Singapore Symphony Orchestra Feb-Mar 2026

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concerts by the Singapore Symphony with your SG Culture

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There’s something for everyone, including SSO Concerts for Children, SSO Pops and the SSO Christmas Concert. Scan to find out more information

Feb – Mar 2026

Gábor Takács-Nagy & Polina Osetinskaya / Bach and Schumann

Fri & Sat, 13 & 14 Feb 2026

Victoria Concert Hall

Temasek Foundation × SSO Pops: A Musical Box of Chocolates

Fri & Sat, 6 & 7 Mar 2026

Victoria Concert Hall

For the enjoyment of all patrons during the concert:

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Please minimise noises during performance. If unavoidable, wait for a loud section in the music.

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Non-flash photography is allowed only during bows and applause when no performance is taking place.

Go green. Digital programme books are available on www.sso.org.sg.

Photographs and videos will be taken at these events, in which you may appear. These may be published on the SSO’s publicity channels and materials. By attending the event, you consent to the use of these photographs and videos for the foregoing purposes.

Singapore Symphony Orchestra

The orchestra performs over 60 concerts a year, and its versatile repertoire spans alltime favourites and orchestral masterpieces to exciting cutting-edge premieres. Bridging the musical traditions of East and West, Singaporean and Asian musicians and composers are regularly showcased in the concert season. The SSO makes its performing home at the 1,800-seat state-ofthe-art Esplanade Concert Hall. More intimate works, as well as community performances take place at the 673-seat Victoria Concert Hall, the Home of the SSO.

Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene with its 44week calendar of events.

In addition to its subscription series concerts, the orchestra is well-loved for its outdoor and community appearances, and its significant role educating the young people of Singapore through its school programmes. The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings. In 2021, the SSO clinched third place in the prestigious Orchestra of the Year Award by Gramophone. In 2022, BBC Music Magazine named the SSO as one of the 23 best orchestras in the world.

From the 2026/27 season, the SSO will be led by Finnish conductor Hannu Lintu, the fourth Music Director in the orchestra’s history after Choo Hoey (1979–1996), Lan Shui (1997–2019) and Hans Graf (2020–2026).

Beyond Singapore, the SSO has performed in Europe, Asia, Australia and the United States. In the 2024/25 season, the SSO performed to full houses at Asia Orchestra Week in Kyoto, Japan, and made its “dazzling – and true-blue – Down Under debut” (Limelight) in Sydney, Melbourne and Brisbane. In May 2016, the SSO was invited to perform at the Dresden Music Festival and the Prague Spring International Music Festival. This successful five-city tour of Germany and Prague also included the SSO’s second performance at the Berlin Philharmonie. In 2014, the SSO’s debut at the 120th BBC Proms in London received praise in major UK newspapers The Guardian and The Telegraph. The SSO has also performed in China on multiple occasions.

The SSO has released more than 50 recordings, with over 30 on the BIS label. Recent critically acclaimed albums include A Hero’s Life (OUR Recordings), Symbiosis - Tribute to Bill Evans (Pentatone) and a complete Mozart Violin Concerto cycle with Singaporean violinist Chloe Chua conducted by Hans Graf (Pentatone). The SSO also leads the revival and recording of significant works such as Kozłowski’s Requiem and violin concertos by Robert Russell Bennett and Vernon Duke.

The SSO has collaborated with such great artists as Vladimir Ashkenazy, Gustavo Dudamel, Charles Dutoit, Joe Hisaishi, Neeme Järvi, Lorin Maazel, Martha Argerich, Diana Damrau, Janine Jansen, Leonidas Kavakos, Lang Lang, Yo-Yo Ma, Mischa Maisky, Gil Shaham, Daniil Trifonov and Krystian Zimerman.

The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, the Singapore National Youth Orchestra, the Singapore International Piano Festival and the biennial National Piano & Violin Competition.

The Group’s vision is to be a leading arts organization that engages, inspires and reflects Singapore through musical excellence. Our mission is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities.

