CONCERT PROGRAMME MARCH 2021
THE TROUT QUINTET FÊTE MUSICALE - A MUSICAL CELEBRATION
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March 2021 THE TROUT QUINTET 5 & 6 Mar 2021, Fri & Sat Victoria Concert Hall
FÊTE MUSICALE – A MUSICAL CELEBRATION 10 Mar 2021, Wed Esplanade Concert Hall
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SINGAPORE SYMPHONY ORCHESTRA Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene in the cosmopolitan city-state. In addition to its subscription series concerts, the orchestra is well-loved for its outdoor and community appearances, and its significant role educating the young people of Singapore. The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings. The SSO makes its performing home at the 1,800-seat state-of-the-art Esplanade Concert Hall. More intimate works, as well as outreach and community performances take place at the 673seat Victoria Concert Hall, the home of the SSO. The orchestra performs over 60 concerts a year, and its versatile repertoire spans all-time favourites and orchestral masterpieces to exciting cutting-edge premieres. Bridging the musical traditions of East and West, Singaporean and Asian musicians and composers are regularly showcased in the concert season. This has been a core of the SSO’s programming philosophy from the very beginning under Choo Hoey, who was Music Director from 1979 to 1996. Under the Music Directorship of Lan Shui from 1997 to 2019, the SSO has performed in Europe, Asia and the United States. In May 2016 the SSO was invited to perform at the Dresden Music Festival and the Prague Spring International Music Festival. This successful five‑city tour of Germany and Prague also included the SSO’s return to the Berlin Philharmonie after six years. In 2014 the SSO’s debut at the 120th BBC Proms in London received critical acclaim in the major UK newspapers The Guardian and The Telegraph. The SSO has also performed in China on multiple occasions.
In the 2020/21 concert season, the SSO welcomes renowned maestro Hans Graf as its Chief Conductor. Notable SSO releases on the BIS label include a Rachmaninoff series, a “Seascapes” album, three Debussy discs “La Mer”, “Jeux” and “Nocturnes”, and the first-ever cycle of Tcherepnin’s piano concertos and symphonies. The SSO has also collaborated with such great artists as Lorin Maazel, Charles Dutoit, Gennady Rozhdestvensky, Neeme Järvi, Gustavo Dudamel, Vladimir Ashkenazy, Diana Damrau, Martha Argerich, Lang Lang, Yo-Yo Ma, Janine Jansen, Leonidas Kavakos and Gil Shaham. The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, and the Singapore National Youth Orchestra. The mission of the Group is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities.
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A N D RE W L I T T O N Principal Guest Conductor/piano Andrew Litton is Music Director of the New York City Ballet, Principal Guest Conductor of the Singapore Symphony Orchestra, Conductor Laureate of Britain’s Bournemouth Symphony and Music Director Laureate of Norway’s Bergen Philharmonic. Under Litton’s leadership the Bergen Philharmonic gained international recognition through extensive recording and touring. For his efforts, Norway’s King Harald V knighted Litton with the Norwegian Royal Order of Merit. His many honours also include Yale’s Sanford Medal, the Elgar Society Medal, and an honorary Doctorate from the University of Bournemouth.
An accomplished pianist, Litton often performs as a soloist, conducting from the keyboard. He is also an acknowledged expert on and performer of Gershwin’s music and serves as Advisor to the University of Michigan Gershwin Archives. 5
F Ê TE M USI CA LE – A M USI CA L CE L E B R AT IO N | 10 MA R 2 02 1
This year, besides conducting New York City Ballet, Litton returns to the Singapore Symphony, the Bournemouth Symphony, the Colorado Symphony and the Orquesta Sinfónica de Galicia. He will also conduct the finals of the Cardiff Singer of the Year Competition and the Menuhin Violin Competition in Virginia. An avid opera conductor with a keen theatrical sense, Litton has led major opera companies such as the Metropolitan Opera, The Royal Opera Covent Garden, Opera Australia and Deutsche Oper Berlin. In Norway, he was key to founding the Bergen National Opera, where he led numerous acclaimed performances.
T H E T RO U T Q U INTET | 5 & 6 MA R 2021
Litton was Principal Conductor of the Bournemouth Symphony from 1988–1994. As Music Director of the Dallas Symphony from 1994–2006, he hired over one third of the players, led the orchestra on three major European tours, and appeared four times at Carnegie Hall. His discography boasts over 135 recordings.
