Singapore Symphony Orchestra Sep 2019 Programme

CONCERT PROGRAMME SEPTEMBER 2019

MASATO SUZUKI - INSPIRED BY LEIPZIG STEPHEN HOUGH • EGYPTIAN PIANO CONCERTO PRESIDENT'S YOUNG PERFORMERS CONCERT

2019/20 Season

ORGAN

EXCITE!

ORGAN, OMAKASE 8 SEP, 4PM

SHREDDING WITH RACHEL BARTON PINE 27 OCT, 4PM

Masato Suzuki, organ

Rachel Barton Pine, violin Musicians of the SSO

CHAMBER

LOVE AND LONGING 10 NOV, 4PM Long Long, tenor Tengku Irfan, piano

ORGAN

PIPES DE DEUX 4 NOV, 12.30PM Evelyn Lim, organ Joanna Paul, organ

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Sep 2019 MASATO SUZUKI – INSPIRED BY LEIPZIG 6 Sep 2019, Fri Esplanade Concert Hall T

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STEPHEN HOUGH EGYPTIAN PIANO CONCERTO

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13 Sep 2019, Fri Esplanade Concert Hall T

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PRESIDENT’S YOUNG PERFORMERS CONCERT 27 Sep 2019, Fri Victoria Concert Hall

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Go green. Digital programme books are available on www.sso.org.sg.

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T Pre-concert Talk A Autograph Session

SINGAPORE SYMPHONY ORCHESTRA

Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene in the cosmopolitan city-state.

In addition to its subscription series concerts, the orchestra is well-loved for its outdoor and community appearances, and its significant role educating the young people of Singapore.

The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings.

The SSO makes its performing home at the 1,800-seat state-of-the-art Esplanade Concert Hall. More intimate works and all outreach and community performances take place at the 673-seat Victoria Concert Hall, the home of the SSO. The orchestra performs 100 concerts a year, and its versatile repertoire spans all-time favourites and orchestral masterpieces to exciting cutting-edge premieres. Bridging the musical traditions of East and West, Singaporean and Asian musicians and composers are regularly showcased in the concert season. This has been a core of the SSO’s programming philosophy from the very beginning under Choo Hoey, who was Music Director from 1979 to 1996.

Under the Music Directorship of Lan Shui from 1997 to January 2019, the SSO has performed in Europe, Asia and the United States. In May 2016 the SSO was invited to perform at the Dresden Music Festival and the Prague Spring International Music Festival.

This successful five‑city tour of Germany and Prague also included the SSO’s return to the Berlin Philharmonie after six years. In 2014 the SSO’s debut at the 120th BBC Proms in

Orchestral playing at the peak of refinement and beauty Fanfare London received critical acclaim in the major UK newspapers The Guardian and Telegraph.

The SSO has also performed in China on multiple occasions.

In July 2019, the SSO named Austrian conductor Hans Graf as its Chief Conductor designate, beginning in the 2020/21 concert season.

Notable SSO releases under BIS include a Rachmaninoff series, a “Seascapes” album, two Debussy discs “La Mer” and “Jeux”, and the first-ever cycle of Tcherepnin’s piano concertos and symphonies. The SSO has also collaborated with such great artists as Lorin Maazel, Charles Dutoit, Gennady Rozhdestvensky, Neeme Järvi, Gustavo Dudamel, Vladimir Ashkenazy, Diana Damrau, Martha Argerich, Lang Lang, Yo-Yo Ma, Janine Jansen, Leonidas Kavakos and Gil Shaham.

The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, and the Singapore National Youth Orchestra.

The mission of the Group is to create memorable shared experiences with music.

Through the SSO and its affiliate performing groups, we spread the love for music, nurture talent and enrich Singapore’s diverse communities.

M A S A T O S U Z U K I – I N S P I R E D B Y L E I P Z I G | 6 SEP 2019

his conducting debut with the Singapore Symphony Orchestra and the Academy of Ancient Music in London.

As Principal Conductor of Bach Collegium Japan, Suzuki made his subscription series conducting debut with the ensemble directing Bach’s St John Passion and Monteverdi’s L’incoronazione di Poppea; on tour, he has taken them to the Thüringen Bachwochen and Varazdin Baroque Festival.

December 2019 sees BIS release the first disc of the complete Bach Harpsichord concerti Suzuki has recorded leading from the keyboard.

Festival appearances as a recitalist and chamber musician include the Chofu International Music Festival, SchleswigHolstein and Verbier. He continues a collaboration with violist Antoine Tamestit and their recording of Bach’s three viola da gamba sonatas was released by Harmonia Mundi in August 2019.

MASATO SUZUKI conductor A multifaceted musician, Masato Suzuki appears on the concert platform in the capacity of conductor, composer and keyboard player.

On the conducting podium, this season Suzuki returns to both the Yomiuri Nippon Symphony and Tokyo Symphony Orchestras as well as making his debut as a conductor with the NHK Symphony Orchestra.

Elsewhere in Japan, Suzuki works with orchestras including the Japan, Sendai and Tokyo Philharmonic Orchestras, as well as Ensemble Kanazawa and Kyushu Symphony Orchestra. This season Suzuki makes

Suzuki’s composition portfolio includes works for both instrumental ensembles and choir; his work is published by Schott Japan and he has received recent commissions from Sette Voci, Tokyo Musik Kreis and Yokohama Minato Mirai Hall. Suzuki studied Composition and Early Music at the Tokyo University for Fine Arts and Music before studying Organ and Improvisation at the Royal Conservatory of The Hague.

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M A S A T O S U Z U K I – I N S P I R E D B Y L E I P Z I G | 6 SEP 2019

ALBERT TIU piano Born in Cebu, Philippines, Albert Tiu has been called “an artist of uncommon abilities” by American Record Guide. His latest Centaur recording, “Grand Russian”, pairing Tchaikovsky’s Grand Sonata and Rachmaninoff’s First Sonata, was cited in ARG: “Even with some legendary competition in this repertoire, Tiu stands tall with his interpretations and technical accomplishment.” A previous disc, “The Classical Elements”, featuring 20 pieces grouped under Earth, Air, Water and Fire, was rated five stars in International Piano and praised by Fanfare for a “fascinating recital containing some stunning playing.” gave the Singapore premiere of Samuel Barber’s Piano Concerto with the Singapore Symphony Orchestra.

Currently an Associate Professor of Piano at the Yong Siew Toh Conservatory of Music, National University of Singapore, Tiu is a prizewinner of competitions in Calgary (Honens), Santander (Paloma O’Shea) and Helsinki (Maj Lind). He won First Prize in the 1996 UNISA International Piano Competition in Pretoria, South Africa.

His “Tiudents” have distinguished themselves in competitions and festivals around the world, and have pursued further studies in North America and Europe.

Aside from teaching, he adjudicates in international piano competitions, notably in France, Denmark, New Zealand, Thailand and Indonesia.

