RACH III VLADIMIR FELTSMAN - National Library Boarderesources.nlb.gov.sg/music/Media/PDFs/Album/b34e1e4c...Phone +65 6338 1230 (main) Fax +65 6336 6382 (main) E-mail [email protected]

Sat, 10 Feb 07Esplanade Concert HallPERFORMING HOME OF THE SSO

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.

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RACH IIIVLADIMIR FELTSMAN

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Sat, 10 Feb 07

RACH III:

VLADIMIR FELTSMAN

Okko Kamu conductorVladimir Feltsman piano

LUIGI CHERUBINIAnacréon: Overture 9’00

FRANZ JOSEPH HAYDNSymphony No. 92 in G major ‘Oxford’ 28’00

Intermission 20’00

SERGEI RACHMANINOVPiano Concerto No. 3 in D minor, Op. 30 39’00

Vladimir Feltsman will autograph CDs at the stalls foyer after the concert

All timings indicated are approximate


4 SINGAPORE SYMPHONY ORCHESTRA

A premier Asian orchestra gradually 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.

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A full-time professional orchestra with96 members, the SSO now makes itsperforming home at the EsplanadeConcert Hall, and also performs regularlyat other venues, including outdoorconcert platforms. Performing over 50symphonic concerts a year, its versatilerepertoire spans the all-time favouritesand masterpieces to exciting cutting-edge premieres. In support ofSingaporean talent, local musicians and composers feature prominently inthe concert season. Since its inception in 1979, the SSO has toured America,China, the 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,he has raised the Orchestra’s level of excellence, and has been distinguishedby his dedication to the performance of new Asian compositions. Choo

Hoey, who was Music Director from1979 to 1996, is credited for developingthe Orchestra with his diverseprogramming.

Winning acclaim were the SSOrecordings of the first-ever completesymphony cycle of Alexander Tcherepnin.The SSO has also recorded the musicof Chen Yi, Zhou Long, Bright Sheng andRichard Yardumian under an exclusive

recording contract with the BIS label. Artists heard on SSO recordingsinclude Evelyn Glennie, Cho-Liang Lin, Gil Shaham, Noriko Ogawa, ChristianLindberg and Martin Fröst.

Highlights of the 06/07 season include appearances with conductorsChristopher Seaman and Hubert Soudant, soprano Nancy Argenta,percussionist Evelyn Glennie, pianists Yevgeny Sudbin and NikolaiDemidenko, violinists Isabelle van Keulen and Cho-Liang Lin, as well ascellist Nina Kotova.


4 OKKO KAMUc o n d u c t o r

SSO Principal Guest Conductor Okko Kamuwas born into a musical family in Helsinki, wherehis father played double bass in the HelsinkiPhilharmonic. At the age of two, Kamu startedstudying the violin with Väinö Arjava, the leaderof the orchestra. In 1952, he continued with OnniSuhonen at the Sibelius Academy, where healso began studies on the piano. He became theleader of the Suhonen Quartet in 1964.

In 1965, Kamu started his professional career in the Helsinki Philharmonic,and in 1966 was elected to become Concertmaster of the Finnish NationalOpera Orchestra. In 1967, the National Opera offered him the post ofthird conductor, with responsibilities including ballets, operettas and hisown production of Britten’s The Turn of the Screw. In 1969, he accepted theposition of guest conductor of the Swedish Royal Opera in Stockholm andlater that year won first prize in the first International Karajan ConductorCompetition in Berlin, which led to an extensive international career.

Okko Kamu has been Music Director of the Finnish Radio SymphonyOrchestra, Oslo Philharmonic, Stockholm Sinfonietta, Helsingborg SymphonyOrchestra and the Helsinki Philharmonic as well as Principal GuestConductor of the City of Birmingham Symphony Orchestra and theCopenhagen Philharmonic.

Having conducted many leading orchestras around the world, Okko Kamuwas appointed Principal Guest Conductor of the Singapore SymphonyOrchestra in 1995, Chief Conductor of Finnish National Opera in 1996and Principal Guest Conductor of the Orchestre de Chambre de Lausannein 1997. He has also been a member of the Swedish Royal Music Academysince 1994.