SECO N D VIOL IN
T HE ORC HE S T R A
Michael Loh Associate Principal Nikolai Koval* Hai-Won Kwok Chikako Sasaki* Margit Saur Shao Tao Tao Wu Man Yun* Xu Jue Yi* Yeo Teow Meng Yin Shu Zhan* Zhao Tian*
HANS GRAF Chief Conductor JOSHUA TAN Associate Conductor ANDREW LITTON Principal Guest Conductor
VIO LA
CHOO HOEY Conductor Emeritus
Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Janice Tsai Wang Dandan Yang Shi Li
LAN SHUI Conductor Laureate EUDENICE PALARUAN Choral Director WONG LAI FOON Choirmaster
CELL O Ng Pei-Sian Principal, The HEAD Foundation Chair Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Jamshid Saydikarimov* Song Woon Teng Wang Yan Wang Zihao* Wu Dai Dai Zhao Yu Er
FIRS T VI OL I N (Position vacant) Concertmaster, GK Goh Chair Kong Zhao Hui1 Associate Concertmaster Chan Yoong-Han2 Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Jin Li Kong Xianlong Cindy Lee Karen Tan William Tan Wei Zhe Ye Lin* Zhang Si Jing*
D O U B L E BAS S Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka Wang Xu
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FLUTE
TR U M P ET
Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan
Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Sergey Tyuteykin
PICCOLO
TR O M B O N E
Roberto Alvarez Assistant Principal
Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong
OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo
B A SS T R O MBONE Wang Wei Assistant Principal TU B A
COR ANG L AI S
Tomoki Natsume Principal
Elaine Yeo Associate Principal TIM P A N I CLARINE T
Christian Schiøler Principal Jonathan Fox Associate Principal
Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping
P ER CU SSIO N
Tang Xiao Ping Assistant Principal
Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh
BAS S OON
H A RP
Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue
Gulnara Mashurova Principal
BAS S CL AR I NE T
CONTRABAS S OON Zhao Ying Xue Assistant Principal HORN Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Hoang Van Hoc
* With deep appreciation to the Rin Collection for their generous loan of string instruments. 1 Kong Zhao Hui performs on a J.B. Guadagnini of Milan, c. 1750, donated by the National Arts Council, Singapore, with the support of Far East Organization and Lee Foundation. 2 Chan Yoong-Han performs on a David Tecchler, Fecit Roma An. D. 1700 donated by Mr Goh Yew Lin. Musicians listed alphabetically by family name rotate their seats on a per programme basis. 7
TH E TR OU T QU INTET | 5 & 6 MAR 2 0 2 1
Musicians TH E TRO UT Q UIN TET | 5 & 6 M A R 2 0 2 1
PIANO Andrew Litton
CELLO Ng Pei-Sian
VIOLIN Chan Yoong-Han
DOUBLE BASS Yang Zheng Yi
VIOLA Guan Qi F ÊTE MUS ICA LE – A MUS I CA L CE L E BRA T I ON | 1 0 M A R 2 021
CONDUCTOR/PIANO Andrew Litton
CLARINET Ma Yue Li Xin
FÊ TE MU S IC ALE – A M US I CA L C E LE B RA T IO N | 1 0 M A R 2 0 21
FIRST VIOLIN Kong Zhao Hui Acting Concertmaster /Associate Concertmaster Zhang Si Jing Wei Zhe
BASSOON Liu Chang Christoph Wichert Zhao Ying Xue
SECOND VIOLIN Zhao Tian Margit Saur Chikako Sasaki
HORN Gao Jian Marc-Antoine Robillard Hoang Van Hoc
VIOLA Zhang Manchin Gu Bing Jie
TRUMPET Jon Paul Dante Lau Wen Rong
CELLO Yu Jing Guo Hao
TROMBONE Allen Meek
DOUBLE BASS Karen Yeo
TIMPANI Christian Schiøler
FLUTE Evgueni Brokmiller Roberto Alvarez
PERCUSSION Jonathan Fox Mark Suter Lim Meng Keh
OBOE Pan Yun Elaine Yeo
HARP Gulnara Mashurova 8
TH E TR OU T QU INTET | 5 & 6 MAR 2 0 2 1
T H E TROUT QU I N TET 5 & 6 Mar 2021 Victoria Concert Hall Andrew Litton piano Chan Yoong-Han violin Guan Qi viola Ng Pei-Sian cello Yang Zheng Yi double bass
MA H L E R
Piano Quartet in A minor SSO PREMIERE
11 mins
S C H U B E RT
Piano Quintet in A major, D.667 “Trout”
37 mins Concert Duration: 1 hr
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Nicht zu schnell
Mahler’s Piano Quartet — the sole completed movement, anyway — has had an extremely spotted history. He began sketching it when he was as young as 15 or 16, during his studies at the Vienna Conservatory, and made many references in letters to a “quartet or quintet”. As his only surviving piece of instrumental chamber music, it was performed a few times in the 19th century, on one occasion even paired with a violin sonata (the latter now definitely lost). As a student work, it demonstrates Mahler’s adeptness at compositional imitation, bearing traits of Schumann (obsessive, repetitive rhythms) and Schubert (thematic development and formal structure). It then languished in manuscript for the rest of his life, though Mahler probably planned at one point to get it published, and even made sketches for a scherzo movement. Re-discovered by his widow Alma in the 1960s, it received a modern premiere in 1964, and has lingered on the fringes of the standard repertoire since then, never quite establishing a firm footing on the concert stage.