Known for his innovative programming, he has presented thought-provoking thematic recitals: “Nocturnal Fantasies”, and “Chopin without Chopin”. He has performed with the St. Petersburg Philharmonic, Hamburg Symphony, Finnish Radio Symphony, Gstaad Festival Orchestra, Calgary Philharmonic and Winnipeg Symphony. In 2005, he

He is addicted to Angry Birds, a constant source of humour in the family and in his studio, but somehow still manages to practise some piano.

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S T E P H E N H O U G H • E G Y P T I A N P I A N O C O N C E R T O | 13 SEP 2019

Litton was Principal Conductor of the Bournemouth Symphony from 19881994. 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 130 recordings.

This season, besides conducting over 30 ballets at the New York City Ballet, Litton returns to the Singapore Symphony, the Bournemouth Symphony, the Ulster Orchestra, the City of Birmingham Symphony Orchestra, the Deutsches SymphonieOrchester Berlin, the Colorado Symphony and the Orquesta Sinfónica de Galicia.

ANDREW LITTON Principal Guest Conductor 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 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.

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.

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S T E P H E N H O U G H • E G Y P T I A N P I A N O C O N C E R T O | 13 SEP 2019

STEPHEN HOUGH piano Stephen Hough’s highlights in 2019/20 include performances with the Dallas, Toronto, Singapore and Iceland Symphony Orchestras, Washington’s National Symphony Orchestra and the Netherlands Radio Philharmonic Orchestra. In the UK, Hough performs with the BBC Scottish Symphony and Royal Liverpool Philharmonic Orchestras and the Orchestra of the Age of Enlightenment, and in May–June 2020 he tours China with Beethoven’s Third and Fifth Piano Concertos. has garnered accolades including eight Gramophone Awards. His celebrated iPad app The Liszt Sonata was released

by Touch Press in 2013. As a composer, he has been commissioned by Wigmore Hall, Musée du Louvre, London’s National Gallery, Westminster Abbey, Westminster Cathedral, the Genesis Foundation, Gilmore International Keyboard Festival, the Walter W. Naumburg Foundation, Orquesta Sinfónica de Euskadi and the Berlin Philharmonic Wind Quintet. His first novel, The Final Retreat, was published by Sylph Editions in March 2018, and in August 2019 his Rough Ideas: Reflections on Music and More was published by Faber & Faber.

Among recent highlights are performances with the Cleveland and Minnesota Orchestras, Finnish Radio, City of Birmingham and Tokyo Symphony Orchestras, London Philharmonic and China Philharmonic Orchestras, and the Wiener Symphoniker. 2019/20 recitals include a return to the International Piano Series at London’s Royal Festival Hall and a Wigmore Hall residency featuring performances with Steven Isserlis, Renaud Capuçon and Michael Collins, among others.

Hough was appointed CBE in the 2014 New Year’s Honours. A laureate of the MacArthur Fellowship and Royal Philharmonic Society Award, his catalogue of over 60 CDs 7

P R E S I D E N T ’ S Y O U N G P E R F O R M E R S C O N C E R T | 27 SEP 2019

Joshua has conducted orchestras all around the world. These orchestras include the Mariinsky Theatre Orchestra, Beethoven Bonn Orchestra, Tokyo Philharmonic Orchestra, National Taiwan Symphony Orchestra, Hong Kong Philharmonic, Sydney Symphony Orchestra, amongst others. He has studied with various eminent conductors such as James DePreist, Charles Dutoit, David Zinman and Kurt Masur.

A versatile conductor, Joshua is at home with both symphonic and operatic works. His substantial repertoire for opera includes La Traviata, Rigoletto, Der Fliegende Holländer, Lohengrin, Carmen, Don Giovanni, Madama Butterfly, Così fan tutte, and Turandot, among others. He has also served as cover conductor for Christoph Eschenbach and Lorin Maazel. He is also equally adept with ballet productions and music for film/multimedia.

JOSHUA TAN Associate Conductor Second Prize-winner of the 2008 Dimitri Mitropoulos International Competition, Singaporean conductor Joshua Kangming Tan’s rise to prominence on the international scene has been marked by successful debuts in Carnegie Hall, Philharmonie Berlin, Mariinsky Hall and Bunkamura.

Joshua is presently Associate Conductor of the Singapore Symphony Orchestra, Principal Conductor of the Singapore National Youth Orchestra and Director of the Asia Virtuosi. He has served successful stints as Resident Conductor of the National Centre for the Performing Arts (China) Orchestra, and as Principal Conductor of the Guiyang Symphony Orchestra.

A graduate of The Juilliard School and the Eastman School of Music (High Distinction), he is an awardee of numerous scholarships and awards, such as the Young Artist Award, Singapore (2011), Bruno Walter Memorial Foundation Award, NAC-Shell Scholarship, and the SSO/MOE Scholarship.

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P R E S I D E N T ’ S Y O U N G P E R F O R M E R S C O N C E R T | 27 SEP 2019

KEVIN LOH guitar Born and raised in Singapore, Kevin Loh is the recipient of the 2010 HSBC Youth Excellence Award for Musical Excellence and the 2018 Goh Soon Tioe Centenary Award. He was talent-scouted by The Yehudi Menuhin School via his YouTube channel when he was only 12 years old and was awarded a grant by The Rolling Stones to study at the prestigious music school.

Loh actively represents Singapore and has won many First Prizes in many of the world’s prestigious classical guitar competitions, like the Guitar Foundation of America International Youth Competition and the International Competition for Young Guitarists “Andres Segovia”. In 2017, he won the First Prize in the Open Category at the 34th Volos International Guitar Festival and Competition in Greece.

Besides performing, Loh has been very passionate about outreach in our community. He regularly visits schools to share more about the guitar and music education. He also raises funds through his music in Singapore and in the region for various charities and initiatives such as ChildAid, which strives to provide opportunities for underprivileged children to have exposure in the arts. In 2010, Loh gave his solo debut concert at the Esplanade Concert Hall and raised $180,000 for The Business Times Budding Artist Fund and The Straits Times Pocket Money Fund.

As an active performer, he has performed all over the world, including the Wigmore Hall in London, the Berlin Konzerthaus and the Suntory Hall in Tokyo. He has worked with various orchestras including the Singapore Symphony Orchestra, with whom Kevin gave the world premiere of the Guitar Concerto by Singaporean composer Bernard Tan. 9

SECOND VIOLIN Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Kong Xianlong Nikolai Koval* Chikako Sasaki* Margit Saur Shao Tao Tao Wu Man Yun* Xu Jue Yi* Ye Lin* Yeo Teow Meng Yin Shu Zhan* Zhang Si Jing* Zhao Tian*

The Orchestra joshua tan Associate Conductor andrew litton Principal Guest Conductor Choo Hoey Conductor Emeritus

VIOLA

Lan Shui Conductor Laureate

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

Eudenice Palaruan Choral Director WONG LAI FOON Choirmaster

FIRST VIOLIN

CELLO

Lynnette Seah# Co-Concertmaster Kong Zhao Hui* Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Gu Wen Li Jin Li Cindy Lee Karen Tan William Tan Wei Zhe

Ng Pei-Sian Principal 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 DOUBLE BASS Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka Wang Xu 10

FLUTE

HORN

Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan

Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Hoang Van Hoc

PICCOLO TRUMPET

Roberto Alvarez Assistant Principal

Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Sergey Tyuteykin

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

TROMBONE

Elaine Yeo Associate Principal

Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

CLARINET

BASS TROMBONE

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

Wang Wei Assistant Principal

COR ANGLAIS

TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal

BASS CLARINET PERCUSSION

Tang Xiao Ping Assistant Principal

Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh

BASSOON Wang Xiaoke Principal Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue

HARP Gulnara Mashurova Principal

CONTRABASSOON Zhao Ying Xue Assistant Principal

*With deep appreciation to the Rin Collection for their generous loan of string instruments.