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An artist of immense range and insight, VladimirFeltsman is recognized as one of the mostimaginative and constantly interesting musiciansof our time.

Highlights of Feltsman’s 06/07 season includeperformances of all the Mozart Sonatas in fiveconcerts at the Mannes School of Music and theNew School’s Tisch Center on the Walterpianoforte built for him by Paul McNaulty, and

his conducting a production of Così fan tutte at the famed MariinskyTheater in St Petersburg in December 2006. His 06/07 season also includesreturns to Carnegie Hall performing Ravel’s Left Hand Concerto with theNational Radio Orchestra of France, and performances with the PittsburghSymphony and the Yomuiri Nippon Orchestra. In the fall of 2006 Feltsmanperformed in Korea and Singapore with the St Petersburg Philharmonic.In addition, he will perform recitals in Tokyo, Osaka, Seattle, New York, LaJolla, Phoenix, Kansas City, Aspen, Philadelphia and Fresno, and with theFestival Casals Orchestra in San Juan, Puerto Rico in February 2007.

His extensive discography has been released on the Sony Classical, MusicHeritage Society and Camerata (Tokyo) labels. His discography includessix albums of clavier works of J.S. Bach, recordings of Beethoven’s last fivepiano sonatas, the solo piano works by Schubert, Chopin, Liszt, Brahms,and Messiaen, as well as concerti by Bach, Chopin, Tchaikovsky, Rachmaninovand Prokofiev. Camerata released Feltsman’s performance of the BrahmsSecond Piano Concerto with the Cologne Radio Orchestra and Hans Vonkconducting.

Vladimir Feltsman holds the Distinguished Chair of Professor of Piano atthe State University of New York, New Paltz, and teaches at the MannesCollege of Music in New York City. He is the Founder and Artistic Directorof the International Festival-Institute Piano Summer at New Paltz, a month-long training programme for advanced piano students.

VLADIMIR FELTSMANp i a n o


STC Ad


SINGAPORE SYMPHONY ORCHESTRA

MUSIC DIRECTOR Lan ShuiRESIDENT CONDUCTOR / MUSIC DIRECTOR ofSINGAPORE SYMPHONY CHORUS Lim Yau

CONDUCTOR EMERITUS Choo Hoey

PRINCIPAL GUEST CONDUCTOR Okko Kamu

Musicians (listed alphabetically by family name)rotate their seats on a per programme basis

* Musician on temporary contract** SSO Musician on leave

7

FIRST VIOLINLEADERAlexander Souptel

CO-LEADERLynnette Seah

ASSISTANTLEADERKong Zhao Hui

FIXED CHAIRChan Yoong Han

Chen Da WeiDuan Yu LingFoo Say MingGu Wen LiJin LiCindy LeeLim Shue ChurnSeow Jin ChongSui Jing JingKaren TanWilliam TanWei Zhe

SECOND VIOLINPRINCIPALZhang Zhen Shan

ASSOCIATEPRINCIPALMichael Loh

FIXED CHAIRHai-won Kwok

Nikolai KovalPriscilla NeoMargit SaurAndrea Oey*Shao Tao TaoJoshua Tan Kang MingWu Man YunYeo Teow MengYin Shu ZhanYokoyama Hiroko

VIOLAPRINCIPALZhang Manchin

ASSOCIATEPRINCIPALGuan Qi

FIXED CHAIRLuo Biao

Chen GeJiri HegerMarietta KuLiu Hao YuShui BingTan Wee Hsin**Irina TarasovaTong Yi PingXia Bing*Yang Shi Li