The Orchestra

Second Violin

Sayuri Kuru Associate Principal

Nikolai Koval*

Hai-Won Kwok

Renyu Martin Peh^

Margit Saur

Shao Tao Tao

Wu Man Yun*

Xu Jueyi*

Yin Shu Zhan*

Zhao Tian

Hans Graf

Quantedge Music Director

Rodolfo Barráez

Associate Conductor

Lan Shui

Conductor Laureate

Eudenice Palaruan Choral Director

Wong Lai Foon Choirmaster

Ellissa Sayampanathan

Assistant Choral Conductor

First Violin

(Position vacant) Concertmaster, GK Goh Chair

David Coucheron Co-Principal Guest Concertmaster

Kevin Lin Co-Principal Guest Concertmaster

Chan Yoong-Han1 Assistant Principal

Cao Can*

Duan Yu Ling

Foo Say Ming

Jin Li

Kong Xianlong

Cindy Lee

Karen Tan

William Tan

Wei Zhe

Ye Lin*

Zhang Si Jing

Viola

Manchin Zhang Principal, Tan Jiew Cheng Chair

Guan Qi Associate Principal

Gu Bing Jie* Assistant Principal

Chen Li

Marietta Ku

Luo Biao

Julia Park

Shui Bing

Janice Tsai

Dandan Wang

Yang Shi Li

Cello

Ng Pei-Sian Principal, The HEAD Foundation Chair

Yu Jing Associate Principal

Guo Hao Assistant Principal

Chan Wei Shing

Christopher Mui

Jamshid Saydikarimov

Song Woon Teng

Wang Yan

Wu Dai Dai

Zhao Yu Er

Double Bass

Yang Zheng Yi Acting Principal

Karen Yeo Assistant Principal

Po-Yu Fang

Victor Lee

Jacek Mirucki

Wang Xu

Flute

Jin Ta Principal, Stephen Riady Chair

Evgueni Brokmiller Associate Principal

Roberto Alvarez

Miao Shanshan

Piccolo

Roberto Alvarez Assistant Principal

Oboe

Rachel Walker Principal

Pan Yun Associate Principal

Simon Emes^

Carolyn Hollier

Elaine Yeo

Cor Anglais

Elaine Yeo Associate Principal

Clarinet

Ma Yue Principal

Li Xin Associate Principal

Liu Yoko

Tang Xiao Ping

Bass Clarinet

Tang Xiao Ping Assistant Principal

Bassoon

Guo Siping Principal

Liu Chang Associate Principal

Christoph Wichert

Zhao Ying Xue

Contrabassoon

Zhao Ying Xue Assistant Principal

Horn

Austin Larson Principal

Gao Jian Associate Principal

Jamie Hersch Associate Principal

Marc-Antoine Robillard Associate Principal

Bryan Chong

Hoang Van Hoc

Trumpet

Jon Paul Dante Principal

David Smith Associate Principal

Lau Wen Rong

Nuttakamon Supattranont

Trombone

Allen Meek Principal

Damian Patti Associate Principal

Samuel Armstrong

Bass Trombone

Wang Wei Assistant Principal

Tuba

Tomoki Natsume Principal

Timpani

Christian Schiøler Principal

Mario Choo

Percussion

Jonathan Fox Principal

Mark Suter Associate Principal

Mario Choo

Lim Meng Keh

Harp

Gulnara Mashurova Principal

With deep appreciation to the Rin Collection for their generous loan of string instruments. Musician on annual contract.

Chan Yoong-Han performs on a David Tecchler, Fecit Roma An. D. 1700, courtesy of Mr G K Goh. Musicians listed alphabetically by family name rotate their seats on a per programme basis.

Guest Musicians

Gábor Takács-Nagy & Polina Osetinskaya / Bach and Schumann

13 & 14 Feb 2026

First Violin

Sulki Yu Guest Concertmaster

Ikuko Takahashi

Yew Shan

Second Violin

Markus Gundermann Guest Principal

Temasek Foundation × SSO Pops: A Musical Box of Chocolates

6 & 7 Mar 2026

First Violin

Seow Jin Chong

Syu Cheng-Yi

Second Violin

Bobur Eshpulatov

Ikuko Takahashi

Cello

James Ng

Horn

Eric Yen

Percussion

Tan Pei Jie

Julia Tan

Tuba

Tatsuki Yoshino

Piano/Celesta

Aya Sakou

Gábor Takács-Nagy

conductor

Born in Budapest, Gábor Takács-Nagy is considered one of today’s most authentic exponents of Hungarian music and was awarded the Liszt Prize in 1982, and in 2017, the prestigious Béla Bartók-Ditta Pásztory Prize. In March 2021, he received the Érdemes Művész award for Artist of Merit, presented to artists of long service in Hungarian national culture, and in December 2021, the Prima Primissima Prize, reserved for artists, athletes, and representatives of scientific life. In March 2024, he received the prestigious Kossuth Prize which acknowledges outstanding achievements in the fields of culture and the arts.

From 1975 to 1992, he was founding member and leader of the acclaimed Takács Quartet. In 1996, he founded the Takács Piano Trio and in 1998, established the Mikrokosmos Quartet. In 2003, Gábor Takács-Nagy turned to conducting, and became Music Director of the Verbier Festival Chamber Orchestra in 2007. In September 2011, he was appointed Music Director of the Manchester Camerata, one of the UK’s leading chamber orchestras, and is Principal Guest Conductor of the Budapest Festival Orchestra since September 2012. Since June 2024, he is Artistic Partner of the Saint Paul Chamber Orchestra. He was awarded honorary membership of the Royal Academy of Music in London in June 2012.

In June 2023, the live recordings of the nine Beethoven Symphonies conducted by Gábor Takács-Nagy, with the Verbier Festival Chamber Orchestra, was released by Deutsche Grammophon.

Takács-Nagy & Polina Osetinskaya / Bach and Schumann | 13 & 14 Feb 2026

In season 2025/26, Polina Osetinskaya is making a number of her solo debuts in Europe (Danish National Philharmonic Orchestra, conductor Kirill Petrenko) recital, chamber and orchestral appearances in the USA and returns to Singapore with Bach’s concerts, to Madrid with Rachmaninoff and to Baltic countries with the musical performance “An Unknown Friend”.

Osetinskaya has performed at Berlin Philharmonic, Vienna’s Musikverein and Concerthaus, London’s Barbican Centre, Salzburg Festspiele, Carnegie hall, Sydney Opera house, as well as in Italy, Germany, Switzerland, Slovakia, Poland, USA, Russia and Israel.

She has appeared with musicAeterna, Mariinsky Orchestra, Tokyo Philharmonic Orchestra, Brno Philharmonic Orchestra, Slovak Philharmonic Orchestra among others. Onstage partners have included Teodor Currentzis, David Russell Davies, Laurent Petitgirard, Vladimir Spivakov, Andrey Boreyko, Yan Pascal Tortelier.

Osetinskaya released her new album of music of Giya Kancheli, Valentin Silvestrov and Arvo Párt in November 2024 with label Aparte, and has also released a number of recordings with the Quartz, Naxos, Sony Music, Bel Air and Melodiya labels.

She is also an author of a bestseller autobiography book “Farewell, sadness”.

Polina Osetinskaya piano

Jason Lai conductor

Jason Lai is Principal Conductor at the Yong Siew Toh Conservatory and former Associate Conductor of the Singapore Symphony Orchestra and Hong Kong Sinfonietta. Since arriving in Singapore in 2010, he has been a prominent figure in the local music scene while maintaining an international presence, giving masterclasses in Europe and China and guest-conducting orchestras including the BBC Symphony Orchestra, London Symphony Orchestra, Hong Kong Philharmonic, Adelaide Symphony Orchestra, and Osaka Symphony.

Passionate about broadening classical music’s appeal, Jason has become a renowned communicator through television. His BBC appearances include judging BBC Young Musician of the Year and Classical Star, mentoring celebrities in Maestro, and featuring in How a Choir Works, The Culture Show, and CBBC’s Clash. In Singapore, he has presented and conducted for Mediacorp’s Project Symphony, Sing to Remember, and Nudge, as well as BBC’s Heart of Asia and Tales from Modern China.

Born in the UK and raised in Hong Kong, Jason studied cello at Chetham’s School of Music, then cello and composition at Oxford University, and conducting at Guildhall School of Music and Drama, where he received a Fellowship in Conducting. He toured as a cellist with the Allegri String Quartet and won the BBC Young Conductors Workshop in 2002, later serving as Assistant Conductor to the BBC Philharmonic and Associate Conductor of the Hong Kong Sinfonietta.

