Singapore Symphony Orchestra Oct 2023 Leonidas Kavakos by Singapore Symphony

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MOZART SYMPHONY NO. 25

13-15 Oct 2023

DVOŘÁK AND TCHAIKOVSKY – HANS GRAF AND LEONIDAS KAVAKOS

Fri & Sat, 13 & 14 Oct 2023 Victoria Concert Hall

LEONIDAS KAVAKOS IN RECITAL Sun, 15 Oct 2023 Victoria 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.

Cover photo: Sloth Creatives 1

SING APOR E SYM PH ONY O RCH ES T RA

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 with its 44-week calendar of events. 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 through its school programmes. 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. In 2022, BBC Music Magazine named the SSO as one of the 21 best orchestras in the world. In July 2022, the SSO appointed renowned Austrian conductor Hans Graf as its Music Director, the third in the orchestra’s history after Lan Shui (1997– 2019) and Choo Hoey (1979–1996). Prior to this, Hans Graf served as Chief Conductor from 2020. 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. The SSO makes its performing home at the 1,800-seat state-of-theart 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. Beyond Singapore, 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 fivecity 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 praise in major UK newspapers The Guardian and The Telegraph. The SSO has also performed in China on multiple occasions. The SSO has released more than 50 recordings, with over 30 on the BIS label. Recent critically acclaimed albums include Herrmann’s Wuthering Heights (Chandos) and Scriabin - Poems of Ecstasy and Fire (BIS). Following the Four Seasons album on Pentatone, a complete Mozart Violin Concerto cycle with Chloe Chua and Hans Graf will be released in 2024. The SSO also leads the revival and recording of significant works such as Kozłowski’s Requiem, Ogerman’s Symbiosis (after Bill Evans) and violin concertos by Robert Russell Bennett and Vernon Duke. 2

The SSO has collaborated with such great artists as Vladimir Ashkenazy, Gustavo Dudamel, Charles Dutoit, Joe Hisaishi, Neeme Järvi, Okko Kamu, Hannu Lintu, Andrew Litton, Lorin Maazel, Martha Argerich, Ray Chen, Diana Damrau, Stephen Hough, Janine Jansen, Leonidas Kavakos, Lang Lang, Yo-Yo Ma, Gil Shaham and Krystian Zimerman. The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, and the Singapore National Youth Orchestra, as well as the VCHpresents chamber music series, the Singapore International Piano Festival and the biennial National Piano & Violin Competition.

Our Story

Singapore Symphony Orchestra The Group’s vision is to be a leading arts organization that engages, inspires and reflects Singapore through musical excellence. Our mission 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. 3

Graf was formerly Music Director of the Houston Symphony, Calgary Philharmonic, Orchestre National Bordeaux Aquitaine, Basque National Orchestra and the Mozarteum Orchestra Salzburg. He is a frequent guest with major orchestras worldwide including the orchestras of Boston, Cleveland, Los Angeles, New York, Philadelphia, Vienna, Leipzig Gewandhaus, DSO Berlin, Dresden, Royal Concertgebouw, Oslo, Hallé, London, Royal Philharmonic, Budapest Festival, St Petersburg, Russian National, Melbourne, Sydney, Seoul, Hong Kong, Malaysia, and the Bavarian, Danish and Netherlands Radio Symphony Orchestras. Graf has led operas in the Vienna State Opera, Munich, Berlin, Paris, Strasbourg, Rome and Zurich. In 2014 he was awarded the Österreichischer Musiktheaterpreis for Strauss’s Die Feuersnot at the famed Vienna Volksoper, where he returned in 2021 to lead Rosenkavalier.

With the distinguished Austrian conductor Hans Graf, “a brave new world of musicmaking under inspired direction” (The Straits Times) began at the Singapore Symphony Orchestra, as Chief Conductor in the 2020/21 season, and Music Director since the 2022/23 season.

the world-premiere recording of Zemlinsky’s Es war einmal. Graf’s recording of Berg’s Wozzeck with the Houston Symphony won the GRAMMY and ECHO Klassik awards for best opera recording. With the Singapore Symphony, Graf has recorded the music of Paul von Klenau, Józef Kozłowski’s Requiem and a complete Mozart Violin Concerto cycle with Singapore’s Chloe Chua. Hans Graf (b. 1949) is Professor Emeritus for Orchestral Conducting at the Universität Mozarteum, Salzburg. For his services to music, he was awarded the Chevalier de l'Ordre de la Légion d'Honneur by the French government, and the Grand Decoration of Honour of the Republic of Austria.

