SNYO: Rachmaninoff Symphonic Dances

Rachmaninoff Symphonic Dances

Sun, 17 Mar 2024

Esplanade Concert Hall

Photo by Bryan van der Beek

Sun, 17 Mar 2024

Esplanade Concert Hall

Rachmaninoff Symphonic Dances

Singapore National Youth Orchestra

Joshua Tan Principal Conductor

Claudia Toh clarinet

MAURICE RAVEL

Alborada del gracioso 8 mins

AARON COPLAND

Clarinet Concerto 18 mins

Intermission 20 mins

SERGEI RACHMANINOFF

Symphonic Dances, Op. 45 35 mins

Concert duration: approximately 1 hr 45 mins (including a 20 mins intermission)

Singapore National Youth Orchestra

The Singapore National Youth Orchestra showcases the extraordinary capability of our youth. It inspires them towards artistic excellence, nurtures them to reach beyond their potential and develops them through rigorous training within a vibrant, supportive, and diverse environment. Established formally in 1980, the Singapore National Youth Orchestra (SNYO) has welcomed generations of youths into the transformative world of orchestral music, performing locally and representing Singapore on prestigious international stages.

The SNYO family consists of a main orchestra and a junior orchestra, with over 180 members aged 10 to 21 from more than 60 schools across Singapore, guided by professional musicians in rehearsals, sectionals, and masterclasses. Recognised by the Ministry of Education as a National Project of Excellence, members of the SNYO have their participation in the orchestra recognised as a Co-Curricular Activity.

Joshua Tan was appointed as the Principal Conductor of the SNYO in 2018, and Seow Yibin has held the position of Associate Conductor since 2022.

Over the years, the SNYO has performed in concert venues and music festivals across Australia, Austria, China, Germany, Italy, Japan, Malaysia, and the United Kingdom. Other musical endeavours include collaborations with the Singapore Ballet, TwoSetViolin and side-by-side concerts with the Singapore Symphony Orchestra.

The SNYO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Orchestra and Singapore Symphony Choruses, as well as the VCHpresents chamber music series, the Singapore International Piano Festival, and the biennial National Piano & Violin Competition.

Joshua Tan

Principal Conductor

2nd 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.

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.

Joshua has conducted orchestras all around the world. These orchestras include the Mariinsky Theater Orchestra, Beethoven Bonn Orchestra, Sydney Symphony Orchestra, Adelaide Symphony Orchestra, Urals Philharmonic Orchestra, Tokyo Philharmonic Orchestra, Tokyo Metropolitan Orchestra, Sapporo Symphony Orchestra, Okayama Symphony Orchestra, Hong Kong Philharmonic Orchestra, Taipei Symphony Orchestra, National Taiwan Symphony Orchestra, Evergreen Symphony Orchestra, Shanghai Symphony Orchestra, Guangzhou Symphony Orchestra, China Philharmonic Orchestra, Juilliard Orchestra amongst others. He has studied with various eminent conductors—James DePreist, Charles Dutoit, David Zinman and Kurt Masur—and worked with many others, such as Michael Tilson Thomas, Ingo Metzmacher and George Manahan.

Known as a versatile conductor, Joshua is at home with symphonic, operatic and ballet works. His substantial repertoire for opera includes La Traviata, Rigoletto, Der Fliegende Holländer, Lohengrin, Carmen, Don Giovanni, Madama Butterfly, Così fan tutte, Turandot, among others. He has also served as cover conductor for Christoph Eschenbach and Lorin Maazel. He is also equally adept with music for ballet, film and multimedia. For the latter, his extensive work include Disney’s Fantasia and Pixar, all of BBC’s Blue Planet Series, West Side Story, Jurassic Park, Harry Potter, James Bond and more. The Singapore premiere of Bernstein’s Mass, conducted by Joshua, was voted the best classical concert of the year 2018 by The Straits Times. For an unprecedented second year, his performance of the opera Don Pasquale was also voted the best classical concert of the year 2019 by The Straits Times