CELLOPRINCIPALNella Hunkins

ASSOCIATEPRINCIPALYu Jing

FIXED CHAIRBenjamin Birtle*

Chan Wei ShingDing Xiao FengGuo HaoLi ChengSong Woon TengWang YanZhao Yu Er

DOUBLE BASSPRINCIPALGuennadi Mouzyka

ASSOCIATEPRINCIPALYang Zheng Yi

FIXED CHAIRKaren Yeo

Olga AlexandrovaMa Li MingJacek MiruckiWang XuXu Li

FLUTEPRINCIPALJin Ta

ASSOCIATEPRINCIPALEvgueni Brokmiller

Lee Kee HoiGerhard Mair*

PICCOLOLee Kee Hoi

OBOEPRINCIPALRachel Walker

ASSOCIATEPRINCIPALPan Yun

Carolyn SondereggerElaine Yeo

COR ANGLAISASSOCIATEPRINCIPALElaine Yeo

CLARINETPRINCIPALMa Yue

ASSOCIATEPRINCIPALGabor Varga

Liu YokoTang Xiao Ping

BASS CLARINETASSISTANTPRINCIPALTang Xiao Ping

BASSOONPRINCIPALZhang Jin Min

ASSOCIATEPRINCIPALLiu Chang

Anani Donev*Zhao Ying Xue

CONTRABASSOONAnani Donev*

HORNPRINCIPALHan Chang ChouGerd Seifert*

ASSOCIATEPRINCIPALGao JianJamie Hersch

Hoang Van Hoc**Wang Min

TRUMPETPRINCIPALLaurence Gargan

ASSOCIATEPRINCIPALDavid Smith*

Ikebe JunYap Thien Soo

TROMBONEPRINCIPALAllen Meek

ASSOCIATEPRINCIPALFredi Sonderegger

BASS TROMBONEASSISTANTPRINCIPALShannon Pittaway

TUBAPRINCIPALJacomo Bairos

TIMPANIPRINCIPALJonathan Fox

Grzegorz Markiewicz

PERCUSSIONPRINCIPALJonathan Fox

Mark De SouzaLim Meng KehGrzegorz Markiewicz

HARPPRINCIPALGulnara Mashurova


8 MUSICIANS’ CHAIR

Allow your corporation to play an active role in the life of the Orchestraby supporting the Corporate Seat Scheme.

For more details, please contact the Development & Sponsorship Teamat 68370998 or [email protected]

CORPORATE SEATS

$20,000 and aboveJapanese Chamber of Commerce & Industry, SingaporePetrochemical Corporation of Singapore (Pte) Ltd

$10,000 and aboveBDHong Leong FoundationLippo LimitedPrima Limited

$5,000 and aboveDyStar Singapore Pte Ltd

To continue to be one of the most outstanding orchestras in the region,the Singapore Symphony Orchestra needs to recruit and maintain its poolof talented musicians. We would like to thank the following corporationsfor supporting our Musicians’ Chair Programme:

SINGAPORE PETROLEUMCOMPANY LIMITED

Musician’s Seat

TEMASEK HOLDINGS(PRIVATE) LIMITED

Musician’s Seat


9DONATIONS RECEIVED FROMJULY - DECEMBER 2006($1,000 AND ABOVE)

$100,000 and aboveSingapore Totalisator BoardGK Goh GroupSingapore Airlines LtdPhilips Electronics Singapore Pte Ltd

$50,000 and aboveConrad Centennial SingaporeDaimlerChrysler South East Asia Pte LtdSingapore Institute of ManagementAberdeen Asset Management Asia LtdDumex SingaporeNokia Pte LtdSiemens Pte Ltd

$20,000 and aboveJapanese Chamber of Commerce &

Industry, SingaporePetrochemical Corporation of Singapore

Pte Ltd

$10,000 and aboveComposers and Authors Society of

Singapore LtdLee Foundation, SingaporeBDCheng Kim Loke FoundationHong Leong FoundationLippo LimitedPrima LimitedMr and Mrs Wong Nang JangYong Pung How

$5,000 and aboveBNP ParibasOversea-Chinese Banking Corporation

LtdSingapore Pools (Pte) LtdStandard Chartered BankCIMB-GK Securities Pte LtdCold Storage Singapore (1983) Pte LtdDystar Singapore Pte LtdHo Bee (Sentosa) Pte LtdHong Leong Holdings LtdMorgan Stanley Dean Witter Asia (S) Pte

NTUC Fairprice Co-Operative LtdStarHub LtdTee Yih Jia Food Manufacturing Pte LtdUnicorn International Pte Ltd