Hans Graf’s extensive discography includes all symphonies of Mozart and Schubert, the complete orchestral works of Dutilleux, and 5

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H A N S G RAF Music Director

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and Gewandhausorchester Leipzig. Kavakos also works closely with the Dresden Staatskapelle, Bayerischer Rundfunk, Munich Philharmonic and Budapest Festival orchestras, Orchestre de Paris, Academia Nazionale di Santa Cecilia, Orchestra Filarmonica della Scala.

LEO N I D AS K AV AKOS violin

In recent years, Kavakos has succeeded in building a strong profile as a conductor and has conducted the New York Philharmonic, Houston Symphony, Dallas Symphony, Gürzenich Orchester, Vienna Symphony, Orchestre Philharmonique de Radio France, Chamber Orchestra of Europe, Maggio Musicale Fiorentino, Filarmonica Teatro La Fenice, and the Danish National Symphony Orchestra. Most recently he had a great success conducting the Israel Philharmonic. Kavakos is an exclusive recording artist with Sony Classics. In 2022 Kavakos released Beethoven for Three: Symphonies Nos. 2 and 5 arranged for trio, with Emanuel Ax and Yo-Yo Ma. The second album from this series containing further arrangements of Beethoven Symphonies was released in Autumn 2022.

Leonidas Kavakos is recognised across the world as a violinist and artist of rare quality, acclaimed for his matchless technique, captivating artistry, superb musicianship, and the integrity of his playing. He works regularly with the world’s greatest orchestras and conductors and plays as recitalist in the world’s premier recital halls and festivals.

Born and brought up in a musical family in Athens, Kavakos curates an annual violin and chamber music masterclass in Athens, which attracts violinists and ensembles from all over the world. He plays the ‘Willemotte’ Stradivarius violin of 1734.

Kavakos has developed close relationships with major orchestras such as the Vienna Philharmonic Orchestra, Berliner Philharmoniker, Royal Concertgebouw Orchestra, London Symphony Orchestra 6

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EN R I CO PACE piano

Enrico has performed with many major orchestras such as the Royal Concertgebouw Orchestra, BBC Philharmonic, Gothenborg, London, Melbourne and Sydney Symphony Orchestras.

Born in Rimini, Italy, Enrico Pace studied piano with Franco Scala both at the Rossini Conservatory, Pesaro, where he graduated in Conducting and Composition, and later at the Accademia Pianistica Incontri col Maestro, Imola. Jacques De Tiège was a valued mentor. Winning the Utrecht International Franz Liszt Piano Competition in 1989 marked the beginning of his international career.

Sharon Kam, performing with them throughout Europe, the USA and Asia.

He has worked with the likes of conductors Roberto Benzi, Gianandrea Noseda, Eliahu Inbal, Bruno Weil, Carol Rizzi, Stanislav Skrowaczewski, among others.

Other chamber music partners include cellists Daniel Müller-Schott and Quirine Viersen, pianist Igor Roma and horn player Marie Luise Neunecker, as well as the Keller Quartet, the RTE Vanbrugh Quartet and the Quartetto Prometeo.

As an avid performer, he has toured extensively, performing in cities like Amsterdam (Concertgebouw), Milan (Sala Verdi and Teatro alla Scala), Berlin, London (Wigmore Hall) and various cities in South America, as well as numerous festivals including Verbier, Lucerne and Rheingau.

His recording of the complete Beethoven Sonatas for piano and violin with Leonidas Kavakos was released by Decca Classics in January 2013 and was nominated for a Grammy Award. Enrico has also received high praise for his 2011 album, Piano Classics.

