CONCERT PROGRAMME NOVEMBER 2021
TO PARIS WITH CÉDRIC TIBERGHIEN L'ISLE JOYEUSE – CÉDRIC TIBERGHIEN IN RECITAL
IN ASSOCIATION WITH THE 2021 VOILAH! FRANCE SINGAPORE FESTIVAL
SUPPORTED BY
Nov 2021 TO PARIS WITH CÉDRIC TIBERGHIEN 11 Nov 2021, Thu Esplanade Concert Hall
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L'ISLE JOYEUSE – CÉDRIC TIBERGHIEN IN RECITAL
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12 Nov 2021, Fri SOTA Concert Hall
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 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.
© NANCY HOROWITZ
TO PAR IS W ITH C ÉDR IC TIBER G H IEN | 1 1 N O V 2 0 2 1
C A R L O S K AL M AR conductor
as “one of the most gripping events of the current season”. He is a regular guest conductor of the Baltimore and Milwaukee Symphony Orchestras and has recently conducted subscription concerts with the Chicago Symphony, Boston Symphony, Philadelphia, Los Angeles Philharmonic and many more. Further afield he has conducted both the NHK and Yomiuri Nippon Symphony Orchestras in Japan as well as the Singapore Symphony, Malaysian Philharmonic, Queensland and New Zealand Symphony Orchestras. Kalmar has also conducted extensively in Europe with various notable orchestras. His recordings for Pentatone with the Oregon Symphony Orchestra include two Grammy Award nominations, one for their 2012 release of “Music for a Time of War” and another for “Spirit of the American Range” featuring works by Walter Piston, George Antheil and Copland Symphony No. 3.
Carlos Kalmar is a conductor with a passion for introducing audiences and orchestras to less well-known repertoire and is regularly praised for his innovative programmes. He recently completed 18 years as Music Director of the Oregon Symphony Orchestra and continues as Artistic Director and Principal Conductor of Chicago’s Grant Park Music Festival.
Born in Uruguay to Austrian parents, Carlos Kalmar studied conducting with Karl Österreicher in Vienna and won First Prize at the Hans Swarowsky Conducting Competition. He has previously served as Music Director with the RTVE Madrid, Stuttgart Philharmonic and the Niederösterreichisches Tonkünstlerorchester in Vienna.
In May 2011 Kalmar made his highly acclaimed Carnegie Hall debut with the Oregon Symphony Orchestra. The concert was titled “Music for a Time of War”, and it was noted by New York critic Alex Ross 4
T O P A RI S W I TH C ÉDR IC TIBER G H IEN | 11 NOV 2021
C ÉD R I C T I B E RG H IE N piano Cédric Tiberghien is a French pianist who has established a truly international career. He has been particularly applauded for his versatility, as demonstrated by his wideranging repertoire, interesting programming, an openness to explore innovative concert formats and his dynamic chamber music partnerships.
Cédric recently presented a major focus on the music of Bartók, culminating in a three-volume exploration of his solo piano works for the Hyperion label. He has been awarded five Diapason d’Or, for his solo and duo recordings on Hyperion. He also has many concerto and recital discs released on Harmonia Mundi. He is a dedicated chamber musician, with regular partners including violinist Alina Ibragimova, violist Antoine Tamestit and baritone Stéphane Degout. Cédric’s passion for chamber music is reflected in numerous recordings: his discography with Alina includes complete cycles of music by Schubert, Szymanowski and Mozart (Hyperion) and a Beethoven Sonata cycle (Wigmore Live). 5
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Concerto appearances in the 202021 season include Les Siècles, Kammerakademie Potsdam and Orchestre Philharmonie de Strasbourg. Cédric has a very strong relationship with the Wigmore Hall in London, where he is performing a complete Beethoven Variation cycle. Other recitals include continuing collaborations with Antoine Tamestit and Alina Ibragimova with concerts in Berlin and Dresden. Recent music theatre projects include the premiere of Zauberland (“Magic Land”). In this music theatre project staged by Katie Mitchell, Schumann’s Dichterliebe is performed alongside a new work by Bernard Foccroulle, setting a text by Martin Crimp. Cédric collaborated on this project with soprano Julia Bullock and further engagements have included New York, Moscow, London and Brussels.