Lynnette Seah performs on a J.B. Guadagnini of Milan, c. 1750, donated by the National Arts Council, Singapore, with the support of Far East Organization and Lee Foundation.

Musicians listed alphabetically by family name rotate their seats on a per programme basis.

#

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Guest Musicians 6 SEP

FIRST VIOLIN Yew Shan

FLUTE Wang Tong

SECOND VIOLIN Lee Shi Mei Priscilla Neo Edward Tan

BASSOON Cheung King Lun TRUMPET Jun Ikebe

VIOLA Joelle Hsu Jonathan Lee

TUBA Brett Stemple

CELLO Lin Juan

HARP Eilidh McRae

DOUBLE BASS Olle Davidsson Principal Ma Li Ming

CELESTE Shane Thio

13 SEP

DOUBLE BASS Olle Davidsson Principal

FIRST VIOLIN Maxim Kosinov Concertmaster Lim Shue Churn

FLUTE Thomas von Lüdinghausen Principal

SECOND VIOLIN Ikuko Schiøler

BASSOON Cheung King Lun

VIOLA Ho Qian Hui Yeo Jan Wea CELLO Khachatur Khachatryan Lin Juan 27 SEP

HORN Kartik Alan Jairamin Information correct at time of printing

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Masato Suzuki - Inspired By Leipzig Hats Off, Gentlemen! A Genius!

6 Sep 2019, 7.30pm Esplanade Concert Hall

Singapore Symphony Orchestra Masato Suzuki conductor Albert Tiu piano BACH CHOPIN SCHUMANN

Toccata & Fugue in D minor, BWV 565 (orch. Stokowski) Variations on “Là ci darem la mano” for piano and orchestra, Op. 2 Introduction and Allegro appassionato for piano and orchestra, Op. 92

Intermission

BACH

Wenn wir in höchsten Nöten sein, BWV 668a (orch. Suzuki) MENDELSSOHN Symphony No. 5 in D major, Op. 107 “Reformation” Concert duration: 1 hr 50 mins

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Pre-concert Talk | 6.30pm, library @esplanade

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Intermission autograph signing with Albert Tiu in the stalls foyer.

9 mins 18 mins 15 mins

20 mins 4 mins 27 mins

M A S A T O S U Z U K I – I N S P I R E D B Y L E I P Z I G | 6 SEP 2019

Programme Notes Voice of a City The arts – including music – is a vital influence in the formation of a city’s cultural soul. A city that has hosted great composers of history, in turn inspires new music – the voice of a city.

The German city of Leipzig and Johann Sebastian Bach are synonymous. Perhaps less well-known is that the lives and careers of Robert Schumann and Felix Mendelssohn are equally intertwined with the city. Chopin had every reason to visit Leipzig and pay his respects to Schumann. It was Schumann’s famous review of Chopin’s Variations on “Là ci darem la mano” — “Hats off, gentlemen!

A genius!” — that garnered the young Polish composer international attention.

Mendelssohn moved to Leipzig from Düsseldorf in 1835 to assume the leadership of the Gewandhaus Orchestra.

To him goes the credit for reviving interest in Bach’s music while he was still living in Berlin. In addition to his many other duties in Leipzig, Mendelssohn worked with the Thomanerchor, of which Bach had been the director 200 years earlier.

Bach moved to Leipzig in 1723 to become music director of the Thomaskirche and remained there for the rest of his life, composing mainly church music. Many of his most best-known works date from earlier, including the two organ transcriptions for orchestra in this concert.

Schumann was an influential music critic and heaped praise upon both younger composers. He hailed Mendelssohn as the “Mozart of the 19th century”, and of Chopin, he wrote, “We may be sure that a genius like Mozart, were he born today, would write concertos like Chopin and not like Mozart.”

Schumann came to Leipzig in 1828 to study law. He dropped out after one year and moved into the home of his piano teacher, Friedrich Wieck, whose nine-yearold daughter Clara was a child prodigy on the piano. Over her father’s objections, they would marry in 1840. Clara performed Chopin’s Variations on “Là ci darem la mano” when she was only 11.

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M A S A T O S U Z U K I – I N S P I R E D B Y L E I P Z I G | 6 SEP 2019

JOHANN SEBASTIAN BACH (1685–1750) Toccata & Fugue in D minor, BWV 565 (orch. Stokowski) “I always wanted to be first. I’m what’s known as an egocentric. It’s a disease, a mental disease. I’m an egocentric.” That’s how Leopold Stokowski (1882–1977) summed up his personality.

The British-born conductor of Polish descent was famous for the sumptuous sound that he obtained from an orchestra and the dramatic power of his performances.

Although he has been dead for over 40 years, his name was once again in the press in 2019 when Gloria Vanderbilt died.

Vanderbilt, the American heiress who built a fashion empire on designer jeans, was married to Stokowski from 1945 to 1955.

Above: St. Thomas, Leipzig, with surrounding buildings, etching by Gabriel Bodenehr, c. 1700 Source: Bach-Archiv Leipzig

Bach’s Toccata and Fugue, BWV 565 is considered the most famous work in the organ repertoire, but it wasn’t always so.

Mendelssohn was responsible for its first publication in 1833, later programming it in a highly acclaimed concert in 1840. Stokowski’s 1927 recording of his arrangement, with the Philadelphia Orchestra, was a bestseller with millions of pressings. Numbers that then, as now, are generally only associated with pop music.

Its inclusion in the 1940 Disney film Fantasia cemented its popularity.

Instrumentation 4 flutes, 2 doubling on piccolos, 2 oboes, cor anglais, 2 clarinets, bass clartinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, 2 harps, celesta, strings First recorded 1927 (Stokowski) First performed by SSO 25 & 26 Oct 1985 16

I II III IV V VI VII

Introduction – Largo – Poco piu mosso Theme – Allegretto Variation 1: Brillante Variation 2: Veloce, ma accuratamente Variation 3: Sempre sostenuto Variation 4: Con bravura Variation 5: Adagio; Coda: Alla Polacca

The Variations on “Là ci darem la mano” is a work from Chopin’s youth, composed in 1827 when he was still a student in Warsaw. A school assignment, it was the first piece that he wrote for orchestra. In concept and design, it adheres to the usual style for bravura variation sets for solo instruments and orchestra that were popular at the time.