Enrico Pace enjoys on-going partnerships with violinists Leonidas Kavakos, Akiko Suwanai and Liza Ferschtman, as well as with cellist Sung-Won Yang and clarinettist 7

TH E O RCH ES T RA

The Orchestra

SEC O N D V IOL IN Tseng Chieh-An Principal Michael Loh Associate Principal Nikolai Koval* Sayuri Kuru Hai-Won Kwok Chikako Sasaki* Margit Saur Shao Tao Tao Wu Man Yun* Xu Jueyi* Yeo Teow Meng Yin Shu Zhan* Zhao Tian

HANS GRAF Music Director RODOLFO BARRÁEZ Associate Conductor CHOO HOEY Conductor Emeritus LAN SHUI Conductor Laureate

VIO L A

EUDENICE PALARUAN Choral Director

Manchin Zhang Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Joyce Huang Marietta Ku Luo Biao Julia Park Shui Bing Janice Tsai Dandan Wang Yang Shi Li

WONG LAI FOON Choirmaster 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*

C EL L 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 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 8

FLUTE

H O RN

Jin Ta Principal, Stephen Riady Chair Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan

Austin Larson Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Bryan Chong^ Hoang Van Hoc

PICCOLO Roberto Alvarez Assistant Principal

TR U M P ET Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Nuttakamon Supattranont

OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo

TR O M B O N E Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

COR ANGL AI S Elaine Yeo Associate Principal CLARINET

B A SS T R O MBONE

Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping

Wang Wei Assistant Principal TU B A Tomoki Natsume Principal

BAS S CL AR I NE T Tang Xiao Ping Assistant Principal

TIM P A N I

BAS S OON

Christian Schiøler Principal Mario Choo

Marcelo Padilla^ Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue

P ER CU SSIO N Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh

CONTRAB AS S OON Zhao Ying Xue Assistant Principal

H A RP Gulnara Mashurova Principal

T H E O RC HE ST RA

* With deep appreciation to the Rin Collection for their generous loan of string instruments. ^ Musician on temporary contract 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.

G U EST MU S I CI A N S

Guest Musicians SSO GA LA : D VO ŘÁ K A N D T CHA I K OVS K Y – H ANS GRA F A N D LEO N I DA S K A VA K OS | 1 3 & 1 4 OC T 2 0 2 3

FIRST VIOLIN Markus Tomasi Guest Concertmaster CELLO Chris Mui DOUBLE BASS Joan Perarnau Garriga Guest Principal

DVOŘÁ K A N D TC H AI K O V SK Y – H ANS GRA F AN D LEO N I D AS KA VA KO S E ND L E S S M E L O D Y Fri & Sat, 13 & 14 Oct 2023 Victoria Concert Hall Singapore Symphony Orchestra Hans Graf Music Director Leonidas Kavakos violin*

D VO ŘÁ K

Four Legends from Op. 59 (SSO Premiere)

20 mins

TC H AI K O V SK Y

Violin Concerto in D major, Op. 35*

33 mins

Intermission

20 mins

Symphony No. 6 in D major, Op. 60

41 mins

D VO ŘÁK

Concert Duration: approximately 2 hrs 10 mins (including 20 mins intermission)

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A CELEBRATION BY THE NUMBERS

I II III IV

Allegretto Molto moderato Allegro giusto – Andante giusto Molto maestoso

The music on today’s programme were all written or premiered around the years 1880–1882, and are all connected to each other in some way; their premieres involved some of the most illustrious of the music scene in Europe: two composers, a conductor, and a music critic.

and some movements were premiered the following May. This concert features the first four of the ten Legends. Dvořák’s mastery of orchestral colours is evident from his instrumentation: we hear a beguiling clarinet melody in the first Legend, heartfelt strings open the second Legend; the third displays the spirit of dance that Dvořák is known for, contrasting directly with the regal fourth Legend.

Eduard Hanslick (1825–1904) was one of the most prominent and influential music critics in the Austrian scene, known for championing the absolute music of Brahms over the programmatic music of Liszt and Wagner. In 1875, he came to know of a young Antonín Dvořák, who was an applicant in a composition competition that awarded financial support to impoverished, talented composers within the Habsburg Empire. Dvořák had submitted 15 compositions, including a song cycle, two symphonies, and several overtures, knocking all competitors aside, impressing Hanslick and even Brahms who sat on the jury. From then on, Hanslick took an interest in and promoted Dvořák’s new works; travelling to Prague to attend the premiere of Dvořák’s opera Dimitrij. As recognition for Hanslick’s enduring interest, Dvořák dedicated his Legends cycle to him.

