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1979-2009
Lunch Treats on Symphony 92.4FM (Mon-Fri, 11am to 2pm)
For lunch with a difference, tune in to Lunch Treats on Symphony 92.4FM. We serve up a wide
selection of music to go with your favourite lunch menu – from Movie themes to Broadway, masterworks
to light classics and even a little cross-over music! Find out about the latest theatre productions and
music performances in What’s On in Town at 12.20pm.
For more information, visit www.symphony.sg.
Supported by various corporate sponsors and individual donors, the Singapore Symphony Orchestra
is a not-for-profit company limited by guarantee and registered under the Charities Order.
sponsored by
Singapore Symphony Orchestra
11 Empress Place, Victoria Concert Hall, Singapore 179558
Company registration no: 197801125M
Phone +65 6338 1230 (main) Fax +65 6336 6382
E-mail [email protected] Website www.sso.org.sg
All Rights Reserved, National Library Board, Singapore
01
Message From
The Singapore Symphony
Orchestra
It is my great pleasure to welcome you to the SSO’s 30th
Anniversary Concert.
Given Singapore’s relative youth as an independent
nation, for her national orchestra to be celebrating its 30th
birthday is indeed a milestone. The SSO came into being
as a vision of former Deputy Prime Minister Dr Goh Keng
Swee, whose passion and dedication, together with that of
the Orchestra’s first Chairman Tan Boon Teik and founding
Music Director Choo Hoey, turned a dream into a reality.
From its humble beginnings as a 41-member ensemble,
the SSO has grown to become one of the most respected
orchestras in the region today, whose international
presence is substantiated by many well-received tours and
celebrated recordings.
Despite the current uncertain economic climate, as
Singapore’s national orchestra, it is our mission to keep
the music playing, in both good times and bad. For our
30th Anniversary year in 2009, we have lined up a series
of inspiring performances with many eminent guest artists.
We believe that good music will go a long way in helping
Singaporeans ride out the storm.
Tonight, Maestro Lan Shui presents the first in a series of
concerts in 2009 that will feature the complete Beethoven
Symphony cycle. The SSO’s Co-Leader Lynnette Seah will
also be performing in Bruch’s Violin Concerto No. 1.
Our heartfelt thanks to our Guests-of-Honour, Prime
Minister Lee Hsien Loong and Mrs Lee, for gracing
tonight’s performance. Our thanks also to the Tote Board
and Singapore Turf Club for their generous support. I
would also like to thank our sponsors, partners, audience,
and every donor in SSO’s annual fund-raising campaign
“We Wish”.
I wish you a most enjoyable evening.
Professor Cham Tao Soon
Chairman
Singapore Symphony Orchestra
02
Message From
Tote Board
Welcome to a New Year of concerts with the Singapore
Symphony Orchestra (SSO).
As a strong advocator of the Arts and a longstanding
supporter of the SSO, Tote Board is proud of the Orchestra’s
growth and achievements over the years. As our national
classical music Orchestra, she has spread her wings
beyond our shores and made us proud with performances
on stages worldwide.
It gives us great pleasure to extend our congratulations to
the SSO on the occasion of her 30th Anniversary. We look
forward to a thriving partnership and many more nights of
classical music to come.
Wishing you an enjoyable evening.
Bobby Chin
Chairman
Tote Board
03
Message From
Singapore Turf Club
The Singapore Turf Club extends its warmest congratulations to the Singapore Symphony Orchestra, on the special
occasion of her 30th Anniversary.
We are proud to have contributed financially to the SSO
through the Tote Board during her 30 years’ growth. We
watched with much satisfaction, the rapid progress of the
SSO into a premier orchestra, with increasing accolades
received from around the world. Indeed, audiences from
the USA to China, Japan, Germany, Spain and the United
Kingdom, just to name a few, have been wowed by the
orchestra’s artistic flair and excellent rendition of musical
pieces. This has put Singapore firmly on the international
music map.
As part of our community outreach programme to bring
music to everyone, the Singapore Turf Club has also
partnered the SSO over the last five years to stage a free
concert annually at the Parade Ring of the Singapore
Racecourse. “The SSO @ the Racecourse” has continued
to be very popular with the public, who are won over
by the orchestra’s performances of evergreens and alltime favourites, a fine testimony to the SSO’s versatile
repertoire.
I wish one and all in the audience a wonderful evening
of music and entertainment – always a winning
combination!
Tan Guong Ching
Chairman
Singapore Turf Club
Wed, 14 Jan 09
beethoven festival:
SSO 30th Anniversary
Concert
singapore symphony orchestra
Lan Shui conductor
Lynnette Seah violin
LUDWIG VAN BEETHOVEN
Symphony No. 1 in C major, Op. 21 26’00
MAX BRUCH
Violin Concerto No. 1 in G minor, Op. 26 24’00
Intermission 20’00
LUDWIG VAN BEETHOVEN
Symphony No. 5 in C minor, Op. 67 31’00
Concert Duration: 2 hrs
All Timings Indicated Are Approximate.
“Today it unquestionably ranks
among the world’s best… A worldclass orchestra that can switch
between such radically divergent
styles with virtuosic ease.”
