Dec 2021 SSO CHRISTMAS FUNDRAISING CONCERT 16 & 17 Dec 2021, Thu & Fri Esplanade Concert Hall
CHRISTMAS AT HOME WITH THE SSO (ONLINE) Premieres 19 Dec 2021, Sun SSOLOUNGE
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For the enjoyment of all patrons during the concert: • Please switch off or silence all electronic devices. • Please minimise noises during performance. If unavoidable, wait for a loud section in the music. • No photography, video or audio recording is allowed when artists are performing. • Non-flash photography is allowed only during bows and applause when no performance is taking place. Go green. Digital programme books are available on www.sso.org.sg. Photographs and videos will be taken at these events, in which you may appear. These may be published on the SSO’s publicity channels and materials. By attending the event, you consent to the use of these photographs and videos for the foregoing purposes.
SINGAPORE SYMPHONY ORCHESTRA Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene in the cosmopolitan city-state. In addition to its subscription series concerts, the orchestra is well-loved for its outdoor and community appearances, and its significant role educating the young people of Singapore. The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings. In 2021, the SSO clinched third place in the prestigious Orchestra of the Year Award by Gramophone. The SSO makes its performing home at the 1,800-seat state-of-the-art Esplanade Concert Hall. More intimate works, as well as outreach and community performances take place at the 673-seat Victoria Concert Hall, the home of the SSO. The orchestra performs over 60 concerts a year, and its versatile repertoire spans all-time favourites and orchestral masterpieces to exciting cutting-edge premieres. Bridging the musical traditions of East and West, Singaporean and Asian musicians and composers are regularly showcased in the concert season. This has been a core of the SSO’s programming philosophy from the very beginning under Choo Hoey, who was Music Director from 1979 to 1996.
Under the Music Directorship of Lan Shui from 1997 to 2019, the SSO has performed in Europe, Asia and the United States. In May 2016 the SSO was invited to perform at the Dresden Music Festival and the Prague Spring International Music Festival. This successful five-city tour of Germany and Prague also included the SSO’s second performance at the Berlin Philharmonie. In 2014 the SSO’s debut at the 120th BBC Proms in London received critical acclaim in the major UK newspapers The Guardian and The Telegraph. The SSO has also performed in China on multiple occasions. In 2020, the SSO appointed renowned Austrian conductor Hans Graf as its Chief Conductor. In a time greatly disrupted by COVID-19, the SSO continued to keep music alive and lift spirits up through a multitude of digital concerts and videos, which crossed a million views in six months. The SSO has released more than 50 recordings in its 40-year history, with more than 30 on the BIS label. The most recent critically acclaimed albums include a Rachmaninoff box set (2021), Richard Strauss’ “Rosenkavalier and Other Works” (2020), and three Debussy discs “La Mer”, “Jeux” and “Nocturnes”. The orchestra has also released albums of contemporary works linked to East Asia, including works by Chen Yi, Zhou Long, Bright Sheng, Alexander Tcherepnin, and others. The SSO has also collaborated with such great artists as Lorin Maazel, Charles Dutoit, Gennady Rozhdestvensky, Neeme Järvi, Gustavo Dudamel, Vladimir Ashkenazy, Diana Damrau, Martha Argerich, Lang Lang, Yo-Yo Ma, Janine Jansen, Leonidas Kavakos and Gil Shaham.
H ANS G RAF Chief Conductor The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, the Singapore National Youth Orchestra, and the VCHpresents chamber music series, the Singapore International Piano Festival and the biennial National Piano & Violin Competition. The mission of the Group is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities.
Loan a power bank from us for free* from the SSO merchandise cart at the main foyer of Esplanade Concert Hall, or from the SSO Box Office at the atrium of Victoria Concert Hall. *refundable deposit of $15 required.
CH RI S T MA S AT H OM E W ITH TH E SSO ( ONL INE) | 19 DE C 2021
LEO N ARD T AN conductor Singaporean musician Leonard Tan is a prolific conductor with a strong presence in the Singapore arts scene.
© ALAN LIM
School of Music, where he studied orchestral conducting with David Effron, Arthur Fagen, and Murray Sidlin. Additional conducting studies were with Leif Segerstam and Alexander Polischuk in Russia, where he worked with the St. Petersburg Chamber Philharmonic, and with Johannes Schlaefli, where he worked with Academic Orchestra Zurich. Leonard Tan is currently an Associate Professor of Music at the National Institute of Education, Nanyang Technological University, Singapore. This digital Christmas concert is Tan’s fourth appearance with the SSO, having conducted the orchestra in 2015, 2017 and 2019.
