SNYO In Concert: Tales of Fantasy

SNYO in Concert Tales of Fantasy

Sun, 4 Dec 2022, 4pm Victoria Concert Hall

Another extraordinary performance proudly presented by SNYO

A u diti on s

Sun, 4 Dec 2022, 4pm

Victoria Concert Hall

SNYO in Concert Tales of Fantasy

Singapore National Youth Orchestra Peter Stark conductor

TCHAIKOVSKY The Nutcracker Suite No. 1, Op. 71a 24 mins

Intermission 20 mins BERLIOZ

Symphonie fantastique, Op. 14 49 mins

Concert duration: approximately 2 hours (with 20 mins intermission)

Programme notes by Ding Jian Han.

Illustrations of The Nutcracker Suite by SNYO violinist Tong Xinran.

Illustrations of the SNYO orchestra and conductor Peter Stark by SNYO cellist Han Chaeyoon.

Illustration of Symphonie fantastique by SNYO violinist Hannah Chang.

“I wanted to convey the mood of the music through the use of colour as well as the complexity of the emotions evoked in the piece in my work. I also used symbols of instruments as an orchestral motif.”

– Hannah Chang on her inspiration for the artwork

Singapore National Youth Orchestra

A leading orchestra dedicated to the training of young orchestral musicians, the Singapore National Youth Orchestra (SNYO) occupies a special place in Singapore’s music community. SNYO alumni have gone on to become full-time musicians in Singapore and with orchestras around the world. Many are also educating the next generation of musicians and playing significant roles in the growth of Singapore’s vibrant cultural scene.

The Orchestra’s roots can be traced to the early 20th century before moving within the purview of Ministry of Education in 1980. In 2015, SNYO became part of the Singapore Symphony Group, which also manages the Singapore Symphony Orchestra (SSO).

Recognised by the Ministry of Education as a National Project of Excellence, members in mainstream secondary schools with sustained involvement in the SNYO will have their participation in the orchestra recognised in lieu of a schoolbased Co-Curricular Activity (CCA). Entry into the SNYO is by a comprehensive audition process.

The Orchestra currently comprises over 180 talented young musicians aged 10 to 21, representing more than 60 schools across Singapore. Consisting of two orchestras – the main orchestra and a junior training orchestra, the SNYO boasts a distinctive music talent development programme where members receive tutoring from professionals, including those from the SSO.

Over the years, the SNYO has performed in concert venues and music festivals across Australia, Austria, Germany, Italy, Japan, Malaysia and the United Kingdom. The 2018/19 season also included performances at the Xinghai Concert Hall in Guangzhou, the Hong Kong Cultural Centre, and a side-by-side concert with the SSO featuring violinist Ray Chen at the Esplanade Concert Hall in Singapore.

At the start of the 2018/19 season, Joshua Tan assumed the position of Principal Conductor with the SNYO and Peter Stark was appointed as its first-ever Principal Guest Conductor.

Peter Stark

conductor

Peter Stark’s performances as a conductor are exhilarating, imaginative and inspiring. At the heart of all his work lies a passion and commitment to the study and practice of music to profit humanity. Peter is Professor of Conducting at London's Royal College of Music and has taught over five hundred private students. His acclaimed courses in conducting have taken him across the world and his reputation as a teacher is renowned. In the last two years he has given masterclasses in conducting at the China Conservatory Beijing, the Shanghai Conservatory, and the State Conservatory in St Petersburg.

Whilst having performed with a number of the world’s leading ensembles such as the London Symphony Orchestra, The Hallé, Bournemouth Symphony Orchestra, English Chamber Orchestra, Orchestra of the Age of Enlightenment and the Malaysian Philharmonic Orchestra, Peter fosters a hunger to work with any orchestra that plays with spirit and enthusiasm.

Peter's growing media profile includes his appointment as series consultant to the popular BBC television series ‘Maestro’ and regular screen appearances as a mentor. For this role, Peter was responsible for the training of eight celebrity students’, as orchestral conductors. Peter has since made live ‘Maestro’ webcam commentaries for the BBC Proms and a subsequent TV series.