Chopin premiered the work in Vienna on 11 August 1829 to great acclaim. Two years later, after the Variations had been published, Schumann’s famous review appeared.

“ Hats off, gentlemen!

A genius! ”

The theme comes from a duet of the same name in Mozart’s opera Don Giovanni. The first section is marked Largo and has a stately air about it. Four short variations follow (the first lasts only a minute), which vary in mood and tempo. Overall, an air of lightness and grace prevails. The final variation and the concluding polonaise (“polacca” in Italian) are nearly as long as the introduction and first four sections combined.

- Schumann

Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, timpani, strings

Chopin’s mastery of the piano is evident throughout the work, but the orchestra does little more than provide accompaniment for the soloist. The music for the solo piano has an improvisatory quality (a skill in which Chopin excelled) evidenced by rapid fire changes of mood and character, sparkling chordal passage work and graceful ornamentation. It ends with a brilliant display of pianistic fireworks.

World Premiere 11 Aug 1829, Vienna (Frédéric Chopin, piano) First performed by SSO 6 Sep 2019 17

M A S A T O S U Z U K I – I N S P I R E D B Y L E I P Z I G | 6 SEP 2019

FRÉDÉRIC CHOPIN (1810–1849) Variations on “Là ci darem la mano” for piano and orchestra, Op. 2 (1827)

M A S A T O S U Z U K I – I N S P I R E D B Y L E I P Z I G | 6 SEP 2019

ROBERT SCHUMANN (1810–1856) Introduction and Allegro appassionato for piano and orchestra, Op. 92 (1849) Schumann’s Introduction and Allegro appassionato was inspired by Lord Byron's poetry, as was the Manfred Overture, one of the composer’s most frequently performed works, which he composed at about the same time. Schumann was no stranger to the works of the great English Romantic poet as his father had made his fortune by translating Byron and other writers into German.

Composed for his wife Clara to perform, Schumann compressed the traditional three-movement concerto into a work of one movement. This was not as radical as it may sound, as piano virtuosos of the day often programmed only the final two movements of a concerto.

Schumann captured the romance and heroism of Byron’s life and poetry in this short, dramatic work. Its many quick changes of mood are balanced by the recurrence throughout the work of the introduction’s theme and horn call. The Introduction and Allegro met with limited success at its Leipzig premiere in 1850 and has only recently gained a foothold in the repertoire.

Above: Portrait of Lord Byron, British poet

by Thomas Phillips

Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings World Premiere 14 Feb, 1850, Leipzig (Clara Schumann, piano) First performed by SSO 6 Sep 2019 18

M A S A T O S U Z U K I – I N S P I R E D B Y L E I P Z I G | 6 SEP 2019

JOHANN SEBASTIAN BACH Wenn wir in höchsten Nöten sein, BWV 668a (orch. Masato Suzuki, 2011) Wenn wir in höchsten Nöten sein (“When we are in utmost need”) is one of 46 chorale preludes that comprise Bach’s Orgelbüchlein (“Little Organ Book”). Most were composed during the years 1708 to 1717 when he was the court organist in Weimar. According to Bach’s dedication, the short works were written in the first place to honour God, and secondly to serve as teaching tools for beginner organists, particularly to improve their pedal technique.

The melody of the chorale was composed by the French composer Louis Bourgeois in 1543, famous for his compilation of Calvinist hymn tunes. Bach’s setting of the melody is highly ornate, which is rare among Bach’s organ chorales. The great humanist and Bach scholar Albert Schweitzer described its final measures as “a divine song of consolation”.

Above: Our Lady of the Seven Sorrows

by Adriaen Isenbrandt

Instrumentation flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, strings World Premiere 22 Jan 2012, Fukuoka First performed by SSO 6 Sep 2019 19

M A S A T O S U Z U K I – I N S P I R E D B Y L E I P Z I G | 6 SEP 2019

FELIX MENDELSSOHN (1809–1847) Symphony No. 5 in D major, Op. 107 “Reformation” (1830) I II III IV

Andante – Allegro con fuoco Allegro vivace Andante Andante con moto – Allegro vivace – Allegro maestoso

Mendelssohn conceived the Reformation Symphony to commemorate the tercentenary of the Augsburg Confession in 1530, the Lutheran Church’s primary statement of faith and one of the most important documents of the Protestant Reformation. The symphony's premiere did not take place until 1832 however, partly because a bout of measles prevented Mendelssohn from completing it on time and also due to political unrest across Europe in 1830, making such observances problematic. Dissatisfied with what he termed juvenilia, Mendelssohn withdrew the work in 1838 with instructions for it to be burned.

where Leipzig is located, is heard repeatedly.

In honor of Martin Luther, Mendelssohn incorporated the hymn Ein’ feste Burg ist unser Gott (“A mighty fortress is our God”) into the fourth movement.

The symphony opens with the four-note theme from the finale of Mozart’s Jupiter Symphony. A single rhythmic figure is heard in every measure of the jaunty second movement that is dominated by the woodwinds. The third movement is a gracious, introspective song for the violins.

A solo flute introduces the hymn tune in the final movement, which in turn is developed in a majestic fugue, before being heard one last time in the stirring finale.

Although it was the second symphony that Mendelssohn composed, it was designated the fifth of his five symphonies in the posthumous edition of his complete works published in 1868. The proper chronological order of his symphonies is 1, 5 (Reformation), 4 (Italian), 2 (Lobgesang) and 3 (Scottish). His sister, Fanny, bestowed the name “Reformation” on it. Mendelssohn had originally entitled it, “Symphony for the Celebration of a Religious Revolution”.

Programme notes by Rick Perdian

Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, tuba, timpani, strings World Premiere 15 Nov 1832, Berlin

The thematic material of the symphony is directly linked to the occasion for which it was intended. In the first movement, the “Dresden Amen”, a series of six chords sung by choirs in Saxony, the German State

First performed by SSO 28 & 29 Mar 1979 20

Stephen Hough • Egyptian Piano Concerto French Connections 13 Sep 2019, 7.30pm Esplanade Concert Hall

Singapore Symphony Orchestra Andrew Litton Principal Guest Conductor Stephen Hough piano BERLIOZ Roman Carnival Overture, Op. 9 SAINT-SAËNS Piano Concerto No. 5 in F major, Op. 103 “Egyptian”

29 mins

Intermission

20 mins

FRANCK Symphony in D minor

37 mins

Concert duration: 1 hr 50 mins

Audience Survey Participate in our audience survey and stand a chance to win a pair of Cat 1 tickets! ssoperfor.ms/audience-survey

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Pre-concert Talk | 6.30pm, library@esplanade

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Intermission autograph signing with Stephen Hough in the stalls foyer.

8 mins

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KAHCHUN WONG & KARL-HEINZ SCHÜTZ

Somewhere between serenity, mystery and blues, a musical offering of French lyricism led by Australian Chamber Orchestra leader, Richard Tognetti. Plus Mozart’s majestic Jupiter Symphony.