American Record Guide
March/April 2007
07
Singapore
Symphony
Orchestra
A premier Asian orchestra gaining recognition around the
world, the Singapore Symphony Orchestra (SSO) aims to
enrich the local cultural scene, serving as a bridge between
the musical traditions of Asia and the West, and providing
artistic inspiration, entertainment and education.
A full-time professional orchestra with 96 members, the SSO now makes its
performing home at the Esplanade Concert Hall, and also performs regularly at the
Victoria Concert Hall and at other venues. Established in 1979, the SSO performs
over 50 symphonic programmes a year. Its versatile repertoire spans the all-time
favourites and orchestral masterpieces to exciting cutting-edge premieres, with Asian
and Singaporean musicians and composers featuring prominently in the concert
season. The SSO has toured America, China, Czech Republic, Germany, Greece,
Hong Kong, Hungary, Italy, Japan, France, Spain, Turkey and the United Kingdom.
Since Maestro Lan Shui assumed the position of Music Director in 1997, the SSO has
been distinguished by a high level of excellence and a rising international profile.
Choo Hoey, who was Music Director from 1979 to 1996, is credited for developing
the SSO with his diverse programming.
Among the SSO’s recordings under BIS are a number of CDs which have earned
international acclaim, including a Seascapes album and the first-ever cycle of
Tcherepnin’s six piano concertos and four symphonies. The SSO has also recorded
the music of Chen Yi, Zhou Long, Bright Sheng and Richard Yardumian, collaborating
with such great artists as Gil Shaham, Evelyn Glennie, Cho-Liang Lin, Noriko Ogawa,
Sharon Bezaly, Claude Delangle, Christian Lindberg and Martin Fröst.
Lan Shui
conductor
Lan Shui joined the Singapore Symphony Orchestra as Music Director in 1997. He
has brought the SSO to greater heights during his tenure, through several international
tours and recordings for the BIS label. Lan Shui is also passionate about performing
music by Asian and Singaporean composers.
Lan Shui is also Chief Conductor of the Copenhagen Philharmonic. 2008 highlights
include return appearances with the Deutsche Radio Philharmonie, Bamberg
Symphony, Hong Kong Philharmonic, Aspen Festival and performances with the
Aalborg Symphony where he is the Principal Guest Conductor. He has conducted
many orchestras including the Baltimore Symphony, Frankfurt Radio Symphony,
Stuttgart Radio Symphony, Calgary Philharmonic, Detroit Symphony, Houston
Symphony, Malmö Symphony, Deutsche Symphony (Berlin), Danish Radio Symphony,
National Orchestra of Loire (France), Bern Symphony, Munich Chamber Orchestra
and Tampere Philharmonic. He has also performed at festivals including Tanglewood,
Aspen, Bravo! Vail Valley, Round Top, Eastern Music, National Orchestra Institute and
Casals Festivals.
Born in Hangzhou, China, Lan Shui studied composition at the Shanghai Conservatory
and graduated from the Beijing Central Conservatory, where he studied conducting
with Xu Xin and Huang Fei Li. He made his professional conducting debut with Beijing’s
Central Philharmonic Orchestra in 1986 and was later appointed Conductor of the
Beijing Symphony. From 1986 he continued his graduate studies at Boston University
and attended the Tanglewood Music Festival, where he worked closely with Leonard
Bernstein. In 1990 he conducted the Los Angeles Philharmonic’s Summer Festival,
where he came to the attention of David Zinman who in 1992 invited him to the
Baltimore Symphony Orchestra as Conducting Affiliate for two seasons. From 1994
to 1997, he was Associate Conductor to Neeme Järvi at the Detroit Symphony. In the
same period he assisted Kurt Masur at the New York Philharmonic, and worked with
Boulez and the Cleveland Orchestra in Paris under the Young Conductors’ Project.
Since 1998, Lan Shui has recorded over 16 CDs for the BIS label, including music by
Arnold and Hindemith with the Malmö Symphony. His album with the Danish Radio
Symphony, Movement, was nominated for the 2008 Grammy Awards.
He is the recipient of several international awards from the Beijing Arts Festival,
New York Tcherepnin Society, 37th Besançon Conductors Competition in France and
Boston University (Distinguished Alumni Award).
Lynnette Seah
violin
Lynnette Seah was the acting Leader at the inception of the SSO in January 1979,
and is currently its Co-Leader. As a soloist, she has performed with the SSO and
several orchestras in Europe including Josef Suk’s Fantasie with Zurich Symphony
Orchestra in the Tonhalle Zurich, the Mozart Violin Concerto in G major with the
Orebro Chamber Orchestra in Sweden, and the Sibelius Violin Concerto with the
Teplice Symphony Orchestra and Finnish conductor Ralf Sjobel in Czechoslovakia.
Lynnette began her formal music training on the piano with her mother when
she was five and started the violin a year later with Goh Soon Tioe and later with
Alphonso Anthony. She won scholarships including one to the National Music
Camp at Interlochen, Michigan USA when she was twelve where she was awarded
the Outstanding Young Musicians Award for being the youngest member of the
World Youth Orchestra there. In Adelaide, Australia National Music Camp, she was
appointed at the age of 15 as Associate Leader of the Bishop Symphony Orchestra.