In addition to Peter’s work at the Royal College of Music in London, his career has focused on the training of conductors and youth orchestras, He is Rehearsal Director of the European Union Youth Orchestra, has been Principal Conductor of the Hertfordshire County Youth Orchestra since 1994, and in 2017 was appointed Principal Conductor of the Arabian Youth Orchestra. His work with foreign youth orchestras has included Norway’s Young Philharmonic Orchestra the New South Wales Public Schools’ Symphony Orchestra and the Toyota City Junior Orchestra in Japan. Peter also holds the post of Principal Conductor of the Cambridge University Chamber Orchestra. Between 1985 and 2010 Peter was Conductor-inResidence to the National Youth Orchestra of Great Britain.

Peter is honoured to have had the privilege of assisting many of the world’s finest conductors including Pierre Boulez, Sir Colin Davis, Lord Menuhin, Sir Roger Norrington and Klaus Tennstedt. His numerous awards include the Tagore Gold Medal from the Royal College of Music and Honorary Doctor of Music from the University of the West of England in recognition of his outstanding contribution to music.

SNYO Musicians

FIRST VIOLIN

Marea Toh CONCERTMASTER

Yeo See Kang CONCERTMASTER Chloe Chee Maximus Chia Ethan Chong Galen Gay Colette Goh Gwee Kang Ting Regan Ho Ng Zhi Ning Keith Ong Samuel Soekarno Marc Sommen Whelan Tan

SECOND VIOLIN

Jacob Cheng PRINCIPAL Nathanelle Tan PRINCIPAL Callie Chin Kayli Choo Hannah Chung Fu Xuan Goh Shi Eun Goh Shi Qin Elise Kuah Keila Kwa Lee Seohyun Joshua Lim Tong Xinran

VIOLA

Skyler Goh PRINCIPAL Ethan Ong PRINCIPAL Elliott Chan Caitlin Chin Jay Lim Vernell Lim Laurel Loh Charlotte Morel Reuben Ong Calista Tan Reegan Tan Samuel Tan Wang Qian Hui Mark Yang

CELLO

Han Chaeyoon PRINCIPAL Joel Ong PRINCIPAL Timothy Chua Aidan Khoo Evan Khoo Zachary Lau Li Ziyi Stanley Ngai Dayna Ong Ephraim Tan Yan Yutong Aidan Yeong

DOUBLE BASS

Matthew Chan PRINCIPAL Ethan Foo Clarice Lim Lim Rui Yi Tan Si Pei*^

FLUTE

Justin Damhaut PRINCIPAL Chan Xingwei Carolynn Choo

PICCOLO Chan Xingwei

OBOE John Fung PRINCIPAL Tok Rei Kayden Yap

COR ANGLAIS Tok Rei

CLARINET

Qian Wanni PRINCIPAL Josette Hwang Ng Zhi Jian Darren Sim Zhu Zihui

E-FLAT CLARINET Qian Wanni

BASS CLARINET Yap Fang Yi

BASSOON Ang Jun En PRINCIPAL Li Ruidan Emerald Tan* Christoph Wichert*

HORN

Andrew Lee PRINCIPAL Ethan Chng Chua Jia Xuan Caden Rafiuly

TRUMPET

Tobias Tan PRINCIPAL Domi Chen Joshua Tan Kieran Yeo

CORNET Soo Yi Jian Joshua Tan

TROMBONE

Reema Chatterjee PRINCIPAL Solomon Ho Josh Kong Su Shiqi Toh Chang Hui Yeo Jun Jie

BASS TROMBONE Martin Ong TUBA Ernest Foo Tomoki Natsume*

TIMPANI

Amos Choo Kilian Muliady Isaac Ng Putra Syahril

PERCUSSION

Amos Choo Chloe Miranda Kilian Muliady Isaac Ng Putra Syahril

HARP Chloe Lam Chloe Liow

CELESTA Kilian Muliady

* Guest Musician ^ Alumni

Schools represented in the Singapore National Youth Orchestra

Anderson Secondary School

Anglican High School

Anglo-Chinese Junior College

Anglo-Chinese School (Independent) (Junior College)