See for yourself the conducting mastery of trail-blazing Singaporean maestro Kahchun Wong, who returns to lead the SSO, accompanying the Vienna Phil’s Principal Flutist KarlHeinz Schütz in a programme of Romantic gems.

11 & 12 Oct 2019 Victoria Concert Hall

19 Oct 2019 Esplanade Concert Hall

Richard Tognetti, lead violin Singapore Symphony Orchestra

Kahchun Wong, conductor Karl-Heinz Schütz, flute Singapore Symphony Orchestra

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THE JUSSEN BROTHERS PLAY MOZART

ZHANG HAOCHEN PLAYS MOZART

Hear the rich tradition of classical music with Bruckner’s popular painting of epic Romanticism, his Fourth Symphony. Also, Mozart’s 24th Piano Concerto, one of the most revered gems in piano literature, featuring acclaimed Chinese pianist Zhang Haochen.

A rare sight: not one but two piano soloists arrive at the Victoria Concert Hall - the talented Dutch brothers Lucas and Arthur Jussen, who will present Mozart’s Double Piano Concerto No. 10. Meet them at the autograph session!

22 & 23 Nov 2019 Victoria Concert Hall

5 Dec 2019 Esplanade Concert Hall

Lucas Jussen, piano Arthur Jussen, piano Gabriel Bebeşelea, conductor Singapore Symphony Orchestra

Zhang Haochen, piano Thomas Dausgaard, conductor Singapore Symphony Orchestra

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S T E P H E N H O U G H • E G Y P T I A N P I A N O C O N C E R T O | 13 SEP 2019

HECTOR BERLIOZ (1803–1869) Roman Carnival Overture, Op. 9 (1844) Berlioz is rightfully known as one of the most important figures in 19th-century French music. His Symphonie fantastique cast a long shadow over his successors, and his treatise on instrumentation and orchestration proved to be an incredibly important pedagogical work to generations of composers. But all this could very well not have happened: Berlioz was originally enrolled at, and graduated from, the University of Grenoble as a medical student.

He eventually abandoned medicine, having started writing pieces of musical journalism in those student days, and studied as a composer at the Paris Conservatoire. He then went on to lead an extremely colourful life, including at one point plotting to travel from across international borders to kill his fiancée and her mother, and becoming close friends with Franz Liszt.

The Roman Carnival Overture is a standalone “concert overture” composed based on themes from an earlier opera (Benvenuto Cellini), in particular including music from that opera’s carnival scene. This overture has established itself firmly on the concert stage, despite the roaring failure of the opera it is based on.

Above: The Hypaethral Temple of Philae (1838)

by David Roberts

Instrumentation 2 flutes, 1 doubling on piccolo, 2 oboes, cor anglais, 2 clarinets, 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, timpani, tambourines, cymbals, triangle, strings World Premiere 3 Feb 1844, Paris First performed by SSO 18 & 19 Dec 1981 24

I II III

Allegro animato Andante – Allegretto tranquillo quasi andantino – Andante Molto allegro

It often surprises even musicians to recall the longevity of Saint-Saëns’s career. Known mostly for The Carnival of the Animals and the Danse macabre, he was a staunch conservative in his later years, resulting in him being solidly left behind by the various experimentations of the early 20th century.

He taught Fauré, but was horrified by Debussy; his last works were increasingly backward-looking, even neoclassical.

The only thing “Egyptian” about the slow movement is the borrowing of a Nubian song Saint-Saëns heard being sung by boatmen along the Nile. It is given a fully French setting, complete with the usual piano textures that would not sound out of place in the Carnival of the Animals. The finale takes a while to get going: low chugging rhythms in the bass eventually open out into a real toccata movement flying across the whole piano. Orchestra and soloist keep egging each other on to greater excitement, resulting in a truly stunning display of virtuosity.

In a composer of such diverse and prolific output it is only natural that some works fall by the wayside, and the “Egyptian” Piano Concerto is one of these — so-called because he was actually in Cairo in 1896, when he was writing it. (Commentators often detect some orientalism or other in the second movement, though it more likely betrays a Spanish character.) It has never gained the popularity, nor achieved an equal foothold with his Second Piano Concerto, despite some truly interesting moments.

Instrumentation 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, tam-tam, strings

Given that Saint-Saëns was all of 61 years old upon completion of this piece, one may be surprised at its sunny, youthful disposition. The opening of the concerto harks back more than thirty years to his First Piano Trio, with a clear lightness in mood; regardless, the piano part is full of technical writing, providing challenge aplenty to the soloist.

World Premiere 6 May 1896, Paris (Camille Saint-Saëns, piano) First performed by SSO 1 & 2 Feb 1980 (Bernard Ringeissen, piano) 25

S T E P H E N H O U G H • E G Y P T I A N P I A N O C O N C E R T O | 13 SEP 2019

CAMILLE SAINT-SAËNS (1835–1921) Piano Concerto No. 5 in F major, Op. 103 “Egyptian” (1896)

S T E P H E N H O U G H • E G Y P T I A N P I A N O C O N C E R T O | 13 SEP 2019

CÉSAR FRANCK (1822–1890) Symphony in D minor (1886–1888) I II III

is as fine as anything in Liszt’s symphonic poems, to which this symphony owes quite some inspiration.

Lento – Allegro ma non troppo Allegretto Allegro non troppo

The second movement is especially inspired, beginning with a hushed cor anglais solo over harp and plucked strings and gradually expanding into some intense counterpoint. The omission of a Scherzo movement is remedied in this case by a contrasting section in the middle of this slow movement, with scurrying strings and strange shifting harmonies bringing a touch of ominous mystery.

The symphony as a Romantic form has always traditionally been seen as a largely Germanic staple. Berlioz’s Symphonie fantastique notwithstanding, the genre had never established itself on the French stage.

Several subsequent French composers sought innovative solutions to try to break out of the Germanic rut: Alkan’s Symphony was written for piano solo and was incredibly difficult; Saint-Saëns’s own most successful attempt included a big organ solo and an orchestral piano part employing a piano duet.

The cello melody that opens the finale is given almost Haydnesque treatment, but quickly cedes to the full orchestra’s big sweep. Moments of this happy movement recall Franck’s Les Éolides of ten years earlier (a short symphonic poem poking fun at Tristan’s seriousness). The theme from the slow movement returns, and Franck gathers all the musical threads set out throughout the symphony and ties them neatly together with the utmost dexterity.

Franck’s Symphony debuted to a terrible reception. The political climate in both the musical and international circles was incredibly toxic: critics panned the work for sounding too German, riding on anti-German sentiment from the Franco-Prussian War, and Franck’s presidency of the Société Nationale de Musique was a contentious one, with many prominent musicians of the day staunchly against what they saw as encroaching Wagnerism betraying the true spirit of French music.

