Temasek Foundation SSO Baroque Festival

TEMASEK FOUNDATION SSO BAROQUE FESTIVAL 18 & 19 Feb 2022, 7:30pm Victoria Concert Hall Presented by

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TEMASEK FOUNDATION SSO BAROQUE FESTIVAL

BACH, THE BEGINNING AND END 18 Feb 2022, Fri Victoria Concert Hall

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Dedicated to the late Dr Goh Keng Swee, founding patron of the SSO.

MUSIC FROM GEORGIAN ENGLAND 19 Feb 2022, Sat Victoria Concert Hall

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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,

HANS GRAF

Chief Conductor Janine Jansen, Leonidas Kavakos and Gil Shaham.

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.

JOSHUA TAN

conductor (19 Feb) A graduate of The Juilliard School and the Eastman School of Music, Joshua Tan was Second Prize winner of the Dimitri Mitropoulos International Competition and an awardee of numerous scholarships and awards, including the Young Artist Award – Singapore, Bruno Walter Memorial Foundation Award, NAC-Shell Scholarship, and the SSO/MOE Scholarship. He was the first conductor to be presented the Charles Schiff prize from The Juilliard School. His performances of Bernstein’s Mass and the opera Don Pasquale were selected as the best classical concerts of the year 2018 and 2019 by The Straits Times.

A versatile conductor, Joshua is at home with symphonic, operatic and ballet works. His repertoire for opera includes La Traviata, Rigoletto, Der Fliegende Holländer, Lohengrin, Carmen, Don Giovanni, Madama Butterfly, Così fan tutte, and Turandot. He is equally adept with music for ballet, film and multimedia, having worked for Disney’s Fantasia and Pixar, BBC’s Blue Planet series, West Side Story, Jurassic Park and more.

Presently 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 Center for the Performing Arts (China) Orchestra, Principal Conductor of the Guiyang Symphony Orchestra and Associate Conductor of the Singapore Symphony Orchestra. Season 21/22 sees return engagements with the Hong Kong Philharmonic and Singapore Dance Theatre as well as debuts with the Gunma Symphony and Melbourne Symphony, and a new opera premiere in Hong Kong.

Joshua has conducted orchestras all around the world. 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.

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TEMASEK FOUNDATION SSO BAROQUE FESTIVAL BACH, THE BEGINNING AND END This concert is dedicated to the late Dr Goh Keng Swee, founding patron of the SSO

18 Feb 2022, Fri Victoria Concert Hall Musicians of the Singapore Symphony Orchestra

J.S. BACH

Concerto in D major for Harpsichord and Strings, BWV 1054

CORELLI

Trio Sonata in E minor, Op. 2, No. 4

9 mins

HANDEL

Trio Sonata in G major, Op. 5, No. 4

14 mins

J.S. BACH

Brandenburg Concerto No. 5 in D major, BWV 1050

21 mins

16 mins

Concert Duration: approximately 1 hr 15 mins (with no intermission)

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“… We believe that there’s more to life than making money and that the orchestra would be worthwhile as it would raise the standard of culture of Singaporeans.”

— Dr Goh Keng Swee

in an interview on the first anniversary of SSO, The Straits Times, 20 January 1980 Unfolding the rich history of the SSO draws one to the important role played by our founding patron, Dr Goh Keng Swee.

In 1977, when Dr Goh was Deputy Prime Minister, he championed the setting up of a professional symphony orchestra in Singapore.

For a nation to truly be whole, Dr Goh understood from the very beginning that economic power had to be balanced by cultural wealth.1 The Singapore Symphonia Company Limited was formed, and the SSO held its inaugural concert with just over 40 musicians taking the stage in January 1979. One year later, the SSO moved into the Victoria Concert Hall, which was leased to the SSO for 99 years as its home. He did much to ensure that the SSO would be financially sustainable.

Dr Goh Keng Swee Credit: Russel Wong

The SSO has achieved much international acclaim and is an integral part of Singapore’s artistic identity and landscape. For this, and for much else, we have Dr Goh Keng Swee’s vision and determination to thank, and so we sincerely dedicate this first night of the SSO’s Baroque Festival to Dr Goh, with heartfelt thanks.