That same year she represented Singapore in the Southeast Asian Violin Competition,
and won a scholarship to study at the Hannover Hochschule for Music in Germany
where she left to study in at 16. She has worked with renowned violin teachers
including David Mankowitz (Toronto, Canada), Friedrich von Hausegger (Hannover,
Germany), Karel Sneberger (Prague, Czech Republic), Yfrah Neaman (London) and
Dorothy DeLay (New York).
In June 1995, she was invited to perform at the Bergen International Music Festival
in Norway where she gave a recital. In April 1996 she was invited to represent
Singapore in the World Philharmonic Orchestra in Bangkok, Thailand for the King’s
50th Anniversary of his ascension under the baton of Myung Whun Chung. Lynnette
gave the world premiere of Singapore composer Bernard Tan’s Violin Concerto at the
SSO 27th Anniversary Concert on 7 January 06. She was the Guest Leader for Macau
Symphony in their 2007 China concert tour.
Lynnette is also active in the chamber music scene and is the leader and founder
of the Jade String Quartet. The Jade Quartet played in Shanghai and Hangzhou in
2000 and for many visiting heads of States at the Istana for the President and Prime
Minister of Singapore, including the Emperor and Empress of Japan (2006) and the
Prime Minister of Australia (2008).
Lynnette Seah was presented the Cultural Medallion – Singapore’s highest arts award
– in 2006 by the President of Singapore, President S R Nathan. She is currently
recording a CD of her musical journey which will be released in 2009. Lynnette
performs on her own violin, a 1750 Gabrielli of Firenze, Italy.
20
SSO Musicians
MUSIC DIRECTOR •
Lan Shui
RESIDENT CONDUCTOR/MUSIC DIRECTOR of SINGAPORE SYMPHONY CHORUS •
Lim Yau
Choo Hoey
Okko Kamu
YOUNG ASSOCIATE CONDUCTOR • Darrell Ang
CONDUCTOR EMERITUS •
PRINCIPAL GUEST CONDUCTOR •
FIRST VIOLIN
LEADER
Alexander Souptel
CO-LEADER
Lynnette Seah
ASSISTANT LEADER
Kong Zhao Hui †
FIXED CHAIR
Chan Yoong Han
Chen Da Wei †
Duan Yu Ling
Foo Say Ming
Gu Wen Li
Jin Li
Cindy Lee
Lim Shue Churn**
Seow Jin Chong
Sui Jing Jing
Karen Tan
William Tan
Wei Zhe
SECOND VIOLIN
PRINCIPAL
Zhang Zhen Shan
ASSOCIATE PRINCIPAL
Michael Loh
FIXED CHAIR
Hai-Won Kwok
Nikolai Koval †
Priscilla Neo
Andrea Oey*†
Margit Saur
Shao Tao Tao
Joshua Tan Kang Ming**
Wu Man Yun †
Xu Jue Yi †
Ye Lin †
Yeo Teow Meng
Yin Shu Zhan †
Zhang Si Jing
VIOLA
PRINCIPAL
Zhang Manchin
ASSOCIATE PRINCIPAL
Guan Qi
FIXED CHAIR
Luo Biao
Jiri Heger
Marietta Ku
Liu Hao Yu
Shui Bing
Tan Wee Hsin
Tong Yi Ping
Yang Shi Li
CELLO
PRINCIPAL
Nella Hunkins
ASSOCIATE PRINCIPAL
Yu Jing
FIXED CHAIR
Guo Hao †
Chan Wei Shing †
Ding Xiao Feng
Li Cheng
Song Woon Teng
Wang Yan
Zhao Yu Er
DOUBLE BASS
PRINCIPAL
Guennadi Mouzyka
ASSOCIATE PRINCIPAL
Yang Zheng Yi
FIXED CHAIR
Karen Yeo
Olga Alexandrova
Sandra Bransky
Ma Li Ming
Jacek Mirucki
Wang Xu
FLUTE
PRINCIPAL
Jin Ta
ASSOCIATE PRINCIPAL
Evgueni Brokmiller
Roberto Alvarez
Lee Kee Hoi
PICCOLO
ASSISTANT PRINCIPAL
Roberto Alvarez
TRUMPET
PRINCIPAL
Laurence Gargan
OBOE
PRINCIPAL
Rachel Walker
ASSOCIATE
PRINCIPAL
David Smith
ASSOCIATE PRINCIPAL
Pan Yun
Ikebe Jun
Brendan Kierman*
Yap Thien Soo
Carolyn Sonderegger
Elaine Yeo
COR ANGLAIS
ASSOCIATE PRINCIPAL
Elaine Yeo
CLARINET
PRINCIPAL
Ma Yue
ASSOCIATE PRINCIPAL
Li Xin*
Liu Yoko
Tang Xiao Ping
BASS CLARINET
ASSISTANT PRINCIPAL
Tang Xiao Ping
BASSOON
PRINCIPAL
Zhang Jin Min
TROMBONE
PRINCIPAL
Allen Meek
ASSOCIATE PRINCIPAL
Fredi Sonderegger
Damian Patti*
BASS TROMBONE
ASSISTANT PRINCIPAL
Shannon Pittaway
TUBA
PRINCIPAL
Hidehiro Fujita
TIMPANI
PRINCIPAL
Jonathan Fox
Grzegorz Markiewicz
ASSOCIATE PRINCIPAL