In Singapore, Jason champions education and outreach, training the next generation of conductors at Yong Siew Toh Conservatory and leading SSO programs that introduce classical music to new audiences through children’s concerts, school collaborations, and community initiatives.

Born in Osaka, Japan, Tomoki Natsume graduated with a Bachelor of Economics from Kwansei Gakuin University in 2015, before beginning his music studies with Anne Jelle Visser at the Zurich University of the Arts in 2016. He completed both Bachelor’s and Master’s degrees in music at the Zurich University of the Arts. From 2018 to 2020, he was a recipient of the Yamaha Music Foundation Scholarship.

During his studies, Natsume participated in several orchestra academies and festivals, including the Asian Youth Orchestra, Lucerne Festival Academy, Verbier Festival Junior Orchestra, Schleswig-Holstein Musik Festival Orchestra, and the Pacific Music Festival.

He joined the Singapore Symphony Orchestra as Principal Tuba in February 2020. He has also appeared as a guest performer with orchestras such as the Tonhalle-Orchester Zürich, National Symphony Orchestra Taiwan, and Collegium Winterthur, among others.

As a soloist, Natsume was a finalist at the Città di Porcia Tuba Competition in 2016, won Second Prize at the Tchaikovsky Conservatory Tuba Competition in 2017, and received Third Prize at the Japan Wind and Percussion Competition in 2019.

In addition to his performing activities, he serves as an Adjunct Lecturer of Tuba at the Nanyang Academy of Fine Arts in Singapore.

Tomoki Natsume tuba

Gábor Takács-Nagy & Polina Osetinskaya / Bach and Schumann

Fri & Sat, 13 & 14 Feb 2026

Victoria Concert Hall

Singapore Symphony Orchestra

Gábor Takács-Nagy conductor

Polina Osetinskaya piano*

Sulki Yu concertmaster

J.S. Bach

Concerto No. 5 in F minor, BWV 1056* 10 mins

J.S. Bach

Concerto No. 1 in D minor, BWV 1052* 24 mins

Intermission

20 mins

Schumann

Symphony No. 2 in C major, Op. 61

38 mins

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

Concert Duration: approximately 1 hr 50 mins (including 20 mins intermission)

“The SSO is indeed a fitting legacy of Goh’s efforts which forever transformed the nation’s artistic and cultural scene. All of us who now enjoy the music of the SSO and the vibrant cultural life of Singapore owe an immense debt to Goh Keng Swee, who understood from the very beginning that economic strength must be balanced by cultural wealth for a nation to be truly whole.”

Studying the rich history of the SSO inevitably draws one to the important role played by our founding patron, Dr Goh Keng Swee.

In 1977, when Dr Goh was Deputy Prime Minister, he championed setting up a professional symphony orchestra in Singapore. For a nation to truly be whole, Dr Goh understood from the very beginning that economic power had to be balanced by cultural wealth.1 The Singapore Symphonia Company Limited was formed, and the SSO held its inaugural concert with just over 40 musicians taking the stage in January 1979. One year later, the SSO moved into the Victoria Concert Hall, which was leased to the SSO for 99 years as its home.

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

The SSO has achieved much international acclaim and is an integral part of Singapore’s artistic identity and landscape today. For this, and for much else, we have Dr Goh Keng Swee’s vision and determination to thank.

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

Johann Sebastian Bach

Concerto No. 5 in F minor, BWV 1056 (c. 1738)

Allegro Largo Presto I II III

The Concerto in F minor, BWV 1056 originally began life as a violin or oboe concerto (unfortunately now lost), written in the 1737–1739 period either when he was in Cöthen or Leipzig, and is in the Venetian style of Vivaldi.

Bach often arranged concerti by Vivaldi into versions for harpsichord(s) and orchestra. His avid study of Vivaldi’s quirks may be seen in 1685 – 1750

the opening Allegro, where the soloist breaks away for short solos during the tutti ritornelli, and in how the soloist’s line is mostly in triplets set against the ensemble playing in straight two-four time, giving an impression of irrepressible momentum.

The exquisitely serene Largo, with its expressive excursions into minor keys, is a piece that has appeared before for solo oboe and orchestra as the opening sinfonia of his cantata Ich steh mit einem Fuß im Grabe, BWV 156. The opening notes of the movement are virtually identical to those of the Andante from Telemann’s Flute Concerto in G major, TWV 51:G2 – Bach may have intended the quotation as a tribute to his friend Telemann.

A turbulent Presto forms the final movement, flying forward in a wild joyride with Italianate fire in its sharp contours and dramatic sudden pauses. Its energy finds release in occasional echo effects that remind the listener of the “echo chorus” in the fourth part of Bach’s Christmas Oratorio, BWV 248—though here one might imagine a chorus of concerned angels going “oh my” as our vehicle goes through a distinctly bumpy and twisting journey before we arrive at our destination, marvelling at Bach’s wit and humour.

Before Bach, the harpsichord was not much thought of as a solo instrument for concerti— even Vivaldi who wrote concerti for nearly

Gábor Takács-Nagy & Polina Osetinskaya / Bach and Schumann

every conceivable instrument (including 39 for bassoon!) did not. With this set of six concerti, Bach essentially invented and established the keyboard concerto, a genre that the piano will inherit to magnificent results.

Instrumentation

solo piano, strings

First performed by SSO 3 Nov 2023

| 13 & 14 Feb 2026

Johann Sebastian Bach

1685 – 1750

Concerto No. 1 in D minor, BWV 1052 (c. 1738)

Allegro Adagio Allegro I II III

Recycling and upcycling are concepts en vogue now but have always been an important part of sustainability – even J.S. Bach practised it! For centuries, music students have learned composition by imitation—from harmonising melodies in the style of a particular composer, to producing variations on prior themes, to rearrangements of entire works. Just as students now are tasked to complete passages ‘in the style of J.S. Bach’, in Bach’s time students would be made to study the music of Renaissance masters such as Palestrina and then write imitative counterpoint in that style based on one or two lines of music. With this rich primordial soup of musical DNA fragments swimming about their brains, it is hardly surprising that themes and snippets (whether from their own works or someone else’s) were reused, perhaps even subconsciously, in the creation of new pieces.