Joshua is presently Principal Conductor of the Singapore National Youth Orchestra and Director of the Asia Virtuosi. He has served successful stints as Associate Conductor of the Singapore Symphony Orchestra, Resident Conductor of the National Center for the Performing Arts (China) Orchestra, and as Principal Conductor of the Guiyang Symphony Orchestra. Highlights of this season include debuts with the Melbourne, New Zealand and Manila Symphony Orchestras, Hong Kong Sinfonietta, Taipei Philharmonic Orchestra, Orchestre National de Bretagne, a new opera premiere in Hong Kong, return engagements to Hong Kong Philharmonic, Evergreen Symphony, the operas Das Rheingold, Die Fledermaus, Pagliacci and Cavalleria Rusticana, and with the Singapore Ballet, The Nutcracker and Cinderella

Claudia Toh

clarinet

Claudia Toh started learning the clarinet at the age of 13 in her secondary school band. Her passion for music led her to audition for the Singapore National Youth Orchestra (SNYO) in 2019. She has since performed for numerous concerts in orchestral and chamber music settings as principal and bass clarinet.

As a member of the SNYO, she performed side-by-side with the Singapore Symphony Orchestra in the concert SSO Gala: Ray Chen Plays Sibelius in 2022. In 2023, she participated in the Taiwan National Symphony Youth Orchestra Summer Camp as a nominee from SNYO. Most recently, she was selected as the winner of the SNYO Concerto Competition 2024.

An active ensemble musician, Claudia has participated in various music festivals including the Wind Bands Association of Singapore Youth Band Festival 2021, and has also appeared with the Orchestra of the Music Makers, nWinds and Raffles Winds.

Claudia currently studies clarinet under Mr Vincent Goh. Outside of classical music, she plays the keyboard in a band, exploring a wide range of genres from indie pop to rock to jazz. A first-year law undergraduate, Claudia hopes to continue developing as a musician and is grateful for all the opportunities and support throughout her musical journey.

