TO V I E N N A AN D L I N Z WI TH M O Z AR T 6 JANUARY 2021
ESPLANADE CONCERT HALL
AS THE WINDS BLOW SAT 16 JAN 2021 7.30PM
ESPLANADE CONCERT HALL
WOODWIND & BRASS ENSEMBLE OF THE SSO
Live at the Esplanade Concert Hall: an all-wind programme with the Woodwind and Brass Ensemble of the SSO! Our intrepid band of musicians will present music from across the ages. Witty Hindemith, magical Mozart, seafaring shanties with Arnold, all-trombone Brucknerian solemnity and the brass sextet by underrated German trumpeter-composer Oskar Bรถhme will fill the hall together with the Renaissance splendour of Gabrieli and Byrd.
TICKETS FROM $28
T O VIENNA AN D LI NZ WI TH M O ZA R T 6 Jan 2021 Esplanade Concert Hall
Singapore Symphony Orchestra Hans Graf Chief Conductor Albert Tiu piano
MO ZART
Piano Concerto No. 23 in A major, K.488
26 mins
MO ZART
Symphony No. 36 in C major, K.425 “Linz”
26 mins Concert Duration: 1 hr
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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. 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 673seat 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 return to the Berlin Philharmonie after six years. 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 the 2020/21 concert season, the SSO welcomes renowned maestro Hans Graf as its Chief Conductor. Notable SSO releases on the BIS label include a Rachmaninoff series, a “Seascapes” album, three Debussy discs “La Mer”, “Jeux” and “Nocturnes”, and the first-ever cycle of Tcherepnin’s piano concertos and symphonies. The SSO has also collaborated with such great artists as Lorin Maazel, Charles Dutoit, Gennady Rozhdestvensky, Neeme Järvi, Gustavo Dudamel, Vladimir Ashkenazy, Diana Damrau, Martha Argerich, Lang Lang, Yo-Yo Ma, Janine Jansen, Leonidas Kavakos and Gil Shaham. The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, and the Singapore National Youth Orchestra. The mission of the Group is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities.
H ANS G RAF Chief Conductor
© BRYAN VAN DER BEEK
TO V IENNA AND L INZ W ITH M OZ AR T | 6 JAN 2 0 2 1
H A N S G RAF Chief Conductor
Hans Graf is a frequent guest with major orchestras around the world including with the Boston Symphony, the Cleveland and Philadelphia Orchestras, the New York and Los Angeles Philharmonic Orchestra, Vienna Philharmonic Orchestra, Royal Concertgebouw and Leipzig Gewandhaus Orchestras, the London Symphony Orchestra, the City of Birmingham Symphony Orchestra, the Budapest Festival Orchestra, the Gothenburg Symphony Orchestra, the Sydney and Melbourne Symphony Orchestras, the Seoul, Hong Kong and Malaysian Philharmonic Orchestras. Hans Graf’s discography includes all symphonies of Mozart and Schubert, the complete orchestral works by Henri Dutilleux and the world premiere recording of Zemlinsky’s opera Es war einmal. His recording of Alban Berg’s Wozzeck with the Houston Symphony won the ECHO Klassik 2017 award and the Grammy 2018 for Best Opera Recording.
The Austrian conductor Hans Graf is the Chief Conductor of the Singapore Symphony Orchestra from the 2020/21 concert season. He held the role of Music Director of the Houston Symphony Orchestra 2001–2013, making him the longest-serving Music Director in the orchestra’s 100 year history. Prior to this, he was Music Director of the Calgary Philharmonic and of the Orchestre National Bordeaux Aquitaine. He has also held the post of Music Director at the Mozarteum Orchester Salzburg and the Basque National Orchestra.
Hans Graf has been made Chevalier de l’Ordre de la Légion d’Honneur by the French Government (2002) and was awarded the Grand Decoration of Honour of the Republic of Austria (2007). He is also Professor Emeritus for Orchestral Conducting at the Universität Mozarteum in Salzburg. 4
T O V I EN N A A ND L INZ W ITH M OZ AR T | 6 JA N 2021
A LB ERT T I U piano Born in Cebu, Philippines, Albert Tiu has been called “an artist of uncommon abilities” by American Record Guide. His Centaur recording, “Grand Russian”, pairing Tchaikovsky’s Grand Sonata and Rachmaninoff’s First Sonata, was cited in ARG: “Even with some legendary competition in this repertoire, Tiu stands tall with his interpretations and technical accomplishment.” A previous disc, “The Classical Elements”, was rated 5 Stars in International Piano and praised by Fanfare for a “fascinating recital containing some stunning playing.” His 2010 tribute to Chopin and Skryabin, “Nocturnal Fantasies”, was dubbed “one of the all-time great piano recordings” by Fanfare.