Other ensembles Tan has conducted include the Indiana University Orchestras, the Ensemble de la Belle Musique (Principal Conductor), and the Philharmonic Winds (Music Director). He earned his doctoral degree from the Indiana University Jacobs 5
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Conducting appointments include Principal Conductor of the Singapore National Youth Orchestra (SNYO) from 2014–2018, which he served “with Distinction”. During his tenure, the SNYO benefitted from his artistic direction, including a thematic programming approach of core orchestral repertoire, the promotion of works by Singapore composers, and a joint concert with the Singapore National Youth Chinese Orchestra celebrating Singapore’s 50th anniversary. Under his baton, the SNYO was praised in The Straits Times for its playing of “rare blazing intensity”. He also led the orchestra and the Singapore Symphony Children’s Choir (SSCC) in a successful concert tour performing at the Dewan Filharmonik Petronas.
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As a conductor, he was a music director of the Ateneo de Manila College Glee Club, the assistant choirmaster of the Philippine Madrigal Singers, and the principal conductor of the San Miguel Master Chorale. He was the resident conductor and composer for the International Bamboo Organ Festival where he directed many of the Philippines’ leading choirs in the performance of early European choral music and the revival of Latin American baroque choral music. Palaruan is actively composing even during COVID-19. The University of Notre Dame Concordia Choir in Indiana premiered his most recent work Sh’ma for fourteen masked singers in September 2020. As a composer and arranger, he introduced choral works that exhibit traditional Asian vocal sound. As a music pedagogue, he taught at the Asian Institute for Liturgy and Music, the University of the Philippines College of Music and the St. Paul University Manila College of Music and the Performing Arts. He also hosts international music seminars, adjudicates and writes contest pieces for choral festivals and competitions.
EUD E N I CE PAL A R UAN Choral Director Eudenice Palaruan obtained his Bachelor degree in Choral Conducting at the University of the Philippines College of Music after which he pursued Choral Conducting Pedagogy at the Berliner Kirchenmusikschule in Germany. He has performed with major choral organisations including the Philippine Madrigal Singers and the World Youth Choir where he was a member and a soloist. He was also involved in early music performance practice with the Berlin Montiverdichor as a countertenor.
He is currently an associate professor at the School of Church Music in Singapore Bible College. 6
CH RI S T MA S AT H OM E W ITH TH E SSO ( ONL INE) | 19 DE C 2021
W O N G L AI F O O N Choirmaster As Choirmaster of the Singapore Symphony Children’s Choir (SSCC) and the Singapore Symphony Youth Choir (SSYC), Wong Lai Foon oversees a family of choral ensembles that is dedicated to the development of young voices, and the continuing appreciation of choral and classical music. Under her leadership, these two choirs have received praise for their polished choral tone, and for delivering performances with precision and clarity. The SSCC’s recording of Bob Chilcott’s Little Jazz Mass, featured on their CD, And I’ll Sing Once More, has been complimented by the renowned composer for its “fine sound and style”.
Beethoven’s Choral Fantasy, and a highly successful concert of Video Games Classics with Eimear Noone. Committed to growing the body of treble choral works by local composers, Wong has commissioned works by Kelly Tang, Zechariah Goh, Chen Zhangyi, Darius Lim, and Lee Chin Sin. She is equally adept at the symphonic, operatic and a cappella choral repertoire, and has worked with ensembles including the Singapore Symphony Chorus, the Singapore Lyric Opera, Westminster Opera Theatre, and The Philharmonic Chamber Choir. She graduated from Westminster Choir College, under the tutelage of Joseph Flummerfelt.
Apart from performances with the Singapore Symphony Orchestra, Wong has led both choirs in collaborations with other ensembles. The Concert Choir has shared the stage with the celebrated ensemble, The King’s Singers, the Maîtrise de Radio France at the Philharmonie de Paris, and the Malaysian Philharmonic Youth Orchestra at the Dewan Filharmonik Petronas, Kuala Lumpur. Recent highlights of SSYC’s performances with the SSO include 7
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CH RI S T MA S AT H OM E W ITH TH E SSO ( ONL INE) | 19 DE C 2021