Manuscript of Mahler’s Piano Quartet in A minor
Instrumentation piano, violin, viola, cello World Premiere 10 Jul 1876 11
T H E T RO U T Q U INTET | 5 & 6 M A R 2021
GUSTAV MAHLER (1860–1911) Piano Quartet in A minor (c. 1876) SSO PREMIERE
TH E TR OU T QU INTET | 5 & 6 MAR 2 0 2 1
FRANZ SCHUBERT (1797–1828) Piano Quintet in A major, D.667 “Trout” (1819) I II III IV V
Allegro vivace Andante Scherzo. Presto Theme and Variations. Andantino Finale. Allegro giusto
The Trout Quintet is probably the most famous piano quintet ever written, despite its unusual instrumentation. Schubert replaced the usual 2nd violin with a double bass, consequently freeing the pianist and cellist from holding down bass lines. From the outset, the cello is assigned melody after countermelody, playing off the violin’s brilliant, exuberant part; the piano part is filled with sparkling figurations, making use of the piano’s higher register.
the piano constantly filling the air with ascending arpeggios. Schubert indulges his penchant for modulations into far-flung keys in the middle section, though the reprise takes a more conservative approach. The calmness of the F major slow movement is disturbed very early on with well-placed chromatic notes in the piano, and the music takes an abrupt turn to F-sharp minor. In this stormy scene, there are clear echoes of Beethoven, a composer Schubert admired hugely, though the harmonies are all Schubert’s own doing.
Like the Mahler quartet played earlier, the Trout is a youthful work. Schubert’s 21-yearold essay in this genre also remained unpublished during his life. While not a “serious” work in the manner of his string quartets or the great String Quintet in C major, this quintet still contains many innovations, and is a seminal work in the transition between the Classical and Romantic periods. Both its five-movement form, incorporating transpositions of long sections, and Schubert’s developing harmonic language are hallmarks of his more mature style.
Bursting out into a whirlwind dance after the Andante movement, Schubert’s Scherzo is a further nod in Beethoven’s direction, especially with the double bass pulling some real weight here, giving the music a fully orchestral feel. Schubert has even more harmonic tricks up his sleeve, cheekily darting in and out of familiar territory. Die Forelle (“The Trout”) finally makes an appearance: the theme from his extremely popular 1817 song is used as the basis for a set of variations. Schubert was very adept at turning his songs into larger works, and such examples as the Wanderer-Fantasy for piano and Trockne Blumen variations for flute and piano show the lengths he could go to flesh out big concert pieces from his own miniatures. The ensemble first states
The first movement is a straightforward Classical sonata-allegro, though the cello’s prominent position in the middle of the ensemble allows Schubert to indulge in some really beautiful interplay between violin, piano, and cello. The upbeat nature of the music is established right at the outset, 12
T H E T RO U T Q U INTET | 5 & 6 MA R 2021
A male Sebago trout from George Suckley’s Report on Salmonidae Source: Smithsonian Institution Archives
the theme in a chorale style, and what we miss from the original piano accompaniment (the lilting triplet rhythms) is slowly introduced, first purely as broken chords in the accompaniment, then as a high violin countermelody. From here, Schubert explores wider terrain: changing the basic rhythms, a plunge towards tumultuous D minor, and a slower moment in B-flat, before ending this movement with a full statement of the theme as it appears in the original song. For the audience of the time, undoubtedly familiar with the song, this would have been a moment for applause!