Programme notes by Thomas Ang

Instrumentation 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, harp, strings

Franck’s Symphony took a long time to earn its rightful place as one of the masterworks of the 19th century. Franck’s use of cyclical form (where the whole symphony is developed from one opening theme) shows off his technical craftsmanship, and the lyricism throughout, while grandiose, never steps across the line to become bombastic.

The opening theme in the first movement

World Premiere 17 Feb 1889, Paris First performed by SSO 15 & 16 Feb 1985 26

PRESIDENT’S YOUNG PERFORMERS CONCERT Spanish Romance 27 Sep 2019, 7.30pm Victoria Concert Hall

Singapore Symphony Orchestra Joshua Tan Associate Conductor Kevin Loh guitar MENDELSSOHN The Fair Melusina Overture, Op. 32 RODRIGO Concierto de Aranjuez

10 mins

Intermission

20 mins

REGER Variations and Fugue on a Theme of Mozart, Op. 132

35 mins

Concert duration: 1 hr 50 mins

21 mins

In 1833, Mendelssohn watched Conradin Kreutzer’s opera Melusina in Berlin, and decided he exceedingly disliked it. As artists typically do, he thought “I can do better”, and thus the Ouvertüre zum Märchen von der schönen Melusine, Op. 32 (German: “Overture to the Legend of the Fair Melusine”) was born. The piece was then presented to his sister Fanny as a birthday present in 1834.

The Overture does not attempt to narrate the tale, and Mendelssohn denied any programmatic content, only to depict the general unhappiness of what he called “a misalliance”. You might think of it as “mood music”. Nevertheless, the flowing clarinet and string arpeggio opening conjures up the mental image of water, and some contemporary critics such as Robert Schumann believed they could detect close musical references to elements of the story.

In late-Mediaeval European legend, Melusine was a mixoparthenos (Greek: half-maiden), a sort of female water-nymph related to sirens, depicted from the waist down as serpent or fish – like a mermaid. In some depictions she is given wings and/or two tails. If you think the two-tailed mermaid sounds familiar, it may be because the same creature appears on the Starbucks logo.

The piece is largely in sonata form, and after the rippling, ‘watery’ opening, tenser and stormier music emerges like unhappy bathers from the water. Curling and rippling figures evoke such things as the combing of a mermaid’s hair, the light shimmering on the scaly tail in the bath, the watery nature of Melusine, and countless others.

Eventually, all these sink back into the water, and the work returns to the gentle serenity of the opening.

Melusine took beautiful human form for six days of the week, but reverted to her original form on Saturdays. A nobleman (sometimes named as the crusader Raymond, Count of Poitou) came across her in a forest, and proposed marriage. She accepted, on the condition that he must never enter her chamber or disturb her privacy on a Saturday. After years of happy marriage and producing a few children, the nobleman decided to find out what his wife was up to on Saturdays. Peeping at her bathing, he discovered her true form. She transformed into a dragon and flew away, leaving him forever.

Instrumentation 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings World Premiere 7 Apr 1834, London First performed by SSO 29 & 30 Oct 1982 29

P R E S I D E N T ’ S Y O U N G P E R F O R M E R S C O N C E R T | 27 SEP 2019

FELIX MENDELSSOHN (1809–1847) The Fair Melusina Overture, Op. 32 (1833)

P R E S I D E N T ’ S Y O U N G P E R F O R M E R S C O N C E R T | 27 SEP 2019

JOAQUÍN RODRIGO (1901–1999) Concierto de Aranjuez (1939) I II III

Allegro con spirito Adagio Allegro gentile

The classical guitar has not had a long history as a concert instrument, compared to other classical instruments such as the violin, and hence has a much less extensive concerto repertoire, but as the popularity of the instrument grows, this repertoire is expanding. The Concierto de Aranjuez for guitar and orchestra by the blind Spanish composer Joaquín Rodrigo is perhaps the most famous of his works and also the most famous of guitar concertos. Despite Rodrigo being best-known for his guitar music, he never played the instrument himself.

Rodrigo became blind from diphtheria at the age of three, but began to study piano and violin at the age of eight, and then harmony and composition at 16. While most know of Louis Braille’s system for reading and writing that is still in common use today, it is less known that Braille himself was an amateur musician and that he developed a system for music notation. Rodrigo thus wrote his music with the Braille system of musical notation, utilising a special Braille typewriter, and his music was later transcribed by his wife and amanuensis, the Turkish-born Sephardic Jewish pianist Victoria Kamhi.

Above: Original Braille manuscript of the Concierto de Aranjuez Image: polivios.net

Aranjuez was written in Paris (where Bizet’s Carmen, another quintessentially ‘Spanish’ work was also written). In late 1939, Rodrigo and his wife returned to Spain, fleeing, this time, the war in northern Europe. The concerto was premiered by de la Maza in Barcelona in 1940, under the regime of Franco’s Spain. “Aranjuez” in the title refers to the Royal Palace of Aranjuez outside Madrid, a spring resort palace with extensive gardens built by King Philip II in the late 16th century, and Rodrigo tries to

In early 1939, the Spanish Civil War (19361939) was just over. Rodrigo was studying in Paris on a scholarship gained through the help of Manuel de Falla. A fellow Spanish expatriate, the guitarist Regino Sainz de la Maza, suggested to Rodrigo to compose a work for guitar, and the Concierto de 30

a contemplative cadenza that is resolved by the strings.

The D major first movement Allegro con spirito begins with a strummed hemiola opening on the solo guitar over pedal point in the bass. Developments ensue, with themes reminiscent of the fandango and other traditional Spanish dances and some brilliantly virtuoso flamenco-style writing for the soloist. Rodrigo’s writing never obscures the solo guitar by skilfully reducing the instrumentation whenever the guitar plays.

We return to D major for the concluding Allegro gentile, a courtly dance with a combination of double and triple time. Brief and light-hearted, it almost feels to be an afterthought to the intense brooding of the second movement. A staccato guitar melody sets the mood and becomes the main melody. Multiple unexpected combinations of double and triple time create constant lively surprises. This movement contains the most virtuoso writing for the soloist, who is required to negotiate almost the entire range of the instrument’s possibilities, but closes gently and magically, in keeping with Rodrigo’s wish that the concerto “should be no stronger than a butterfly”.

A haunting B minor Adagio, perhaps the best-known of the three movements, follows.

An opening series of gently thumb-strummed chords accompanies a solo cor anglais playing the famous theme, recognized even by those not otherwise familiar with classical guitar repertoire. This theme was later reused in 1967 in the song Aranjuez, mon amour by the French singer Richard Anthony, which also appears in Miles Davis’s 1960 Sketches of Spain jazz album. Rodrigo wrote this movement as a lament after his wife miscarried their first baby.