SIN G A P OR E S Y MP HO N Y C HORUS Celebrating Choral Excellence The Singapore Symphony Chorus (SSC) represents the pinnacle of choral excellence, bringing passionate choristers together in symphonic choral singing at the highest level. Since its first performance on 13 June 1980, the SSC has established itself as one of the finest symphony choruses in the region. The chorus has performed with renowned conductors including Okko Kamu, Lan Shui, Lim Yau, Masaaki Suzuki and Sofi Jeannin – amassing a wide repertoire such as Rachmaninov’s The Bells, Arvo Pärt’s Te Deum, Britten’s War Requiem, and Bach’s St John Passion, amongst others. In August 2019, the SSC lent their vocals to Truly, SSO, a digital album of National Day Classics jointly released by Warner Music Singapore and the Singapore Symphony Orchestra. In 2020, the SSC also added its voice to various digital projects including Mediacorp’s Stronger as One – We Will Get There. The SSC looks forward to a dynamic season ahead. Eudenice Palaruan Choral Director Shane Thio rehearsal pianist 9
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SIN G A P OR E S Y MP HO N Y YOU T H C HOIR Inspiring Choral Passion Comprising Singapore’s finest young choristers aged 17 to 28, the Singapore Symphony Youth Choir (SSYC) provides a fun and supportive environment that motivates and inspires singers to pursue their passion in choral singing. Through a holistic choral training programme, passionate young singers form a community where they get to hone their vocal abilities and discover unique performing opportunities. Making its debut in 2016 and under the guidance of a celebrated choirmaster, the SSYC has performed Scriabin’s Prometheus, Puccini’s La Bohème, as well as recorded Borodin’s Polovtsian Dances and Mahler’s Symphony No. 2, among others. Besides performing independently, the SSYC has also performed and toured with the SSC and SSO, having most recently lent its voice to Mediacorp’s Stronger as One – We Will Get There. The SSYC looks forward to an exciting season ahead. Wong Lai Foon Choirmaster Evelyn Handrisanto rehearsal pianist
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CH RI S T MA S AT H OM E W ITH TH E SSO ( ONL INE) | 19 DE C 2021
SIN G A P OR E S Y MP HO N Y C HIL DR E N ' S C HOIR Nurturing Choral Brilliance The path to choral brilliance begins at the Singapore Symphony Children’s Choir (SSCC). The SSCC is Singapore’s pride in children’s choral excellence and is the only children’s choir that performs with the national orchestra, the SSO. With over 200 members aged 9 to 18, it offers a multi-tiered, highly-organised membership and training structure. We kindle choral passion by fostering the all-important values for character development and offering abundant local and international opportunities. Formed in 2006, the choir has sung at the Istana, shared the stage with critically acclaimed The King’s Singers, presented at the 33rd ASEAN Summit, and recently released their first album And I’ll Sing Once More. In 2020, the SSCC also lent its voice to various digital projects including Mediacorp’s Stronger as One – We Will Get There. The SSCC has an active performing calendar and invites you to join them for a wonderful lineup of activities and performances. Wong Lai Foon Choirmaster Gabriel Hoe rehearsal pianist 11
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The Choruses SINGAPORE SYMPHONY CHORUS SOPRANO Karen Aw Laurence Biard Claire Byrne Alexis Chen Julie Demange W Grace Goh Andrea Hendrickson
Claudia Kaepernick Jemaima Pagsibigan Ng Beng Choo Sarah Santhana Stacey Wang Espera Agnieszka Veriga
ALTO Grace Angel Chng Xin Bei Friederike Herrmann Truly Hutapea Susan Kurniawati
Evelyn Lee Dorothy Lee-Teh Wendy Lim Lin Wei Eunice Ng-Chee
TENOR Jean-Michel Bardin Chng Chin Han Chong Wei Sheng Norman Lee Jeroven Marquez
Ronald Ooi Ryan Padgett Rac Roldan Ian Tan Ben Wong
BASS Ang Jian Zhong Joseph Kennedy Paul Kitamura Caleb Liu Elliott Titcombe James Shin-Gay
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Elaine Ser Elsie Tan Tan Seow Yen Wang Jiunwen
SOPRANO
ALTO
Laura Lee Janice Lim Chloe Ong Desiree Seng Tiffany Tam Carine Tan Tan Yuqing Jasmine Towndrow Raeanne Wong
Chan Li Ting Elizabeth Goh Trixi Lim Zachary Lim Kerris Loh Ong Sherlyn Tan Yulin
TENOR
BASS
Andre Ang Cris Bautro Tan Hee Joshua Tan Dominic Tang Caleb Yeo
Leonard Buescher Bryan Carmichael Jon Loh Nathan Seah Zhang Xidong
CH RI S T MA S AT H OM E W ITH TH E SSO ( ONL INE) | 19 DE C 2021
SINGAPORE SYMPHONY YOUTH CHOIR
SINGAPORE SYMPHONY CHILDREN'S CHOIR Lisa Chang Audrey Chiam Halyn Cho Megan Fung Goh Chen Xi Emily Hia Abigail Ho Charlotte Ho Isabelle Ho Moksha Jain Rachael Jong Hana Kasai Jadyn Koh
Trinetra Kumarasan Emma Lee-Goh Melina Leong Zoe Li Loy Sheng Rui Lu Huaiyao Lu Kaixuan Megan Montefrio Hayley Ng Ng Yi Poh Violet Ong Janelle Pang Suri Rao