satisfying ending, it leaves the audience toe-tapping, but what it is really is a celebration of a young Schubert finding a firm compositional voice. Programme notes by Thomas Ang
Instrumentation piano, violin, viola, cello, double bass
Coming after four movements of greatly varying mood, the finale is much less complicated, carrying the simplicity of some of his occasional piano pieces. The polkaish accompaniment is carried over from the ending of the previous movement, and shadows of the Trout melody linger. As a
World Premiere Late 1819 First performed by SSO 26 Mar 1991 13
F ÊTE M U SIC AL E – A M U SIC AL C EL EBR ATION | 10 MAR 2 0 2 1
FÊ TE MUS I CALE A MUS ICA L C ELEBRATI O N 10 Mar 2021 Esplanade Concert Hall Andrew Litton Principal Guest Conductor/piano Singapore Symphony Orchestra
D EB U SSY
Petite Suite (orch. BÜSSER)
13 mins
R A VE L
Piano Concerto in G
23 mins
B EET H O V E N
Symphony No. 8 in F major, Op. 93
26 mins Concert Duration: 1 hr
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I II III IV
F ÊT E MU S I CAL E – A M U SIC AL C EL EBR ATION | 10 MA R 2021
CLAUDE DEBUSSY (1862–1918) Petite Suite (orch. Henri Büsser, 1907) En bateau. Andantino Cortège. Moderato Menuet. Moderato Ballet. Allegro giusto
Debussy’s Petite Suite was written for piano duet in the final years of the 1880s, when he was just shaking off his deep love of Wagner and turning to a more recognisably French “impressionist” style. He had been writing profound utterances in the manner of the arch-German nationalist, even producing an early piano concerto, but after his Prix de Rome journey and his movement away from such eschatological concerns, he was still writing deeply searching, experimental music. The Petite Suite arose only because of a suggestion, probably from his publisher, that he might want to write something for more amateur consumption. Immediate popularity followed due to the suite’s clear colours, simple melodies, and attractive harmonies, and the work was (and has been since) arranged for all sorts of ensembles, the best known being this orchestration by Debussy’s colleague and lifelong friend Henri Büsser.
Fêtes Vénitiennes (1718–1719) by Jean-Antoine Watteau who created the Fête galante style of paintings that inspired Verlaine’s poetry, which in turn inspired Debussy to set En bateau (“A Boat”) and Cortège to music in the Petite Suite.
Instrumentation 2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on cor anglais), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, cymbals, tambourine, triangle, harp, strings World Premiere 2 Feb 1889 First performed by SSO 31 Jan 2016 15
F ÊTE M U SIC AL E – A M U SIC AL C EL EBR ATION | 10 MAR 2 0 2 1
MAURICE RAVEL (1875–1937) Piano Concerto in G (1929–1931) I II III
Allegramente Adagio assai Presto
Ravel’s reputation is mixed up with Debussy’s, both of them traditionally having been lumped together as “Impressionists” — a label both of them hated, but in different ways. While both of them did seek to break away from the stranglehold of German music on the discourse of the day, Ravel sought his outlet by diversifying his influences and inspirations, reaching for his Basque ancestry, into the Baroque era, and a smattering of American jazz.
not quite of the same clear, limpid quality that Ravel manages to achieve. Jazz sounds encroach slowly upon this calm, and take over fully in the Presto finale, a veritable hurricane sweeping through the whole orchestra.
The result is Ravel as chameleon: he was brilliant at absorbing these disparate strands and tying them together into strong, unified wholes. With the Piano Concerto, it is no different: the opening whip-crack sets the stage for a surprisingly light orchestra rushing at full pelt with an ostensibly Basque folk tune. This initial flurry gives way to real jazz harmony, and the tension between these two sources fuels the energy of the rest of the movement, including a wideranging cadenza section with harp and woodwind solos pre-empting the big piano moment.