The Concerto in D minor, BWV 1052 was thought by scholars for a long time to have been a reworking of a now-lost violin concerto, perhaps composed during his Weimar or Cöthen stints, based on the virtuosic figurations in the solo part, which lend themselves to violin performance. However, in the present century, scholars have favoured the theory that the original was an organ concerto composed early in Bach’s Leipzig period. Part of a set of six concerti (BWV 1052—1057) for keyboard, strings, and basso continuo, dating from Bach’s Leipzig years, a good chunk of the concerti

appears to be reworkings of earlier material. At any rate, whatever its origins, its scale is monumental for its time—each movement takes about seven minutes to perform—and the harpsichord concerti was a genre not much explored then. Bach was not only upcycling, but building on a scale unseen before in a newish genre, reminding us that in his time he was an innovator.

The first Allegro starts with a distinctly angular theme, in Vivaldian manner, with the upper strings in unison (as they will be in ritornelli) before the solo keyboard enters and adds to the sense of unease and tension amidst the flowing strings. Directly based on Bach’s opening Sinfonia for his cantata Wir müssen durch viel Trübsal, BWV 146, the movement features bursts of rapid figuration and much drama in its crunchy harmonies above repeated D octaves, before some more sparkly fireworks and a closing ritornello.

The Adagio is also taken from BWV 146 mentioned earlier. The opening theme becomes a bass line once the solo enters, but continues throughout, a very Vivaldian touch. Essentially a movement for a very improvisatory sounding keyboard and bass, apart from the punctuation-like ritornelli, the strings function as little more than a resonator for the melody.

Gábor Takács-Nagy & Polina Osetinskaya / Bach and Schumann

The closing Allegro is directly based on the opening Sinfonia for his cantata Ich habe meine Zuversicht, BWV 188 and Bach leads us on an exploratory adventure around the full compass of the keyboard as he knew it.

Instrumentation solo piano, strings

Robert Schumann

1810 – 1856

Symphony No. 2 in C major, Op. 61 (1845)

Allegro molto vivace I II III IV

Sostenuto assai. Allegro ma non troppo

Scherzo. Allegro vivace

Adagio expressivo

Behind every successful man there is a strong woman, or so the saying goes. In the German composer Robert Schumann’s case, it was his wife Clara Schumann née Wieck, herself a composer of note and one of the finest pianists of her time. Before marriage in 1840, he had composed only for the piano and voice, but afterwards, encouraged by Clara, he jumped into symphonic creation.

Toward the end of 1845, Schumann had just recovered from a mental breakdown and, on doctor’s orders, moved from Leipzig to Dresden, where it was hoped the drier climate and quieter, more conservative scene would be good for him. In the previous year, he had confided to Mendelssohn that he heard drums and trumpets in his mind, but at Dresden he recovered sufficiently to resume composition. While Schumann sketched the Symphony in C major, Op. 61, in a fortnight, the demons of self-doubt, tinnitus, dementia, and bad health slowed him so much that it took nearly a year to be properly fleshed out.

The symphony opens with a string theme almost like a Bach chorale (no doubt Schumann had been influenced by his time in Leipzig where Bach lived and worked), before the “drums and trumpet” appear — was Schumann perhaps trying to exorcise his demons by giving them musical form? The entire first movement is full of stormy emotion

without respite. The scherzo that follows is tight and driven, sprightly as if manically full of busy activity cleaning up after the storm in the previous movement.

Peace and stillness reign in the delicate third movement, with strings and oboe giving us breathtakingly beautiful themes (including a

quotation from Bach). Writing this movement exhausted Schumann such that he had a nervous seizure and took a break, unable to write further, but his strength came back in time for the optimistic finale, affirming his health and determination. Unfortunately, this improvement was temporary — following years were to see the darkness close in and after a number of suicide attempts he entered a mental asylum in 1853, where he remained till his death.

“We are all in the gutter, but some of us are looking at the stars.”

- Lady Windermere’s Fan by Oscar Wilde.

The finale leads us meanderingly from darkness into light, giving us along the way snippets from Mozart’s Magic Flute and even the song Schumann dedicated to Clara on their wedding day. Indeed, the entire symphony is full of coded messages, ciphers (such as B-A-C-H), and short quotations from earlier works by Bach, Beethoven, Mozart, Schubert, and even Schumann himself — he really was using every weapon in his arsenal to fight the inner demons. The result is a heroic and uplifting work that betrays none of the circumstances of its composition. As one of Oscar Wilde’s characters said, “we are all in the gutter, but some of us are looking at the stars.”

Instrumentation

2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, strings

World Premiere

5 Nov 1846, Leipzig

First performed by SSO 26 Oct 1984

Notes by Edward C. Yong | A writer, editor, and teacher of dead languages, Edward plays lute and early guitars, sings bass, and runs an early music group. Like his dog, he is very much food-motivated.

Temasek Foundation × SSO Pops: A Musical Box

of Chocolates

Fri & Sat, 6 & 7 Mar 2026

Victoria Concert Hall

Singapore Symphony Orchestra

Jason Lai conductor

Tomoki Natsume tuba*

Chan Yoong-Han concertmaster

Presented by

Post-Concert Survey (7 Mar only)

To help us improve your concert experience, we invite you to participate in our survey. After the concert, be the first 80 to show proof of survey completion at the atrium, level 1, to receive a gift.

Check-in to tonight’s concert

Scan this QR code with the Singapore Symphony Mobile App.

For the numerous film scores that he composed, Alan Silvestri’s first and to date, only Best Score Oscar Nomination is for the 1994 film, Forrest Gump. A kind-hearted and simple-minded protagonist, Forrest himself narrates the story as he sits on a bus stop bench, recounting his incredible life to a series of strangers, blissfully unaware that he was involved in and influenced numerous historical events in 20th Century USA. Silvestri’s score powerfully represents Forrest’s simplistic worldview through direct emotions of love, exhilaration or sadness.

Tim Burton and Danny Elfman, Steven Spielberg and John Williams: Some filmmakers have cultivated enduring, mutually enriching relationships with composers over decades; Japanese animation master Hayao Miyazaki and composer Joe Hisaishi are one such pair, their works going one step further to retain the integrity of Japanese culture that both are from. Hisaishi’s film music blends styles of minimalism, Japanese folk and Western classical to create fully immersive soundscapes around specific emotions. For the period epic Princess Mononoke that embodied the conflict between humanity and nature, Hisaishi said that “an early word Miyazaki-san mentioned was tension, as in an arrow’s tension”, adding that this inspired him to write a piece that “eventually became the title theme”, The Legend of Ashitaka

American composer-conductor Bruce Broughton’s extensive career includes award-winning compositions for films, television, video game scores. Throughout the years he has won 10 Emmys for his television scores, as well as an Oscar nomination and a Grammy nomination for his film scores. He is also credited for conducting the 1994 version of the 20th

Century Fox fanfare and composing the first orchestral video game music (Heart of Darkness) in 1998.

