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PROGRAMME

Ludwig van Beethoven Piano Concerto No. 5 in E-flat Major, Op.73 (Emperor)

~ intermission ~

Johannes Brahms Symphony No. 4 in E Minor Op.98

(1hr 40mins, including 20min intermission)

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MYUNG-WHUN CHUNG Principal Guest Conductor

Myung-Whun Chung began his musical career as a pianist, winning second prize at the Tchaikovsky Piano Competition in Moscow in 1974. After his musical studies at the Mannes School and Juilliard School in New York, he was appointed Carlo Maria Giulini’s assistant in 1979 at the Los Angeles Philharmonic and became Associate Conductor two years later.

He was Music Director of the Saarbrücken Radio Symphony Orchestra from 1984 to 1990, Principal Guest Conductor of the Teatro Comunale di Firenze from 1987 to 1992 and Music Director of the Opéra de Paris-Bastille from 1989 to 1994. The year 2000 marked his return to Paris as Music Director of the Orchestre Philharmonique de Radio France. His love for Italy has been the basis of his extensive work in that country for many years, including, from 1997 to 2005, his position as Principal Conductor of the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome. He also appears regularly at the Teatro alla Scala and Teatro La Fenice, recently conducting Madama Butterfly, Simon Boccanegra, Otello and Tristan und Isolde. Other recent opera engagements include La Traviata, Rigoletto and Otello at the Wiener Staatsoper. In Germany, he became Principal Guest Conductor of the Staatskapelle Dresden at the beginning of the 2012/13 season, the first conductor to hold the post in the history of the orchestra. Outside Europe, he is increasingly committed to musical and social causes in Asia through his role as Honorary Conductor Laureate of the Tokyo Philharmonic Orchestra and previously as Music Director of the Seoul Philharmonic Orchestra.

Highlights of the 2019/20 season include a production of Don Carlo at Teatro La Fenice, a return to the BBC Proms and tours of Europe and Asia with the Staatskapelle Dresden. As well as conducting the New Year concerts at La Fenice he will also return to Royal Concertgebouw Orchestra (including conducting Mahler 3 and 9 at the 2020 Mahler Festival) and continue his regular collaborations with the Tokyo Philharmonic Orchestra, Orchestre Philharmonique de Radio France, Orchestra dell’Accademia Nazionale di Santa Cecilia and Filarmonica della Scala.

Myung-Whun Chung has conducted some of the world’s most prestigious orchestras, including the Berliner Philharmoniker, Bayerischer Rundfunk and the Wiener Philharmoniker, as well as all the major London and Parisian orchestras. In the USA, he has collaborated with the Metropolitan Opera, New York Philharmonic, Philadelphia Orchestra, Boston Symphony, Chicago Symphony and Cleveland Orchestra.

An exclusive recording artist for Deutsche Grammophon since 1990, many of his numerous recordings have won international prizes and awards. Recent releases include Messiaen Turangalîla Symphony and Shostakovich Lady Macbeth of Mtsensk with the Orchestre de l’Opéra Bastille, as well as Mahler Symphony No. 2, Mahler Symphony No. 9, Tchaikovsky Symphony No. 6 Pathetique and a Beethoven disc, all with the Seoul Philharmonic Orchestra.

Myung-Whun Chung has been the recipient of many honours and prizes for his artistic work, including the Premio Abbiati and the Arturo Toscanini prize in Italy and the Légion d’Honneur (1992) in France. In 1991, the Association of French Theatres and Music Critics named him Artist of the Year and in 1995 he won the Victoire de la Musique prize three times. He was named a Commandeur dans l’ordre des Arts et des Lettres by the French government in 2011. In 2017, he was appointed as “Commendatore dell’Ordine della Stella d’Italia”.

Deeply sensitive to humanitarian and ecological problems of our age, Myung-Whun Chung has devoted an important part of his life to these causes. In 1994, he launched a series of musical and environmental projects in Korea for youth. He served as Ambassador for the Drug Control Program at the United Nations (UNDCP); in 1995, he was named Man of the year by UNESCO and also Most Distinguished Personality by the Korean press association. In 1996, he received the Kumkuan, the highest cultural award of the Korean government for his contribution to Korean musical life. Myung-Whun Chung now serves as Honorary Cultural Ambassador for Korea, the first in the Korean government’s history. In 2008, he was designated the first conductor named as Goodwill Ambassador for the United Nations Children’s Fund (UNICEF).