Wistful and melancholic, like a flamenco cante jondo (“deep song”) this bittersweet movement builds tension that ebbs and flows as the guitar trills and adds arabesques to the melody. Rodrigo’s ornamentation emulates the way a flamenco player might decorate and improvise around the main melody, and the various combinations of triplets and semiquavers, if played as written, sound as if they were improvised. The main melody comes back on the strings backed by woodwinds, passionate and intense, with bursts of fiery rasgueados (strums). Towards the end, the orchestra quietens while the guitar is given

Instrumentation 2 flutes, 1 doubling on piccolo, 2 oboes, 1 doubling on cor anglais, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, strings World Premiere 9 Nov 1940, Barcelona (Regino Sainz de la Maza, guitar) First performed by SSO 4 & 5 Feb 1994 (Julian Byzantine, guitar) 31

P R E S I D E N T ’ S Y O U N G P E R F O R M E R S C O N C E R T | 27 SEP 2019

capture the fragrance of the flowers, the sounds of the waterfalls and bird songs.

P R E S I D E N T ’ S Y O U N G P E R F O R M E R S C O N C E R T | 27 SEP 2019

MAX REGER (1873–1916) Variations and Fugue on a Theme of Mozart, Op. 132 (1914) Reger tries to match these with eight variations, adapting the theme with the greatest imagination, exploiting varied combinations of tempo, colour, dynamics, and complexity, with flashy trumpets making their mark toward the end of the work, which concludes with a double fugue – the two themes combining with Mozart’s original in a joyous conclusion stated in firmly Late Romantic terms.

Bavarian-born concert pianist, organist, composer and conductor Max Reger was professor at the Royal Conservatory at Leipzig, musical director at the Leipzig University Church, and kapellmeister at the court of Georg II, Duke of Saxe-Meiningen.

“ Too many notes? As Mozart reportedly replied, 'Only as many as are necessary, my dear Emperor. ”

The modern listener often thinks of Mozart’s music as simple elegance exemplified, and may wonder why Reger felt the need to add layers of complexity, but one recalls that Mozart’s own music was criticized in his own day for being overly complex, despite being substantially ‘simpler’ than Bach’s. There is, of course, no optimal density for any musical idea. Too many notes? As Mozart reportedly replied, “Only as many as are necessary, my dear Emperor.”

His Variations and Fugue on a Theme of Mozart, Op. 132, is based on the opening theme of Mozart’s Piano Sonata in A major, K.331. Composed in 1914, it is his bestknown orchestral work, reminiscent of Brahms’s Variations on a Theme of Haydn.

In the great tradition of the Late Romantics, he synthesizes the compositional language of Brahms in his development through variation with the chromatic and harmonic freedom of Wagner. For Reger, Mozart was the epitome of musical lightness and ingenious compositional mastery, which clearly led Reger to seek out not only a similar style and aspirations, but also similar genres.

Programme notes by Edward C. Yong

Instrumentation 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, harp, strings World Premiere 5 Feb 1915, Berlin

The opening theme on oboe and clarinets is first taken up by the strings, then by both together. In the original sonata, Mozart makes a series of marvellous variations.

First performed by SSO 27 Sep 2019 32

upcoming concerts

Oct 3 Oct | Esplanade Concert Hall Vladimir Ashkenazy conductor Gautier Capuçon cello Singapore Symphony Orchestra

11 & 12 Oct | Victoria Concert Hall Richard Tognetti lead violin Singapore Symphony Orchestra

19 Oct | Esplanade Concert Hall Kahchun Wong conductor Karl-Heinz Schütz flute Singapore Symphony Orchestra

26 Oct | Esplanade Concert Hall Michal Nesterowicz conductor Rachel Barton Pine violin Singapore Symphony Orchestra

27 Oct | Victoria Concert Hall Rachel Barton Pine violin Musicians of the SSO

SSO GALA VLADIMIR ASHKENAZY & GAUTIER CAPUÇON SCHUMANN Manfred Overture SCHUMANN Cello Concerto in A minor, Op. 129 TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36

F O L L O W THE L EA D ER • RI C HAR D TOGNETTI DEBUSSY (arr. Tognetti) The Girl with the Flaxen Hair DEBUSSY (arr. Tognetti) The Interrupted Serenade RAVEL (arr. Tognetti) Two Hebrew Melodies RAVEL (arr. Grainger) The Valley of Bells RAVEL (arr. Tognetti) Blues and Perpetuum mobile MOZART Symphony No. 41, K.551 “Jupiter”

KAHCHUN WONG & KARL-HEINZ SCHÜTZ CARL REINECKE Flute Concerto in D major, Op. 283 RACHMANINOFF Symphony No. 2 in E minor, Op. 27

S C OTTI S H F ANTA S Y • RA C HE L B ARTON PINE BAX Tintagel BRUCH Scottish Fantasy, Op. 46 VAUGHAN WILLIAMS Symphony No. 5 in D major

VCHPRESENTS: EXCITE! SHREDDING WITH RACHEL BARTON PINE

Nov 1 Nov | Esplanade Concert Hall Andrew Litton conductor Rachel Barton Pine violin Singapore Symphony Orchestra

4 Nov | Victoria Concert Hall Evelyn Lim organ Joanna Paul organ

ELGAR VIOLIN CONCERTO & ENIGMA VARIATIONS ELGAR Violin Concerto in B minor, Op. 61 ELGAR Enigma Variations, Op. 36

VCHPRESENTS: ORGAN PIPES DE DEUX

34

FREE

8 Nov | Esplanade Concert Hall Andrew Litton conductor

10 Nov | Victoria Concert Hall Long Long tenor Tengku Irfan piano

14 Nov | Victoria Concert Hall Lynnette Seah violin Gulnara Mashurova harp Musicians of the SSO

16 & 17 Nov | Victoria Concert Hall Joshua Tan conductor Platypus Theatre Singapore Symphony Orchestra

21 Nov | Victoria Concert Hall Dance Studio Zhang Si Jing violin Musicians of the SSO

22 & 23 Nov | Victoria Concert Hall Gabriel Bebeselea conductor Lucas Jussen piano Arthur Jussen piano

28 & 29 Nov | Victoria Concert Hall Mario Venzago conductor Akiko Suwanai violin

CHORUS OF THE PLANETS BARBER Symphony No. 1 in One Movement BEETHOVEN Choral Fantasy, Op. 80 HOLST The Planets, Op. 32

VCHPRESENTS: CHAMBER LOVE AND LONGING French and Italian love songs

VCHPRESENTS: CHAMBER FRENCH CONNECTIONS DEBUSSY Les Chansons de Bilitis RAVEL Introduction and Allegro for Harp, Flute, Clarinet and String Quartet MASSENET Meditation from Thaïs FAURÉ Piano Quartet No. 1, Op. 15

CONCERTS FOR CHILDREN EMILY SAVES THE ORCHESTRA

VCHPRESENTS: INTIMATE MOMENTS FROM WEST TO EAST (乐享时光: 从西至东) Music by Borodin, Shostakovich, Sarasate, Françaix and Piazzolla

THE JUSSEN BROTHERS PLAY MOZART MOZART Concerto No. 10 for 2 pianos, K.365 ENESCU Pastorale-Fantaisie for Small Orchestra (Asian Premiere) BEETHOVEN Symphony No. 6 in F major, Op. 68 “Pastoral”