Liu Chang
PERCUSSION
PRINCIPAL
Jonathan Fox
Christoph Wichert
Zhao Ying Xue
ASSOCIATE PRINCIPAL
Mark Suter
CONTRA BASSOON
ASSISTANT PRINCIPAL
Zhao Ying Xue
Mark De Souza
Lim Meng Keh
Grzegorz Markiewicz
HORN
PRINCIPAL
Han Chang Chou
HARP
PRINCIPAL
Gulnara Mashurova
ASSOCIATE PRINCIPAL
Gao Jian
Jamie Hersch
Marc-Antoine Robillard
Wang Min
Musicians (listed alphabetically by family name) rotate their seats on a per programme basis
† With deep appreciation to Mr & Mrs Rin Kei Mei for their generous loan of string instruments from the Rin Collection
* Musician(s) on temporary contract
** SSO Musician on leave
21
Musicians’ Chair
To continue to be one of the most outstanding orchestras in the region, the
Singapore Symphony Orchestra needs to recruit and maintain its pool of
talented musicians. We would like to thank the following corporation for
supporting our Musicians’ Chair Programme:
SINGAPORE PETROLEUM
COMPANY LIMITED
Musician’s Seat
Corporate Seats
$20,000 and above
Japanese Chamber of Commerce & Industry, Singapore
Petrochemical Corporation of Singapore (Pte) Ltd
$10,000 and above
BD
Hong Leong Foundation
Lippo Group
Prima Limited
Allow your corporation to play an active role in the life of the Orchestra
by supporting the Musicians’ Chair Programme and Corporate Seat Scheme.
For more details, please contact the Development & Sponsorship Team at 6837 0998 or [email protected].
Upcoming
Events
music director
Lan Shui
Sat, 17 Jan 09
Beethoven Festival:
The Unquiet Soul
conductor
Dmitri Makhtin violin
Lan Shui
BEETHOVEN
MOZART
BEETHOVEN
Symphony No. 2 in D major, Op. 36
Violin Concerto No. 3 in G major, K.216
‘Strassburg’
Symphony No. 4 in B-flat major, Op. 60
The Second Symphony, despite its air of good humour
and optimism, was composed during a dark period of
Beethoven’s life as he acknowledged the slow onset of
deafness. Coming in between two of Beethoven’s greater
creations, Beethoven’s Fourth Symphony was described
by Robert Schumann as a “slender Greek maiden between
two Norse gods”. Russian violin virtuoso Dmitri Makhtin
is the soloist in Mozart’s Strassburg Concerto.
Friends Concert: Friends of SSO enjoy 50% off this concert at all SISTIC outlets
Post-concert Symphony Chat with
Lan Shui & Dmitri Makhtin
All concerts begin at 7.30pm in Esplanade Concert Hall unless otherwise indicated.
Thu, 22 Jan 09
Beethoven Festival:
Eroica
Lan Shui
conductor
piano
Nelson Goerner
SCHUMANN
BEETHOVEN
Piano Concerto in A minor, Op. 54
Symphony No. 3 in E-flat major, Op. 55
‘Eroica’
Beethoven’s Eroica Symphony has gained immortality as
much through the power and grandeur of the music as
through the tale of the rescinded dedication to Napoleon
Bonaparte. It remains today one of Beethoven’s most popular
symphonies. Schumann’s Piano Concerto began life as
a self-contained “Phantasie” for piano and orchestra:
this would later become the Concerto’s first movement.
PRE-CONCERT TALK
6.30pm – Library@Esplanade
Sat, 14 Feb 09
Music for Valentine’s Day
Okko Kamu
conductor
piano
Sergio Tiempo
WAGNER
LISZT
WAGNER
RAVEL
STRAUSS
Tannhaüser: Venusberg Music
Piano Concerto No. 1 in E-flat major
Tristan und Isolde: Prelude & Liebestod
Daphnis et Chloé: Suite No. 2
Der Rosenkavalier, Op. 59: Suite
Make a date with the SSO this Valentine’s Day, as
Argentinian-Venezuelan heartthrob Sergio Tiempo returns to
take on the fiery solo part in Liszt’s Piano Concerto No. 1.
The sensual Prelude and Liebestod from Wagner’s Tristan und
Isolde and the delightful Suite from Strauss’ popular opera
Der Rosenkavalier complete the evening of romance.
This concert is not available for birthday voucher redemption.