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 donated by Mr Goh Yew Lin. Musicians listed alphabetically by family name rotate their seats on a per programme basis.
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TO PARIS W IT H CÉD RIC T I BE RGHI E N | 1 1 NOV 2 0 2 1
FIRST VIOLIN Kong Zhao Hui Acting Concertmaster/ Associate Concertmaster Kong Xianlong Cindy Lee Zhang Si Jing SECOND VIOLIN Xu Jueyi Chikako Sasaki Zhao Tian VIOLA Manchin Zhang Gu Bing Jie CELLO Ng Pei-Sian Wu Dai Dai DOUBLE BASS Yang Zheng Yi
FLUTE Evgueni Brokmiller Roberto Alvarez
HORN Jamie Hersch Hoang Van Hoc
PICCOLO Roberto Alvarez
TRUMPET Jon Paul Dante Lau Wen Rong
OBOE Rachel Walker Pan Yun Elaine Yeo COR ANGLAIS Elaine Yeo CLARINET Ma Yue Liu Yoko BASSOON Liu Chang Christoph Wichert
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TIMPANI Christian Schiøler HARP Gulnara Mashurova
T O P A RI S W I TH C ÉDR IC TIBER G H IEN | 11 NOV 2021
Musicians
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T O P A RIS W I TH C ÉDRI C TI B E R GHI E N E LE G A N C E A N D W I T 11 Nov 2021, Thu Esplanade Concert Hall Singapore Symphony Orchestra Carlos Kalmar conductor Cédric Tiberghien piano
R A VE L
Le Tombeau de Couperin
17 mins
M O ZART
Piano Concerto No. 13 in C major, K.415
26 mins
M O ZART
Symphony No. 31 in D major, K.297/300a “Paris”
17 mins
Concert Duration: approximately 1 hr 15 mins (with no intermission)
T Watch our online Pre-Concert Talk on our Facebook page and YouTube channel.
In association with the 2021 vOilah! France Singapore Festival
Supported by
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Prélude. Vif Forlane. Allegretto Menuet. Allegro moderato Rigaudon. Assez vif
Ravel’s Le Tombeau de Couperin, neoclassical work par excellence, is a traditional Baroque suite crossed with the spicy harmonies of early 20th century French music. Also dedicated to fallen friends, and written shortly after the death of Ravel’s mother, it takes a completely different angle of remembrance: “The dead are sad enough, in their eternal silence,” says the composer, and produced a work filled with humour, lightness, and joie de vivre.
the same key as the Menuet on the name of Haydn. The Tombeau, an intimate little work for piano, has been transformed into a glittering orchestral jewel by the master's hand.
Ravel’s own knack for orchestration colours these pieces, turning a 20th-century orchestra into an instrument capable of greatest transparency while not forgetting the slightly sardonic touches (oboe, harp, bassoon) he was fond of. He only managed to produce four out of the six movements of the piano suite, though the resultant work sounds complete by itself. The modal harmonies that fill the Prélude, a whirling dance, are tossed aside by the brash dissonances of the Forlane, derived from the folk dance of the Friulians. It is from here that Ravel’s natural humour starts shining through, and the following Rigaudon is a bright white-key dance so sprightly under the fingers that it might as well be a polka. The Menuet looks around to Ravel’s other compositions in the genre: the modalities of the Menuet antique are easily heard coupled with the elegance of the slow movement from the Sonatine, all in
Instrumentation 2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on cor anglais), 2 clarinets, 2 bassoons, 2 horns, trumpet, harp, strings World Premiere 28 Feb 1920, Paris First performed by SSO 13 May 1983 11
T O P A RI S W I TH C ÉDR IC TIBER G H IEN | 11 NOV 2021
MAURICE RAVEL (1875–1937) Le Tombeau de Couperin (1919)
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WOLFGANG AMADEUS MOZART (1756–1791) Piano Concerto No. 13 in C major, K.415 (1782–1783) I II III
Allegro Andante Rondeau. Allegro
This concerto marked Mozart’s breaking out of safer, smaller moulds. The orchestra springs to life instantly in an alert, military manner, with jaunty dotted rhythms sounding like a march. This march is instantly pressed into the service of a fugato, before the tutti entrance of a grand, soaring melody.
