusually features timpani, as well as rather animated sections still echoing the rhythms of the
First performed by SSO 13 Feb 1981 17
B EET H O V EN , 1806 | 21 & 22 JA N 2022
LUDWIG VAN BEETHOVEN (1770–1827) Symphony No. 4 in B-flat major, Op. 60 (1806)
BEETH OV EN, 1806 | 21 & 2 2 JAN 2 0 2 2
LUDWIG VAN BEETHOVEN Violin Concerto in D major, Op. 61 (1806) I II III
Allegro ma non troppo Larghetto Rondo. Allegro
Franz Clement was a violinist, conductor of the Theater an der Wien in Vienna, and a friend of Beethoven. The young Clement had given Beethoven useful advice when the latter was writing his opera Fidelio, and Beethoven returned the favour with a violin concerto in 1806. So far so good, but Beethoven was slow and finished the solo part so late that Clement had to sight read part of the performance.
of great beauty features the bassoon in a moment that is unfortunately not repeated. A general merry folk-dance mood permeates the entire movement, with horns adding pastoral punctuation. Meanwhile the violin negotiates the most difficult writing in the entire concerto – Beethoven has saved the best for last. The concerto thins out at the end playfully but closes suddenly with a pair of hammered orchestral chords in which we see a younger and jollier Beethoven to contrast with the usual image of the surly, serious composer.
The first movement Allegro ma non troppo opens with four timpani strokes, almost like a jazz drummer’s ‘a one two three four’, which turn out to be the rhythmic basis of the whole movement as it gets reinterpreted and recast throughout. The soloist’s entrance is preceded by a long orchestra introduction some three minutes long – this was considered rather too avant garde by the early audiences, as it summarises the entire thematic content – perhaps they thought it gave too much away too early?
Programme notes by Edward C. Yong
The Larghetto which follows has muted strings introduce the principal idea, which simplicity is then developed and ornamented by the soloist. Similarly, the orchestra gives the second theme, which the violin expands and comments upon like a series of variations. Both themes are revisited and the movement ends with a serene coda.
Instrumentation flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings World Premiere 23 Dec 1806, Vienna (Franz Clement, violin)
The catchy rondo bubbles over with energy and liveliness. A brief minor-key episode
First performed by SSO 25 Apr 1980 (Yossi Zivoni, violin) 18
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Danai Sae-Han Omar Slim Marcel Smit & Hanneke Verbeek Alex Soh & Jimmy Koh Soh Leng Wan Veiter Soo Casey Tan Khai Hee Tan Cheng Guan Gillian & Daniel Tan Gordon HL Tan Joanne Tan Tan Lian Yok Tan Pei Jie Tan Yee Deng Tang See Chim Tee Linda David Teng Valerie Thean Toby & Margit Manju & Arudra Vangal Nicole Wang Remes Jinny Wong Ivan Yeo Lillian Yin Yong Seow Kin The Yong Family Yasmin Zahid Anonymous (41)
This list reflects donations that were made from 1 Jan 2021 to 31 Dec 2021. 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.
S UP P O RT T H E SS O
Music is Essential Music is Life “Thank you (SSO) for your service. I believe in the power of music.”
Please help Singapore Symphony Orchestra and our affiliated performing groups play on; bringing hope and joy to Singapore through many more memorable shared musical experiences!
“The current pandemic is truly unforeseeable. Please keep safe and healthy and play on to spread the love for music.”
How can you help? The SSO is an arts charity and depends on your donations. 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. Rhapsody
Serenade
Overture
Concerto
Symphony
6 tickets
10 tickets
12 tickets
16 tickets
20 tickets
40 tickets
Gala /Christmas/Pops
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2 tickets
4 tickets
6 tickets
20 tickets
SSO Special Gala Concerts
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2 tickets
4 tickets
Prelude
$1,000 - $2,499 $2,500 - $4,999 $5,000 - $9,999 $10,000 - $24,999 $25,000 - $49,999 $50,000 & above
COMPLIMENTARY TICKETS* Subscription /VCHpresents/ Family /SIPF
DONOR RECOGNITION & PUBLIC ACKNOWLEDGEMENT Concert booklets and website
Patron of the Arts Nomination
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Donors’ Wall at Victoria Concert Hall
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Invitation to social events
Invitation to exclusive events
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OTHER BENEFITS
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 supporters who give through a fundraising event. 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.