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Sunwook Kim Piano

SUNWOOK KIM Piano

Sunwook Kim came to international recognition when he won the prestigious Leeds International Piano Competition in 2006, aged just 18, becoming the competition’s youngest winner for 40 years, as well as its first Asian winner. Since then, he has established a reputation as one of the finest pianists of his generation, appearing as a concerto soloist in the subscription series of some of the world’s leading orchestras including the London Symphony Orchestra, Royal Concertgebouw Orchestra, Berlin Radio Symphony, NDR Sinfonieorchester Hamburg, Hamburg Symphoniker, Deutsche Kammerphilharmonie Bremen, Finnish Radio Symphony, Philharmonia Orchestra, London Philharmonic, Royal Scottish National Orchestra, BBC Orchestra of Wales, Radio-France Philharmonic, NHK Symphony, Hallé Orchestra and the Bournemouth Symphony Orchestra for his BBC Proms debut in Summer 2014. Regular conductor collaborations include with Karina Canellakis, Thomas Sondergard, Tugan Sokhiev, Daniel Harding, Paavo Jarvi, David Afhkam, Edward Gardner, John Elliot-Gardiner, Myung-Whun Chung, Osmo Vänskä, Vladimir Ashkenazy, Kirill Karabits, Marek Janowski, Sakari Oramo, Andrew Manze, Vassily Sinaisky, Paavo Järvi, Thomas Sanderling and Sir Mark Elder.

Recital highlights to date include regular appearances at the Wigmore Hall, Queen Elizabeth Hall (London International Piano Series), in the ‘Piano 4 Etoiles’ series at the Philharmonie de Paris and Théâtre des Champs-Élysées, Piano aux Jacobin Festival, AIX Festival, La Roque d’Antheron International Piano Festival (France) as well as at the Beethoven-Haus Bonn, Klavier-Festival Ruhr, Mecklenburg-Vorpommern Festspiele, Teatro Colon Buenos Aires, Kioi Hall in Tokyo, Symphony Hall Osaka and Seoul Arts Centre. Sunwook is also a keen chamber musician and has collaborated with singers such as Robert Holl and Kwang-Chul Youn.

Highlights among recent concerto engagements include appearances with the Philharmonia, Bournemouth, Dresdner Philharmonie and Seoul Philharmonic Orchestras and a tour of the United States with the Staatskapelle Weimar with Kirill Karabits. Sunwook also made his US orchestra debut with the Milwaukee Symphony orchestra and in Europe with the Orchestre National de Belgique and at the Bergen International Festival performing Unsuk Chin’s Piano Concerto with the Bergen Philharmonic conducted by Edward Gardner.

In 19/20 Sunwook will return to the USA for subscription debut concerts with the Chicago Symphony Orchestra conducted by Kirill Karabits as well as touring Asia with the Staatskapelle Dresden conducted by Myung-Whun Chung. Sunwook will also make his conducting debut with the Bournemouth Symphony Orchestra. In Europe, Sunwook will also debut with the Orchestra di Padova e del Veneto, Kristiansand Symfoniorkester, Orquestra Simfonica de Balears and with the City of Birmingham Symphony Orchestra.

Sunwook Kim’s debut recital disc was released on the Accentus label in October 2015, featuring Beethoven’s Waldstein and Hammerklavier sonatas. This was followed by a recording of Franck’s Prelude, choral et fugue paired with Brahms Sonata No.3 and a further disc of Beethoven; Sonata No. 8; Pathetique, Sonata No. 14; Moonlight and Sonata No. 23; Appassionata. His discography also includes two concerto recordings, both on Deutsche Grammophon and with the Seoul Philharmonic conducted by Myung-Whun Chung: a CD featuring Unsuk Chin’s Piano Concerto (2014) which attracted outstanding reviews and awards from BBC Music Magazine and International Classical Music Awards, and a CD featuring Beethoven Concerto No.5 (2013).

Born in Seoul in 1988, Sunwook completed an MA in conducting at the Royal Academy of Music and was subsequently made a fellow (FRAM) of the Royal Academy of Music in 2019. Besides Leeds, international awards include the first prize at the 2004 Ettlingen Competition (Germany) and the 2005 Clara Haskil Competition (Switzerland). In 2013, Sunwook was selected by the Beethoven-Haus Bonn to become the first beneficiary of its new Mentoring.