Even though Dvořák does not specify what tales these Legends refer to, many think that his inspiration was the poetry of Czech folklorist and poet Karel Jaromír Erben, whose writings fascinated Dvořák. As much as Hanslick hated programme music, he was full of praise for this work when he first played through the proofs of the 2-piano version with Dvořák. They give a “sense of pleasure”, he later wrote, that “feels doubly good in our pessimistic times”.

Written in the early months of 1881 as a cycle of 10 pieces for piano duet, it was so well-received by Brahms and conductor Hans von Bülow that his publisher asked if he could orchestrate them. The orchestral version was completed in Nov–Dec 1881,

Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, triangle, strings World Premiere (orchestral version) 7 May 1882, Prague 15

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ANTONÍN DVOŘÁK (1841–1904) Four Legends from Op. 59 (1881) SSO Premiere

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PYOTR ILYICH TCHAIKOVSKY (1840–1893) Violin Concerto in D major, Op. 35 (1878) I II III

Allegro moderato Canzonetta. Andante Finale. Allegro vivacissimo

The path to the premiere of Tchaikovsky’s Violin Concerto was fraught with problems: the famous violinist Leopold Auer, the concerto’s initial dedicatee, had cast it aside, deeming it almost impossible to play. Tchaikovsky had then asked his friend the Russian violinist Iosif Kotek to premiere the work, but with Kotek also reluctant to learn it, the dedication eventually went to virtuoso violinist Adolf Brodsky, who managed to persuade Hans Richter and the Vienna Philharmonic to give the concerto its first performance on 4 December 1881, three years after it was written.

We see plainly the savage, vulgar faces, we hear curses, we smell vodka… Tchaikovsky’s Violin Concerto gives us for the first time the hideous notion that there can be music that stinks to the ear.”

The sweet opening theme by the violins, much like the brusque horn call opening in his Piano Concerto No. 1, is never heard again after the first few bars.

Brodsky practiced hard, but the orchestra was under-rehearsed and thus played the score pianissimo out of uncertainty. While there were mixed reactions to the work at the premiere, most damning of all was none other than Eduard Hanslick’s review in Vienna’s Neue freie Presse, which affected Tchaikovsky so much that he was said to be able to recite the review in the original German until his dying day.

Hanslick’s very remarks, especially those berating the ‘Russianness’ of the concerto, were exactly what made it so popular later on. The sweet opening theme by the violins, much like the brusque horn call opening in his Piano Concerto No. 1, is never heard again after the first few bars. The orchestra builds up the anticipation and, after a few brief flourishes, the soloist enters with a tentative, gentle and almost wistful main theme, supported by simple accompaniment in the strings. It is repeated, elaborated, and later on transformed, as if like music for a grand Russian ball, with many opportunities for pyrotechnics involving fast running passages, huge leaps and multiple stops. In between, the second theme, on the warm

Hanslick remarked that the concerto “moves soberly, musically, and not without spirit. But soon vulgarity gains the upper hand and asserts itself to the end of the first movement. The violin is no longer played; it is pulled, torn, drubbed. The Adagio is again on its best behaviour, to pacify and to win us over. But it soon breaks off to make way for a finale that transfers us to a brutal and wretched jollity of a Russian holiday. 16

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and lower registers of the violin, retains its wistful nature. The cadenza beautifully links to the recapitulation, with the flute singing the main theme while the violin embellishes with trills above. The violin then takes over after a while, and pulls the whole orchestra to an exhilarating coda. The Canzonetta (“little song”) is a simple, rustic tune which provides a brief moment of peace between the two exuberant outer movements. Here Tchaikovsky blends the timbres of the woodwinds into a chorale while the violin floats above in a soulful melody. Without a break, this bursts into the lively finale. As if long-tethered and finally released to fly, the solo violin propels forward with a dizzying display of agility and speed. A slower, nostalgic peasant dance is included, but that, too, is soon overtaken, and the movement accelerates to a breathless finish.

Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings World Premiere 4 Dec 1881, Vienna First performed by SSO 23 May 1980 (Igor Politovsky, violin) 17

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ANTONÍN DVOŘÁK Symphony No. 6 in D major, Op. 60 (1880) I II III IV

Allegro non tanto Adagio Scherzo (Furiant). Presto Finale. Allegro con spirito

Two years before the disastrous premiere of Tchaikovsky’s Violin Concerto, Hans Richter and the Vienna Philharmonic gave the Viennese premiere of Dvořák’s third Slavonic Rhapsody. Elated at its success, Richter had commissioned Dvořák to write a symphony, and the latter agreed. After a year of procrastination, Dvořák’s Sixth Symphony was completed in a burst of creativity in August 1880, and dedicated to Richter. Though Richter was elated by the symphony, the members of the Vienna Philharmonic were much less so, and voted against performing it. The symphony was then premiered in Prague in 1881, and Richter finally had the chance to conduct it in London in 1882. the Czech character in the music is unmistakably Dvořák’s.

Horns and violas provide a soft, syncopated accompaniment while the first theme of the first movement is introduced. It grows very quickly (in about 50 bars) to giant proportions and is subdued just as quickly; the listener is taken along on a journey through Dvořák’s melodic inventions built from the opening two-note motif, not unlike a tour in Willy Wonka’s fantastical chocolate factory.

The Scherzo-Furiant is the most overtly folk-like music of the symphony, its main theme alternating in duple and triple time despite its main time signature of 3/4. A more fragile trio section features ‘pastoral’ woodwinds for contrast, before the furiant returns to conclude the movement. The opening of the Sixth Symphony’s finale was a huge nod to his mentor Brahms, especially the corresponding point in the latter's Second Symphony. Although the structural integrity and tightness of form and development can be attributed to Brahms,

The Adagio is colourful, graceful and lush, evocative of the peaceful Bohemian woodland and countryside. Even though its opening has been compared to that of the Adagio from Beethoven’s Ninth Symphony, 18

the audience is also shown the side of Dvořák that Brahms admired: the unlimited inventiveness of his melodic material, and his remarkable sense of proportion in time and duration. In marrying rich Bohemian nationalism with classical Viennese forms, the Dvořák’s Sixth Symphony was the first symphony that gave Dvořák the recognition and fame he deserved throughout Europe. As Dvořák was completing this symphony, he wrote a letter to his publisher about an idea of his next work: a cycle of 10 short pieces for piano duet, called... Legends.

Instrumentation 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, strings World Premiere 25 Mar 1881, Prague First performed by SSO 28 Nov 1980

Programme notes by Natalie Ng 19

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Chestnut Avenue in Násedlovice, Czechy Photo by Cezary Morga

LE O NIDA S K AV AK OS I N REC I T A L Sun, 15 Oct 2023 Victoria Concert Hall Leonidas Kavakos violin Enrico Pace piano

R A VEL

Violin Sonata No. 1 “Sonata posthume”

15 mins

P O ULE N C

Sonata for Violin and Piano

19 mins

Intermission

20 mins

D EB USSY

Sonata in G minor for Violin and Piano

14 mins

FR A N CK

Sonata in A major for Violin and Piano

28 mins

Concert Duration: approximately 1 hr 50 mins (including 20 mins intermission)

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For a very long time, the phrase “Ravel violin sonata” referred to the famous jazz-tinged work from the mid-1920s, and the composer himself never debunked that misconception. It took until 1975, a whole 38 years after Ravel died, before another violin-and-piano piece was published, one that had been begun as early as 1897 and kept away from the public eye. Musicologists think it might have been written for a composition class with Fauré during Ravel’s studies at the Conservatoire de Paris, and would have been performed there as well, but no further record of it exists once Ravel embarked on his career as a fully-fledged composer. This “Sonata in A major” never made it past the first movement, and, frankly, is barely in A major anyway: Ravel’s harmonic skill and use of strong chromaticisms, balanced against modal passages, is very reminiscent of Fauré’s late music, but demonstrates the brightness and assurance of Ravel’s youth. The 15-minute single movement starts with a highly perfumed atmosphere, and the irregular and constantly changing time signatures give the music a sense of being unanchored and free-floating. While the student Ravel might not have been the best at joining sections together — some of the transitions between sections can be rather awkward and sudden — he had a natural affinity with the lyrical theme, and the music is full of beauty.