Donations Received
From Jan 2008 to Dec 2008
($1,000 And Above)
$200,000 and above
$10,000 and above
Tote Board
CIMB-GK Securities Pte Ltd
Siemens Pte Ltd
Keppel Corporation Ltd
Conrad Centennial Singapore
Benedict Soh Siak Poh
PSA International Pte Ltd
Viswanathan
BNP Paribas
LGT Bank In Liechtenstein (Singapore) Ltd
Becton Dickinson And Company
Cheng Kim Loke Foundation
Hong Leong Foundation
Leon Lui Yuen Leung
Mckinsey & Company Singapore Pte Ltd
Olivia Lum Ooi Lin
Prem Manjooran
Prima Limited
Singapore Pools (Pte) Ltd
Tan Kong Piat (Pte) Ltd
United Overseas Bank Ltd
Yong Pung How
$100,000 and above
Philips Electronics Singapore Pte Ltd
Lee Foundation, Singapore
Dorothy Chan
Singapore Press Holdings Ltd
$50,000 and above
Singapore Petroleum Company Limited
NSL Ltd
Miele Pte Ltd
Singapore Airlines Ltd
Lippo Group
Stephen Tjondro Riady
Christopher Ho & Rosy Ho
Far East Organization Centre Pte Ltd
Ng San Tiong
Tan Chin Tuan Foundation
$20,000 and above
Ernst & Young LLP
Transtechnology Pte Ltd
Oversea-Chinese Banking Corporation Ltd
Mr & Mrs Wong Nang Jang
FJ Benjamin (Singapore) Pte Ltd
Anonymous
Allan Yap
Interlocal Exim Pte Ltd
Sincere Watch Ltd
Singapore Institute of Management
Mr & Mrs Goh Yew Lin
JCCI Singapore Foundation Ltd
Petrochemical Corporation of Singapore
Pte Ltd
Rotary Engineering Limited
$5,000 and above
NTan Corporate Advisory Pte Ltd
NTUC Fairprice Co-Operative Ltd
Donna Meyer
Allen & Gledhill LLP
Asia Pacific Breweries Foundation
Bakri Trading Co (Asia) Pte Ltd
Bernard Cheong Wei Kok
Carolina Chan Swee Liang
David Colvin Scott
Dystar Singapore Pte Ltd
Grand Hyatt Singapore
Hong Leong Holdings Ltd
KPMG
Ong & Ong Pte Ltd
PACC Ship Managers Pte Ltd
Ruth Wee Gek Lin
Standard Chartered Bank
Tan Siok Sun
Wearne Brothers Services Pte Ltd
$1,000 and above
Anonymous
Chan Chia Lin
Geoffrey Wong Ee Kay
Lawrence Basapa
Lee Kuan Yew
Li Oi Ling
Liu Thai Ker
Sky Pilates Pte Ltd
Chang Tou Choong
Chang Tou Liang
Aline Wong Kan Lai Chung
Arthur Lee King Chi
Charles P Cousins
Chng Hak Peng
Edmund Lee Yu Chiang
Edward Jenne
Frances Cheang Chin Neo
Frank Messer
Gerard Saliot
Grace Tsu
Graf Sieghold
Ho Soo Foo
Julie Lo Lai Wan
Kingfisher Automotive Pte Ltd
Lim Kam Ming
Margaret Wong Choon Wah
Oral Wilson Dawe
Philip Lee Sooi Chuen
Robert Khan & Co Pte Ltd
Shih Chih Lung
Sun Tony Ho
Tina Lee Ee Ling
Tong Moi Eng
United Caoutchouc Trading Co Pte Ltd
Veronica Toh Chan Hin
William & Lois Lydens
Wilson Tan Whye Seng
Wisanggeni Lauw
Doris Sohmen-Pao
Lei Garden Restaurant Pte Ltd
Pauline Ang Hooi Yeong
Mavis Lim Geck Chin
Andreas Ruschkowski
Belinda Koh Yuh Ling
Brian Gambrill
Chan Wai Leong
Chang Ming Sing
Christopher Chew
Christopher Ho Siow Soong
Christopher J Fussner
Cynthia Chee
David Philbrick Conner
Elizabeth Wee Kim Choo
Geh Min
Geir Eik
Goh Chiu Gak
Gordon H L Tan
Gul B Chotrani
Harvey Schwartz
Ho Ching
Jacqueline Chua Lai Poh
Jean Marie Foulley
Jeremy Kung
Jiang Zilin
Joseph Grimberg
Kang Tze Yong
Karen Fawcett
Khor Cheng Kian
Koh Peng Yong
Lee Kwang Boon
Lee Suan Yew
Lim Tat
Loh Pong Tuan
Lynette Oon Lin Ean
Mak Lye Mun
Manju Vangal
Mark Seielstad
Maureen De Rooij
Michael Wong Pakshong
NatSteel Asia Pte Ltd
One Seven Pte Ltd
Phyllis Tan Poh Lian
Richard Eu Yee Ming
Robert C Lichko
Robert Sinclair
Roberto Cartelli
Robin Ian Rawlings
Ryan Tham Ming Loong
Samuel Park
Simon Claude Israel
Tan Tatt Si
Tay Tak Kwang
Teo Ee Peng
Thean Lip Ping
Tommy Koh
Vivian Laurence Lines
Willem Mark Nabarro
Willi Hess
William H Hernstadt
26
A Note of Thanks
The Singapore Symphony Orchestra gratefully acknowledges our Friends who have
supported the SSO in 2008.