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STAATSKAPELLE DRESDENFounded by Prince Elector Moritz von Sachsen in 1548, the Staatskapelle Dresden is one of the oldest orchestras in the world and thus steeped in tradition.

Over its long history many distinguished conductors and internationally celebrated instrumentalists have left their mark on this one-time court orchestra. Previous directors include Heinrich Schütz, Johann Adolf Hasse, Carl Maria von Weber and Richard Wagner, who called the ensemble his Miraculous Harp. The list of prominent conductors of the last 100 years includes Ernst von Schuch, Fritz Reiner, Fritz Busch, Karl Böhm, Joseph Keilberth, Rudolf Kempe, Otmar Suitner, Kurt Sanderling, Herbert Blomstedt and Giuseppe Sinopoli. The orchestra was directed by Bernard Haitink from 2002-2004 and most recently by Fabio Luisi from 2007-2010. Principal Conductor since the 2012/2013 season was Christian Thielemann. In May 2016 the former Principal Conductor Herbert Blomstedt received the title Conductor Laureate. The only person to previously hold this title was Sir Colin Davis, from 1990 until his death in April 2013. Myung-Whun Chung has been Principal Guest Conductor since the 2012/2013 season.

Richard Strauss and the Staatskapelle were closely linked for more than 60 years. Nine of the composer’s operas were premiered in Dresden, including Salome, Elektra and Der Rosenkavalier, while Strauss’s Alpine Symphony was dedicated to the orchestra. Countless other famous composers have written works either dedicated to the orchestra or first performed in Dresden. In 2007, the Staatskapelle reaffirmed this tradition by introducing the annual position of “Capell-Compositeur”. Following on from Hans Werner Henze, Sofia Gubaidulina, Wolfgang Rihm, György Kurtág, Arvo Pärt and Peter Eötvös, the German composer Aribert Reimann will hold this title for the 2019/2020 season. As “Capell-Virtuos” the cellist Sol Gabetta will take part in various concerts.

The Staatskapelle’s home is the Semperoper, where it performs around 250 operas and ballets each season. In addition, the ensemble presents another 50 symphonic and chamber concerts in the opera house, as well as playing at various musical events in Dresden’s Frauenkirche.

As one of the world’s most celebrated and popular symphony orchestras, the Staatskapelle regularly travels abroad to the world’s leading classical venues. Since 2013 the Staatskapelle Dresden has been the resident orchestra of the Salzburg Easter Festival, whose Artistic Director is none other than Christian Thielemann.

As patron orchestra of the Gustav Mahler Youth Orchestra, the Staatskapelle supports the nurturing of young talent. Also active at the local level, the Kapelle is a partner of Meetingpoint Music Messiaen in the double city of Görlitz-Zgorzelec and, in 2010, helped found the International Shostakovich Festival in Gohrisch (Saxon Switzerland), which is the first annual event dedicated to the music and life of the composer Dmitri Shostakovich.

At a ceremony in Brussels in 2007 the Staatskapelle became the first—and so far only—orchestra to be awarded the “European Prize for the Preservation of the World’s Musical Heritage”.

Volkswagen Aktiengesellschaft is Partner of the Staatskapelle Dresden.

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CONDUCTOR Myung-Whun Chung

PIANOSunwook Kim

FIRST VIOLINSRoland Straumer – 1st ConcertmasterThomas MeiningFederico KasikRobert LisJohanna MittagJörg KettmannBarbara MeiningBirgit JahnMartina GrothAnja KraußAnett BaumannRoland KnauthAnselm TelleFranz SchubertLudovica Nardone Sunjoo Hong

SECOND VIOLINSHolger Grohs – ConcertmasterLukas Stepp - ConcertmasterMatthias MeißnerAnnette ThiemJens MetznerOlaf-Torsten SpiesMechthild von RysselAlexander ErnstElisabeta SchürerEmanuel HeldMartin FraustadtRobert KusnyerMichael SchmidAmi Yumoto

VIOLA Michael Neuhaus*

Andreas Schreiber Stephan PätzoldAnya DambeckUlrich MilatzRalf DietzeZsuzsanna Schmidt-AntalSusanne NeuhausJuliane PreißLuke TurrellFlorian KapitzaFabian Lindner