Singapore National Youth Orchestra

Joshua Tan PRINCIPAL CONDUCTOR

Seow Yibin ASSOCIATE CONDUCTOR

Peter Stark PRINCIPAL GUEST CONDUCTOR

Lim Meng Keh PERCUSSION TUTOR

FIRST VIOLIN

Ethan Chong CONCERTMASTER - RAVEL, COPLAND

Keith Ong CONCERTMASTER - RACHMANINOFF

Chloe Chee

Jacob Cheng

Maximus Chia

Kayli Choo

Hannah Chung

Galen Gay

Khloe Gui

Regan Ho

Aidan Kwek

Donghun Lee

Ng Zu Ni

Samuel Soekarno

Yeo See Kang

Janelle Yuen

SECOND VIOLIN

Goh Shi Eun PRINCIPAL - RAVEL, COPLAND

Tina Gao PRINCIPAL - RACHMANINOFF

Celestia Choo

Fu Yu

Colette Goh

Ethan Gu

Keila Kwa

Lim Jing Rui

Raeanne Song

Jesper Tai

Raphael Teng

Tong Xinran

Liam Young

VIOLA

Wang Qian Hui PRINCIPAL - RAVEL

Lareina Lim PRINCIPAL - COPLAND

Ethan Ong PRINCIPAL - RACHMANINOFF

Elliott Chan

Skyler Goh

Kuah Ying Ching

Jayden Kwan

Elvis Ng

Suah Zen Rong

Calista Tan

CELLO

Dayna Ong PRINCIPAL - RAVEL

Timothy Chua PRINCIPAL - COPLAND, RACHMANINOFF

Evan Khoo

Zachary Lau

Lloyd Loh

Stanley Ngai

Stacy Tah

Alexa Tan

Ephraim Tan

Shavaun Toh

Narella Widjaja

Yan Yutong

Yang Jingtong

Aidan Yeong

DOUBLE BASS

Li Jiaying PRINCIPAL - RAVEL

Clarice Lim PRINCIPAL - COPLAND

Alexsalma Herbert PRINCIPAL - RACHMANINOFF

Hoo Rei Hon

Lee Yan Yu

Lim Rui Yi

FLUTE

Justin Damhaut PRINCIPAL - RAVEL

Carolynn Choo PRINCIPAL - RACHMANINOFF

Chan Xingwei

Christie Chong

PICCOLO

Carolynn Choo

Justin Damhaut

OBOE

Tok Rei PRINCIPAL - RAVEL

Kayden Yap PRINCIPAL - RACHMANINOFF

Lucas Chan

COR ANGLAIS

Kayden Yap

Tok Rei

CLARINET

Qian Wanni PRINCIPAL

Ng Zhi Jian

Amelie Peh

Darren Sim

BASS CLARINET

Low Xin

ALTO SAXOPHONE

Michellina Chan*

BASSOON

Li Ruidan PRINCIPAL

Wang Xintong

CONTRABASSOON

Kee Ruihan*

HORN

Chloe Lau PRINCIPAL - RAVEL

Andrew Lee PRINCIPAL - RACHMANINOFF

Ethan Chng

Joshua Goutama

Keak Jing Yi

Amira Qistina

Caden Rafiuly

TRUMPET

Joshua Tan PRINCIPAL - RAVEL

Tobias Tan PRINCIPAL - RACHMANINOFF

Sara Han

Quentin Heng

TROMBONE

Reema Chatterjee PRINCIPAL

Wang Bo

Calista Lee

BASS TROMBONE

Benjamin Lim

TUBA

Tomoki Natsume*

TIMPANI

Kilian Muliady PRINCIPAL - RAVEL

Isaac Ng PRINCIPAL - RACHMANINOFF

PERCUSSION

Gladys Chew

Amos Choo

Chloe Miranda

Kilian Muliady

Isaac Ng

Vareck Ng

Alon Simons

HARP

Chloe Liow PRINCIPAL - RAVEL

Chloe Lam PRINCIPAL - COPLAND, RACHMANINOFF

PIANO

Nicholas Loh*

Kayden Yap

* Guest musician

MAURICE RAVEL (1875–1937)

Alborada del gracioso (1905)

Ravel was one of the great masters of orchestration. He wrote so idiomatically that it is difficult to imagine his orchestral works as having been conceived for any other medium. Yet such is the case with Alborada del gracioso, one of his most brilliant evocations of Spain. Originally a virtuoso work for solo piano, it is more often heard in the concert hall in the composer’s own orchestral transcription. The title is impossible to translate precisely; it implies something along the lines of a court jester singing to his ladylove at dawn, and perhaps dancing a bit as well.

In 1905, Ravel composed a set of five piano pieces collectively entitled Miroirs, of which Alborada is the fourth. Not until 1918 did he find the time to create his orchestral version. The first performance in this form was given on 17 May 1919 in Paris by the Pasdeloup Orchestra under RhenéBaton.

The work is laid out in three connected sections. The brilliantly scored outer parts are characterised by vibrant rhythms set to the simulated strumming of a guitar and the clack of castanets (at first simulated, later actual). Boston Symphony annotator Steven Ledbetter refers to this music as “a glorious racket. As a real ‘dawn song’, the work would be catastrophic; in addition to waking the lovers, it would arouse the entire neighbourhood.” The more meditative central section (beginning with the improvisatory bassoon solo) evokes more the clownish aspect of the work’s title.

Programme note by Robert Markow

AARON COPLAND (1900–1990)

Clarinet Concerto (1948)

I. Slowly and expressively Cadenza

II. Rather fast

Copland’s clarinet concerto was written firmly in the middle of his “American” period, when he wrote in a very modal style influenced by the simple harmonies of “lowbrow” American folk music. He drew inspiration from Stravinsky and Milhaud, the great eclectic composers of the generation, and that led him to create a very “open” aesthetic, characterised by long periods of diatonic “white-note” harmonies interspersed with angular, chromatic commentary.

The opening of the concerto is a perfect example of this open sound: widely-spaced intervals, all in C major, which at the concerto’s premiere in 1950 would have allowed legendary jazz clarinettist Benny Goodman to exhibit his wonderful lyrical tone and seemingly infinite lung capacity. Copland called it his “bittersweet lyricism” and admitted it originated from deep personal and social issues.

A brilliant cadenza follows this calm, where the clarinet explodes into flurries of arpeggios and very angular changes in pitch. Many of the themes that appear in the second movement are introduced here, and when the orchestra comes back in it does so in the “wrong key”, where the music shifts for much of the rest of the concerto.