Dr Goh did much more than just start an orchestra. He also arranged for young, talented Singaporeans to pursue their musical aspirations abroad through scholarships. On their return, many of these students joined the SSO, and a number remain with the orchestra today.

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Bernard T G Tan: Goh Keng Swee’s Cultural Contributions and the Making of the Singapore Symphony Orchestra, Goh Keng Swee: A Legacy of Public Service 7

MUSICIANS BACH, THE BEGINNING AND END | 18 FEB 2022

HARPSICHORD Shane Thio FIRST VIOLIN Ye Lin SECOND VIOLIN Xu Jueyi VIOLA Manchin Zhang CELLO Jamshid Saydikarimov DOUBLE BASS Jacek Mirucki FLUTE Evgueni Brokmiller

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“Bach is the beginning and end of all music.”

— Max Reger ARCANGELO CORELLI (1653 – 1713) Trio Sonata in E minor, Op. 2, No. 4

JOHANN SEBASTIAN BACH (1685 – 1750) Concerto in D major for Harpsichord and Strings, BWV 1054 I. II. III.

I. II. III. IV.

Allegro Adagio e piano sempre Allegro

Preludio Allemanda Grave Giga

Few works in musical history can be truly described as ‘epoch-making’, and Arcangelo Corelli’s trio sonatas are among them. With his 1681 and 1685 collections of trio sonatas, Corelli laid the foundations for a genre which was to be the authoritative chamber music genre for over a hundred years, superseded only later by Haydn’s String Quartets Op. 33 (1781), but even the string quartet is a ‘child’ of the trio sonata. Thus, in a way, Corelli was the founder of the European chamber music tradition.

Recycling and upcycling are concepts en vogue now but have always been an important part of sustainability – even J. S. Bach practiced it! This Concerto in D major for Harpsichord and Strings BWV 1054 originally began life as the Violin Concerto in E major, written in the 1737-39 period either when he was in Cöthen or Leipzig. It is in the Venetian style of Vivaldi, a style he became familiar with, constantly studying and arranging concerti by Vivaldi into versions for harpsichord and orchestra.

Op. 2 No. 4 belongs to the 1685 collection, when Corelli was in Rome in the service of the wealthy Cardinal Pamphili, a noted patron of the arts, and was probably performed at the cardinal’s regular Sunday concert series. The collection was so popular that it was republished soon after in Bologna and Venice to meet public demand. The sonata begins with a lilting triple-time Preludio and a fast Allemanda. A serious Grave follows, before the final Giga.

The opening is pure joy, barely touched by darker chromatic moments, and puts to rest the idea that Bach was all seriousness.

Its ABA form, with an extended B section development full of variations, almost points forward to the sonata form. A contrasting slow Adagio e piano sempre in B minor follows and is classic bittersweet Bach, with a repeated descending bassline reminiscent of the chaconne while the piano weaves an elegant wistful melody above it. The last movement is a passepied en rondeau, basically a fast minuet, and brings us back to the uncomplicated childlike joy of the opening movement.

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GEORGE FRIDERIC HANDEL (1685 – 1759) Trio Sonata in G major, Op. 5, No. 4 I. II. III. IV. V.

Allegro A tempo ordinario - Allegro, non presto - Adagio Passacaille Gigue. Presto Menuett. Allegro moderato this movement, the violins integrate themselves much more than before, playing in harmony with the bass, while the violoncello gets more chances to shine with the melody. A French-style Gigue with its genteel hopping begins the last movement before giving way to an Italianate Menuett – Handel was truly a global citizen of his day.

Baroque music styles can be broadly divided into two schools: the French and the Italian - apart from the English, most of Europe followed the Italian style. The German Handel trained in Italy and ended up composing Italian music in England - perhaps the best example of how international the Italian style was.

Compared with his prodigious output of nearly 50 operas, 29 oratorios, over 120 cantatas, trios and duets, 16 organ concerti, his chamber music output seems scanty, but they reveal Handel to be not only a master of endless innovation, but also an inveterate re-user of past material.