CELLO Norbert Anger – 1st ConcertmasterFriedwart-Christian DittmannSimon KalbhennTom HöhnerbachJohann-Christoph SchulzeJakob AndertAnke HeynMatthias WildeTitus MaackBoris Nedialkov

DOUBLEBASSViktor OsokinMartin KnauerTorsten HoppeHelmut BrannyFred WeicheReimond PüschelThomas Klaus GroscheJohannes Nalepa

FLUTESabine Kittel*

Rozália Szabó*

Bernhard Kury

OBOEBernd Schober*

Sibylle Schreiber

CLARINETWolfram Große*

Robert Oberaigner*

Jan Seifert

BASSOON Joachim Hans*

Thomas EberhardtJoachim HuschkeHannes Schirlitz

FRENCH HORN Erich Markwart*

Robert Langbein*

David HarloffHarald HeimJulius RönnebeckKlaus Gayer

TRUMPETMatthias Schmutzler*

Tobias Willner*Sven Barnkoth

TROMBONEJonathan Nuß*

Jürgen UmbreitFrank van Nooy

TUBAJens-Peter Erbe*

TIMPANIThomas Käppler*

PERCUSSION Jürgen May

*principal player

MANAGING DIRECTORJan Nast

ASSISTANT TO THE MANAGING DIREC-TORAlexandra MacDonald

ARTISTIC ADMINISTRATORCornelia Ameling

PR AND MARKETINGFelicitas Böhm

STAGE MANAGERGolo LeuschkeSteffen Tietz

INTERNATIONAL TOUR MANAGEMENT by Askonas Holt Ltd

CHIEF EXECUTIVEDonagh Collins

HEAD OF TOURS AND PROJECTSSergio Porto Bargiela

SENIOR PROJECT MANAGERSuzanne Doyle

PROJECT ADMINISTRATOREsther Killisch

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PROGRAMME NOTES

Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)

In the 19th century, the artist was seen as a visionary, an exceptional figure, an idol who, through passions and inner struggles, created morally uplifting and beautiful works to inspire audiences. By the early 1800s, slowly fading away was the Age of Enlightenment where intellect, reason and science were valued above all. The precepts of order, harmony and balance were rejected to emphasise the individual, the irrational and the imaginative. Ludwig van Beethoven (1770 – 1827) started it, with his unkempt hair, his temperament, rudeness, slovenliness, and disregard for society and culture. He was the unruly one in a balanced, ordered society, a mad genius whose later music was teeming with dissonances; in it he personified heroes, triumph, a violent tempest, and even ”fate knocking on the door”.1 People were wary of him, yet they very much admired his music. He was looked up to because he had struggled to overcome deafness and the challenges with it, composing great music for posterity. Beethoven was seen as a hero, a true artist who suffered for his art, and the first great Romantic who, in French composer Hector Berlioz’s words, “opened a new world” to them all.2

Our story today begins in Vienna on 11 May 1809, with Beethoven hiding in the cellar of his brother Caspar’s house, ears covered with pillows to protect whatever little hearing he had left. Just the day before, the French army surrounded Vienna, bombed, and captured the city, in retaliation to Austria declaring war on France a month earlier. As that was taking place, Beethoven was working on his fifth piano concerto and a goodbye sonata to his friend the Archduke Rudolph who, with the rest of the Imperial family, fled from Vienna earlier.

Beethoven was against emperors (rather, Napoleon in particular)—and famously known for angrily obliterating the dedication and Napoleon’s name from the title page of his Third Symphony in 1804 when Napoleon proclaimed himself as emperor. Beethoven would have had even more reason to be against Napoleon, whose troops were bombing Vienna as he wrote this concerto. In a letter to his publisher, he described the scene, “What a destructive and disorderly life I see and hear around me, nothing but drums, cannons, human misery in every form.”3

The concerto was completed in August 1810 and sent off to be published with the precise instructions of having “nothing in the title but Grand Concerto dedicated to Hs. Imp. Highness the Archduke Rudolph.”4 Imagine the fury if Beethoven were to find out the nickname it gained!

The Piano Concerto No. 5 in E-flat Major was to be the last one written by Beethoven, and the only one that he did not perform out of the five. His hearing was rapidly deteriorating, and he knew that he was no longer able to play together with an orchestra for an audience. Thus, he made sure he had full control over the concerto by scoring every note out, leaving no opportunity for a soloist to improvise a cadenza. After the inventive opening of the Fourth Piano Concerto where the piano starts off alone before the orchestra enters, Beethoven was thinking of a different, more striking way to begin the Fifth.