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Evangeline Sim Angeline Sun Tan Caewyn Ellisya Tan Emily Tan Tan Kang Yi Kate Tan Tan Pin Fei Shannen Tay Aricia Te Chloe Zhou
SEC O N D V IOL IN
T HE ORC HE S T R A HANS GRAF Chief Conductor ANDREW LITTON Principal Guest Conductor CHOO HOEY Conductor Emeritus LAN SHUI Conductor Laureate EUDENICE PALARUAN Choral Director WONG LAI FOON Choirmaster
Michael Loh Associate Principal Nikolai Koval* Hai-Won Kwok Chikako Sasaki* Margit Saur Shao Tao Tao Wu Man Yun* Xu Jueyi* Yeo Teow Meng Yin Shu Zhan* Zhao Tian* VIO L A Manchin Zhang Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Janice Tsai Dandan Wang Yang Shi Li
FIRS T VI OL I N
C EL L O
(Position vacant) Concertmaster, GK Goh Chair Kong Zhao Hui1 Associate Concertmaster Chan Yoong-Han2 Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Jin Li Kong Xianlong Cindy Lee Karen Tan William Tan Wei Zhe Ye Lin* Zhang Si Jing*
Ng Pei-Sian Principal, The HEAD Foundation Chair Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Jamshid Saydikarimov* Song Woon Teng Wang Yan Wu Dai Dai Zhao Yu Er D O U B LE BAS S Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka Wang Xu
FLUTE
TR U M P ET
Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan
Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong TR O M B O N E
PICCOLO Roberto Alvarez Assistant Principal
Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong
OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo COR ANGL AI S Elaine Yeo Associate Principal CLARINET Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping BAS S CL AR I NE T Tang Xiao Ping Assistant Principal BAS S OON
B A SS T R O MBONE Wang Wei Assistant Principal TU B A Tomoki Natsume Principal TIM P A N I Christian Schiøler Principal P ER CU SSIO N Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh H A RP Gulnara Mashurova Principal
Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue CONTRAB AS S OON Zhao Ying Xue Assistant Principal HORN Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Hoang Van Hoc
* With deep appreciation to the Rin Collection for their generous loan of string instruments. 1 Kong Zhao Hui performs on a J.B. Guadagnini of Milan, c. 1750, donated by the National Arts Council, Singapore, with the support of Far East Organization and Lee Foundation. 2 Chan Yoong-Han performs on a David Tecchler, Fecit Roma An. D. 1700 donated by Mr Goh Yew Lin. Musicians listed alphabetically by family name rotate their seats on a per programme basis.
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Musicians SSO CHRIS TMA S FUN DRA I S I NG CONCE RT | 1 6 & 1 7 DEC 2021
FIRST VIOLIN Chan Yoong-Han Acting Concertmaster/Fixed Chair Duan Yu Ling Foo Say Ming Wei Zhe SECOND VIOLIN Zhao Tian Chikako Sasaki Yin Shu Zhan VIOLA Manchin Zhang Janice Tsai Yang Shi Li CELLO Ng Pei-Sian Guo Hao Wang Yan DOUBLE BASS Karen Yeo
FLUTE Evgueni Brokmiller Miao Shanshan OBOE Pan Yun Carolyn Hollier CLARINET Li Xin Tang Xiao Ping BASSOON Liu Chang Aw Yong Tian* HORN Gao Jian Jamie Hersch TRUMPET David Smith Lau Wen Rong
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PERCUSSION Jonathan Fox Mark Suter Mario Choo HARP Gulnara Mashurova KEYBOARD Shane Thio*
FIRST VIOLIN Chan Yoong-Han Acting Concertmaster/Fixed Chair Duan Yu Ling Foo Say Ming Jin Li William Tan Wei Zhe SECOND VIOLIN Chikako Sasaki Wu Man Yun Yeo Teow Meng Yin Shu Zhan Zhao Tian VIOLA Manchin Zhang Luo Biao Janice Tsai Yang Shi Li
FLUTE Evgueni Brokmiller Miao Shanshan OBOE Pan Yun Elaine Yeo CLARINET Li Xin Tang Xiao Ping BASSOON Liu Chang Zhao Ying Xue HORN Gao Jian Jamie Hersch TRUMPET David Smith
CELLO Ng Pei-Sian Guo Hao Wang Yan DOUBLE BASS Karen Yeo Jacek Mirucki
* Guest musician 17
TIMPANI Christian Schiøler PERCUSSION Jonathan Fox Mario Choo HARP Gulnara Mashurova PIANO/ HARPSICHORD/ KEYBOARD Shane Thio*
CH RI S T MA S AT H OM E W ITH TH E SSO ( ONL INE) | 19 DE C 2021
C H RI ST MA S A T HO ME WI T H T HE S S O (ONL I NE ) | 1 9 DEC 2021
SSO C H R ISTM AS FU NDR AISING C ONC ER T | 16 & 1 7 D E C 2 0 2 1
16 & 17 Dec 2021, Thu & Fri Esplanade Concert Hall Singapore Symphony Orchestra Leonard Tan conductor
Christmas Concerto by Torelli
6 mins
Christmas Potpourri - Memories of Christmas at Raffles Place, 1970 by Tony Makarome World Premiere / SSO Commission
8 mins
We Three Kings by Hopkins Jr. (arr. M. Riley)
5 mins
Radiance by Adeline Wong World Premiere / SSO Commission
7 mins
Excerpts from The Nutcracker by Tchaikovsky (arr. YJ Lee)
41 mins
Concert Duration: approximately 1 hr 20 mins (with no intermission)
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LO REN Z O V IOTTI AND ANDR EAS OTTENSAM ER | 9 & 10 D E C 2021
SSO CHRIS TM AS F U NDRAI S I N G C O N C E R T
CH RI S T MA S AT H OM E W ITH TH E SSO ( ONL INE) | 19 DE C 2021