Anglo-Chinese School (Independent) (Secondary)

Bendemeer Primary School

Bukit Timah Primary School

Cantonment Primary School

Catholic High School (Primary Section)

Catholic High School (Secondary)

Changkat Changi Secondary School

Changkat Primary School

CHIJ St. Nicholas Girls' School (Secondary)

CHIJ St. Theresa's Convent

Chung Cheng High School (Main)

Crescent Girls' School

Damai Primary School

Dulwich College (Singapore)

Dunman High School (Junior College)

Dunman High School (Secondary)

Elias Park Primary School

Eunoia Junior College

Fairfield Methodist School (Primary)

Fairfield Methodist School (Secondary)

Gan Eng Seng School

Hwa Chong Institution (Junior College)

Hwa Chong Institution (Secondary)

Hwa Chong International School

International Community School

Mayflower Secondary School

Methodist Girls' School (Secondary)

Nanyang Academy of Fine Arts

Nanyang Girls' High School

Nanyang Primary School

National Junior College

National Junior College (Secondary)

National University of Singapore

Ngee Ann Primary School

Ngee Ann Secondary School

NUS High School of Mathematics and Science

Pasir Ris Secondary School

Punggol Secondary School

Raffles Girls' School (Secondary)

Raffles Institution (Junior College)

Raffles Institution (Secondary)

River Valley High School (Secondary)

Rosyth School

School of the Arts, Singapore

Seng Kang Secondary School

Singapore American School Singapore Chinese Girls' School

Singapore Polytechnic Springfield Secondary School

St. Joseph's Institution (Junior College) St. Joseph's Institution (Secondary)

St. Joseph's Institution Junior St. Margaret's Secondary School

St. Patrick's School

St. Stephen's School

Tanjong Katong Girls' School

Tanjong Katong Secondary School

Tao Nan School

Temasek Junior College

Temasek Junior College (Secondary)

Temasek Polytechnic

United World College of South East Asia

Unity Secondary School

Victoria Junior College

Victoria School

Zhonghua Secondary School

Pyotr (Peter) Ilyich Tchaikovsky

Russian composer who lived from 1840 to 1893 and was a proponent of Romanticism in a characteristically Russian style.

Often used Russian folk songs and melodies in his compositions, sometimes sub-consciously as part of his influences. Yet in his lifetime, his compositional style was attacked by Russian musicians, including The Five (an influential group of nationalistic Russian composers), for being insufficiently nationalistic.

Tchaikovsky was the first Russian composer to gain immense popularity in other parts of Europe. In the few years from 1875, when he first left Russia to travel in Europe, he composed his most famous works such as the ballet Swan Lake, opera Eugene Onegin, Violin Concerto and his Symphony No. 4 in F minor.

Created three ballet masterpieces, namely Swan Lake (1875-76), Sleeping Beauty (1889) and The Nutcracker (1892).

Speaking about ballets, Tchaikovsky loved to dance and took ballet very seriously, believing it to be of equal importance to other art forms.

Nutcracker Suite No. 1, Op. 71a

I. Ouverture miniature (Miniature Overture) – Allegro giusto Corresponding to the Overture from the ballet II. Danses caractéristiques (Characteristic Dances):

a. Marche – Tempo di marcia viva March (Act I, No. 2) from the ballet

b. Danse de la Fée Dragée – Andante non troppo Dance of the Sugar-Plum Fairy. Variation 2 from the Pas de deux (Act II, No. 14) in the ballet, omitting the coda

c. Danse russe (Trépak) – Tempo di trépak, molto vivace Russian Dance (Trepak) in the ballet (Act II, No. 12d)

d. Danse arabe – Allegro Coffee (Arab Dance) in the ballet (Act II, No. 12b)

e. Danse chinoise – Allegro moderato Tea (Chinese Dance) in the ballet (Act II, No. 12c)

f. Danse des mirlitons – Allegro Dance of the Reed-Flutes in the ballet (Act II, No. 12e)