The music of Young Sherlock Holmes, composed and conducted by Broughton in 1985, earned him a Grammy nomination. Using eastern-influenced scales, harmonies, plucked strings and the flute/piccolo solos, Broughton evokes a sense of adventure and oriental mysticism right from the music of the Main Title.

Besides his work with Hollywood, Broughton also composed a distinguished body of concert music ranging from chamber to orchestral works, and seems most comfortable writing for wind and brass instruments. His Tuba Concerto, originally conceived as a sonata, is set in three movements each showcasing a different aspect of virtuosity for the tuba. The concerto was written for the Hollywood studio tubist Tommy Johnson, who was notably the shark in John Williams’s Jaws score, among 2,000 other film soundtracks.

In the first three Harry Potter films, John Williams had set the foundation, composing motifs for characters and weaving these together in a Wagnerian-like tapestry when the characters interacted. When Scottish composer Patrick Doyle took over the reins for The Goblet of Fire, he moved away from Williams’s style, focusing instead on the emotional tone of the scenes. The iconic Hedwig’s Theme was used sparingly and only at pivotal moments. Harry in Winter was a significant track, where Harry’s emotional journey amidst the Triwizard Tournament is matched by the melancholic and romantic melody in the strings. Doyle also brought a distinctly British sensibility to the whole film score, these shine through especially in the

Potter Waltz, the Irish theme of The Quidditch World Cup, and the Hogwarts’ Hymn.

Ravel’s Ma mère l’Oye (Mother Goose) suite was inspired by scenes from tales collected by Charles Perralt in the 1600s; the stories include Tom Thumb, Sleeping Beauty, and Beauty and the Beast. The suite was originally composed as a piano duet work in 19081910 for Mimi and Jean Godebski (whose parents Ravel dedicated Sonatine to) and later orchestrated in 1912. Ravel makes use of various orchestral timbres and exotic scales to create the fantasy worlds for the tales. Pavane de la belle au bois dormant (“Pavane of the Sleeping Beauty in the Woods”) is a stately, slow dance of Spanish origin. Laideronette, impératrice des pagodes (“Laideronette, Empress of the Pagodas”) tells the tale of a beautiful princess cursed to be ugly by a wicked witch. She wanders around with her only companion, a green serpent, and is shipwrecked on a country inhabited by tiny porcelain people called pagodes. The music makes use of the pentatonic scale and oriental harmonies found in Chinese music. Finally, Le Jardin féerique (“The Enchanted Garden”) is not based on any particular fairytale, but seems to be a celebratory conclusion to the suite, depicting a miraculous garden full of wonder, sparkling fireworks and splendour.

In 1847, after several years of planning and building, the Danes had their first railway line from Copenhagen to Roskilde. Having a railway was a gamechanger that drastically cut travel/ freight times, connected markets, boosted trade, facilitated Denmark’s population growth, and marked Denmark’s modernisation and entry into the industrial age. Hans Christian Lumbye’s Copenhagen Steam Railway Galop, written in celebration of the railway opening, features the sounds of a locomotive chugging

out from a station, and finally grinding to a halt at the Roskilde station.

Lumbye was so popular throughout all of Denmark, that the Danes considered Johann Strauss II to be the “Lumbye of the South”. Like Lumbye, Johann Strauss II also composed a polka inspired by the opening of the Austrian Southern Railway in 1864. Strauss II’s life is the stuff of movies: defying his parents to pick a career as a musician, multiple affairs with women before falling in love with the mistress of a baron who was seven years older than him. He elevated the waltz from mere dance music to the concert hall stage, composed works for royalty, and has been the undisputed waltz king ever since. The Emperor Waltz was written for the crowning of Franz Joseph I, Emperor of Austria, as well as to mark his friendship with the German Emperor, Wilhelm II. As such, Strauss combines a Prussian march introduction with a Viennese waltz in the music, resulting in a lilting, march-like waltz filled with memorable tunes.

a music history geek who plays music, dances to music, and tells stories about composers and their

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For more information, visit www.temasekfoundation.org.sg

To Our Donor Patrons

We would like to express our deepest appreciation to the following individuals and organisations who support our mission to create memorable shared experiences with music in the past year. Without your support, it would be impossible for the SSO to continue to strive for artistic excellence and touch the hearts of audiences.

PATRON SPONSOR

Tote Board Group

(Tote Board, Singapore Pools & Singapore Turf Club)

MAESTRO CIRCLE

Mr & Mrs Goh Yew Lin

Stephen Riady Foundation

Temasek Foundation

The HEAD Foundation

Anonymous

CONCERTMASTER CIRCLE

Andreas & Doris Sohmen-Pao

Bowen Enterprises Pte Ltd

Christopher & Rosy Ho

DBS Bank Ltd

Dr & Mrs Antoine & Christina Firmenich

Mind the Gap 200 Fund

Anonymous (2)

S YMPHONY CIRCLE

Christopher Fussner

De Miguel Solaguren Family

Dr Thomas & Mrs Mary Zuellig

Jacqueline Yeh

Kris Foundation

Madeleine Cheok & Wong Hong Ching

Ms Paige Parker & Mr Jim Rogers

Anonymous (2)