Platinum
Friends
Gold
FriendS
($1000 and above)
($500 and above)
Ang Hooi Yeong
Brown, Richard
Castro, Ricardo
Chan Wai Leong
Cheang Chin Neo
Chng Hak-Peng
Chotrani, Gul B
Chua Lai Poh
Conner, David
Cousins, Charles P
DeRooij, Maureen
Eik, Geir
Fawcett, Karen
Foulley, Jean-Marie
Gambrill, Brian Holt
Geh Min
Goh Chiu Gak
Grimberg, Joseph
Hernstadt, William H
Hess, Willi
Ho Soo Foo
Ho Sun Tony
Ho Siow Soong
Kang Tiong Peng
Kang Tze Yong
Khor Cheng Kian
Koh Peng Yong
Koh Yuh Ling
Kung, Jeremy
Lee Suan Yew
Lee Hock Chin
Lichko, Robert C
Lim Tat
Lim Kam Ming
Lim Geck Chin
Loh Pong Tuan
Lydens, William
Bradley
Mah Li Ting
Meyer, Donna
Nabarro, Willem Mark
Park, Samuel
Rawlings, Robin Ian
Ruschkowski, Andreas
Schwartz, Harvey
Seielstad, Mark
Shih Chih-Lung
Sinclair, Robert
Sky Pilates Pte Ltd
Tan Whye Seng
Tham Ming Loong
Thean Lip Ping
Toh Chan Hin
Wong Choon Wah
Wong Pakshong
Michael
Yong Pung How
Bao Zhiming
Benton, Margrit Laura
Blanc, Yasinta
Emiliyanti
Boyd, Robert Stewart
Cartelli, Roberto
Chan Ah Khim
Chee, Cynthia
Chew Yee Chian
Chong Chyi Yiing
Chua Li-Wen
Chua Chin Kiat
Costigan, Dean
Frankl, Peter Thomas
Fussner, Christopher
John
Graf, Robert Henri
Jiang Zilin
Lai Siu Chiu
Latham, Matthew J R
Lim Kian Chong
Lim Sek Jwee
Lines, Vivian Laurence
Liow Chang Lee
Low Nguok Kwong
Makkink, Johanna
Frederika
Nakagawa, Junji
Neville, Jason
Ng Suah Bwee
Oon, Lynette
Robertson, Charles L
Sausman, Derek
Michael
Seah Siew Hui
Slater, Agnes
Sohmen-Pao, Doris
Susan
Soon Hwee Ling
Srinivasan Nikhil
Tan Swee Choo
Tan Poh Lian
Tan H.L.
Tay Tak Kwang
Teo Ee Peng
Yasufuku, Masayuki
Yee Woon Chin
Zuellig, Thomas
Silver
Friends
($200 and above)
Ang Seow Long
Ang Geok Yan
Backelin, M Katarina
Ball, Marcie A
Bartley, William John
Ben Ari, Benni
Bonifant, Nigel Sam
Brunner, Genevieve
Burns, Michiyo
Caldwell, George
Yuille
Callinan, Keith
William
Chacha, Pesi Bejonji
Chan, Gerard
Chen T M
Cheng Wei
Cheng Wai
Cheung Ming Yan
Cheung Chui Ping
Chiang May Yoke
Chin Fei Lian
Chin Ying En
Chong Xy-Tung
Chow Pak Kin
Chow Wai Lee
Chua Eu Tiong
Chua, Dixie
Cooke, Timothy
Cox, Michael David
Davidson, Rebecca
De Beer, Marius Pieter
Dente, Winifred Degli
Scrovegni
Dobbs-Higginson, M-T
Doctor, Nergish
Duhon, Liesel
Fan Foo Tang
Fong Rui Min
Fu, Patricia
Gan Yit Koon
Gerber, Rolf
Goh Lai Yan
Goh Teck Han
Goh Suat Hong
Goh Keng Hoong
Goh, Vivien
Goldstein, Arnon
Gremli, Margaret
Susan
Haegele, Madeleine
Han Tse Kwang
Han, Victoria
Hansen, Mark Edward
Heng, Linda
Heng Ai Ki
Henry, Anita J R
Hirooka, Fumiko
Ho Yoon Heng
Ho Sook Fen
Hsu Chung Yue
Hui Beng Hong
Johnson, Matthew G
Kan, Michael
Koh Tiah Ann
Kong Sim Guan
Kripalani Uttam
Pritamdas
Kwan Wei Jie
Lai Wee Chiang
Lai Pen-Lan
Lau Eng Gek
Leahy, Crystal Lim
Lee Cheow Koon
Lee, Alvin
Lee Liak Chai
Lee, Benjamin
Lee Keow Jit
Lee Keng Leong
Leong Hoe Chng
Leong Voon Seong
Leong Choy Lin
Leong Sou Fong
Leow Li San
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Ludwig van Beethoven
(1770-1827)
Symphony No. 1 in C major, Op. 21
26’00
Adagio molto – Allegro con brio
Andante cantabile con moto
Menuetto (Allegro molto e vivace)
Adagio – Allegro molto e vivace
•
•
•
Baptized 17 December 1770, Bonn, Germany; died during a violent
thunderstorm Vienna, 5.45pm 26 March 1827.
Briefly studied composition with Mozart and Haydn in Vienna, but
regarded Christian Neefe, court organist at Bonn, as his most important
teacher.
Composed music for theatre (including the opera Fidelio) and a large
amount of choral and orchestral music, his crowning achievement being
his nine symphonies.
Beethoven was 15 when he decided he would compose a symphony and went so far
as to write down a bold theme in C minor and the title “Presto Sinfonia”. That’s all
that ever existed of that work, although he later used the theme in a Piano Quartet.