Radio Symphony, Gstaad Festival Orchestra, Calgary Philharmonic and Winnipeg Symphony. In 2005, he gave the Singapore premiere of Barber’s Piano Concerto with the Singapore Symphony Orchestra.
Currently an Associate Professor of Piano at the Yong Siew Toh Conservatory of Music, National University of Singapore, Tiu is a prizewinner of competitions in Calgary (Honens), Santander (Paloma O’Shea) and Helsinki (Maj Lind). He won First Prize, as well as special prizes for Best Mozart Concerto and Best Piano Concerto, in the 1996 UNISA International Piano Competition in Pretoria, South Africa.
His “Tiudents” have distinguished themselves all around the world. Aside from teaching, Albert has adjudicated in international piano competitions in France, Denmark, New Zealand, Thailand and Indonesia. He is addicted to Angry Birds, a constant source of humour in the family and in his studio, but somehow he still manages to practice some piano.
He has performed with the St. Petersburg Philharmonic, Hamburg Symphony, Finnish 5
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SECO N D VIOL IN
T HE ORC HE S T R A
Michael Loh Associate Principal Nikolai Koval* Hai-Won Kwok Chikako Sasaki* Margit Saur Shao Tao Tao Wu Man Yun* Xu Jue Yi* Yeo Teow Meng Yin Shu Zhan* Zhao Tian*
HANS GRAF Chief Conductor JOSHUA TAN Associate Conductor ANDREW LITTON Principal Guest Conductor
VIO LA
CHOO HOEY Conductor Emeritus
Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Luo Biao Julia Park Shui Bing Janice Tsai Wang Dandan Yang Shi Li
LAN SHUI Conductor Laureate EUDENICE PALARUAN Choral Director WONG LAI FOON Choirmaster
CELL O 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 Wang Zihao* Wu Dai Dai Zhao Yu Er
FIRS T VI OL I N Kong Zhao Hui# Associate Concertmaster Chan Yoong-Han Acting Concertmaster/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*
D O U B LE BAS S Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Guennadi Mouzyka Wang Xu
8
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 Sergey Tyuteykin
PICCOLO
TR O M B O N E
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
B A SS T R O MBONE Wang Wei Assistant Principal TU B A
COR ANG L AI S
Tomoki Natsume Principal
Elaine Yeo Associate Principal TIM P A N I CLARINE T
Christian Schiøler Principal Jonathan Fox Associate Principal
Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping
P ER CU SSIO N
Tang Xiao Ping Assistant Principal
Jonathan Fox Principal Mark Suter Associate Principal Mario Choo Lim Meng Keh
BAS S OON
H A RP
Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue
Gulnara Mashurova Principal
BAS S CL AR I NE T
CONTRABAS 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. # 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. Musicians listed alphabetically by family name rotate their seats on a per programme basis. 9
2020/21 Season Patrons Our story began just over four decades ago when we played our first concert in January 1979. This journey would not have been possible without patrons who believe in sharing the gift of music. Thank you for your generosity.
PATR ON SPONSO R Tote Board Group (Tote Board, Singapore Pools & Singapore Turf Club)
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This list reflects donations that were made from 1 October 2019 to 30 September 2020. 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 above $50. You can support us by donating at www.sso.org.sg/donate or www.giving.sg/sso.
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# H e lp Us P la y O n Mus ic fo r a l l t i m e, th e m us ic of h o p e — During our absence from the concert halls since Circuit Breaker, you welcomed the SSO into your homes as we performed our new digital concerts for you. We are now working hard to put up live concerts in front of a live audience in the coming months. If you miss the SSO, please #HelpUsPlayOn by responding to this appeal.
“I miss the excitement of catching a live concert, online concerts aren’t quite the same…”
More than 700,000 people across Singapore enjoyed SSO concerts for free during Circuit Breaker - that’s seven times the number of people who would normally encounter the SSO in concert in a year
Every digital concert costs $25,000 more than a concert for live audience
“…my biggest heartache was foregoing Beethoven’s Gala Concert this year!”
The SSO is an arts charity and depends on donations and matching grants, which we need to survive. We need your help. Your donation unlocks matching grants that we need to sustain our digital operations. For every dollar donated, we will receive another from the Cultural Matching Fund. So your donation will make twice the difference. These are challenging times for many, but if you are able to help, please #HelpUsPlayOn and consider making a gift to the SSO. For tax and other patron benefits, please visit www.sso.org.sg/support-us/patron-benefits
Ways You Can Donate: - Visit giving.sg/sso/HelpUsPlayOn or sso.org.sg/donate to make a donation via Credit Card - Scan the QR code in PayLah! or PayNow For more information, please contact: - Ms Nikki Chuang at nikki@sso.org.sg - Ms Charmaine Fong at charmaine.fong@sso.org.sg
TO V IENNA AND L INZ W ITH M OZ AR T | 6 JAN 2 0 2 1
WOLFGANG AMADEUS MOZART (1756–1791) Piano Concerto No. 23 in A major, K.488 (1786) I II III
Allegro Adagio Allegro assai
The Piano Concerto in A major, sometimes called “the Great” to distinguish it from its “Little” sibling (No. 12 in A major, K.414), was written for a subscription concert and probably featured Mozart at the keyboard for the first performances, as it was only published some years after his death. Despite the usual hallmarks of the Mozart concerto style, this work has floated to the top of the list of his piano concerti to be most often performed, along with the two minor-key ones (Nos. 20 and 24) and the late, great D major (No. 27).