$1,000 and aboveLeon Lui Yuen LeungCham Tao SoonLEP Pte LtdChang Li LianChang Tou LiangNancy Evans MillerNTan Corporate Advisory Pte LtdOng & Ong Architects Pte LtdRobert Khan & Co Pte LtdTong Moi EngPacific Star Holding Pte LtdSingapore Technologies Aerospace LtdTham Keng ChuenABN-AMRO BankAndrey BerzinsAsiaPay SolutionsCheah Sow PengChristopher Ho Siow SoongCynthia SeetDaniel ThunnissenGoh Chiu GakHo Soo FooJan Olof JohanssonKaren FawcettKenneth Tan Chih SienLee Kuan YewLeong Keng HongLGT Bank In Liechtenstein (Singapore) LtdLynette SantiagoMichael A WittMichael ChoiMichael Wong PakshongNg Siew MunRaffles Medical GroupRoss Forde Hamou JenningsShih Chih LungTham Ming LoongWillem Mark Nabarro


Gerard Schwarz conductorIsabelle van Keulen violin

Elgar Violin Concerto in B minor, Op. 61Bright Sheng China DreamsStrauss Der Rosenkavalier, Op. 59: Suite

Elgar’s Violin Concerto was written at the suggestion of renownedviolinist Fritz Kreisler, who after premiering and performing the workfor some years, eventually dropped it from his repertory and wouldnot even record it! Bright Sheng was inspired by a dream for a significantportion of China Dreams’ last movement, hence its name. Arrangedfrom some of its more popular melodies, Strauss’ Suite from DerRosenkavalier is now as well-loved as the opera itself.

Elgar Anniversary:Perchance to Dream

Thu15 Feb 07

Musicians from the Singapore Symphony OrchestraLev Markiz conductor

Elgar Serenade for stringsArvo Pärt Cantus in Memoriam Benjamin BrittenBritten Simple SymphonyGabrieli Sonata pian’ e forteHaydn Divertimento No. 1: Chorale St. AnthonyMozart Maurerische Trauermusik KV 477Mozart Two Marches

Elgar presented the charming and elegiac Serenade for Strings to hiswife Alice on their third wedding anniversary, a work that remainedone of his favourites throughout his life. Arvo Pärt’s Cantus in Memoriamwas composed to mourn the death of Benjamin Britten in 1976, whilethe four movements of Britten’s Simple Symphony are based on themeshe wrote during his childhood. The programme also features music byGabrieli and Mozart.

VCH Chamber Series:Simple Gifts

Sun11 Mar 07, 5pmVictoria Concert Hall


Lan Shuimusic director

U P C O M I N GC O N C E RT S

All concerts at 7.30 pm, Esplanade Concert Hall unless otherwise stated

Lim Yau conductorDan Kamin zookeeperSusan Chapek narrator

Elmer the Elephant has escaped from the zoo, and the zookeeper isdetermined to track him down! Watch musical comedian Dan Kamincreate a jungle full of animals with a few simple props, his amazingmovement skills, and the music of the SSO. It’s a great way to introduceyour children to classics like Flight of the Bumblebee and the WilliamTell Overture. Join in the search for The Lost Elephant and discoverclassical music!

Concerts For Children:The Lost ElephantA Comedy Concerto by Dan Kamin

Sat17 Mar 07,

11am & 1pmVictoria Concert Hall

Limited tickets left!


LUIGI CHERUBINI (1760-1842)

Cherubini spans thatfascinating period ofmus ica l h i s tor ybetween the heightof the Classical era(he met both Haydnand Beethoven inVienna in 1805) andthe height of theRomantic era. Mostof his contemporariesadmired him rathermore, it would seem,than he did them,

Beethoven going so far as to describe him as the greatest living composer.For his part, Cherubini was, as the Grove Dictionary puts it, “a conservativerevolutionary”, firmly rooted in the past and revolting against modernistictrends. One of his students, the composer Hector Berlioz, casts him therole of a comic villain in his Memoirs, poking fun at his Italian accent andold-fashioned ways: as David Cairns writes in his commentary on theMemoirs, “Cherubini was symbolically and literally at the head of the musicalestablishment which was attempting to keep Berlioz out.”