C O R PO RAT E PAT RONAGE
Form a special relationship with Singapore’s national orchestra and increase your name recognition among an influential and growing audience. Our concerts provide impressive entertainment and significant branding opportunities. SSO Corporate Patrons enjoy attractive tax benefits, Patron of the Arts nominations, acknowledgements in key publicity channels, complimentary tickets, and invitations to exclusive SSO events. For more details, please write to Chelsea Zhao at chelsea.zhao@sso.org.sg.
HEA RT F E L T T H ANKS TO OUR C O R PO RAT E PAT RONS Temasek Foundation The HEAD Foundation Yong Hon Kong Foundation John Swire & Sons (S.E. Asia) Pte Ltd Lee Foundation The New Eden Charitable Trust
C O R PO RAT E SPO NSOR S SMRT Corporation Symphony 924 Singapore Airlines
Your support makes it possible for us to host world-renowned artists, including the Singapore debut of piano legend Martha Argerich in 2018.
Beethoven's EROICA A
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Chan Tze Law, Conductor Chikako Sasaki, Violin Dandan Wang, Viola
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5pm 30 Jan 2022 Esplanade Concert Hall
Programme: Wolfgang Amadeus Mozart - Sinfonia Concertante in E-flat major, K. 364 Ludwig van Beethoven - Symphony No. 3 in E-flat major, Op. 55 "Eroica"
Tickets available from $18 via SISTIC. Concessions and group buys available.
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Esplanade Presents
Classics
ZeeZee in (China)
Known for her imaginative and electrifying performances, up-and-coming Chinese pianist Zee Zee makes her Singapore debut performance at the Esplanade Concert Hall.
23 Jan, Sun, 7.30pm
Arnold Schönberg – Drei Klavierstücke, Op. 11 Maurice Ravel – Gaspard de la nuit Franz Liszt – Excerpts from Années de pèlerinage
24 Jan, Mon, 7.30pm
Clara Schumann – 3 Romances, Op.11 Robert Schumann – Faschingsschwank aus Wien, Op.26 Johannes Brahms – Variations and Fugue on a Theme by Handel, Op. 24
$48*, $68^*, $88^
*Limited concessions for students, NSFs & seniors: $38, $58
Zee Zee Concert Special Cat 1 ticket for both nights: $148
^Esplanade&Me specials Black: 15% savings White: 10% savings Discover: 10% savings (limited tickets, min. purchase of 2 tickets) Sign up now at www.esplanade.com/membership
Esplanade is a charity and not-for-profit organisation. Help us bring the joy and inspiration of the arts to different communities, including the underserved.
BOOK NOW! www.esplanade.com/zeezee
SISTIC Hotline: 6348 5555/ Group Booking: 6828 8389 or email boxoffice@esplanade.com Excludes SISTIC fee. Admission age: 6 & above. Terms and conditions apply.
www.esplanade.com EsplanadeSingapore #esplanadesg #mydurian
EsplanadeSG
Information correct at time of print.