C H RIS TMA S AT H O M E WITH THE SSO (O N LI NE) Premieres 19 Dec 2021, Sun SSOLOUNGE, lounge.sso.org.sg Single Access Pass: 19 Dec 2021, 8pm to 18 Jan 2022 12M All-Access Pass: 19 Dec 2021, 8pm to 24 Feb 2022 Singapore Symphony Orchestra Leonard Tan conductor Singapore Symphony Chorus* Singapore Symphony Youth Choir* Singapore Symphony Children's Choir* Eudenice Palaruan Choral Director Wong Lai Foon Choirmaster Gulnara Mashurova master of ceremonies/harp We Three Kings by HOPKINS JR. (arr. M. Riley)
5 mins
A Ceremony of Carols* by BRITTEN
20 mins
Excerpts from The Nutcracker by Tchaikovsky (arr. YJ Lee)
41 mins
Ding Dong! Merrily on High* (Traditional, arr. Nicholson/Rutter)
3 mins
Concert Duration: approximately 1 hr 20 mins (with no intermission)
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SSO C H R ISTM AS FU NDR AISING C ONC ER T | 16 & 1 7 D E C 2 0 2 1 CH RI ST M AS AT HO ME WIT H T H E SS O ( ON LI NE ) | 1 9 D EC 2021
Christmas Concerto GIUSEPPE TORELLI (1658–1709) The Christmas concerto was a sort of concerto grosso, an Italian Baroque genre for orchestra, where a smaller group (concertino) of soloists was contrasted with the larger group (ripieni). Christmas concerti include a soothing pastorale movement,
written to imitate a slow shepherds’ dance from Sicily, and intended for performance in church on Christmas. Torelli includes slowmoving drone-like basslines to evoke rustic bagpipes.
Christmas Potpourri - Memories of Christmas at Raffles Place, 1970 TONY MAKAROME (b. 1960) World Premiere / SSO Commission Back before a big fire completely gutted Robinson’s Department Store in 1972, Raffles Place used to buzz with activity during the Christmas season. Parents would bring their children out to shop for toys and turn it into a fun outing: taking photos in front of the large circular Seiko flower clock, finding mom a bargain item in Change Alley, then grabbing a satay dinner from a roadside hawker between Clifford Pier and the Padang (sitting on small wooden stools). These memories embedded themselves into my childhood mind and, for some reason, my childhood ear always connected music to my memories. In this arrangement of popular Christmas songs, I try to share with the listener my nostalgic musical impression of Christmas 1970 doing those exact activities listed above around Raffles Place when it was the “commercial square” of Singapore. How wonderfully overwhelming it was to pass the Alkaff Arcade and hear music so exotic, enter the Oriental Emporium (30 Raffles Place) and listen to traditional Chinese music through the sound system, and of course listening to classic Christmas tunes while shopping at the other places. I wanted
Robinson's Department Store in the 60s Source: robinsons.com.sg/pages/our-heritage
to create an atmosphere where one could recognise familiar sounds and yet crack a smile at how it could sound in new dressing. Hopefully, you would feel like you are popping from one activity to another, one store to another, one surprise to another. Have a Merry Christmas. Programme note by the composer, Tony Makarome 20
© MELVIN WON
As bassist, Tony has performed with Louis Bellson, Quartet West (Ernie Watts, Alan Broadbent) amongst others. He is bassist/ composer in the jazz-rock band, Varsha. He has also performed as a mridangist in Chennai and Carnegie Hall. Tony is a leading pedagogue of solfége and jazz. He has also published a popular article about konnakkol in music teaching in the Malaysian Music Journal. In 2019, he completed his diploma at the Singapore Indian Fine Arts Society in carnatic music studies (mridangam) and received the Vadya Visharad Award as top graduate of mridangam.
His Indian music-themed Jewel of Srivijaya (2019) was premiered by the Singapore Symphony Orchestra. Other notable compositions include Rain Konnakkol (2018) premiered in Baltimore, What Pattern? (2016) in New York City, Scifi Lounge (2006) in Bangkok, Name with No Street in Shanghai and his opera, Faybulous at Pawley’s Island Music Festival. His arrangements of Seven Steps to Heaven and Asiana were performed by Singapore Chinese Orchestra and China Broadcasting Folk Orchestra (Beijing). 21
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Composer, conductor, bassist Dr. Tony Makarome is Associate Professor at Yong Siew Toh Conservatory of Music (NUS). He studied at Berklee College of Music (composition) and received his doctorate from University of South Carolina (orchestral conducting). He was assistant conductor of the Columbia Lyric Opera (South Carolina), and music director of the NUS Wind Symphony. His teachers include George Monseur, Attilio Poto, Robert Spano, Miroslav Vitous, Herb Pomeroy, K.R. Shyama, T.R. Sundaresan, R. Karthikeyan. He is currently a mridangam student of Guru Chettiharaveetil Haridas Sreekanth (Singapore Indian Fine Art Society).