Beyond music, Cherubini lived through interesting times. He was urged tosettle in France by Marie Antoinette, whom he saw executed during theFrench Revolution, and he met and argued over music and politics withNapoleon in Vienna shortly after Napoleon had conquered that city.Just to have survived (during the Revolution any connection with royaltywas often sufficient grounds for a summary execution) was no meanachievement; to have maintained such an important position in themusical establishment defies belief. As the Grove Dictionary suggests, “Hesurvived the political upheavals probably because of his versatility; forexample, he conducted music for the celebration of the beheading ofLouis XVI in 1796 and wrote the C minor Requiem for his memorial servicein 1817.”

Baptized Luigi Carlo Zanobi SalvadoreMaria Cherubini 15 September 1760,Florence, Italy, died 15 March 1842, Paris.

Settled in Paris in 1786 and became oneof the first directors of the newly-formedParis Conservatoire and wrote animportant treatise on counterpoint.

Composed around 3 dozen operas as wellas a huge body of sacred, vocal andinstrumental works.

Anacréon: Overture 9’00

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That versatility is exemplified by the music which opens this concert.On arrival in Paris in 1786, Cherubini was admitted to the Masonic LogeOlympique and for that he composed a celebratory cantata, Amphion.It seems to have been performed just once, and the music (except for itsprelude) has long since been lost. But in 1803 Cherubini, then short ofmoney, hit on the idea of producing an “opera-ballet”, which, under thetitle Anacréon, ou l’amour fugitif was staged at the Paris Opera on 4October 1803. For its overture, he re-used the original prelude for Amphion.This proved to be Anacréon’s salvation: the opera was, in all other respects,a total disaster which has long since fallen into oblivion.

Those familiar with the Masonic gestures in Mozart’s Magic Flute willimmediately recognise a relationship between that Overture and this, whilethe graceful pastoral music – horns interspersed with solos from oboe,flute, clarinet and bassoon – which follows, would seem to have very littleto do with the subject matter of Anacréon, which is largely centred aroundthe life of an ancient Greek poet best known for his celebrations ofdrinking and revelries. The remainder of the piece clearly shows how muchinfluence over Beethoven’s own orchestral overtures Cherubini exerted.

Marc Rochester

City of Birmingham SymphonyOrchestra/Lawrence FosterClaves CD50-9513

Lamoureux Orchestra/Igor MarkevitchDG 447 406-2

Royal Philharmonic Orchestra/Adrian BoultBBC Legends BBCL4072-2

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14 FRANZ JOSEPH HAYDN (1732-1809)

Prince NikolausEsterházy’s deathon 28 September1790 signalled adramatic change inHaydn’s life. Afterliving permanentlyin the Esterházys’isolated palace foralmost 30 years, hewas free to move toVienna where he

entertained a steady stream of visitors from far and wide, including aGerman-born violinist and impresario who introduced himself saying,“I am Salomon from London and I have come to fetch you to England.”It didn’t take much effort to persuade Haydn, and on 1 January 1791 hearrived in England where he was fêted: “My arrival caused a greatsensation. I went the rounds of all the newspapers for three successivedays. Everyone wants to know me. I had to dine out six times up to now[8 January], and if I wanted, I could dine out every day.” The social whirlcontinued unabated and six months after first stepping foot on Englishsoil, he travelled to Oxford to receive an Honorary Doctorate of Musicfrom the University.

Under normal circumstances Haydn might have been expected to composea work especially for the occasion, but the performance he directed atOxford’s Sheldonian Theatre was of a symphony he had composed twoyears earlier. More than that, he had already presented this Symphony No.92, along with two others, to two different aristocratic patrons in twodifferent countries: first Prince Krafft-Ernst of Oettingen-Wallerstein inBavaria had commissioned Haydn to compose three new symphonies,

Born 31 March or 1 April 1732, Rohrau,lower Austria, died 31 May 1809, Vienna.

Served as a musician in the court of theEsterházy family for over three decades.

Known as the “Father of the Symphony”after his development of the form betweenhis first symphony, dated 25 November1759 and his 104th dated 4 May 1795.

Symphony No. 92 in G major ‘Oxford’ 28’00

Adagio – Allegro spiritosoAdagio cantabileMenuettoPresto


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then an identical commission had arrived from Comte d’Ogny in Paris.Not only was Haydn paid twice, but he did not even have to bother withwriting out two copies of each work – he delivered the full score to Parisand the orchestral parts to Bavaria!