A single, majestic E-flat major chord rings out from the orchestra to introduce the Allegro, and suddenly the piano erupts into a flurry of notes, as if a cadenza. These happen two more times, before the orchestra enters properly to present the first two themes. The protagonists in this tale are introduced, the piano and the orchestra; both

1 Schindler, Anton, Biographie von Ludwig van Beethoven, Münster: Aschendorff, 1860.2 Berlioz, Hector, Memoirs, trans. Holmes, Rachel and Holmes, Eleanor. London: Macmillan and Co, 1884.3 Beethoven, Ludwig van, Beethoven’s Letters: A Critical Edition with Explanatory Notes,

trans. Shedlock, J., ed. Kalischer, A. Cambridge: Cambridge University Press, 2014.4 Ibid.

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PROGRAMME NOTES

Symphony No. 4 in E Minor Op.98 by Johannes Brahms

of equal stature and none more important than the other. Spanning the length of approximately 20 minutes and longer than the second and third movement combined, the first movement was continually innovative for its time but retained the logic, balance and sense of proportions of the Classical period such that it was not difficult to follow. Beethoven writes in his signature style, conjuring up tuneful melodies from the simplest of materials—cascades of broken chords, trills and scales—and makes full use of the possibilities of sound one could create on the piano back then. All through the movement, Beethoven builds up the excitement not only with a crescendo, but with dissonance to create tension, and masterfully tempers it with moments of quiet and controlled virtuosity.

The Adagio second movement begins as an almost prayerful hymn by the strings, to which the piano responds with a sweet melody, accompanied by triplets in the left hand that are just as fragile. After a series of trills, Beethoven presents the hymn in two ways: first played by the piano, and then by the orchestra with the piano accompanying, the accompaniment containing the melody but as if a fraction late. The music subsides into stillness, coming to rest on a single note B. By dropping just one semitone to B-flat, Beethoven makes a drastic shift in its character. From the stillness a new theme emerges, tentatively in fragments at first, as if testing out a tune based on an arpeggio, then unleashes itself into a galloping and robust German dance.

The Rondo darts into several keys, with the piano showing off in a quasi-improvisatory fashion but always subtly balanced by the orchestra. Towards the end, the piano pairs up with the timpani to reduce the theme to a stuttering, crawling single repeated note before launching into a final triumphant run. Having had its say, the piano then keeps silent as the orchestra re-states the theme one last time to end off the concerto.

Towards the end of the 19th Century, there was a growing aesthetic rift between Richard Wagner (1813 – 1883) and Johannes Brahms (1833 – 1897), perpetuated partly by their fans. Wagner suggested that since Beethoven pushed the boundaries in the symphonic form, his true successor would make their mark in other genres. He therefore took music into unexplored territory, combining music, drama and opera to form the gesamtkunstwerk, a complete work of art. On the other hand, Brahms felt that the symphonic genre was dying a slow death after it reached its peak with Beethoven; he felt the need to prove that the symphony was still innovative and relevant, and not becoming obsolete.

For the longest time, Brahms composed mostly piano works; he tried and failed multiple times to write a symphony, taking over 20 years in to write his first. In a letter to his friend Hermann Levi in 1872, Brahms lamented “You have no idea how it is for the likes of us to feel the tread of a giant like him behind us!”5 Brahms was of course referring to Beethoven, who, after more than 50 years after his death, left a legacy so great that all other compositions were measured by the yardstick of his works. However, as much as he was struggling to compose his first, the next three came rather quickly in the next few years, each symphony a masterpiece, revealing distinctly different characters.

5 Bozarth, George, “A Modern of the Moderns”: Brahms’s First Symphony in New York and Boston’, in Brahms and his World, ed. Frisch, W., and Karnes, K, Princeton: Princeton University Press, 2009.

6 The description ‘neue traurige symphonie’ is found in a letter to the von Beckeraths on 24 October 1885, quoted in Kalbeck, Max, Johannes Brahms, Vienna: Wiener Verlag, 1904.