shorter, though, as if the composer could not wait to introduce the piano. Indeed, once the piano starts playing, it never quietens down for long, and unusually enough, Mozart composes two cadenzas for the performer here: a short one in the middle, and a big one to end the movement. The piano claims centre-stage again, racing out of the starting blocks with a cheerful rondo theme, before an extended orchestral interlude takes over, sounding almost like a symphonic development. A sudden moment of silence has the music take a turn towards the doleful C minor in a slow operatic Adagio. The music then spends a long time grappling with the emotional weight of this interpolation, and it appears once again toward the end of the movement, as if to balance the structure. In between these extremes, the orchestra and piano engage in lively dialogue, reaching quiet agreement in the closing moments of the concerto.
In this piece we hear Mozart the opera composer coming to the fore. Having been working on Die Entführung aus dem Serail (“The Abduction from the Seraglio”) shortly before this piece, as well as his important Sonata for Two Pianos, he had well mastered counterpoint and orchestration and could use his sharp dramatic sense to write a larger, more ambitious concerto. The orchestral strings chatter in excitement as they do in the overture to Die Zauberflöte (“The Magic Flute”), and when the piano enters, it’s almost possible to visualise colourful characters entering onstage for an ensemble number. The lyrical contrast to come after subverts this excitable opening with constant looks toward minor keys. Mozart provides a virtuosic, wide-ranging cadenza for the soloist to indulge in before the orchestral march crashes in for a grand finish.
Instrumentation 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings
Turning to the subdominant for the slow movement is a very common strategy in Mozart, as witnessed in the famous F major slow movement to the later C major concerto (No. 21). This orchestral opening is rather
World Premiere Unknown First performed by SSO 18 Jul 2003 (Abigail Sin, piano) 12
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Allegro assai Andante Allegro
In 1778, the young but already very welltravelled Mozart wrote his Symphony No. 31 for the audiences in Paris, as part of his attempt (ultimately unsuccesful) to find employment in the French capital. He had consciously decided to produce a crowd-pleaser, and the resulting symphony is a study in how well Mozart knew his compositional materials and fashions of the day. Mozart’s Paris Symphony was premiered privately on 12 June 1778 before the public heard it for the first time on 18 June at the Concert Spirituel, the public concert series famed for being the first of its kind. The addition of clarinets to his orchestra, a new instrument he had heard in Mannheim not long before, meant that this symphony had the largest complement of woodwind instruments to date. All those instruments starting in unison must have produced quite the effect on the Parisian audience, let alone the swagger and confidence that permeates the thrust of the first movement. He was to write again to his father after the first performance, saying that he had composed a bit of music that he “knew people would like”, causing the audience to be so carried away as to start applauding in the middle of the movement — and then once more, at the end, when he repeated that little fragment.