CH RI S T MA S AT H OM E W ITH TH E SSO ( ONL INE) | 19 DE C 2021
TONY MAKAROME (b. 1960)
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We Three Kings JOHN HENRY HOPKINS JR. (1820–1891)
CH RI S TM A S AT H O M E W ITH TH E SSO ( O N LI N E ) | 19 D E C 2021
Three distinctive sounds are discernible throughout Radiance, namely – bells, a hymn-like lullaby reflecting the nativity scene and organ-like sustained harmonies performed throughout the work.
We Three Kings was written by the American Episcopal clergyman and hymnodist John Henry Hopkins Jr. for an 1857 Christmas pageant for his nieces and nephews in New York City, but did not appear in print until his
Carols, Hymns, and Songs in 1863. It has become a classic seasonal favourite and is unusual for being one of few Christmas carols written in a minor key.
Radiance ADELINE WONG (b. 1975) World Premiere / SSO Commission My work, Radiance, exemplifies brightness in both light and sound. During this festive season, my thoughts and focus gravitate towards the Star of Bethlehem, with the work depicting the journey of the wise men following the Star to the manger of the infant Jesus and the ringing of bells.
Chimes and bells are used in ceremonies and celebrations. An important source of inspiration for this work is the sound of church bells and in particular, the bells of St Andrews Cathedral. The cathedral is the only church in this region that has a complete peal of 12 bells, rung in accordance with traditional English methods. The peal of bells are tuned to the D major scale with an additional flattened C bell, which I have drawn upon as a source of inspiration towards the closing section of this work.
Spire of St Andrew's Cathedral Photo: Sherilyn Lim
bells will only be rung during Christmas. The ringing of the bells during this festive season is especially meaningful. As the year draws to a close, the sound of bells embodies a feeling of thankfulness for the past year and serves to usher in a New Year, which we look forward to with renewed hope and light that radiates for 2022. Programme note by the composer, Adeline Wong
During the Covid-19 pandemic, the church 22
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ADELINE WONG (b. 1975)
Adeline Wong’s music has often been described as bold, with textural energy and kaleidoscopic colours. Her recent music has aimed for a distillation of musical material by concentrating on economy and exploring the material from every conceivable perspective. Composers 2021 (Italy), Asian Composers League-Asia Pacific Festivals (New Zealand, Taiwan, Vietnam), Norland Music Festival (Norway), Bang on A Can Music Festival (USA), International Composers’ Meeting Apeldoorn (The Netherlands) and The Australian Composers Orchestral Forum in Tasmania (Australia).
Graduating from the Eastman School of Music and Royal College of Music London, Adeline’s works have been performed by the Belgian National Orchestra, Orkest de Ereprijs, the Netherlands, Bang on A Can USA, The Song Company Australia, MiNesemblet Norway, New Zealand Symphony Orchestra, Tasmanian Symphony Orchestra, and the Malaysian Philharmonic Orchestra. Adeline has been invited to international festivals and competitions such as the Francophonie Festival 2021, Jury for AMAT International Competition for Women
adelinewong.com
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Adeline is a Senior Lecturer at the Yong Siew Toh Conservatory of Music, National University of Singapore where she teaches music composition and theory. She is also the President of the Malaysian Composers Collective, a platform that promotes Malaysian and contemporary classical music in this region.
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Excerpts from The Nutcracker PYOTR ILYICH TCHAIKOVSKY (1840–1893) Ouverture No. 2 Marche No. 8 Scène No. 10 Scène No. 12 Divertissement a. Le chocolat b. Le Café c. Le Thé d. Trépak e. Les Mirlitons f. La mère Gigogne et les polichinelles No. 13 Valse des Fleurs No. 14 Pas de deux No. 15 Valse Finale et Apotheose The Divertissement presents a celebration with a United Nations of sweets. Chocolate (chocolat) from Spain, with bold brass and spicy castanets; coffee (café) from Arabia gives us low woodwinds and strings with a sultry and mysterious Eastern melody taken from a Georgian lullaby; tea (thé) from China conjures up images of swirling porcelain teacups with its high flute melody above pizzicato strings; candy canes from Russia represented by the lively trépak dance of Ukraine and Southern Russia, then the Dance of the Mirlitons. While a sort of reed flute is called a mirliton, leading to the common mistranslation ‘Dance of the Reed Flutes’, the mirlitons refer to a now-neglected French pastry originating in Rouen, basically puff pastry tarts filled with almond cream – what would reed flutes be doing in a line-up of sweets? The dances are concluded by Mother Ginger and her children, the Polichinelles – Mother Ginger being the French equivalent of the Old Woman who Lived in a Shoe.