III. Valse des fleurs – Tempo di valse Waltz of the Flowers in the ballet (Act II, No. 13)

The theme of today’s concert is ‘Tales of Fantasy’ and interestingly, the two pieces on the programme encompass both fantasy and reality, and go back and forth between them! Our magical journey kicks off with Tchaikovsky’s Nutcracker Suite No. 1, Op. 71A. This suite consists of eight numbers from the ballet, which is itself based on E.T.A. Hoffmann’s 1816 fairy tale Nussknacker und Mausekönig (Nutcracker and Mouse King) and was adapted into French by Alexandre Dumas.

We are introduced to this Suite by the joyful energy of the Miniature Overture, which sets up the fantastical nature of the world we are now in. Clara, our protagonist, discovers the magical side of her Nutcracker toy, which her godfather Drosselmeyer gave her. Now imagine the battle between the toy soldiers (led by the Nutcracker) and the evil seven-headed Mouse King’s army as we listen to the March. A highlight of Suite, the Dance of the Sugar Plum Fairy, comes next and we are treated to the enchanting sounds of the celesta, a brand-new instrument at that time. In fact, Tchaikovsky intentionally kept secret of his use of this instrument, so as to dazzle the audiences when they hear it for the first time! The next movement, Russian Dance, is one with irresistible energy and puts us immediately into a festive mood. Coffee (Arab Dance) is perhaps the most mysterious and exotic sounding movement of the Suite, with unique instrumental colours and harmony. Next, be prepared to be dazzled by the brilliant flutes in Tea (Chinese Dance) as we return to a joyous mood. From here, the woodwind instruments take centrestage once again as we are presented with the light and pastoral Dance of the Reed-Flutes. The final and biggest movement of the Suite, the Waltz of the Flowers, is a grand showcase of the entire orchestra. We hear the harp in its full glory, the gracefulness of the strings and the brilliance of the woodwinds and brass, all painted with dabs of colours from the various percussion instruments. Imagine a full ensemble of dancers performing an elegant and elaborate choreography on stage as we experience the different emotions in the music. At the end, Clara bids farewell to this magical world and wakes up by her Christmas tree with her beloved Nutcracker. Likewise, as the music comes to a close, maybe you too will feel like you have experienced a wonderful dream!

INSTRUMENTATION: 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, tambourine, triangle, cymbals, glockenspiel, celesta, harp, and strings.

I. Miniature Overture

A stately opening theme is played by violins

A rather “busy” response is played by flutes and later echoed on clarinets

Trumpets now join forces with the strings and woodwinds

Main melody returns with the triangle sounds! The music here is a parallel to the first section of the piece, which we have heard

A new melody is presented by violins to the accompaniment of plucked notes in the rest of the strings. Woodwinds later join in as well!

The opening theme once again! Now with the magical sounds of the triangle

The music soars higher and higher, creating a lot of tension in the process! The trumpets join in the celebration as the orchestra drive the music towards its finale!

Joyful Spirit A Festive Procession

Joyful Spirit A Festive Procession

II. Characteristic Dances:

a. March

A high-spirited fanfare is played by woodwinds and brass

Strings and bassoons answer with a dotted rhythm retort

The high-spirited fanfare returns!

A more serious version of the fanfare emerges, now responded to by the playful woodwinds!

A sudden shift in mood as the orchestra goes into a state of frenzy with rapid repeated notes

The frenzy does not last for long as the high-spirited fanfare quickly returns, now played by more of the orchestra and accompanied by a rapidly rising pattern from the low to high strings. This repeats for many more times until the movement’s animated end!

The Merry March of Toys

The Merry March of Toys The Evil One

II. Characteristic Dances:

b. Dance of the Sugar-Plum Fairy

A mysterious atmosphere is created as the low strings set the stage with soft plucking

The low woodwinds seem to be responding the celesta’s charms!