CONCERTO CIRCLE

Andy, Raymond, Bubble & Breton Tan

Bernard Ryan & Michael Rowe

Cara & Tamara Chang

Colin Lee

Dr Geh Min

Elaine and Eduardo Saverin Foundation Ltd

Eva & Nilay Patel

Far East Organization

Frans & Marie-Pierre Mol

Geoffrey & Ai Ai Wong

Geraldine Choong & Dennis Au

Holywell Foundation Limited

Kenneth Kwok

Mavis Lim Geck Chin

Miriam & Merle Hinrich

Neo Group Limited

Patek Philippe Southeast Asia

Prof Chan Heng Chee

Robert & Vivian Chandran

UOB

Yong Ying-I

OVERTURE PATR ONS

Alan Chan

Anthony & Chloe Tan from ACE Team Foundation

Azeeza Aziz Khan

BinjaiTree

Blossom Hing

Cavazos Tinajero Family

Chloe Lee En Yi & Family

Colin & Janet Leong

Devika & Sanjiv Misra

Dorian Goh & Rathi Ho

Dr Karen Soh

Dr Kevin T Yap

Dr Kieron Lim

Embassy of France in Singapore

Farhana Sharmeen

Geraldine Lim & Lim Him Chuan

Guy Hentsch & Geoffrey Yu

Hastens

Hong Leong Foundation

Indosuez Wealth Management

JCCI Singapore Foundation

John & Eliza Bittleston

Jonathan Stona

Joy & Han Li Toh

Kevin & Carrie Burke

Krishnan Family

Kris Foundation - Ms Lim Kang Ning

Leong Wai Leng

LGT Bank (Singapore) Ltd

Lito & Kim Camacho

LOY Contemporary Art Gallery

Marina Bay Sands

Martin Siah & Wendy Long

Mr & Mrs Choo Chiau Beng

Mr & Mrs Mak Hoe Kit

Mr Xu & Mrs Cairong Ren

Mrs Hemal & Mr Paritosh Thakore

MTM Skincare Pte Ltd

NSL LTD

Paul & Lena Ng

PCS Pte Ltd

Poh Khim Hong

Prima Limited

Priscylla Shaw

Prof Gralf & Silvia Sieghold

Sameer Sain

Tan Meng Cheng Ivan

The Anjuman & Aziz Charitable Trust

Tony & Melanie Chew

Tower Capital Asia

V3 Wellness Pte Ltd

Vanessa & Darren Iloste

Watson Farley & Williams LLP

ZDR Investments

Anonymous (5)

SERENADE PATRONS

Aadarsh Baijal

Anthony Tay

Bloomberg Singapore Pte Ltd

Chuin Wei Yap

Dr & Mrs Choy Khai Meng

Dr June & Peter Sheren

D-Y Lin

Francoise Mei

G L Wee

Goh Swee Chen

Grace Fu

Hartley & Hong Lynn Clay

Isaiah & Suwei

Jesher Loi

Jocelyn Kum

RHAPSODY PATRONS

Adrian TL Chua

Aileen Tang

Ang Jian Zhong

Belinda Koh

Benedict Teo

Benito Ting

Benjamin Ma

Bettina Lieske

Chan Ah Khim

Charles Robertson

Charmaine Lim

Cheng Eng Aun

Choo Lim

Clara Lim-Tan

Claudia & Henning Figge

David Chan & Sarah Chan

David Leung

Dr Jade Kua

John & Pauline Foo

Kenneth Kan

Keppel

Kim Hae Hyun & Heo Soomin

Kris Wiluan

Lai Siu Chiu

Lau Leok Yee

Lee Ming San

Lee Yeow Wee David

Liwen & Steven Holmes

Lorinne Kon

Madeleine Lee

Maisy Koh

Marcelo V Achoa & Silvia Bordoni Meng

Michael Brenninkmeijer

Mr & Mrs Ong Kong Hong

Nicole & Edoardo Prina

Paterson Lau & Pauline Tan

Pierre Colignon

Prof Arnoud De Meyer

Prof Cham Tao Soon

Tan Wan Chi

Tantallon Capital Advisors

Pte Ltd

The Linh Tinh Family

Wayne & Kim Giap Khoo

Anonymous (4)

Dr Peter Chew

Dr Victor Lim

Evelyn Chin

Faith Chia

Gin & Doug

Hwang Chih Ming

Ian & Freda Rickword

In memory of Timothy Kok Tse En

Jeanne Lee

Jennifer & Alexander Chan

Jennifer Lee

Jenny Zhu Huimin

Jerry Gwee

Jinny Wong

Julian & Jane Tan

Julien Brousseau

Kasch Kimmy Kimberly

Kirk Tay

Kok Leong Lim

Lee Hyunsun

Natalia & Alex Galinovskii

Patricia Lim

Sam & Claire Loh

SC & WY Leong

Singapore Pools (Private) Limited

Suzanne Lim

Tang See Chim

Valerie Thean

Warburg Pincus Singapore Pte Ltd

Winston & Valerie Kwek

Winston Hauw

Wong Yan Lei Grace

Xinyi Ong

Anonymous (7)

PRELUDE PATRONS

A T Teo

A.R.