Continuing in our theme of upcycling, the Allegro first movement opens with reduced versions of the overtures from his oratorio Athalia and his serenata Il Parnasso in Festa.

In the first, the violins display dizzying and intricate passagework as they dance around each other. The second is in the French style and full of ‘notes inégales’ (almost double-dotted) rhythms and trills. The Allegro wrapping it up seems almost free form, conjuring up images of kittens at play.

The slow Passacaille (reused from the Act IV ballet in his opera Radamisto) is a set of French-style variations based on an eight-bar repeated harmonic progression. In 10

JOHANN SEBASTIAN BACH Brandenburg Concerto No. 5 in D major, BWV 1050 I. II. III.

Allegro Affettuoso Allegro

end, the final Allegro in 6/8 has our characters dance around in intricate counterpoint.

Bach’s Brandenburg Concerti (1721) were dedicated to Christian Ludwig, Margrave of BrandenburgSchwedt. As chamber works, they are highly unusual in that they specify instrumentations not used in those combinations before. In an age where rhetoric and allegory were taken seriously, an examination of numbers and the symbolic associations of the instrumentation yields interesting results.

Programme notes by Edward C. Yong

Six was considered a signum perfectionis (“number of perfection”) by musical theorists, and triumphal processions in Classical Rome had six tableaux or spectacles (like the floats in a National Day Parade), thus Bach was honouring the margrave as an ancient hero with a musical triumph, with allusions easily understood by those with an education in classical rhetoric.

Concerto No. 5 opens by giving us the image of Hercules (harpsichord) at the crossroads, choosing between Virtue (violin) and Vice (flute), each persuading him to follow her.

The extended harpsichord solos represent Hercules’s indecisive state of mind as he considers both the allurements of Vice and the glories of Virtue. In the Affettuoso, scored only for the three soloists, Hercules continues pondering his path. With our hero having chosen Virtue in the 11

TEMASEK FOUNDATION SSO BAROQUE FESTIVAL MUSIC FROM GEORGIAN ENGLAND 19 Feb 2022, Sat Victoria Concert Hall Singapore Symphony Orchestra Joshua Tan conductor

HANDEL

Concerto Grosso in B-flat major, Op. 3, No. 2

12 mins

AVISON

Concerto Grosso No. 9 in C major/A minor (after D. Scarlatti)

13 mins

BOYCE

Symphony No. 5 in D major

GEMINIANI

Concerto Grosso in D minor “La Follia” (after Corelli)

14 mins

HANDEL

Concerto Grosso in A major, Op. 6, No. 11

17 mins

8 mins

Concert Duration: approximately 1 hr 15 mins (with no intermission)

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MUSICIANS MUSIC FROM GEORGIAN ENGLAND | 19 FEB 2022

OBOE Pan Yun Elaine Yeo

HARPSICHORD Shane Thio FIRST VIOLIN Kong Zhao Hui Zhang Si Jing Wei Zhe Duan Yu Ling

BASSOON Zhao Ying Xue TRUMPET Jon Paul Dante Lau Wen Rong

SECOND VIOLIN Zhao Tian Chikako Sasaki Shao Tao Tao Yin Shu Zhan

TIMPANI Christian Schiøler

VIOLA Guan Qi Dandan Wang Shui Bing CELLO Guo Hao Wu Dai Dai Song Woon Teng DOUBLE BASS Karen Yeo

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GEORGE FRIDERIC HANDEL (1685 – 1759) Concerto Grosso in B-flat major Op. 3, No. 2 I. II. III. IV. V.

Vivace Largo Allegro Minuet Gavotte oboe melody floating above two violoncelli and shimmering strings.

The fourth movement is a lively Minuet, while the fifth presents us a Gavotte with a series of satisfying variations.

The Georgian era in Britain spans from 1714 to 1837, covering the reigns of Hanoverian Kings George I, George II, George III, George IV, and William IV. It saw the rise of a new European power, Great Britain, which had only been formed in 1707 from the union of the kingdoms of England and Scotland. This period saw Britain establish itself as an international power at the centre of an expanding empire and dominating an increasingly large portion of the world’s economy. There was hunger too for things European, making London an attractive place for European artists of all stripes, and perhaps the German-born Handel composing in the Italian style was the most notable continental import.