Violinist Seen from the Back (1887, Paris) by Vincent van Gogh

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MAURICE RAVEL (1875–1937) Violin Sonata No. 1 “Sonata posthume” (1897)

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FRANCIS POULENC (1899–1963) Sonata for Violin and Piano (1943) I II III

Allegro con fuoco Intermezzo: Très lent et calme Presto tragico

Francis Poulenc was in many ways Ravel’s musical successor. As part of the famous Les Six group of musicians who were directly inspired by Ravel and Jean Cocteau (to the point they called themselves the Jeunes Ravelites), Poulenc was instrumental in directing post-WW1 French music away from German dominance and, most especially, Germanic atonalism and expressionism. He was deeply Catholic, writing many sacred works, but also a frequenter of cabarets and familiar with queer culture. His music therefore straddles the sensuous and the serious, and the Violin Sonata is no exception. The first movement is filled with unrelenting forward motion, and the motoric semiquavers in the piano accompaniment are almost obsessive in nature. The violin part is virtuosic, and even the odd moment of calm does not dispel the impression of a headlong rush. The second movement, a much calmer affair, is altogether too sultry to be a religious work — but contains all of the same harmonic tricks and chromatic sleights of hand as his great Gloria or the Stabat Mater!

Young Woman Playing Violin (1923) by Henri Matisse

The tragic nature of the final movement does not become clear for a long time, the music almost brutally enthusiastic throughout, but the slow coda is almost a chorale and the plodding rhythms drive home the point that this is a work very much affected by the horrors of World War 2. It was, after all, written as a memorial

to Federico García Lorca. Poulenc himself admitted that he struggled to capture his own passion and love for the great Spanish poet, and the work was widely criticised for being harsh and unidiomatic, though, decades later, it has earned its rightful place on the concert stage. 22

I II III

Allegro vivo Intermède: Fantastique et léger Finale: Très animé

Debussy, right at the end of his life, started on a project to write six sonatas for various instruments and combinations of instruments, but only completed three before he succumbed to cancer. The Violin Sonata is the most famous of the surviving; the others (for cello, and for a trio of flute, viola, and harp) have been less successful.

through here, leaving his impressionism behind, and the shifts between sections happen increasingly suddenly, from the smooth decelerations in the first movement to the capricious changes in mood of the second movement (even including a bit of quasi-Spanish music!) before he simply uses silent pauses in the third movement to switch gears.

“an example of what may be produced by a sick man in time of war”

Those silences make it hard to believe in the deliberate triumph of the sonata’s end. Certainly, it comes with very little build up, and it feels like Debussy was trying to keep optimistic despite his own circumstances. In what would prove his last public performance, he played the Sonata in May 1917 with Gaston Poulet on the violin and was dead less than a year later at the age of 58.

In a typical bit of self-flagellation, he called the Violin Sonata “an example of what may be produced by a sick man in time of war”. He had championed the cause of a ‘pure’ French music all his adult life, having tired of the Wagnerian tendencies of his youth, and was profoundly affected by the onset of war, even signing off on the score that it had been composed by a musicien français. Despite the huge range of moods and colours exhibited throughout its brief duration, the sonata is tinged throughout with a dire melancholy. The outset, with its falling theme and shifting harmonies, sets that mood, and even the wild gyrations of the Intermède or the aggressively bright G major of the Finale fail to fully dispel that gloom. Debussy’s mature style shines 23

V CH P RES EN T S C H AM BER : L EONIDAS K AV AK OS IN R EC ITAL | 15 O CT 2023

CLAUDE DEBUSSY (1862–1918) Sonata in G minor for Violin and Piano (1917)

V C H PR E SE N TS C H AM BER : L EONIDAS K AV AK OS IN R EC ITAL | 1 5 O C T 2 0 2 3

CÉSAR FRANCK (1822–1890) Sonata in A major for Violin and Piano (1886) I II III IV

Allegretto ben moderato Allegro Recitativo-Fantasia: Ben moderato Allegretto poco mosso The Recitativo-Fantasia is the most free movement in the piece, and starts with two violin cadenzas. The music never quite settles down throughout, ranging from the explorations of the violin to the climax shared by both players dissipating back into nothing. The level of freedom in this moment is directly contrasted when, in the finale, the violin and the piano share a strict canon one bar apart. The main melody is shared by both instruments and comes back several times, almost like a rondo, always with one instrument one bar ahead of the other. The ease with which Franck carries out such a tough compositional feat is no less than impressive, as the music flows seamlessly with no trace of the restrictions it is under, and the whole sonata finishes with a beautiful, triumphant conclusion.