Instrumentation Flute, piccolo, oboe, cor anglais, clarinet, E-flat clarinet, 2 bassoons 2 horns, trumpet, trombone, bass drum, snare drum, suspended cymbal, tam-tam, triangle, whip, wood blocks, harp, strings
The second movement opens with one of the most sustained melodies Ravel ever wrote, and, with distinctly modal inflections, carries a very French manner of borrowing from the past. The counterpoint that arises, when the orchestra finally enters, is familiar from earlier French masters from the turn of the century: late Fauré, late Saint-Saëns, and Ravel’s close contemporary Louis Vierne all wrote music like this, though perhaps
World Premiere 14 Jan 1932, Paris First performed by SSO 12 Feb 1982 16
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F ÊT E MU S I CAL E – A M U SIC AL C EL EBR ATION | 10 MA R 2021
LUDWIG VAN BEETHOVEN (1770–1827) Symphony No. 8 in F major, Op. 93 (1812) Allegro vivace e con brio Allegretto scherzando Tempo di Menuetto Allegro vivace
Beethoven’s odd-numbered symphonies are justifiably well-known, but the evennumbered ones have always been overshadowed somewhat, with the Second and Eighth suffering especially. Beethoven certainly did not intend for this to be the case, though he did always refer to the Eighth as his “Little Symphony in F”, planning for it to be a smaller, lighter work. After the roaring success of his Seventh Symphony, Beethoven rushed right into the composition of the Eighth, presumably as a method of distracting himself from what he saw as necessary interference in his brother Johann’s family life. (In reality, he would take his sister-in-law Joanna to court several times, even under falsely-assumed nobility, and his unpleasantness would cause his nephew Karl to attempt suicide.) The premiere in Vienna, two years later, would come when Beethoven was already growing deaf, and though he tried to conduct, the orchestra found him rather hopeless, electing instead to follow the concertmaster.
Manuscript of Beethoven’s Eighth Symphony
Beethoven’s enormous alcohol consumption and emotional insecurities are well kept at the gates in this look back to his old masters: Haydn and Mozart take turns to appear in this symphony, with the inspiration for the second movement (a constantly ticking rhythm) presumably being Haydn’s Clock Symphony. The first movement, a classical sonata-allegro, is kept from being too heavy by Beethoven’s decision to end17
F ÊTE M U SIC AL E – A M U SIC AL C EL EBR ATION | 10 MAR 2 0 2 1
weight the whole opus — a strategy he reused in composing the great Ninth. As is usual with Beethoven, driving rhythms and forte-piano contrasts and accents make up the main argument. Right from the outset, the theme is subjected to musical jokes, and the climax of the movement is deliberately delayed to the recapitulation instead of the usual place in the development. This loud-soft contrast comes to the fore in the “minuet” of the third movement, where Beethoven vandalises the old form with sf accents scattered all over the place, a practical joke recycled from his (also very Haydnesque) Violin Sonata No. 8 of a decade earlier. The super-fast, irony-laden finale is Beethoven at his most humorous, and the sudden fortissimo note in the opening is right out of Haydn’s playbook. Timpani features heavily here, along with sudden keychanges, syncopations, lopsided dances, clumsy counterpoint, and quasi-religious episodes. The whole symphony ends on an altogether too-long passage of F major harmony. Programme notes by Thomas Ang
Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings World Premiere 27 Feb 1814, Vienna First performed by SSO 5 May 1979 18
F ÊT E MU S I CAL E – A M U SIC AL C EL EBR ATION | 10 MA R 2021
Un dimanche après-midi à l'Île de la Grande Jatte (1884–1886) by Georges-Pierre Seurat This pointillist painting is a founding work of the neo-impressionist movement.
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3. SSO Special Gala Concerts
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2 tickets
Tax Benefits Priority Booking Discounts for all SSG concerts Invitation to special events Donor listing: 1. Concert booklets and website 2. Donors’ Wall at VCH
Complimentary tickets to the following concert types: 1. Subscription /VCHpresents / Family / SIPF /SISTIC Live
*The benefits above do not apply to supporters who give through an event.
To find out more, please visit www.sso.org.sg/support-us, or write to Nikki Chuang at nikki@sso.org.sg.
Corporate Patronage 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. Temasek Foundation The HEAD Foundation Yong Hon Kong Foundation John Swire & Sons (S.E. Asia) Pte Ltd Lee Foundation Aquilus Pte Ltd Tantallon Capital Advisors Pte. Ltd. The New Eden Charitable Trust Far East Organization SPONSORS SMRT Corporation Singapore Airlines Conrad Centennial Singapore
For more details, please write to Chelsea Zhao at chelsea.zhao@sso.org.sg.