The refined, delicately poised introduction to the first movement leadsinto a brisk, scampering Allegro which maintains its spirited momentumthrough a variety of instrumental colours. The lyrical, song-like main themeof the second movement is rudely interrupted by trumpets and drumsbeating out a pulsating rhythm for the minor key central section, whilethe third movement is a typically buoyant Haydn Minuet with a trio inwhich a regal horn fanfare and a lightly flowing idea from the violinsalternate. The fourth movement’s jaunty dance, begun sotto voce by theviolins, becomes increasingly exuberant as other instruments join in, andthe work ends full of joy.

Marc Rochester

The Hanover Band/Roy GoodmanHyperion CDH55125

Freiburg Baroque Orchestra/René JacobsHarmonia Mundi HMC901849

Capella Istropolitana/Barry WordsworthNaxos 8.550387

Philharmonia Hungarica/Antal DoratiDecca 448 531-2

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16 SERGEI RACHMANINOV (1873-1943)

The 1996 movie,Shine , traced thetrue-life story of theAustralian pianistDavid Helfgott who,having had all thepotential to becomea brilliant virtuoso,suffered a majormental breakdownand spent much ofhis life incarceratedin institutions forthe insane. At the

root of Helfgott’s breakdown and subsequent recovery (so the moviestory-line went) was the performance of a work requiring almostsuperhuman mental and physical powers to perform, Rachmaninov’s ThirdPiano Concerto.

Having written his first two concertos for Russian audiences – the firstoriginally intended as a graduation piece for the Moscow Conservatoire,the second triumphantly premiered by Rachmaninov himself in Moscowin 1901 – the third was written for his first ever visit to the USA. TheAmericans had invited Rachmaninov in his capacity as a major concertpianist, but he was determined to show off to them his prowess as acomposer, and once he had accepted the invitation he set to work on whatwas to be his Third Piano Concerto. He wrote it between June and September1909 and learnt the piano part during the trans-Atlantic voyage using adummy keyboard in his cabin. Its premiere on 28 November 1909 withthe New York Symphony Orchestra under Walter Damrosch, was a hugesuccess. The Americans loved the work and requested it more than anyother of his works during his subsequent concert tours.

Born 1 April 1873, Semyonovo, Russia,died 28 March 1943, Beverly Hills,California.

Emigrated to the USA following theBolshevik Revolution and pursued a dualcareer as a concert pianist and composer.

His music, in particular his three pianoconcertos, represents the final floweringof the Romantic era with its rich melodiesand powerful emotional impact.

Piano Concerto No. 3 in D minor Op. 30 39’00

Allegro ma non tantoIntermezzo (Adagio)Finale (AIla breve)


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The lovely melody, simply stated at the outset of the first movement,originates from the chants of the Russian Orthodox Church whichRachmaninov would have heard in his childhood. This deceptively simpleopening develops into some of the most musically impassioned andtechnically demanding of all piano concerto movements; and, at over 15minutes duration, it demands almost superhuman physical and mentalpower from the pianist who has barely a moment’s rest.

The second movement is a set of variations on the deeply sorrowfulmelody given out at the start by the orchestra. The mood ranges fromthe deep melancholy of the oboe in the opening bars, through the ecstaticglory of the piano’s central cadenza-like outburst and the orchestra’simpassioned restatement of the theme, to a passage of almost humorousdelicacy, before, via a moment of the most profound sadness, the pianodances nimbly into the third movement. Using the same musical ideas,and only marginally shorter than the first, this movement featuresspectacularly dazzling displays of virtuosity from the soloist and ends withfistfuls of chords which never fail to excite an audience.