In 1892, Tchaikovsky set the music for The Nutcracker, a two-act ballet, with a libretto adapted from a story by Hoffmann, based on a tale by Alexandre Dumas. The production since then has become a firm favourite of ballet companies, particularly during the Christmas season. The music has also earned a place as a staple of the concert repertoire. The ballet and individual movements are titled in French, as were all works at the Imperial Theatre, for French was the official language of the Russian Imperial Court. The Ouverture begins with a march-like motif that begins softly and builds excitement. Next comes the sprightly Marche, which covers the entrance of the children. No. 8 Scène, with the subtitle ‘A Pine Forest in Winter’ depicts a midnight journey through the glistening snow, with dancing snowflakes. No. 10 Scéne begins Act II with The Magic Castle in the Land of Sweets – harp glissandi and bell effects from the glockenspiel complete the magical effect of a realm ruled by the Sugar Plum Fairy.
The Waltz of the Flowers, is perhaps 24
A Ceremony of Carols BENJAMIN BRITTEN (1913–1976) 1. 2. 3. 4a. 4b. 5. 6. 7. 8. 9. 10. 11.
Procession Wolcum Yole! There is no Rose That yongë child Balulalow As dew in Aprille This Little Babe Interlude In Freezing Winter Night Spring Carol Deo Gracias Recession
Composed in 1942, while on a sea voyage from the United States to England and surrounded by U-boats, it was originally set for treble voices (two soprani and one alto part) and harp, with a mixed choir version appearing in 1943. Britten had been studying the harp, intending to write a concerto, and his writing utilises the many effects available to the concert harp. 25
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The work opens with the Procession ‘Hodie Christus natus est’, a unison Gregorian chant from vespers (evening prayer) of Christmas Day. Wolcum Yole! is in Middle English and welcomes the holiday season by naming the coming guests – all the saints whose days follow Christmas on the church calendar, while the harp gives simple arpeggiated chords and figuration. There is no Rose is a macaronic piece, alternating lines of Middle English and Latin text, while the melody is gentle and reverent above an ostinato bass. That yongë child continues the hushed, intimate tone of the previous piece, but this time as a soprano solo with harp accompaniment. Balulalow presents a more jubilant tone, and depicts the Virgin Mary singing a lullaby to the newborn Christ, while the alternating phrases in major and minor blur and blend luminously as the harp strings continue undamped.
Britten’s A Ceremony of Carols is rarely compared with Carl Orff’s Carmina Burana, one a work intended for church use and the other a concert collection of secular songs, but the two share an important feature: both utilise the texts of songs much older than the composers, often ignoring the surviving melodies, and in both cases have become better known than the original works themselves.
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includes the famous Dance of the Sugar Plum Fairy, in which the glockenspiel lightly sprinkles magic over the scene. The final movement, No. 15, a Final Waltz and Apotheosis, gives us a grand finale, before the Nutcracker and Clara leave the Kingdom of Sweets in a reindeer-drawn sleigh.
Tchaikovsky’s most famous waltz, with a prominent harp solo, evoking images of thousands of flowers bending and dancing in the gentle moonlight. The Nutcracker and his lady love Clara then finally dance a Pas de deux, accompanied by passionate strings and emphatic brass. This movement
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As dew in Aprille focuses on the Virgin Mary, as the harp whispers on the upper strings to suggest near-silent dewfall. The rather martial text of This Little Babe is given a swift tempo, polyrhythms, overlapping voices, a progressive crescendo, emphasised with the harp’s près de la table technique, where the harpist plays closer to the soundboard, resulting in a brighter and harder sound. In Freezing Winter Night has the choir singing in a round and at various
contrasting paces, while the harp flutters nervously in the cold, until the parts all synchronise. Spring Carol, for two soprani, brings up images of the coming spring with singing birds and animals at play, while the harp skips around. Deo Gracias uses another macaronic poem ‘Adam lay i-bounden’, and is filled with forward momentum, using syncopation and staccato rhythms, building to a climax. 3. There is no Rose There is no rose of such vertu As is the rose that bare Jesu. Alleluia, alleluia.
1. Procession Hodie Christus natus est Hodie Salvator apparuit Hodie in terra canunt angeli Laetantur archangeli Hodie exsultant justi, dicentes Gloria in excelsis Deo Alleluia!
For in this rose conteinèd was Heaven and earth in little space, Res miranda, res miranda.
2. Wolcum Yole!
By that rose we may well see That he is God in persons three, Pares forma, pares forma.
Wolcum, Wolcum Wolcum be thou hevenè king Wolcum Yole! Wolcum, born in one morning, Wolcum for whom we sall sing!
The angels sung en the shepherds to: Gloria in excelsis Deo! Gaudeamus, gaudeamus. Leave we all this worldly mirth, And follow we this joyful birth. Transeamus, transeamus.
Wolcum be ye, Stevene and Jon, Wolcum, Innocentes every one, Wolcum, Thomas marter one, Wolcum, be ye Good Newe Yere, Wolcum, Twelfth Day both in fere, Wolcum, seintes lefe and dere, Wolcum Yole!
Alleluia, Res miranda, Pares forma, Gaudeamus, Transeamus. 4a. That yongë child That yongë child when it gan weep With song she lulled him asleep; That was so sweet a melody It passèd alle minstrelsy The nightingalë sang also: Her song is hoarse and nought thereto: Whoso attendeth to her song And leaveth the first then doth he wrong.