It was not until 1794 that he again tackled what he regarded as one of the most
elevated and noble forms of musical creation. He abandoned this second attempt
within a year and set out on a third, which, by 1797, comprised three movements.
But Beethoven found himself defeated by the task of composing a suitably noble
finale and abandoned this until 1799 when he had the brilliant idea of converting
the first movement into the finale, throwing everything else away and writing the
preceding three movements from scratch. This he did in a remarkably short time,
and the completed work – dedicated to Baron Gottfried van Swieten a close friend of
Mozart’s and one of Beethoven’s first patrons following his move to Vienna in 1792
– was premiered in the city on 2 April 1800.
Because of its long and complex gestation Beethoven’s First Symphony already
shows signs of the breaking of conventions which were to characterise virtually
all his eight subsequent forays into the field. For a start, while Haydn and Mozart
had treated their last movements as light-hearted play-offs after the weightiness of
their first movements, Beethoven’s work is more focused towards its final movement
(something which reaches its culmination in the choral finale of his Ninth Symphony).
But more shocking still is the opening of the first movement which is not even in the
Symphony’s home key. Without exception Mozart’s symphonies open with a clear
and unequivocal statement of “home” tonality – something contemporary audiences
would have regarded as essential in their enjoyment of what came later – but here
with his first symphonic utterance, Beethoven keeps us waiting for 12 agonizingly
long-drawn-out bars (over a minute’s worth of music) before we eventually land
on C major. The fact that this slow introduction also gives equal prominence to
winds as to strings – something Mozart and Haydn would very rarely have risked in
their symphonies – would also have shocked many. The subsequent jaunty theme,
announced by scampering first violins, would have been much more to the taste of
the Viennese. The movement’s somewhat over-inflated concluding bars are another
hallmark of Beethoven’s symphonic style.
The second movement is light and charming and considerably more in the style of
a minuet than the third movement which is nevertheless the movement which in
this Symphony bears that title. The loquacious Antony Hopkins has described this
movement as “far and away the most original of the four, not only for its indecorous
haste but also for the unconventionality of its modulations”. Amidst all this thrusting
virility comes a tranquil trio section in which the wind instruments present a gently
bucolic theme to the accompaniment of scurrying violins.
A powerful unison note from the full orchestra provides an imposing introduction to
the fourth movement, but all is not as it seems: to quote Hopkins again, “This giant
unison is in fact a giant leg-pull. Like a bevy of hesitant beginners clutching unfamiliar
instruments the first violins make abortive attempts to play a scale, progressing one
note further each time.” This apparently naive idea is, as another writer has put it, “as
disingenuous as Dickens’ Uriah Heep”, for the bulk of the movement is given over to
orchestral virtuosity plain and simple.
Marc Rochester
Suggested Recordings
David Zinman/Zurich Tonhalle Orchestra
Arte Nova 74321636452
Max Bruch
(1838-1920)
Violin Concerto No. 1 in G minor, Op. 26
24’00
Vorspiel (Allegro moderato) –
Adagio –
Finale (Allegro energico)
•
•
•
Max Christian Friedrich Bruch, Born Cologne 6 January 1838; died Berlin
2 October 1920.
A child prodigy who became internationally recognised as a great
conductor and teacher.
Widespread popularity of First Violin Concerto overshadows his other 100
works which include four operas, many songs, choral works and a large
amount of instrumental and chamber music.
The First Violin Concerto was composed when Bruch was 26 and it was a source of
deep dissatisfaction to him that he was never able to repeat its phenomenal success;
he felt that nobody took seriously anything he composed subsequently. He was
dogged by its success everywhere he went. A visit to Italy some 40 years after the
Concerto’s composition was typical; “There they all are,” Bruch wrote angrily to a
friend, “at every street corner, ready to play me my First Concerto. The devil with the
lot of them! As if I hadn’t written other, equally good concertos.”
However, Bruch’s displeasure at the popularity of the Concerto may well have been
due to the fact that he could not in all conscience claim it entirely as his own work.
Completed in 1864, it had to wait two years for its premiere – on 24 April 1866 at
an Evangelical Women’s Society concert in Koblenz, Germany with the composer
himself conducting and Otto von Königslöw as the soloist – and that was not an
unqualified success. In a bid to improve it Bruch sent the score to Joseph Joachim
who advised him to make a number of revisions. In fact so extensive were Joachim’s
suggestions, and so willing was Bruch to incorporate them (after all, an endorsement
from one of the most famous performers of the day whose mere presence on stage
would guarantee a full-house was something no aspiring composer would willingly
turn down) that he suppressed all the correspondence which had taken place
between them in an attempt to play down Joachim’s involvement in the work. We
can understand Bruch’s bitterness, but the fact remains that as soon as Joachim had
premiered the revised version of the work (in Bremen on 5 January 1868) it entered
the popular repertoire, where it has remained ever since.
The reasons for the Concerto’s success are not hard to find. The three movements
run without a break: the first movement opening in a subdued manner, the violin
emerging from the briefest of hymn-like introductions, which then leads into the
principal theme, a melody of real emotional power, given out by the soloist in doublestopping above a dramatic accompaniment in the low register of the orchestra. From
the sheer dominance of the solo violin, its clever mix of virtuosity and soul-searching
lyricism, we can make a pretty safe guess that the hand of Joachim had a large part
to play here.