Marc Rochester

Vladimir Ashkenazy/London Symphony Orchestra/André PrevinDecca 417 764-2

Lang Lang/St Petersburg PhilharmonicOrchestra/Yuri TemirkanovTelarc CD-80582

Sergei Rachmaninov/Philadelphia Orchestra/Eugene OrmandyNaxos 8.110601

Leif Ove Andsnes/Oslo Philharmonic Orchestra/Paavo BerglundEMI 7243 556350 2

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Symphony 92.4FMAd


ConradAd


BOARD OF DIRECTORS & STAFF20

PATRONDr Goh Keng Swee

HONORARYCHAIRMANMr Tan Boon Teik

BOARD OFDIRECTORS

ChairmanProf Cham Tao Soon

Deputy ChairmanMr Goh Yew Lin

DirectorsMrs Dorothy ChanDr Chang Tou LiangMr Choo Thiam SiewMr Lee Suan HiangMs Lim MeiMrs Gretchen LiuMr Mourad MankariosProf Bernard TanDr Aline WongMr Wong Nang JangMs Yong Ying-I

SecretaryMr Chng Kai Jin

NOMINATINGAND EXECUTIVECOMMITTEE

ChairmanProf Cham Tao Soon

Mr Goh Yew LinMr Wong Nang JangMs Yong Ying-l

ARTISTIC ANDMARKETINGCOMMITTEE

ChairmanMr Goh Yew Lin

Dr Gene AitkenDr Chang Tou LiangMs Marina Tan HarperMr Lan ShuiMs Lim MeiMr Lim Yau

FINANCE ANDHUMANRESOURCECOMMITTEE

ChairmanMs Yong Ying-l

Mr Choo Thiam SiewMr Warren FernandezMr Goh Yew LinMrs Elizabeth Martin

DEVELOPMENTCOMMITTEE

ChairmanMr Mourad Mankarios

Mrs Odile BenjaminMs Madeleine LeeMrs Gretchen LiuMr Philip Overmyer

AUDIENCEDEVELOPMENT &OUTREACHCOMMITTEE

ChairmanProf Bernard Tan

Mr Richard AdamsMr Chan Tze LawDr Chang Tou LiangDr Eugene

DairianathanMrs Jessie Ho-TanMr Lee Suan HiangMs Rebecca NgDr Aline Wong

SSO LADIES’LEAGUE

ChairladyMrs Odile Benjamin

Mrs Celeste BasapaMrs Selina ConnerMrs Rosy HoMrs Viviana Jablonka-

BernardMrs Irene LeeMrs Alice Lee-SeahDr Julie LoMrs Kwan LuiMrs Heike MeyerMrs Nancy MillerMs Manju Vangal

SecretaryMr Chng Kai Jin

MANAGEMENT

General ManagerMr Chng Kai Jin

Orchestra ManagerMs Sharon Son

Senior OrchestraExecutiveMr Adrian Chiang

ProgrammeManagerMs Kua Li Leng

ProgrammeExecutiveMs Teo Chew Yen

LibrarianMr Lim Yeow Siang

Assistant LibrarianMr Chia Jit Min

AudienceDevelopment &Outreach ManagerMs Jenny Ting

AudienceDevelopment &Outreach ExecutiveMs Charlyn Too

MarketingCommunicationsManagerMr Foo Chen Loong

Assistant Manager,MarketingCommunicationsMs Cindy Lim

MarketingCommunicationsExecutivesMs Joanna ChekMs Amy Yuen

SeniorDevelopment &SponsorshipManagerMr Freddie Low

Development &SponsorshipExecutiveMs Tan Bee Kheng

Membership &PromotionsExecutiveMs Leng Sher Lyn

Finance & AccountsManagerMr Rick Ong

Finance & AccountsExecutiveMr Alan Ong

Human Resources &AdministrationManagerMs Wee Puay Cheng

Concert Hall &Facilities ManagerMr Collin Tan

OfficersConcert HallOperationsMr Ansari bin Hamid

MaricanMr Ramayah ElangoMr Abiden bin Mohd

SaidMr Martin LimMr Shaun Sankaran

Hall BookingMdm Nyan Chiou FongTicketingMs Rose Chew

Manager,ABRSM OfficeMs Hay Su-San

AssistantExaminationsManagerMs Patricia Yee


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RACH III VLADIMIR FELTSMAN - National Library Boarderesources.nlb.gov.sg/music/Media/PDFs/Album/b34e1e4c...Phone +65 6338 1230 (main) Fax +65 6336 6382 (main) E-mail [email protected]