Adeline Ang

Adi F & Hui Shi

Akihiro Nemoto

Alexey Filimonov

Alwyn Loy Suan Mao

Andrew Cheong

Ang Seow Long

April Mak

Aw Jia Yu

Brenda Ang

Bryan Carmichael

Casey Tan Khai Hee

Chang Chee Pey

Chen H W

Chong David

Chong Mi-Li Pamela

Chong Sien Thye Albert

Chong, Wai Ying Ruby

Christopher Chen Li Hsian

Cindy

Claire & Ian Jones

Clarissa Chow

Colin Lang

Cynthia Chee

D Cheong

D.N.C.H

Daniel Yong

DCP

Debby Lim

Deborah Chee

Deepa Chatrath

Denis Tenchurin

Derek Lim HK

Dr & Mrs Winson Lay

Dr Anne-Marie Schleich

Dr Chong Shin Min

Dr Kong Tze Yean & Cristina Prado

Dr Lien Boon Hua

Dr Norman Lee

Dr Rebecca Dent & Dr Greg Jakubowski

Dr Tan Lay Kok

Dr Teo Kien Boon

Dr Wong Hin Yan

Dr Yap Zhu Li

Edith & Sean Lim

Emma Lexi Ng

Ernest Khoo

Esther Fang

Gan Chee Yen

Ghislain Olagne

Giles Tan Ming Yee

Goh Chiu Gak

Goh Jun Yi

Heinrich Grafe

Henry & Tiffany

Herman Felani MY

Ho Jun Yi & Family

In loving memory of Jasper Irina Piano

Janek Schergen

Jason & Jennifer Chew

Jay Ganapathy

Jeanie Cheah

Jean-Pierre Felenbok

Jessica Cheam

Jiang Wenzhu

Joanne Lim

Johannes Yap & Family

Joseph Wolpin

Joseph Yoong

K Goh & Family

Kadir Satar

Kelvin Ho

Kelvin Wong

Khoo Ken Hui

Khor Cheng Kian

Kianyew

Koh Ruizhi

Lele Chen & Hans Yeh

Leonard Augustine Choo

Li Danqi & Liu Yi

Lily Low

Lim Boon Kong Andrew

Lim Shue Churn

Lim Yin Yin, Jaime

Lim Yuin Wen

Lisa Lee

Low Boon Hon

Maggie Dong

Manski-Nankervis Jo-Anne Elizabeth

Marcel & Melissa Xu

Marcel Smit & Hanneke Verbeek

Marian Goh

Mark Cranfield

Maxim Yanchenko

Michael & Katherin Puhaindran

Michelle & Eric Anziani

Michelle Loh

Michelle Tan & Soo Yixin

Min Tan

Minwei

Mr & Mrs Jeremy Ee

Mr & Mrs Kevin

msm-productions

Naserah Tyebally

Ng Shien

Ngiam Shih Chun

Nguyen Quoc Khanh & Vu Phuong Nhi

Nicolas Pascale Rouveyre

Nicole Ng

Nicole Padilla & Sebastian Sohn

Nishioka Hiroyuki

Nurture With Love Suzuki Music School

Ong Chee Siong

Ong Wee Shiang

Parthesh Gulawani

Patrick Lee

Pauline Ang

Prof Goh Suat Hong

Prof Gungwu Wang

Richard Hartung

Robert Khan & Co Pte Ltd

Ronald & Janet Stride

Sandra Tsao

Sangeeta Razu

See Chai Geok

Serene Yeo

Shamim Chowdhury

Shermin Teh

Siveraman K Pillai

Soh Leng Wan

SY Lee

Sylvie Gleises

Tan Kok Huan

Tan Yi Bin

Teo Eng Chai

Teo Wee Poh

The McCann Family

Tiffany Choong & Shang Thong Kai

Timothy Leong

Ting Tay

Tom Szetu

TseTsean

Tsou Lei Shirley

Victor Huang Kuan Kai

Viktor & Sonja Leendertz

Virna Machado-Ashish Goyal

Vivien Goh

Voon S Leong

Wang Lei & Gao Bo

Wang Pei Zhong

Wendy Leong Marnyi

Wennie Wong

Wicky Wong

Wong Lai Foon

Xiao Li

Xu Yixin

Yang Tian

YC Chen

Yee Deng Tan

Yong Chuk Kwin

Yong Ning & Candice Foo

Yong Seow Kin

Zeng Qiao Jia

Zhai, Yuxiang

Zhu Yulin

Anonymous (40)

DONOR RECOGNITION & PUBLIC ACKNOWLEDGEMENT

Concert booklets and website

Patron of the Arts Nomination

Donors’ Wall at Victoria Concert Hall Subscription/Chamber and

OTHER BENEFITS

Invitation to special events

Donations of $250 and above will entitle you to priority bookings, and discounts2 on SSG Concerts.  For tax residents of Singapore, donations may be entitled to a tax deduction of 2.5 times the value of your donation. Donations are non-refundable.

1Complimentary

To find out more, please visit www.sso.org.sg/support-us, or write to Nikki Chuang at nikki@sso.org.sg

4

As a valued patron of the SSO, you will receive many benefits. How can you help?

While SSO is supported partially by funding from the Singapore government, a significant part can only be unlocked as matching grants when we receive donations from the public. If you are in a position to do so, please consider making a donation to support your orchestra – Build the future by giving in the present.

Corporate Giving

We provide our Corporate Patrons with impressive entertainment and significant branding opportunities. Through our tailored packages, corporates may benefit from:

• Publicity and hospitality opportunities at an SSO concert or your private event,

• Acknowledgement and mentions in SSO’s key publicity channels,

• National Arts Council (NAC) Patron of the Arts nominations,

• Tax benefits.

Packages start at $10,000 and can be tailored to your company’s branding needs.

Partnership

We partner with various corporates through tailored in-kind sponsorship and exchange of services. Current and recent partnerships include Official Hotel, Official Airline, and we offer other exciting titles.

For more details, please write to Sarah Wee at sarah.wee@sso.org.sg

SPECIAL RECOGNITION

A Standing Ovation

We recognise major gifts that help sustain the future of the Singapore Symphony Group. The recognition includes naming of a position in the SSO or in our affiliated performance groups such as the Singapore National Youth Orchestra and the Singapore Symphony Choruses.

F or more information, please write to Chelsea Zhao at chelsea.zhao@sso.org.sg

SSO Concertmaster l GK Goh Chair

In July 2017, the SSO established the GK Goh Chair for the Concertmaster. Mr Goh Geok Khim and his family have been long-time supporters of the national orchestra. We are grateful for the donations from his family and friends towards this Chair, especially Mr and Mrs Goh Yew Lin for their most generous contribution.

Mr Igor Yuzefovich was the inaugural GK Goh Concertmaster Chair. The position is currently vacant.

SSO Principal Cello

The Head Foundation Chair

In recognition of a generous gift from The HEAD Foundation, we announced the naming of our Principal Cello, “The HEAD Foundation Chair” in November 2019. The Chair is currently held by Principal Cellist Ng Pei-Sian.

SSO Principal Flute

Stephen Riady Chair

In recognition of a generous gift from Dr Stephen Riady, we announced in May 2022 the naming of our Principal Flute, “Stephen Riady Chair”. The position is currently held by our Principal Flutist Jin Ta.

SSO Principal Viola

Tan Jiew Cheng Chair

In recognition of a generous gift from the Estate of Tan Jiew Cheng, we announced in February 2024 the naming of our Principal Viola, “Tan Jiew Cheng Chair”. The position is currently held by our Principal Violist Manchin Zhang.

SPECIAL RECOGNITION

Quantedge Music Director

The SSO is delighted to announce the naming of the “Quantedge Music Director” position, currently held by Maestro Hans Graf.

With his spirit of musical exploration, innovative programming, and captivating stage presence, Maestro Graf has consistently inspired audiences and elevated orchestras to new heights. We are deeply grateful for his continued leadership as Chief Conductor in the 2020/21 season and Music Director since the 2022/23 season.

We extend our sincerest gratitude to our anonymous donor for this generous gift of $3 million to mark SG60.