The star of the show enters! The celesta plays a sweet and dainty melody as the strings continue their accompaniment

Multiple bursts of energy, stronger each time!

The celesta’s dainty melody from the opening re-appears, now sounding even more magical, in a higher pitch!

A sudden burst of energy interrupts the celesta, as the latter now responds with rising and falling chords

The celesta’s dreamy solo with cascading arpeggios

Drama!

Magical Fairy’s Entrance Magical Fairy’s Reappearance

II. Characteristic Dances:

c. Russian Dance

Infectious energy bursts forth right from the very first note! The music paints of a huge busy festival in the city square

The festivities return as the whole orchestra races towards an extreme speed at the end of this movement!

Listen out to the tambourine being featured here, as it adds to the festive sound

The energetic dance is now led by the lower register instruments, like the bassoons, bass clarinet and lower strings, while the higher register instruments accompany them

Group Dance at Centre Stage It’s a Party! Party Time Again!

II. Characteristic Dances:

d. Coffee (Arab Dance)

This exotic movement starts with a slightly wonky dance in the lower strings, followed by clarinets and English horn emerging in a sighing manner

The two types of musical ideas heard so far alternate back and forth constantly

The line between these two musical characters start to blur as the music fade to nothingness...

The violins creep in with a solemn yet highly expressive melody, almost like yearning for a loved one

The violins sing once again, this time in a higher pitch

A series of solo woodwind instruments (oboe, then English horn, then clarinet) take centre stage as the alternating music carry on underneath

A Distant Land A Distant Land Reminiscence Reminiscence

Distant Land Waves of Emotion

II. Characteristic Dances:

e. Tea (Chinese Dance)

A engine-like sound is introduced by the bassoons as they set the stage for the flute’s dazzling entrance!

A busy sprint to the finish line by the orchestra!

Having a back-and-forth conversation with the flute are the string instruments, which play a snappy and upbeat tune by plucking on the strings

The second half of this movement is an expansion of the first, with more of the orchestra joining in the fun to dazzle the audience!

Excitement Exhilaration!

II. Characteristic Dances:

f. Dance of the Reed-Flutes

Like Dance of the Sugar Plum Fairy, the lower string instruments set the atmosphere with soft plucking, but with a more upbeat feeling this time round

The lively dance by the three flutes returns! Now accompanied by playful strings, as the movement closes with a bright flourish

Three flutes enter with a bright flourish! They engage in a lively dance together

An expressive melody is played by the English horn - A stark contrast to the lively flutes indeed!

After a burst of sound from the orchestra, hectic music takes over, featuring bustling trumpets and cymbals (and later strings as well)!

The Taste of Sweetness

The Taste of Sweetness

A Rush of Panic

Illustration for Waltz of the Flowers

III. Waltz of the Flowers

Lush introduction to the movement, featuring sparkling arpeggios in the harp

The highlight of the Waltz begins!

A charming strings melody punctuated by strings & woodwinds

A passionate outburst from the cellos!

The dialogue returns, this time with a twist at the end!

The start of a beautiful waltz with its iconic opening melody in the horns, followed by an alluring response in the clarinets

A dazzling harp solo!

After a loud burst of energy by the orchestra, a dialogue between the woodwinds & strings - this time softer and more delicate - ensues

The start of a gradual yet intense build-up by the whole orchestra! The music gets louder and higher all the way to the final, brilliant chord of this Suite!

A Magical Spell

A Beautiful Sight

Charm A Beautiful Sight Thrill!

Hector Berlioz

French composer who lived from 1803 to 1869 and was part of the Romantic period in Western classical music.

His father was a physician and expected his son to follow in his footsteps, but after spending some time at medical school in Paris, Berlioz went against his parents’ wishes and enrolled himself in the Paris Conservatoire in 1826 at a relatively late age of 23, studying composition.