One of the most famous classical works of all time, Franck’s Violin Sonata was written as a wedding present for the Belgian virtuoso Eugène Ysaÿe. Franck himself could not be present at the wedding, but a friend presented the work to Ysaÿe and his bride. The violinist himself was so excited by the work that it was rehearsed on the spot and performed to the wedding guests. It would reach the public concert stage later that year and Ysaÿe never stopped performing it throughout the rest of his long career. Franck had toiled for a long time and won little recognition as a composer, dying only four years after the premiere, but Ysaÿe’s fierce championship of the work was foundational to Franck’s eventual public reputation as a major composer. In true Franckian fashion, the Sonata is built cyclically, with very economic use of themes. The lilting triple-time of the opening movement and its simple form means that it often feels like a prelude to the rest of the piece, with the stormy second movement feeling like the 'real’ start. But the upand-down motion of the first few notes in the violin is the theme that holds the whole piece together, with the middle two movements being especially closely-knit.

Programme notes by Thomas Ang

To Our Donor Patrons We would like to express our deepest appreciation to the following individuals and organisations who support our mission to create memorable shared experiences with music in the past year. Without your support, it would be impossible for the SSO to continue to strive for artistic excellence and touch the hearts of audiences. PATRON SPONSOR Tote Board Group (Tote Board, Singapore Pools & Singapore Turf Club) MAESTRO CIRCLE Mr & Mrs Goh Yew Lin Stephen Riady Group of Foundations Temasek Foundation The HEAD Foundation CONCERTMASTER CIRCLE Yong Hon Kong Foundation Anonymous (2) SYMPHONY CIRCLE Audemars Piguet City Developments Limited Embassy of France in Singapore Dr & Mrs Antoine & Christina Firmenich Foundation Of Rotary Clubs (Singapore) Ltd Rod Hyland JKhoo Consultancy Pte Ltd Lee Foundation Paige Parker & Jim Rogers The New Eden Charitable Trust TransTechnology Pte Ltd Jacqueline Yeh

G U BI NG JI E FIX E D C H A IR V IOL A

CONCERTO CIRCLE Vivian Chandran Cara & Tamara Chang Chng Hak-Peng Geraldine Choong & Dennis Au Edrington Singapore Pte Ltd Far East Organization Holywell Foundation Kris Foundation Dr Julie Lo Dr Mendis Ajit Rohan

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SERENADE PATRONS #GivingBack Foundation John & Eliza Bittleston Bryan Carmichael Dr Stanley Chia Alfred Chua Cheng Huat KC Chuang Prof Arnoud De Meyer Jerry Gwee Dr Guy Hentsch & G. Yu Steven & Liwen Holmes Shawn Jeon Katherine Kennedy-White Dr & Mrs Adrian Koh Lorinne Kon Kelvin Leong Dr Leong Keng Hong

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KA R EN YEO FIX E D C H A IR DOU BL E BA S S

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Dr Giles Tan Ming Yee Gordon HL Tan Jane Tan Casey Tan Khai Hee K.H. Tan Lincoln Tan Tan Pei Jie Tan Yee Deng Alex Tesei Alicia Thian & Brian Bonde Vidula Verma Stephan Wang Retno Whitty Dr Wong Hin-Yan World Future Enterprise Pte Ltd Marcel & Melissa Xu Peter Yap Wan Shern Ye Xuan Yong Seow Kin Lei Zhang Zhu Yulin Anonymous (61)

This list reflects donations that were made from 1 Oct 2022 to 30 Sep 2023. 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 U P P O RT T H E SS O

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While SSO is supported partially by funding from the Singapore government, a significant part can only be unlocked as matching grants when we receive donations from the public. 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.