(1hr, no intermission)
BOA RD OF D IRE C T ORS & C OMMI T T E E S CHAIR Goh Yew Lin SSO COUNCIL
BOARD OF DIRECTORS Yong Ying-I (Deputy Chair) Chang Chee Pey Chng Hak-Peng Chng Kai Fong Prof Arnoud De Meyer Warren Fernandez Liew Wei Li Sanjiv Misra Prof Qin Li-Wei Paul Tan Geoffrey Wong Yee Chen Fah Andrew Yeo Khirn Hin Yasmin Zahid
HUMAN RESOURCES COMMITTEE
NOMINATING AND EXECUTIVE COMMITTEE
Yee Chen Fah (Chair) Warren Fernandez Lim Mei Jovi Seet
Goh Yew Lin (Chair) Prof Arnoud De Meyer (Treasurer) Paul Tan Geoffrey Wong Yong Ying-I
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
SNYO COMMITTEE Liew Wei Li (Chair) Prof Qin Li-Wei Benjamin Goh Vivien Goh Dr Kee Kirk Chin Clara Lim-Tan
S S O M U S I C I A N S’ C O M M I T T E E Mario Choo Guo Hao David Smith Wang Xu Christoph Wichert Elaine Yeo Zhao Tian
Prof Cham Tao Soon (Honorary Chair) Alan Chan (Chair) Odile Benjamin Prof Chan Heng Chee Choo Chiau Beng Dr Geh Min Goh Geok Khim Heinrich Grafe Khoo Boon Hui Prof Tommy Koh Lim Mei JY Pillay Dr Stephen Riady Priscylla Shaw Prof Gralf Sieghold Andreas Sohmen-Pao Prof Bernard Tan Dr Tan Chin Nam Tan Choo Leng Tan Soo Nan Wee Ee Cheong
SIN G A P OR E S Y MP HO N Y G ROUP M A N AG E ME N T CHIEF E XECUTIVE OFFICER Chng Hak-Peng ARTISTIC PL ANNING
C O M M U N I T Y I M PA C T
PAT R O N S
Hans Sørensen (Head)
Kok Tse Wei (Head)
Artistic Administration Teo Chew Yen Jodie Chiang Lynnette Chng
Community Engagement Kua Li Leng (Head) Erin Tan Vanessa Lee Terrence Wong Samantha Lim
Development Chelsea Zhao (Ag Head) Anderlin Yeo Nikki Chuang Charmaine Fong Kasmira Ibrahim
O P E R AT I O N S Ernest Khoo (Head) Library Lim Lip Hua Avik Chari Wong Yi Wen Orchestra Management Chia Jit Min (Head) Karis Ong Peck Xin Hui Production Management Fenella Ng Nurul Ainnie bte Md Sidek Mazlan bin Ali Ramayah Elango D I G I TA L S S O C O O R D I N AT I O N Cindy Lim (Lead) Chia Jit Min (Asst Lead) Chia Han-Leon Hans Sørensen
Choral Programmes Kua Li Leng (Head) Regina Lee Whitney Tan Singapore National Youth Orchestra Pang Siu Yuin (Head) Lai Jun Wei Tang Ya Yun Tan Sing Yee ABRSM Patricia Yee Lai Li-Yng Joong Siow Chong Freddie Loh May Looi William Teo CEO OFFICE Shirin Foo Musriah bte Md Salleh C O V I D -1 9 R E S P O N S E C O O R D I N AT I O N Lillian Yin (Lead) Rick Ong (Asst Lead)
Marketing Communications Cindy Lim (Head) Chia Han-Leon Sean Tan Hong Shu Hui Jana Loh Myrtle Lee Sherilyn Lim Serena Zhang Customer Experience Randy Teo Dacia Cheang Nur Shafiqah bte Othman C O R P O R AT E S E R V I C E S Lillian Yin (Head) Finance, IT & Facilities Rick Ong (Head) Alan Ong Goh Hoey Fen Loh Chin Huat Md Zailani bin Md Said Human Resources Valeria Tan (Head) Melissa Lee Evelyn Siew Legal Edward Loh
SUP P OR T E D BY
PATRO N SP ONSOR
M ATCHE D BY
M A J O R D ON ORS
Mr & Mrs Goh Yew Lin
SE A SO N PAR T NERS Official Radio Station
Official Community Partner
Official Outdoor Media Partner
Official Airline
SE A SO N PAT RONS
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.