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WECHAT 新加坡交响乐团
HAYDN’S EMPEROR AND TCHAIKOVSKY’S FLORENCE FRI 19 MAR 2021 8PM
WATCH THE STREAM ONLINE ON SISTIC LIVE
MUSICIANS OF THE SSO
The sparkling Emperor Quartet is one of the most beloved gifts from the Father of the String Quartet, Joseph Haydn, home to the noble “Emperor’s Hymn”. Join the musicians of the SSO as they bring home this popular work to the Victoria Concert Hall, alongside the sonorous majesty of Tchaikovsky’s string sextet, Souvenir de Florence. This concert was recorded at the Victoria Concert Hall on 8 Oct 2020. HAYDN STRING QUARTET IN C MAJOR, OP. 76 NO. 3 "EMPEROR" TCHAIKOVSKY SOUVENIR DE FLORENCE, OP. 70
TICKETS FROM $8
BOA RD OF D IRE C T ORS & C OMMI T T E E S CHAIR Mr Goh Yew Lin SSO COUNCIL
BOARD OF DIRECTORS Ms Yong Ying-I (Deputy Chair) Mr Ang Chek Meng Mr Chang Chee Pey Mr Chng Hak-Peng Mr Chng Kai Fong Mr Warren Fernandez Prof Arnoud De Meyer Mr Heinrich Grafe Ms Liew Wei Li Mr Sanjiv Misra Mr Paul Tan Dr Kelly Tang Mr Geoffrey Wong Mr Yee Chen Fah NOMINATING AND EXECUTIVE COMMITTEE Mr Goh Yew Lin (Chair) Prof Arnoud De Meyer (Treasurer) Mr Paul Tan Ms Yong Ying-I
HUMAN RESOURCES COMMITTEE Ms Yong Ying-I (Chair) Prof Arnoud De Meyer Mr Yee Chen Fah Dr Kelly Tang INVESTMENT COMMITTEE Mr Geoffrey Wong (Chair) Mr David Goh Mr Sanjiv Misra Mr Alex Lee AUDIT COMMITTEE Mr Yee Chen Fah (Chair) Mr Heinrich Grafe Ms Lim Mei SNYO COMMITTEE Ms Liew Wei Li (Chair) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson
S S O M U S I C I A N S’ C O M M I T T E E Mr Jamie Hersch Mr Ng Pei-Sian Mr Mark Suter Mr Christoph Wichert Ms Elaine Yeo
Prof Cham Tao Soon (Honorary Chair) Mr Alan Chan (Chair) Mrs Odile Benjamin Prof Chan Heng Chee Mr Choo Chiau Beng Dr Geh Min Mr Goh Geok Khim Mr Khoo Boon Hui Prof Tommy Koh Ms Lim Mei Mr JY Pillay Dr Stephen Riady Ms Priscylla Shaw Prof Gralf Sieghold Mr Andreas Sohmen-Pao Prof Bernard Tan Dr Tan Chin Nam Ms Tan Choo Leng Mr Tan Soo Nan Mr Wee Ee Cheong S S O L A D I E S’ L E A G U E Mrs Odile Benjamin (Chair) Mrs Kwan Lui (Deputy Chair) Mrs Celeste Basapa Mrs Kim Camacho Mrs Rosy Ho Ms Judy Hunt Prof Annie Koh Dr Julie Lo Mrs Clarinda TjiaDharmadi-Martin Ms Paige Parker Ms Kris Tan Ms Manju Vangal Mrs Grace Yeh
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CHIEF E XECUTIVE OFFICER Mr Chng Hak-Peng
ARTISTIC PL ANNING
CEO OFFICE
C O R P O R AT E S E R V I C E S
Mr Hans Sørensen (Head)
Ms Shirin Foo
Ms Lillian Yin (Head)
Programmes (SSO) Ms Kua Li Leng Ms Teo Chew Yen Ms Jodie Chiang
Customer Experience Mr Randy Teo Ms Dacia Cheang Ms Nur Shafiqah bte Othman
Finance, IT & Facilities Mr Rick Ong Mr Alan Ong Ms Goh Hoey Fen Mr Md Zailani bin Md Said
Community Outreach Ms Vanessa Lee Ms Samantha Lim Choral Programmes Ms Regina Lee Ms Whitney Tan
DE VELOPMENT & PA R T N E R S H I P S Corporate Communications Ms Haslina Hassan
Programmes (VCH) Ms Erin Tan Ms Lynnette Chng
Development Ms Chelsea Zhao Ms Nikki Chuang Ms Charmaine Fong
ORCHESTR A MANAGEMENT
MARKE TING C O M M U N I C AT I O N S
Mr Ernest Khoo (Head)
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
Orchestra Mr Chia Jit Min Ms Karis Ong Concert Operations Ms Kimberly Kwa Ms Chin Rosherna Mr Ramayah Elango Library Mr Lim Lip Hua Ms Wong Yi Wen Mr Avik Chari
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PATRO N S P ON S OR
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Mr & Mrs Goh Yew Lin
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Official Airline
S EA S O N PATRO NS
Aquilus Pte Ltd
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.