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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 Esplanade & Premier Box seats, or supporters who give through a fundraising event. ^Discounts are not applicable for purchase of Esplanade & Premier Box seats. 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.

S P EC I AL RE CO G NITION

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We recognise major gifts that help sustain the future of the Singapore Symphony Group. The recognition includes naming of a position in the SSO or in our affiliated performance groups such as the Singapore National Youth Orchestra and the Singapore Symphony Choruses.

S S O CO N CE RT M A S T ER G K GO H CH AI R In July 2017, the SSO established the GK Goh Chair for the Concertmaster. Mr Goh Geok Khim and his family have been long-time supporters of the national orchestra. We are grateful for the donations from his family and friends towards this Chair, especially Mr and Mrs Goh Yew Lin for their most generous contribution. Mr Igor Yuzefovich was the inaugural GK Goh Concertmaster Chair from July 2017 to June 2018. The position is currently vacant.

S S O P RI N CI P A L C ELLO T HE H E AD F O U N DATION C HAIR In recognition of a generous gift from The HEAD Foundation, we announced the naming of our Principal Cello, “The HEAD Foundation Chair” in November 2019. The Chair is currently held by Principal Cellist Ng Pei-Sian.

J IN T A PR INC IPA L FL U TE

S S O P RI N CI P A L FLU T E S TEP H E N RI AD Y C HAIR In recognition of a generous gift from Dr Stephen Riady, we announced in May 2022 the naming of our Principal Flute, “Stephen Riady Chair”. The position is currently held by our Principal Flutist Jin Ta.

For more information, please write to director_development@sso.org.sg.

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Form a special relationship with Singapore’s national orchestra and increase your brand recognition among an influential and growing audience. CORPORATE GIVING We provide our Corporate Patrons with impressive entertainment and significant branding opportunities. Through our tailored packages, corporates may benefit from:

GAO J IAN A SSOCIATE PRINCIPAL H ORN

HEARTFELT THANKS TO OUR CORPORATE PATRONS Temasek Foundation The HEAD Foundation Stephen Riady Group of Foundations Yong Hon Kong Foundation Embassy of France in Singapore Audemars Piguet City Developments Limited Foundation Of Rotary Clubs (Singapore) Ltd JKhoo Consultancy Pte Ltd Lee Foundation The New Eden Charitable Trust TransTechnology Pte Ltd VALIRAM Far East Organization United Overseas Bank Ltd Holywell Foundation Kris Foundation IN-KIN D SPONSORS Raffles Hotel Singapore SMRT Corporation Singapore Airlines Conrad Centennial Singapore Symphony 924

• Publicity and hospitality opportunities at an SSO concert or your private event, • Acknowledgement and mentions in SSO’s key publicity channels, • National Arts Council (NAC) Patron of the Arts nominations, • Tax benefits. Packages start at $10,000 and can be tailored to your company’s branding needs. PARTNERSHIP We partner with various corporates through tailored in-kind sponsorship and exchange of services. Current and recent partnerships include Official Hotel, Official Airline, and we offer other exciting titles. For more details, please write to Chelsea Zhao at chelsea.zhao@sso.org.sg.

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HUMAN RESOURCES COMMITTEE

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Development Chelsea Zhao (Head) Nikki Chuang Sarah Wee Sharmilah Banu Eunice Salanga

ARTISTIC PL ANNING Hans Sørensen (Head) Artistic Administration Jodie Chiang Jocelyn Cheng Michelle Yeo Lynnette Chng 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) Peck Xin Hui Kelvin Chua Production Management Noraihan Bte Nordin Nazem Redzuan Leong Shan Yi Asyiq Iqmal Ramayah Elango Khairi Edzhairee Khairul Nizam

Community Engagement Kua Li Leng (Head) Erin Tan Whitney Tan Samantha Lim Terrence Wong Choral Programmes Kua Li Leng (Head) Regina Lee Chang Hai Wen Singapore National Youth Orchestra Tang Ya Yun Tan Sing Yee Ridha Ridza ABRSM Patricia Yee Lai Li-Yng Joong Siow Chong Freddie Loh May Looi William Teo

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