section spends a lot of time in A minor and in the flatter keys. After a short cadenza, the bright character of A major returns, and everything is now in its expected place in the joyous home key. All this harmonic sleight-of-hand is all to prepare the listener for the real emotional weight of the second movement: F# minor was a rare key for Mozart, and suddenly we are in operatic terrain. The piano begins the movement alone with a melody that is one of Mozart’s most melancholy, and the chromaticism and searching harmonies more than just hint at pain. Contrasted with the soaring wind melody and heavy strings that come immediately after, this technique looks forward to his later operas, and indeed the A major section in the middle is a literal “trio section” that is alluded to in Don Giovanni. The end, with the mysterious pizzicato strings, is one of the most powerful moments of music in all of Mozart.
With its simple, innocent opening, and generally sunny disposition, this concerto (like many other Mozart piano works) is often used as a “teaching” concerto for younger pianists. However, the quality of the music itself sets it apart from the vast majority of didactic material, and the character in the first movement is tinged with the energies of youth. After the orchestral opening, the piano’s entry is already varied with an Alberti bass, and this pattern continues throughout the movement: the orchestral statement of the second theme, coming after the piano, is in a richer, fuller harmony, and the piano then spends the development section shyly “commenting” on the ideas taken up by the orchestra.
The piano solo also begins the rondo finale, but bursts right through the starting gate with pure exuberance: the tempo of the orchestra tutti is set by the pianist here, and Mozart writes fast, chattering wind parts — listen out for the bassoons putting in work! The clouds of sadness are blown away by this opening, and the brilliance of the piano writing are almost Mendelssohnian.
Mozart also explores some distant harmonic terrain: C# minor features rather prominently in the exposition, though the development 16
T O V I EN N A A ND L INZ W ITH M OZ AR T | 6 JA N 2021
View of Vienna from Belvedere (made between 1758 and 1761) painting by Bernardo Bellotto Source: Kunsthistorisches Museum Wien
Instrumentation flute, 2 clarinets, 2 bassoons, 2 horns, strings World Premiere Unknown First performed by SSO 10 Aug 1979 (Judy Lin, piano) 17
TO V IENNA AND L INZ W ITH M OZ AR T | 6 JAN 2 0 2 1
WOLFGANG AMADEUS MOZART Symphony No. 36 in C major, K.425 “Linz” (1783) I II III IV
Adagio – Allegro spiritoso Andante Menuetto Finale – Presto
The Linz Symphony was written with immense speed at the end of 1783. To please the count of the Austrian town of Linz, Mozart concocted one of his most enduring concert pieces in four days. The grand unisono opening followed by an extended introduction is a real stroke of genius: it instantly turns the listener’s mind to an operatic overture, especially with the quick turn towards the minor. All that is used to set up a darker, grander tone than the Allegro spiritoso on its own would otherwise imply, and allows Mozart to really show off his compositional skill in the development by exploring a broad harmonic ground.
to Linz must have caused. Here, occasional moments of prominence in the viola and bassoon show Mozart’s increasing attention to the inner workings of the orchestra, and passages of contrapuntal brilliance look forward to the great C major fugue of the Jupiter Symphony. We can imagine, with the crowd-pleasing nature of this movement, how Mozart’s 1783 appearance must have been wildly feted by the Austrians! Programme notes by Thomas Ang
Like the concerto performed tonight, the slow movement here is a siciliano, though it is set in the plush warmth of F major with fully polyphonic string writing. Trumpet and horn calls are carried over from the first movement, and, the harmonic precedents having been set, Mozart spends a good amount of time wallowing in the parallel minor. All that is dissipated by the upright and stately character of the Menuetto (really almost an Austrian Ländler). There is a cheeky spot of imitation between oboe and bassoon to listen out for in the slightly more graceful trio section, but the chest-out, determined nature of C major soon returns.
Instrumentation 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings World Premiere 4 Nov 1783
The nod towards Haydn cannot be ignored in the final movement. A headlong Presto positively bubbles over with excitement, with Mozart delivering on the anticipation his visit
First performed by SSO 26 Sep 1980 18
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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.