Leopold Mozart and his two children, Wolfgang Amadeus and Marie Anne (1777) source: britishmuseum.org
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T O P A RI S W I TH C ÉDR IC TIBER G H IEN | 11 NOV 2021
WOLFGANG AMADEUS MOZART Symphony No. 31 in D major, K.297/300a “Paris” (1778)
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There is an even funnier story regarding the second movement. Joseph Legros, the symphony’s commissioner and director of the Concert Spirituel, told Mozart after the performance that the Andante was too long and complicated and had too many modulations. In a fit of pique, Mozart wrote him a simplified version in 3/4, essentially a glorified minuet. The original, which is far more often played today, is a lovely 6/8 that contains some of Mozart’s most sincere melody-writing. His humour could not be restrained, however, and by starting the third movement with a chatter of violins playing softly, he had predicted that the French public would shush each other — upon which he unleashed a full orchestral tutti upon them, leading to more cheers and applause. Even while pandering to the peanut gallery, Mozart could not help but include some dense fugato writing in the middle of the movement that makes the orchestra sound like it has suddenly grown to twice its size. He thus manages to satisfy all listeners: the analytic ones who love picking at themes and figures, and the Frenchmen whose approval he honestly sought. Mozart was so happy at the reception of this symphony that he “went off to the Palais Royal and had a large ice”: the boy wonder showing off his genius, at the ripe old age of 22. Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings
Programme notes by Thomas Ang
World Premiere 12 Jun 1778, Paris First performed by SSO 10 Feb 1984 14
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L 'ISL E JOYEU SE – C ÉDR IC TIBER G H IEN IN R EC ITAL | 1 2 N O V 2 0 2 1
L ' IS LE JOYEU SE – CÉDRIC TI B ERG H I EN I N R E C I T A L 12 Nov 2021, Fri SOTA Concert Hall Cédric Tiberghien piano
M O ZART
Piano Sonata No. 11 in A major, K.331
D EB U SSY
L'isle joyeuse
B EET H O V E N
Variations and Fugue in E-flat major, Op. 35 “Eroica”
25 mins 4 mins 25 mins
Concert Duration: approximately 1 hr 10 mins (with no intermission)
In association with the 2021 vOilah! France Singapore Festival
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Tema con variazioni. Andante grazioso — Adagio —Allegro Menuetto and Trio Alla Turca. Allegretto Starting a final movement in the parallel minor was a bold move by any standards, even considering that a fashion for Turkish Janissary music was sweeping through Europe at the time. Contemporaneous instruments had extra foot pedals that operated cymbals, drums, and tinkling bells as musical effects, and, if played on one of those instruments, Mozart’s arpeggiated left-hand accompaniments would have been accompanied by a veritable marching band inside the piano. The clever use of A major as a pivot between the two minor keys (A and F-sharp) means that one could hear the opening tune as a “prelude” to the “real” A major ending, but, analytical complexities aside, the Rondo alla Turca remains a bit of pure fun, and will always remain welcome on the concert stage.
This sonata owes its runaway fame to the Alla Turca movement, a firm favourite in the teaching studio and at the street piano. But it is more difficult to appreciate just how much of a breakaway from tradition it is without looking at the whole of the sonata: one in which Mozart continually throws established patterns out of the window and strikes out in his own direction. The opening movement, instead of being a typical sonata-allegro, starts with a graceful 6/8 theme. It is very simple in its lilting rhythms and straightforward harmonic progression, but it is exactly that which allowed Mozart to flex his compositional muscles. The first variation introduces a chromatic neighbour-note figure in the right hand and pulsating, repeated-note left-hand accompaniments: both of great importance in the last movement. The increasing density of the accompaniment figure in the next variation as well as a turn to minor in the one after demand an Adagio of correspondingly large dimensions as a counterweight, with the result that this movement can last 15 minutes with all the repeats! The Menuetto is a much more chromatic affair, turning once again to A minor (via B minor) within the first page. Compared with this harmonic adventurousness, the Trio is much more “well-behaved”, providing a short respite for the listener — despite the inexplicable octave-unison forte outburst. 17
L'I S LE J O Y EU SE – C ÉDR IC TIBER G H IEN IN R EC ITAL | 12 NO V 2021
WOLFGANG AMADEUS MOZART (1756–1791) Piano Sonata No. 11 in A major, K.331 (c. 1783)
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CLAUDE DEBUSSY (1862–1918) L'isle joyeuse (1904) Often translated as “Isle of Joy”, this piece more properly describes a joyous island, regardless of inhabitants. The opening piano gambit thus resembles a birdcall, and it is easy to see each musical event thereafter as literally descriptive of something happening: waves on a shore, perhaps, or animals stirring as the morning beckons. Debussy is described as an “impressionist” today, though much of his musical aesthetic stemmed from an attempt to combat what he saw as the overwhelming Wagnerism from Germanic lands. Having dabbled in decadence and Romanticism in his early compositions, Debussy was adamant that French music should have its own character, and decried the attempts of French composers to follow in Wagner’s footsteps. He turned to art for inspiration, and indeed, Monet is the painter with whom Debussy is most often paralleled: soft shades of colour in minute brushstrokes, the interplay of light and shadow, the mists, the air of wistfulness. Whole-tone scales and the Lydian mode pervade this piece, bending traditional tonal procedures. Beyond this technical description, words struggle to describe a piece as organic as this.