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The Symphony No. 4 in E minor, Op. 98 was conceived between 1884 – 1885 in Mürrzuschlag, in the mountains southwest of Vienna where Brahms retreated for the summer. Perhaps the mountainous retreat gave Brahms space and time for soul-searching, because the result was a ”neue traurige Symphonie” (new tragic symphony) that conveyed his world view with profound depth and power, and at the same time, paid homage to harmonic language of Beethoven and the contrapuntal style of the Baroque masters.6 His insecurity about the symphony was expressed in several letters to his friends including conductor Hans von Bülow, who had their reservations about the work before the premiere as well.

The sighing violins that open the Allegro first movement are resigned, searching, and they soon grow into a lament of deep yearning, alternating with a nervous figuration. The falling thirds and rising sixths that begin in the violins pervade the entire movement. These were suggested by musicologists to be a musical symbol for death, and their reappearance in the finale reinforces the idea of the tragic outcome of the symphony.

The Andante moderato shows Brahms off as a master of nostalgia. A horn call, guarded and measured, is later taken up by the winds, the tonality of the music shifting between major and minor modes. A glimpse of warmth is revealed, before the high strings take over and transform the guarded paces into a confident stride. Later, the gentle warm melody returns in the strings, growing into a passionate outpouring as if an antidote to the anguished opening movement.

The Scherzo is upbeat and sprightly, providing relief from the ceaseless seriousness and paying homage to Beethoven in its boisterous energy and unexpected humour. Brahms himself boasted that ‘three kettledrums, triangle, and piccolo will, of course, make something of a show’ in this movement. Somewhere in the middle, the contrast between the thundering low chords and the tiny high voices that chirp in reply show that Brahms can be as much of a joker as Haydn.

If the first movement had allusions to death, the finale is a full-out characterisation of it: composer Hans Gál describes it to be a “merciless horror of a death dance.7 In using the Baroque form of a chaconne, a stately dance where variations in the melody are built upon a short, repetitive bass line, Brahms begins the finale with eight massive chords from Bach’s cantata Nach Dir, Herr, verlanget mich (Near You, O Lord, I long to be). Using the general outline of the sonata form, he builds upon them a movement that defines a world of emotions. From the thirty-two variations, the music is bold and forceful; yearning and quietly eloquent; a constantly evolving drama that becomes increasingly violent and desperate as it races to the end. The conductor Felix Weingartner wrote in 1909 of the conclusion that it “seared with deeply moving tragedy is a veritable orgy of destruction, a frightful counterpart to the paroxysm of joy at the end of the last symphony of Beethoven.”8

The final concert Brahms attended a month before his death was a performance of his own Fourth Symphony by the Vienna Philharmonic. When Brahms, sick with liver cancer, made an appearance, the applause was thunderous. Florence May, his first English-language biographer, recounted: “Tears ran down his cheeks as he stood there shrunken in form, with lined countenance, strained expression […] through the audience there was a feeling as of a stifled sob, for each knew that he was saying farewell. Another outburst of applause and yet another; one more acknowledgment from the master, and Brahms and his Vienna had parted forever.”9

Programme notes by Natalie Ng, Programmer, Esplanade – Theatres on the Bay

7 Gál, Hans, Johannes Brahms: His Work and Personality, trans. Stein, Joseph, New York: Alfred A. Knopf, 1963, p. 175.

8 Weingartner, Felix, “The Symphony Since Beethoven”, in On The Performance of Beethoven’s Symphonies And Other Essays, trans. Schott, H.M., New York: Dover Publications, 1969, p. 276.

9 May, Florence, The Life of Johannes Brahms, Volume 2, London: E. Arnold, 1905, p. 283.

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20190613_SWT_FA_A4_AD_GIFT-A-SEAT.pdf 1 13/6/19 6:04 PM

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20 & 21 May 2020, 7.30PM Victoria Concert HallTickets: $25 - $98

19 Oct 2019, 7.30PM Esplanade Concert Hall

Tickets: $15 - $88

Acclaimed Broadway superstar Lea Salonga brings her unmistakable Tony Award-winning singing back to Esplanade. Lea will be performing songs from Broadway musicals to �lm music, and a few notable Disney favourites with a full band and an 11-piece string ensemble.

2hrs 15mins (including 30min intermission)

I N C O N C E R T

1 9 & 2 0 M A R 2 0 2 0T H U & F R I , 7 . 3 0 P ME S P L A N A D E C O N C E R T H A L L

( P H I L I P P I N E S )

Tickets from Esplanade Box Oce and SISTIC authorised agents. SISTIC hotline: 63485555. Admission age: 6 & above. Ticket prices exclude SISTIC fees. Full ticketing details at www.sistic.com. Terms and conditions apply.