The finale consists of a kind of rondo form, with many influences from Latin and jazz music, nodding to Goodman’s pedigree. Though written specifically for Goodman’s talent, Copland went slightly overboard and Goodman found the initial clarinet part too difficult. After some changes, though, the premiere was a roaring success and Copland’s work earned its place as the first important American clarinet concerto.

Programme note by Thomas Ang

SERGEI RACHMANINOFF (1873–1943)

Symphonic Dances, Op. 45 (1940)

I. Non allegro – Lento – Tempo I

II. Andante con moto (Tempo di valse)

III. Lento assai – Allegro vivace

Rachmaninoff, despite spending half of his life in America and dying in Beverly Hills, always considered himself to be “a Russian composer”, though he took pains to disclaim that he did not deliberately make efforts “to be original, or Romantic, or nationalistic, or anything else”. His music, solidly backward-looking in a time when composers were fighting to express the psychological disruptions of the ravages of war, was solidly tonal, probably informed by his own career as one of history’s greatestever pianists, playing the music of the composers that came before him. He resisted the fashions for the music of his younger countrymen, especially Stravinsky and Prokofiev, when writing for himself and for anyone else. However, something of the rhythmic insistence typical of the younger firebrands shows up in this late work by the old master, with the nervous march of the first movement and the twitchy, apocalyptic ending to the third. But if there was one thing Rachmaninoff could not resist, it was in indulging his penchant for the big tune, and the pride of place in this triptych goes to the famous alto saxophone solo: deeply steeped in Russian sentiment, and accompanied by the piano, it is a beautiful moment of chamber music in a busy score.

The second movement is full of Hollywoodian nostalgia, especially in the string writing with closely-spaced strings recalling the Golden Age of cinema. Some of Rachmaninoff’s most sensuous harmony lends glamour to this decadent dance hall, flecked with woodwind arabesques and an extremely unusual viola-section solo. The increasing anxiety going into the final moments of this waltz is surprisingly foreboding. Perhaps a reference to Poe’s Masque of the Red Death? After all, Rachmaninoff knew Poe’s stories, having set a Russian translation in The Bells…

That uneasy sense blooms into open doom, with the mediaeval Dies irae quoted prominently all over the finale. There is dark magic in this music, with augmented chords flitting around ghost-like, and skeletons dancing with the bony sounds of the xylophone and tambourine. In the irregular rhythms and syncopations it is easy to hear Stravinsky, but Rachmaninoff loved the old chant all his life, and accords it the utmost respect in a formal coda that is at once incredibly cleverly composed and full of powerful, terrifying emotion. America of 1943 could have hardly missed the tinges of death in this great composer’s final work. Rachmaninoff himself died two years later, only a month after finally becoming an American citizen.

Programme note by Thomas Ang

Schools represented in the Singapore National Youth Orchestra

Anderson Secondary School

Anderson Serangoon Junior College

Ang Mo Kio Secondary School

Anglican High School

Anglo-Chinese Junior College

Anglo-Chinese School (Barker Road)

Anglo-Chinese School (Independent) (Junior College)

Anglo-Chinese School (Independent) (Secondary)

Anglo-Chinese School (International)

Bukit Panjang Government High School

Bukit Timah Primary School

Catholic High School (Secondary)

CHIJ St. Nicholas Girls’ School (Secondary)

Chung Cheng High School (Main)

Chung Cheng High School (Yishun)

Clementi Town Secondary School

Crescent Girls’ School

Damai Primary School

Dover Court International School

Dulwich College (Singapore)

Dunman High School (Junior College)

Dunman High School (Secondary)

Edgefield Secondary School

Eunoia Junior College

Fairfield Methodist School (Secondary)

Gan Eng Seng School

Hai Sing Catholic School

Hwa Chong Institution (Junior College)

Hwa Chong International School

Jurong Pioneer Junior College

Methodist Girls’ School (Secondary)

Nan Hua High School

Nanyang Academy of Fine Arts

Nanyang Girls’ High School

Nanyang Junior College

Nanyang Primary School

Nanyang Technological University

National Junior College

National Junior College (Secondary)

National University of Singapore

Ngee Ann Secondary School

NUS High School of Mathematics and Science

Pasir Ris Secondary School

Paya Lebar Methodist Girls’ School (Primary)

Raffles Girls’ Primary School

Raffles Girls’ School (Secondary)