Candelmesse, Quene of bliss Wolcum bothe to more and lesse. Wolcum be ye that are here, Wolcum Yole! Wolcum alle and make good cheer, Wolcum alle another yere, Wolcum Yole! Wolcum! 26
With tears he fights and wins the field, His naked breast stands for a shield; His battering shot are babish cries, His arrows looks of weeping eyes, His martial ensigns Cold and Need, And feeble Flesh his warrior’s steed.
But I sall praise thee evermoir With sanges sweit unto thy gloir; The knees of my hert sall I bow And sing that richt Balulalow!
His camp is pitched in a stall, His bulwark but a broken wall; The crib his trench, haystalks his stakes; Of shepherds he his muster makes; And thus, as sure his foe to wound, The angels’ trumps a larum sound.
5. As dew in Aprille I sing of a maiden That is makèles: King of all kings To her son she ches.
My soul, with Christ join thou in fight; Stick to the tents that he hath pight. Within his crib is surest ward; This little Babe will be thy guard. If thou wilt foil thy foes with joy, Then flit not from this heavenly Boy.
He came also stille, There his moder was, As dew in Aprille That falleth on the grass.
8. In Freezing Winter Night Behold, a silly tender babe, in freezing winter night, In homely manger trembling lies; Alas, a piteous sight!
He cams also stille There his moder lay, As dew in Aprille That falleth on the spray.
The inns are full, no man will yield this little pilgrim bed. But forced he is with silly beasts in crib to shroud his head.
Moder and mayden Was never none but she Well may such a lady Goddes moder be.
This stable is a Prince’s court, this crib his chair of State; The beasts are parcel of his pomp, the wooden dish his plate.
6. This Little Babe This little Babe so few days old, Is come to rifle Satan’s fold; All hell doth at his presence quake, Though he himself for cold do shake; For in this weak unarmed wise The gates of hell he will surprise.
The persons in that poor attire His royal liveries wear; The Prince himself is come from Heav’n; This pomp is prizèd there. With joy approach, O Christian wight, do homage to thy King, 27
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He came also stille To his moder’s bour, As dew in Aprille That falleth on the flour.
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4b. Balulalow O my deare hert, young Jesus sweit, Prepare thy creddil in my spreit, And I sall rock thee to my hert, And never mair from thee depart.
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And highly praise his humble pomp, which he from Heav’n doth bring. 9. Spring Carol Pleasure it is to hear iwis, The Birdès sing, The deer in the dale, The sheep in the vale, The corn springing. God’s purveyance For sustenance It is for man. Then we always to him give praise, And thank him than. 10. Deo Gracias Deo gracias!
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Adam lay ibounden, bounden in a bond; Four thousand winter thought he not to long. Deo gracias! And all was for an appil an appil that he tok, As clerkës finden written in their book. Deo gracias! Ne had the appil takè ben, Ne haddè never Our Lady A ben hevenè quene. Blessèd be the time That appil takè was. Therefore we moun singen, Deo gracias!
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While the text of this carol was published only in 1924 in George Ratcliffe Woodward’s The Cambridge Carol Book, the melody is far older and first appears as ‘Bransle de l’Officiel’, a secular dance melody from the 1588 publication – Orchesographie – by the French composer and cleric Jehan Tabourot. The refrain, which begins with the
single word ‘Gloria’ stretched over several bars and many notes, has over the decades, provided singers with many chances for practicing breath control and endless jokes. Programme notes by Edward C. Yong (except where indicated)
Ding dong! merrily on high, In heav’n the bells are ringing. Ding dong! verily the sky Is riv’n with angels singing. Glory/Gloria Hosanna in excelsis! E’en so here below, below, let steeple bells be swungen, And io, io, io, by priest and people sungen. Glory/Gloria Hosanna in excelsis!
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Ding Dong! Merrily on High Traditional (arr. S. Nicholson / J. Rutter)
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Pray you, dutifully prime your matin chime, ye ringers, May you beautifully rime your eve time song, ye sing, Your eve time song ye singers. Glory/Gloria Hosanna in excelsis!
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S S O SU PPO RT E RS
A Standing Ovation To Our Donor Patrons We would like to express our deepest appreciation to the following individuals and organisations who support our mission to create memorable shared experiences with music in the past year. Without your support, it would be impossible for the SSO to continue to strive for artistic excellence and touch the hearts of audiences.
PATR ON SPONSOR Tote Board Group (Tote Board, Singapore Pools & Singapore Turf Club)
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This list reflects donations that were made from 1 Oct 2020 to 30 Sep 2021. We would like to express our sincere thanks to donors whose names were inadvertently left out at print time. The Singapore Symphony Group is a charity and a not-for-profit organisation. Singapore tax-payers may qualify for 250% tax deduction for donations made. You can support us by donating at www.sso.org.sg/donate or www.giving.sg/sso/buildthefuture.
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The mission of the Singapore Symphony Group is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities. The Singapore Symphony Orchestra is a charity and not-for-profit organisation. You can support us by donating at www.sso.org.sg/donate.