Won the prestigious Prix de Rome in 1830 on his fourth attempt with a cantata titled La Mort de Sardanapale, yet it was his Symphonie fantastique, written in the same year, which turned out to be the masterpiece revered throughout the ages.

Was known as a master of orchestration by his contemporaries, and wrote a highly important book on orchestration titled ‘Treatise on Instrumentation’

Symphonie fantastique, Op. 14

Part One: Reveries,

Part Two: A Ball

Passions

Part Three: Scene in the Fields

Part Four: March to the Scaffold

Part Five: Dream of a Witches’

Sabbath

If the Nutcracker is like a fantasy world with its dazzling characters, Symphonie fantastique is the journey through one man’s (the artist) sad reality and his even darker imagination. This symphony is in fact somewhat of an autobiographical symphony, and is influenced by Berlioz’s then-unrequited love for Irish actress Harriet Smithson. As Symphonie fantastique tells a story through music, it is known as a programme symphony. Berlioz writes that this story, or programme, is in fact “indispensable for a complete understanding of the dramatic outline of the work.”

As such, the symphony has five movements, each telling a different episode of the artist’s life. Part One: Reveries, Passions describes the artist suffering from a disease of the spirits known as the ‘vague des passions’ (vagueness or confusion of passions) after he sees the woman of his dreams, and falls hopelessly in love with her. A constant melody played by the violins in the beginning of the movement is termed by the composer as the idée fixe (or fixed idea). This melody occurs throughout the piece in different forms and is like a melodic representation of the artist’s beloved and his obsession with her. A whole whirlwind of emotions is portrayed in this reverie, from excitement to passion to anger to sadness. Part Two: A Ball is a graceful waltz. It portrays how the image of the artist’s beloved is constantly on his mind despite the festivities in the city, like when he imagines himself dancing with her while in the ballroom. Part Three: Scene in the Fields depicts the artist being calmed by the sounds in the countryside, like the duet of two shepherds piping and the gentle rustling of trees. However, he is once again overwhelmed by thoughts of his beloved! These thoughts are now even developing into fear and paranoia that she would never ever love him back. As these feelings worsen, the artist finally falls into despair and poisons himself with opium in Part Four: March to the Scaffold. The result of this is a dark vision of him killing his beloved and being led to the scaffold to witness his own execution! Listen out for the return of the idée fixe near the end of this movement, played by the solo clarinet, which enters suddenly yet delicately after the loud march. This is a representation of a final thought of his beloved before he is executed. In the underworld, the artist now finds himself amongst the dance of witches, ghosts, sorcerers and monsters as we arrive at Part Five: Dream of a Witches’ Sabbath. The clarinet from before plays the melody of his beloved once again… but it is now evil-sounding as his beloved has joined the witches! After this bizarre dance, we are greeted by the sounds of bells (played on the chimes). What comes after this oddly quiet moment is a parody of the Dies irae – a well-known chant used here by Berlioz to mock the ironical union of the artist and his beloved, only now in the afterlife. This journey has truly come to an end.

INSTRUMENTATION: 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets, 4 bassoons, 4 horns, 2 trumpets and 2 cornets, 3 trombones, 2 tubas, timpani, bass drum, snare drum, cymbals, tubular bells, 2 harps, and strings.

Symphonie fantastique

*idée fixe – A melodic idea that recurs throughout a piece and serves as a structural foundation

Main melody (idée fixe* ) first introduced by the violins

The whole orchestra comes together for a rapid and high-energy surge. A serene ending, almost like a choir singing, closes off the movement

Idée fixe morphs into a streteched out and passionate form

A sudden change in the music to an animated mood

An intense build-up in the music, followed by a sad variation of the idée fixe, as though foreshadowing the love tragedy in this story

A brief and quiet introduction featuring the harps sets up the mood for this movement

It’s a waltz! The lush melody in the strings is punctuated by dabs of colour in the woodwinds and harps, creating the image of a grand ballroom

The movement starts with a pastoral little duet between the English horn and the oboe, representing two shepherds piping in the fields

The idée fixe returns again! This time quietly in the flute and oboes, before disappearing amongst the re-emerging waltz melody

A Ball Reveries, Passions

Violins and the flute join in to enhance this magically peaceful atmosphere

The music gets increasing tense and rapid, resulting in a dark and powerful orchestral outburst. The peace from before is disturbed by the protagonist’s dark thoughts of his unrequited love

This movement starts of with a brooding introduction, and immediately takes off at a rapid speed. This is no regular march - there are moments where it is celebratory, dark, chaotic and even sinistersounding!