With the commercial success of Corelli’s Concerti grossi, Op. 6 on the continent, in 1734 Handel’s publisher John Walsh decided to combine bits of Handel’s existing works, grouping them into six ‘concerti’, giving us Op. 3 without Handel’s knowledge or permission – music piracy existed long before the internet!

The Concerto in B-flat major, Op. 3, No. 2 is an example of Walsh’s cutand-paste work. The first (Vivace) and third (Allegro) movements are taken from Handel’s Brockes Passion (1707). The Largo second movement has an unusually beautiful G minor 14

CHARLES AVISON (1709 – 1770) Concerto Grosso No. 9 in C major/A minor (after D. Scarlatti) I. II. III. IV.

Largo Con Spirito Siciliana Allegro

While London was undoubtedly the centre of cultural life, other cities were not devoid of activity.

The north had Charles Avison, a Newcastle native who had studied under Francesco Geminiani (a student of Corelli) in London before settling back home as a church organist. In addition to church duties, he spent the week teaching, organizing subscription concerts, planning theatre productions in Durham and Newcastle, and musical evenings at the vicarage – it is a wonder he had any time to compose at all. In total, Avison composed about 60 concerti grossi, plus works for organ or harpsichord, as well as string arrangements of Domenico Scarlatti’s harpsichord sonatas.

His reputation extended widely and he was invited to take up positions in London, York, and Dublin, but he decided to remain in Newcastle, where he began a popular fortnightly subscription concert series for the high society of the region. His concerti grossi were likely performed during such evenings and Concerto Grosso No. 9 is an elegant example, with balanced alternation between fast and slow tempi.

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FRANCESCO GEMINIANI (1687 – 1762) Concerto Grosso in D minor, ‘La Follia’ (after Corelli)

WILLIAM BOYCE (1711 – 1779) Symphony No. 5 in D major I. II. III.

Allegro ma non troppo Tempo di Gavotta Tempo di Minuetto

Was it devotion to his beloved teacher Corelli that motivated Geminiani in 1729 to arrange the former’s famous La Follia variations for solo violin and continuo into a concerto grosso for string orchestra?

Born the son of a cabinet maker in 1711, William Boyce became a choirboy at St Paul’s Cathedral and eventually organist at the Chapel Royal in 1758. His output included songs, oratorios, anthems, instrumental works, and theatre works. When deafness forced him to give up his organist post and teaching, he devoted himself to editing a body of work by earlier composers that was later to become Cathedral Music, a compilation still used in Anglican churches today.

During his time, Geminiani was considered the equal of Corelli and Handel, and no doubt such an arrangement helped his reputation as well as his bank balance. Corelli’s demanding virtuoso work is here transformed, through the addition of a viola part and a busy second violin part, into a proper concerto grosso, with contrasting sections for solos and tutti.

Boyce’s Symphonys Op. 2 (his spelling) were likely written between 1750 and 1765, after he had completely lost his hearing, and would be what we now call concerti grossi. Scored for strings, oboes, and basso continuo, they occasionally include flutes, bassoons, horns, and trumpets. The Symphony No. 5 in D major includes bassoon and two trumpets and includes material from his Cæcelian Ode (1739). It takes the form of a French overture, with a stately formal opening featuring trumpets and timpani, and a fugal section. A moderate brief Gavotte follows, before ending with a similarly brief Minuet.

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GEORGE FRIDERIC HANDEL Concerto Grosso in A major, Op. 6, No. 11 I. II. III. IV. V.

Andante larghetto e staccato Allegro Largo e staccato Andante Allegro The concerto begins with a poised and stately Andante larghetto which flows without break into a newly composed Allegro full of counterpoint (Handel later reused the material for a new organ concerto). The newly composed Largo third movement is only six bars long – Handel must have been in quite a hurry – leading to an Andante wherein the violin spins charming butterfly flights punctuated by chords from the ensemble. An Allegro finale features more florid playing from the solo violin.