Limited Concessions for students, NSFs and seniors available.

Esplanade&Me Specials Black & White Card: 15% & 10% WWW.ESPLANADE.COM/LEASALONGA

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EsplanadeSingapore#esplanadewww.esplanade.com EsplanadeSGEsplanade is a charity and not-for-pro�t organisation. Help us bring the joy

and inspiration of the arts to different communities, including the underserved.

EsplanadePresents

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20190903_FA_LEA-SALONGA_A4-AD.pdf 4 3/9/19 8:41 AM

20 & 21 May 2020, 7.30PM Victoria Concert HallTickets: $25 - $98

19 Oct 2019, 7.30PM Esplanade Concert Hall

Tickets: $15 - $88

SISTIC hotl ine: 6348 5555. School or group bookings: 6828 8389 or email boxoffice@esplanade.com. Admission age: 6 & above, unless otherwise stated. Ticket prices exclude SISTIC fees. Terms and condit ions apply.

BOOK NOWwww.esplanade.com/spectrum

Purchase a t icket to London Sinfonietta : Schnee and add $10 (U.P. $20) to purchase a t icket to After Hours : Steve Reich ’s Double Sextet by OpusNovus .

“The Sinfonietta blended r igour with the express ive depth in Hans Abrahamsen’s Schnee . " – The Guardian

^Esplanade&Me Specials Black & White Card: 15% & 10%

(2hr , with 20min intermission)

$35^* & $55^Limited concessions for students , NSF and senior cit izens : $25*

Diana Soh Modicum (2018)**Oliver Knussen Songs Without Voices (1992)Hans Abrahamsen Schnee (2008)**Performed by London Sinfonietta together with OpusNovus

Programme

Listen toLondon

Sinfonietta

Scan code onSpotify app

For the first t ime, OpusNovus and London Sinfonietta 's principal c larinett ist Mark van de Wiel get together for this one night only performance.

Steve Reich New York Counterpoint (1985)*Steve Reich Clapping Music (1972)**Steve Reich Double Sextet (2007)***with opening and closing electronic music sets by Theemptybluesky and visual project ions designed by Ryan Benjamin Lee

* Performed by Mark van de Wiel , principal c larinett ist of London Sinfonietta ** Performed by musicians from OpusNovus and London Sinfonietta*** Performed by OpusNovus

Programme

(1hr 30mins , with no intermission)

$20

AFTER HOURS:

STEVE REICH’S DOUBLE SEXTETBY OPUSNOVUS (SINGAPORE)

2 NOV 2019, SAT, 9.30PMESPLANADE ANNEXE STUDIO

SCHNEELONDON SINFONIETTA (UK)

2 NOV 2019 • SAT • 7.30PM ESPLANADE CONCERT HALL

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EsplanadeSingapore#esplanadewww.esplanade.com EsplanadeSGEsplanade is a charity and not-for-pro�t organisation. Help us bring the joy

and inspiration of the arts to different communities, including the underserved.

With support from

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20190903_FA_A4-AD_SCHNEE-AFTERHOURS.pdf 11 3/9/19 8:45 AM

10 Mar 2020, Tue7.30pm

Esplanade Concert Hall

SISTIC hotline: 6348 5555. School or group bookings: 6828 8389 or email boxo�ce@esplanade.com. Admission age: 6 & above, unless otherwise stated. Ticket prices exclude SISTIC fees. Terms and conditions apply.

BOOK NOW!www.esplanade.com/midori

Early Bird Specials for Esplanade&Me cardholders and Staatskapelle Dresden ticket holders available till 3 Nov 2019.

An evening of works by Ludwig van Beethoven

Violin Concerto in D major, Op 61Romance for Violin and Orchestra No.2 in F major, Op 50Romance for Violin and Orchestra No. 1 in G major, Op 40Symphony No. 4 in B-flat major, Op 60

Tickets from $45

MidoriPhoto Credit Timothy Greenfield-Sanders

Leader and Artistic Director, Daniel Dodds SingaporeDebut!

Festival Strings Lucerne

& Festival Strings Lucerne (Switzerland)

Midori (USA)

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