The deeply-moving, dreamlike second movement again gives the solo violin the
dominant role, this time exhibiting its rich middle register in a melody of unusual
beauty. This is accompanied by an orchestra principally using wind and lower strings,
giving the soloist ample scope to display the full range of the violin’s lyrical qualities
without fear of being submerged under the weight of orchestral violins; another
Joachim trick? A barely perceptible pause precedes the third movement, an energetic
Finale beginning with a thrilling orchestral crescendo leading up to the soloist’s entry:
a virile, angular Gypsy-style theme (Joachim was proud of his Hungarian ancestry)
which hops and skips about occasionally whipping the orchestra up into a kind of
benign frenzy.
Marc Rochester
Kyung-Wha Chung/London Philharmonic Orchestra/Klaus Tennstedt
EMI 754072-2
Nikolaj Znaider/London Philharmonic Orchestra/Lawrence Foster
EMI 556906-2
Ludwig van Beethoven
(1770-1827)
Symphony No. 5 in C minor, Op. 67
31’00
Allegro con brio
Andante con moto
Allegro
Allegro
•
•
•
•
Christian Neefe (1748-1798) taught Beethoven piano, figured bass and
composition between 1779 and 1784. Beethoven regarded him as his best
teacher.
Wolfgang Amadeus Mozart (1756-1790) taught him briefly in 1787. By all
accounts Mozart was impressed, writing to a friend; “Keep your eyes on
him; one day he will give the world something to talk about.”
Franz Joseph Haydn (1732-1809) taught him in Vienna from 1792
and 1794. Haydn respected his pupil’s skills but found him virtually
unteachable.
Johann Albrechtsberger (1736-1809) taught him counterpoint for 18
months in 1794 and 1795. Beethoven modelled his own teaching methods
on Albrechtsberger’s.
The origins of the four-note figure with which Beethoven’s Fifth Symphony opens
– surely the most famous musical motiv of all time – have been the subject of
much heated debate. According to Beethoven’s man-servant (not the most reliable
of witnesses – Hans von Bülow referred to him as a “strawhead”) the composer
maintained that they represented “Fate knocking at the door”, while Carl Czerny
recalled how the composer had claimed that they were suggested to him by a bird
(specifically a yellow-hammer) singing from the trees in the Vienna woods. A more
prosaic suggestion is that Beethoven “borrowed” the idea from Haydn, who had
used the same motiv in his Symphony No. 88. Whatever its origins or symbolism
that four-note figure creates the most arresting opening of any musical work and one
guaranteed, it might be thought, to have any audience instantly engrossed.
This, though, was not the case at the work’s premiere in Vienna on 22 December 1808,
when, according to one of Beethoven’s early biographers, “the reception accorded
by the audience was not as desired, and probably Beethoven did not expect anything
better. For the public was not endowed with the necessary degree of comprehension
for such extraordinary music.”
The turning point for the work came in 1812 when the Romantic poet and composer
E T A Hoffmann published a lavish essay on the work: “How this magnificent
composition carries the listener on and on in a continually ascending climax into the
ghostly world of infinity! The human heart, squeezed by presentiments of monstrous,
destructive powers, seems to grasp for breath in the most piercing tones. But soon a
kindly figure approaches full of radiance and illuminates the depths of this terrifying
night.” Some modern-day listeners may find Hoffmann’s programme appropriate,
but most musicians find greater satisfaction in witnessing Beethoven’s genius in his
clever use of material, his handling of the orchestra (which included for the first time
in the history of symphonic music the piccolo, double bassoon and trombones), and
his ability to transform the mood of the Symphony from the ominous, doom-laden
first movement, to the gloriously triumphant conclusion.
There is no doubt that the first movement’s drama stems entirely from the opening
four-note figure. It forms the basis for virtually the entire movement, cropping up in
various guises sometimes, certainly, like “fate knocking at the door”, at others almost
like a bird singing. The dominant mood of this movement is, however, one of struggle
and passion: “the conflict between a cry for pity and the refusal to grant it” in the
words of one commentator.
A complete change of mood comes with the graceful and elegant second movement,
which is a set of variations on the theme announced at the start by violas and
cellos. Beethoven originally described this movement as a “Minuet” and, whilst he
subsequently dropped that title, the dance-like character remains.
A subdued, almost hesitant start to the third movement leads into a powerful fournote pattern from the horns, clearly related to the opening of the entire Symphony.
But here the music has lost the menace with which it was associated in the first
movement and with the start of the fourth movement, which follows without a break,
the music has been transformed into something gloriously celebratory.
Marc Rochester
Scottish Chamber Orchestra/Sir Charles Mackerras
Hyperion DCS44301/5
Chamber Orchestra of Europe/Nikolaus Harnoncourt
Teldec 2292-46452-2
For song title, key in 924 and SMS to 72346. Each SMS costs 30 cents.
Service provided by MediaCorp Pte Ltd, 6877 7132.
Symphony924 SDTnSSO Wave.indd 1
All Rights Reserved, National Library Board,
Singapore
12/31/08 11:41:46 AM
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44
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