Board of Directors and Committees

Chair

Goh Yew Lin

Board of Directors

Chang Chee Pey

Chng Kai Fong

Andress Goh

Kenneth Kwok

Clara Lim-Tan

Jesher Loi

Lynette Pang

Prof Qin Li-Wei

Jovi Seet

Farhana Sharmeen

Doris Sohmen-Pao

Prof Peter Tornquist

Geoffrey Wong

Andrew Yeo Khirn Hin

EXECUTIVE & NOMINATING COMMITTEE

Goh Yew Lin (Chair)

Chng Kai Fong

Lynette Pang

Geoffrey Wong

SSO Council

Alan Chan (Chair)

Odile Benjamin

Prof Chan Heng Chee

Prof Arnoud De Meyer

Dr Geh Min

Heinrich Grafe

Khoo Boon Hui

Liew Wei Li

Lim Mei

Sanjiv Misra

Paige Parker

Dr Stephen Riady

Priscylla Shaw

Prof Gralf Sieghold

Prof Bernard Tan

Dr Tan Chin Nam

Wee Ee Cheong

Yong Ying-I

HUMAN RESOURCES COMMITTEE

Doris Sohmen-Pao (Chair)

Jesher Loi

Prof Qin Li-Wei

Heinrich Grafe*

Carmen Wee*

FINANCE & INVESTMENT COMMITTEE

Geoffrey Wong (Chair)

Andress Goh

Chua Keng Hong*

Alex Lee*

DEVELOPMENT COMMITTEE

Prof Chan Heng Chee (Chair)

Dr Geh Min

Heinrich Grafe

Khoo Boon Hui

Paige Parker

Priscylla Shaw

Dr Tan Chin Nam

Odile Benjamin

Lim Mei

AUDIT & RISK COMMITTEE

Jovi Seet (Chair)

Prof Peter Tornquist

Andrew Yeo Khirn Hin

Ryan Siek*

COMMUNITY & YOUTH ENGAGEMENT COMMITTEE

Clara Lim-Tan (Chair)

Chang Chee Pey

Farhana Sharmeen

Asst Prof Kat Agres*

Cecilia Pang*

*co-opted member

Symphony Ball Committee

Paige Parker (Chair)

Celeste Basapa

Geoffrey Wong

Kris Tan

Joy Tan

Dr Karen Soh

Kim Camacho

Lim Kang Ning

Farhana Sharmeen

SSO Musicians’ Committee

Hoang Van Hoc

Austin Larson

Li Xin

Christopher Mui

David Smith

Elaine Yeo

Zhao Tian

Singapore Symphony Group Administration

Chief Executive Officer

Kenneth Kwok

Deputy CEO

Programmes & Production

Kok Tse Wei

CEO OFFICE

Shirin Foo

Musriah Bte Md Salleh

ORGANISATION DEVELOPMENT

Lillian Yin

A rtistic Planning

Christopher Cheong (Head)

A RTISTIC ADMINISTRATION

Jodie Chiang

Terrence Wong

Jocelyn Cheng

Michelle Yeo

Operations

Ernest Khoo (Head)

L IBRARY

Wong Yi Wen

Cheng Yee Ki

Ng Yi Xiu

ORCHESTRA MANAGEMENT

Chia Jit Min (Head)

Kelvin Chua

P RODUCTION MANAGEMENT

Noraihan Bte Nordin

Nazem Redzuan

Leong Shan Yi

Asyiq Iqmal

Khairi Edzhairee

Benjamin Chiau

Syed Muhammad Idris Bin Ramli

DIGITAL PRODUCTION

Avik Chari

Deputy CEO

Patrons & Corporate Services

Jenny Ang

Community Impact

COMMUNITY ENGAGEMENT

Kua Li Leng (Head)

Whitney Tan

Lynnette Chng

Chua Xu Yang

Darren Siah

C HORAL PROGRAMMES

Kua Li Leng (Head)

Lu Heng

Chang Hai Wen

Mimi Syaahira

SINGAPORE NATIONAL

YOUTH ORCHESTRA

Ramu Thiruyanam (Head)

Tang Ya Yun

Tan Sing Yee

Ridha Ridza

ABRSM

Patricia Yee

Lai Li-Yng

Joong Siow Chong

Freddie Loh

Corporate Services

F INANCE, IT & FACILITIES

Rick Ong (Head)

Alan Ong

Goh Hoey Fen

Loh Chin Huat

Md Zailani Bin Md Said

HUMAN RESOURCES & ADMINISTRATION

Valeria Tan (Head)

Janice Yeo

Fionn Tan

Netty Diyanah Bte Osman

Patrons

D EVELOPMENT

Chelsea Zhao (Head)

Nikki Chuang

Sarah Wee

Samantha Lim

Eunice Salanga

Kevin Yeoh

C OMMUNICATIONS, DIGITAL & MARKETING

Cindy Lim (Head)

Communications

Ong Shu Chen

Nikki Loke

Elizabeth Low

Tan Li Ying

Data & Digital Projects

Calista Lee

Lim Wen Jie

Marketing & Content

Chia Han-Leon

Hong Shu Hui

Myrtle Lee

Jana Loh

Kashmira Kasmuri

Carrie Woo

CUSTOMER EXPERIENCE

Randy Teo

Dacia Cheang

Joy Tagore

15 Mar 2026

Victoria Concert Hall

SSO ORGAN SERIES

Jens Korndörfer –Organ Music from France and Germany

J.S. Bach

Prelude and Fugue in E-flat major, BWV 552

Franck

Fantasie en la Widor

Allegro from Symphony No. 6

Wagner

Pilgrim’s Chorus from Tannhäuser (arr. Liszt)

Mendelssohn

Overture to St. Paul (arr. Best)

Tickets at $10.

27 & 28 Mar 2026

Esplanade Concert Hall

Simon Trpčeski & Eliahu Inbal / Rachmaninoff and Shostakovich

Rachmaninoff

Piano Concerto No. 2 in C minor, Op. 18

Shostakovich

Symphony No. 11 in G minor, Op. 103

“The Year 1905” www.sso.org.sg/whats-on

Tickets from $15.

HAVE A SEAT IN THE HOME OF THE SSO

The Victoria Concert Hall has been a home for music, memories, and meaningful moments for generations.

Adopt a seat and be part of history by donating to the SSO Endowment Fund.

Your gift helps secure the future of our nation’s orchestra, so we can continue creating memorable shared musical experiences for years to come.

Seats are available for adoption in donation tiers of $8,000, $15,000 and $25,000, with various patron benefits.