AKIKO SUWANAI PLAYS MOZART MENDELSSOHN Calm Sea and Prosperous Voyage, Op. 27 MOZART Violin Concerto No. 3 in G major, K.216 BRAHMS Symphony No. 2 in D major, Op. 73

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Patron Categories (updated on 18 April 2019) Prelude

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$25,000 AND ABOVE

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Heartfelt Thanks to SSO Corporate Patrons and Sponsors We would like to express our deepest appreciation to the following companies and organisations that support our mission to create memorable shared experiences with music.

corporate patrons Temasek Foundation Butterfield Trust John Swire & Sons (S.E. Asia) Pte Ltd Singapore Press Holdings Ltd Aquilus Pte Ltd G K Goh Holdings Ltd Lee Foundation NSL Ltd Santa Lucia Asset Management Pte Ltd Keppel Corporation

corporate sponsors Conrad Centennial Singapore Singapore Airlines Ltd

B E C O M E A corporate P atron Support Singapore’s national orchestra and form a special relationship with one of the country’s most celebrated arts groups. Starting this concert season, we are introducing a new Corporate Patron recognition scheme that caters to the changing needs of corporate philanthropy. Our concerts provide classy entertainment and prestigious branding opportunities. By committing to growing the arts through the SSO, you can increase your name recognition among an influential and growing audience. Corporate donors may also enjoy attractive tax benefits.

Corporate Patron packages begin at $30,000. Benefits include: 1. Tax Benefits 2. Patron of the Arts Nomination 3. Acknowledgement - Public acknowledgment in SSO concert booklets and website - Public acknowledgement on Donor Wall situated at Victoria Concert Hall (Home of the SSO) 4. Complimentary tickets 5. Priority booking 6. Discounts for ALL SSG concerts 7. Invitations to special events (e.g., rehearsals, receptions, meet-the-musicians sessions)

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ONLY THE FINEST MUSIC

board of directors & C O M M I T T E e S chair Mr Goh Yew Lin board of directors

S S O C ouncil

Ms Yong Ying-I (Deputy Chair) Mr Ang Chek Meng Mrs Odile Benjamin Mr Chng Hak-Peng Mr Lionel Choi Mr Warren Fernandez Prof Arnoud De Meyer Mr Heinrich Grafe Ms Liew Wei Li Ms Lim Mei Mr Sanjiv Misra Mr Andreas Sohmen-Pao Mr Paul Tan Dr Kelly Tang Mr Yee Chen Fah

Prof Cham Tao Soon (Honorary Chair) Mr Alan Chan (Chair) Mr Choo Chiau Beng Dr Geh Min Mr Goh Geok Khim Mr Khoo Boon Hui Prof Tommy Koh Mr JY Pillay Dr Stephen Riady Ms Priscylla Shaw Dr Gralf Sieghold Mr Andreas Sohmen-Pao Dr Tan Chin Nam Ms Tan Choo Leng Mr Tan Soo Nan Mr Wee Ee Cheong

Nominating and Executive Committee Mr Goh Yew Lin (Chair) Prof Arnoud De Meyer Mr Paul Tan Ms Yong Ying-I

HUMAN RESOURCES Committee Ms Yong Ying-I (Chair) Prof Arnoud De Meyer Mr Yee Chen Fah Dr Kelly Tang Endowment Fund Committee Mr Goh Yew Lin (Chair) Mr David Goh Mr Sanjiv Misra Audit Committee 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 usicians ’ C ommittee Mr Jon Paul Dante Mr Jamie Hersch Mr Ng Pei-Sian Mr Mark Suter Mr Christoph Wichert Ms Elaine Yeo Mr Yeo Teow Meng

SSO LADIES’ LEAGUE Mrs Odile Benjamin (Chair) Mrs Kwan Lui (Deputy Chair) Mrs Celeste Basapa Mrs Maisy Beh Mrs Kim Camacho Mrs Rosy Ho Ms Judy Hunt Prof Annie Koh Dr Julie Lo Mrs Clarinda TjiaDharmadi-Martin Ms Paige Parker Ms Kris Tan Ms Manju Vangal Mrs Grace Yeh

SINGAPORE SYMPHONY GROUP MANAGEMENT

CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng

ARTISTIC PLANNING

CEO OFFICE

Mr Hans Sørensen (Head)

Ms Shirin Foo Mr Lim Yeow Siang

Programmes (SSO) Ms Kua Li Leng Ms Teo Chew Yen Ms Jodie Chiang Community Outreach Ms Vanessa Lee

Customer Experience Mr Randy Teo Ms Dacia Cheang Ms Nur Shafiqah bte Othman

Choral Programmes Ms Regina Lee Ms Whitney Tan

DEVELOPMENT & PARTNERSHIPS

Programmes (VCH) Ms Erin Tan

Corporate Communications Ms Leong Wenshan Ms Haslina Hassan

ORCHESTRA MANAGEMENT Mr Ernest Khoo (Head) Orchestra Mr Chia Jit Min Concert Operations Ms Kimberly Kwa Ms Chin Rosherna Ms Chen Chin-Hsuan Mr Ramayah Elango Mr Md Fariz bin Samsuri Library Mr Lim Lip Hua Ms Priscilla Neo Ms Wong Yi Wen

Ms Peggy Kek (Head)

Development Ms Chelsea Zhao Ms Nikki Chuang MARKETING COMMUNICATIONS 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

CORPORATE SERVICES Ms Lillian Yin (Head) Finance, IT & Facilities Mr Rick Ong Mr Alan Ong Ms Goh Hoey Fen Mr Jeffrey Tang Mr Md Zailani bin Md Said Human Resources & Administration Mr Desmen Low Ms Melissa Lee Ms Evelyn Siew Legal Mr Edward Loh SINGAPORE NATIONAL YOUTH ORCHESTRA Ms Pang Siu Yuin (Head) Mr Tan Yong Qing Ms Tang Ya Yun ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong

i NCH,

Jeremy Monteiro, TamaGoh, Joshua Tan, Darrell Ang, Singapore Symphony Choruses

14 - T R AC K D I G I T A L- O N LY A L B U M R el eas e d w o rl dwi de o n 2 A ug 2 0 1 9 on a ll di gital pl a tf o rm s, T ru ly , S S O r e imag ine s all - ti m e N a ti o n a l D a y c las s ics w it h a fr e s h, m o de rn spi n . A he a r t fe lt g ift t o a ll Singaporeans a t h o m e a n d ov e r s e as , in ho no ur of th e bi c e n te n n i a l ce le b r a t ion s a nd in conjunc ti o n wi th Si n ga po r e ' s 5 4 t h b ir t hd ay .

DOWNLOAD NOW: WM SG. L N K. T O /T R UL Y S S O

“ Recording these brilliant and ingenious arrangements of tunes that I grew up with was such a revelation and joy ” - SSO ASSOCIAT E CONDUCT OR JOSHUA T AN

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