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LUDWIG VAN BEETHOVEN (1770–1827) Variations and Fugue in E-flat major, Op. 35 “Eroica” (1802) Commonly known today as the Eroica Variations, Beethoven’s sprawling 25-minute work was published with an equally long title to match: 15 Variations and Fugue on a Theme from The Creatures of Prometheus (Eroica). In this work, Beethoven recycles an old favourite of his to provide the theme: a short contredanse from 1800 is reused in The Creatures (1801), then used again for this set of variations (1802), before finally passing out of service in 1804 with the finale of the Eroica Symphony.
arpeggios, a minor-key variation, a slow variation – a whole bag of musical tricks. The slow variation eventually runs on into a coda, and immediately takes a “wrong turn”, seeming to modulate to C minor, before the fugue crashes in firmly in E-flat once again. Beethoven’s fugue subject is really only the first four notes of the bass line. He was known by his peers to lack skill in composing polyphony, and his choice in keeping it simple allows the music to stay light throughout, almost like a Haydn finale. The headlong tempo of the fugue keeps it exciting where the harmonic palette is lean, though the sudden grind to a halt followed by an extended coda is typically Beethovenian invention: four pages of variations tacked onto the end of the fugue then wraps up the whole piece.
Unlike other variation sets, however, Beethoven upends convention by stating only the plain bass line at the beginning. Three variations of this then occur, building up the theme gradually, before the variations finally take off. What follows is then a bog-standard set of Classical variations: augmentations and diminutions, scalic runs,
Programme notes by Thomas Ang 19
L'I S LE J O Y EU SE – C ÉDR IC TIBER G H IEN IN R EC ITAL | 12 NO V 2021
The Embarkation for Cythera (1717) by Jean-Antoine Watteau
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S UP P O RT T H E SSO
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 R ONAGE
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 R ONS Temasek Foundation The HEAD Foundation Yong Hon Kong Foundation John Swire & Sons (S.E. Asia) Pte Ltd Lee Foundation Tantallon Capital Advisors Pte Ltd The New Eden Charitable Trust
C O R PO RAT E SPONSOR 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.
BOA R D 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 NOMINATING AND EXECUTIVE COMMITTEE Goh Yew Lin (Chair) Prof Arnoud De Meyer (Treasurer) Paul Tan Geoffrey Wong Yong Ying-I
HUMAN RESOURCES COMMITTEE Yong Ying-I (Chair) Chng Kai Fong Prof Arnoud De Meyer Heinrich Grafe Doris Sohmen-Pao INVESTMENT COMMITTEE Geoffrey Wong (Chair) Sanjiv Misra David Goh Alex Lee AUDIT COMMITTEE Yee Chen Fah (Chair) Warren Fernandez Lim Mei Jovi Seet SNYO COMMITTEE Liew Wei Li (Chair) Prof Qin Li-Wei Benjamin Goh Vivien Goh Dr Kee Kirk Chin Clara Lim-Tan
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 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 Samantha Lim
Development Chelsea Zhao (Ag Head) Anderlin Yeo Nikki Chuang Charmaine Fong Kasmira Ibrahim Fang Xiao Min
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 Production Management Chin Rosherna 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 Yani Saaban 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 Melissa Lee Evelyn Siew Legal Edward Loh
Thursday & Friday, 16 & 17 December 2021 7.30pm, Esplanade Concert Hall
Donate and book your seats: • Donations for seat bookings are at $78, $98, $128, $188, $288, $498 via the concert page • Exclusive priority seats available via direct bookings at director_development@sso.org.sg • 2.5 times tax deduction for Singapore tax residents
SUP P OR TE D BY
PAT RON 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 PATRONS
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.