After the dog’s breakfast of Op. 3 in 1734, Handel sensibly decided to oversee John Walsh’s 1739 publication of Op. 6 carefully. Handel, himself no stranger to upcycling, reused and rearranged much of his preexisting material, but a good half of the collection is newly composed.

From the date on the autograph (30 October 1739), Op. 6 No. 11 was the last in the set to be composed, by which time Walsh was pressuring Handel to finish the set for publication and the composer must have been busy preparing for the upcoming winter opera season. Perhaps that explains why four of five movements of this concerto are adapted from his own four-movement Organ Concerto in A major, HWV 296, with the organ solo material now given to the solo violin.

Programme notes by Edward C. Yong

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Yong Ying-I (Chair) Chng Kai Fong Prof Arnoud De Meyer Heinrich Grafe Doris Sohmen-Pao INVESTMENT COMMITTEE Geoffrey Wong (Chair) Sanjiv Misra David Goh Alex Lee AUDIT COMMITTEE

SNYO COMMITTEE Liew Wei Li (Chair) Prof Qin Li-Wei Benjamin Goh Vivien Goh Dr Kee Kirk Chin Clara Lim-Tan

S S O M U S I C I A N S’ C O M M I T T E E Mario Choo Guo Hao David Smith Wang Xu Christoph Wichert Elaine Yeo Zhao Tian

Prof Cham Tao Soon (Honorary Chair) Alan Chan (Chair) Odile Benjamin Prof Chan Heng Chee Choo Chiau Beng Dr Geh Min Heinrich Grafe Khoo Boon Hui Prof Tommy Koh Lim Mei JY Pillay Dr Stephen Riady Priscylla Shaw Prof Gralf Sieghold Andreas Sohmen-Pao Prof Bernard Tan Dr Tan Chin Nam Tan Choo Leng Tan Soo Nan Wee Ee Cheong

SIN G A P OR E S Y MP HO N Y G ROUP M A N AG E ME N T CHIEF E XECUTIVE OFFICER Chng Hak-Peng ARTISTIC PL ANNING

C O M M U N I T Y I M PA C T

PAT R O N S

Hans Sørensen (Head)

Kok Tse Wei (Head)

Artistic Administration Teo Chew Yen Jodie Chiang Lynnette Chng

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

Development Chelsea Zhao (Ag Head) Anderlin Yeo Nikki Chuang Charmaine Fong

O P E R AT I O N S Ernest Khoo (Head) Library Lim Lip Hua Avik Chari Wong Yi Wen Orchestra Management Chia Jit Min (Head) Karis Ong Peck Xin Hui Production Management Fenella Ng Nurul Ainnie bte Md Sidek Mazlan bin Ali Ramayah Elango D I G I TA L S S O C O O R D I N AT I O N Cindy Lim (Lead) Chia Jit Min (Asst Lead) Chia Han-Leon Hans Sørensen

Choral Programmes Kua Li Leng (Head) Regina Lee Whitney Tan Singapore National Youth Orchestra Pang Siu Yuin (Head) Lai Jun Wei Tang Ya Yun Tan Sing Yee ABRSM Patricia Yee Lai Li-Yng Joong Siow Chong Freddie Loh May Looi William Teo CEO OFFICE Shirin Foo Musriah bte Md Salleh

Marketing Communications Cindy Lim (Head) Chia Han-Leon Sean Tan Hong Shu Hui Jana Loh Myrtle Lee Sherilyn Lim Serena Zhang Customer Experience Randy Teo Dacia Cheang C O R P O R AT E S E R V I C E S Lillian Yin (Head) Finance, IT & Facilities Rick Ong (Head) Alan Ong Goh Hoey Fen Loh Chin Huat Md Zailani bin Md Said

C O V I D -1 9 R E S P O N S E C O O R D I N AT I O N

Human Resources Valeria Tan (Head) Melissa Lee Evelyn Siew

Lillian Yin (Lead) Rick Ong (Asst Lead)

Legal Edward Loh

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