The start of a playful tune by the clarinets, with their shrill tone giving the listener an imagery of a congregation of evil witches. The music here is deceptively cheerful, because this actually a hellish dance!

The Dies irae is now masterfully interwoven with the devillish celebratory music from before. The orchestra builds up to intense climax with cascading notes and resounding chords at the end of this fantastical piece!

First full orchestral outburst in this movement occurs, followed by multiple occurances of the idée fixe by the winds

The English horn solo returns to close off the movement, now accompanied by the sounds of the rumbling timpani, signaling something ominous is fast approaching...

An ominous atmosphere is established from the beginning with meanacing string sounds and an evil witch’s cry in the high winds

Sonorous bells from off stage suddenly ring! We are then presented with the melody of the Dies irae, which is a chant based on the Last Judgement. The feeling of the underworld is firmly established

Dream of a Witches’ Sabbath March to the Scaffold Scene in the Fields

Singapore Symphony Group Management

CHIEF EXECUTIVE OFFICER

Chng Hak-Peng Kenneth Kwok (CEO-designate)

ARTISTIC PLANNING

Hans Sørensen (Head)

Artistic Administration Teo Chew Yen Jodie Chiang Lynnette Chng

OPERATIONS

Ernest Khoo (Head)

Library

Lim Lip Hua (Head) Avik Chari Wong Yi Wen

Orchestra Management Chia Jit Min (Head) Peck Xin Hui

Production Management Noraihan Bte Nordin (Head) Fenella Ng Giovanni Harris Ramayah Elango Khairi Edzhairee

Jan Soh (Digital Producer)

COMMUNITY IMPACT

Kok Tse Wei (Head)

Community Engagement Kua Li Leng (Head) Erin Tan Samantha Lim Terrence Wong

Choral Programmes Kua Li Leng (Head) Regina Lee Whitney Tan Mimi Syaahira Bte Ruslaine

Singapore National Youth Orchestra

Pang Siu Yuin (Head) Tang Ya Yun Tan Sing Yee Ding Jian Han

ABRSM

Patricia Yee Lai Li-Yng Joong Siow Chong Freddie Loh May Looi William Teo

CEO OFFICE Shirin Foo Musriah bte Md Salleh

PATRONS

Development

Chelsea Zhao (Head) Anderlin Yeo Nikki Chuang Charmaine Fong Elliot Lim Jessica Lee

Marketing Communications

Cindy Lim (Head)

Chia Han-Leon (Content Lead) Calista Lee (Digital Projects) Sean Tan Myrtle Lee Hong Shu Hui Jana Loh Sherilyn Lim Elizabeth Low

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 and Legal

Valeria Tan (Head) Janice Yeo Fionn Tan Evelyn Siew Edward Loh

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 Chow Pei Yan Arts Education Officer, Music

THE SINGAPORE NATIONAL YOUTH ORCHESTRA WISHES TO THANK

National Arts Council

Temasek Foundation for support of SNYO outreach activities Tutors of the Singapore National Youth Orchestra Parents of the Singapore National Youth Orchestra members Principals of the participating schools

All concerts are held at the Victoria Concert Hall with the exception of 'The Tales of Yu Jing' that will be held at the Victoria Concert Hall Dance Studio

Intimate Moments Series Supported by

Supported by Patron Sponsor

Organ Series Sponsored by

Thomas Clausen Trio

Sun 8 Jan, 4pm

Time Remembered –Bill Evans

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ORGAN

MEMBER OF SINGAPORE SYMPHONY GROUP

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