Raffles Institution (Junior College)

Raffles Institution (Secondary)

River Valley High School (Secondary)

School of the Arts, Singapore

Singapore American School

Singapore Chinese Girls’ School

Singapore Management University

Singapore Polytechnic

Springfield Secondary School

St. Gabriel’s Secondary School

St. Joseph’s Institution (Junior College)

St. Joseph’s Institution (Secondary)

St. Joseph’s Institution Junior

St. Margaret’s School (Secondary)

St. Patrick’s School

Tanglin Trust School

Tanjong Katong Girls’ School

Tanjong Katong Secondary School

Tao Nan School

Temasek Junior College

Temasek Junior College (Secondary)

Temasek Polytechnic

Unity Secondary School

Victoria School

Singapore Symphony Group Administration

CHIEF EXECUTIVE OFFICER

Kenneth Kwok

DEPUTY CEO, PROGRAMMES & PRODUCTION

Kok Tse Wei

DEPUTY CEO, PATRONS & CORPORATE SERVICES

Jenny Ang

CEO OFFICE

Shirin Foo

Musriah Bte Md Salleh

ARTISTIC PLANNING

Hans Sørensen (Head)

Artistic Administration

Jodie Chiang

Jocelyn Cheng

Michelle Yeo

OPERATIONS

Ernest Khoo (Head)

Library

Lim Lip Hua

Wong Yi Wen

Orchestra Management

Chia Jit Min (Head)

Charis Peck Xin Hui

Kelvin Chua

Production Management

Noraihan Bte Nordin

Nazem Redzuan

Leong Shan Yi

Asyiq Iqmal

Ramayah Elango

Khairi Edzhairee

Khairul Nizam

COMMUNITY IMPACT

Community Engagement

Kua Li Leng (Head)

Whitney Tan

Lynnette Chng

Samantha Lim

Terrence Wong

Choral Programmes

Kua Li Leng (Head)

Regina Lee

Chang Hai Wen

Mimi Syaahira

Singapore National Youth Orchestra

Ramu Thiruyanam (Head)

Tang Ya Yun

Tan Sing Yee

Ridha Ridza

ABRSM

Patricia Yee

Lai Li-Yng

Joong Siow Chong

Freddie Loh

May Looi

William Teo

PATRONS

Development

Chelsea Zhao (Head)

Nikki Chuang

Sarah Wee

Sharmilah Banu

Eunice Salanga

Digital & Marketing Communications

Cindy Lim (Head)

Chia Han-Leon

Calista Lee

Germaine D’Rozario

Myrtle Lee

Hong Shu Hui

Jana Loh

Sherilyn Lim

Elizabeth Low

Corporate Communications

Anderlin Yeo

Elliot Lim

Customer Experience

Randy Teo

Dacia Cheang

Joy Tagore

CORPORATE SERVICES

Finance, IT & Facilities

Rick Ong (Head)

Alan Ong

Goh Hoey Fen

Loh Chin Huat

Md Zailani Bin Md Said

Human Resources & Administration

Valeria Tan (Head)

Janice Yeo

Fionn Tan

Netty Diyanah Bte Osman

Organisation Development

Lillian Yin

Acknowledgements

SNYO COMMITTEE

Ms Liew Wei Li (Chair)

Prof Qin Li-Wei

Mr Benjamin Goh

Ms Vivien Goh

Dr Kee Kirk Chin

Mrs Clara Lim-Tan

WITH SUPPORT FROM MINISTRY OF EDUCATION, ARTS EDUCATION BRANCH

Mrs Clara Lim-Tan

Director, Arts Education

Mr Low Ying Ning

Deputy Director, Music & Drama

Ms Chek Yui Hong

Assistant Director, Visual and Performing Arts CCA & Singapore Youth Festival

Mr Gerald Teo Arts Education Officer, Music

THE SINGAPORE NATIONAL YOUTH ORCHESTRA WISHES TO THANK

National Arts Council

Tutors of the Singapore National Youth Orchestra

Parents of the Singapore National Youth Orchestra members

Principals of the participating schools

OF SINGAPORE SYMPHONY GROUP

RECOGNISED BY

SUPPORTED BY

MEMBER

PATRON SPONSOR