SNYO 45th Anniversary Gala
6 Dec 2025, 4.30pm
Victoria Concert Hall
6 Dec 2025
Victoria Concert Hall
SNYO 45th Anniversary Gala
Singapore National Youth Orchestra
Joshua Tan SNYO Music Director
Darrell Ang conductor
Robert Casteels conductor
Leonard Tan conductor
Jacob Cheng violin
GLINKA
Ruslan and Ludmilla – Overture 6 mins
ROSSINI
The Thieving Magpie – Overture 10 mins
FAURÉ
Pelléas et Mélisande, Op. 80 18 mins
RAVEL
Tzigane 10 mins
Intermission 20 mins
BEETHOVEN
Symphony No. 5 in C minor, Op. 67 33 mins
Concert duration: 1 hr 50 mins (including 20 mins intermission)
Singapore National Youth Orchestra
The Singapore National Youth Orchestra showcases the extraordinary capability of our youth. It inspires them towards artistic excellence, nurtures them to reach beyond their potential and develops them through rigorous training within a vibrant, supportive, and diverse environment. Established formally in 1980, the Singapore National Youth Orchestra (SNYO) has welcomed generations of youths into the transformative world of orchestral music, performing locally and representing Singapore on prestigious international stages.
The SNYO family comprises two orchestras: the Singapore National Youth Orchestra and the Singapore National Youth Sinfonia, with over 180 members aged 10 to 24 from more than 70 schools across Singapore, guided by professional musicians in rehearsals, sectionals, and masterclasses. Recognised by the Ministry of Education as a National Project of Excellence, members of the SNYO have their participation in the orchestra recognised as a Co-Curricular Activity.
Music Director Joshua Tan has been leading the SNYO since 2018, while Associate Conductor Seow Yibin has been in position since 2022. Over the years, the SNYO has performed in concert venues and music festivals across Australia, Austria, China, Germany, Italy, Japan, Malaysia, and the United Kingdom. Other musical endeavours include collaborations with the Singapore Ballet, TwoSet Violin and side-by-side concerts with the Singapore Symphony Orchestra.
The SNYO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Orchestra, the Singapore Symphony Choruses, the Singapore International Piano Festival, and the biennial National Piano & Violin Competition.
Singapore National Youth Orchestra
Joshua Tan Music Director
Seow Yibin Associate Conductor
Lim Meng Keh Percussion Tutor
FIRST VIOLIN
Aidan Kwek Concertmaster
Samuel Soekarno Concertmaster
Isabel Heng
Kaden Khew
Lee Seohyun
Annie Liu
Ng Rui-Yi
Ng Zu Ni
Jesper Tai
Aubrey Tan
Raphael Teng
SECOND VIOLIN
Goh Shi Eun Principal
Jacob Cheng
Matthew Chiu
Allison Chng
Ethan Gu
Sophie Gu
Khloe Gui
Lim Jing Rui
Lum Kai Ying
LeeAnn Tan
VIOLA
Jayden Kwan Principal
Xu Hongmao Principal
Chang Zi Yi
Fu Shihan
Chloe Lee
Annabel Ng
Calista Tan
Kaitlyn Yoon
CELLO
Shavaun Toh Principal
Charlotte Tseng Principal
Daryl Heng
Koh Liong Tiek
Li Peilin
Lloyd Loh
Jayden Qin
Christoph Yang
Aidan Yeong
Yu Yikang
* Guest musician
DOUBLE BASS
Samantha Ang Principal
Gideon Yen Principal
Cao Junwei
Ma Ruilin
Tay Si En
FLUTE
Justin Damhaut Principal
Chan Xingwei
Carolynn Choo
Zhou Shijie
PICCOLO
Carolynn Choo Principal
Zhou Shijie
OBOE
Cho Dongmin Principal
Lucas Chan
Linus Ng
CLARINET
Claudia Toh Principal
Darren Sim
Qian Wanni
BASSOON
Li Ruidan Principal
Dana Cervantes
Wang Xintong
CONTRABASSOON
Dana Cervantes
HORN
Marcus Robins Principal
Keak Jing Yi
Gabriel Miguel
Linnet Sim*
TRUMPET
Koh Mi Yo Principal
Quentin Heng
Khayri Rayyan
TROMBONE
Reema Chatterjee Principal
Calista Lee
Trevor Wong
BASS TROMBONE
Benjamin Lim Principal
TIMPANI
Christian Tan Principal
PERCUSSION
Kanushi Ghuwalewala
Sean Ling
Phornpiriya Piriyaporn
HARP
Chloe Liow Principal
CELESTA
Dana Cervantes
Joshua Tan
SNYO Music Director
2nd Prize winner of the 2008 Dimitri Mitropoulos
International Competition, Singaporean conductor
Joshua Tan’s rise to prominence on the international scene has been marked by successful debuts in Carnegie Hall, Philharmonie Berlin, Mariinsky Hall and Bunkamura.
A graduate of The Juilliard School and the Eastman School of Music (High Distinction), he is an awardee of numerous scholarships and awards, such as the Young Artist Award, Singapore, Bruno Walter Memorial Foundation Award, NAC-Shell Scholarship, and the SSO/MOE Scholarship.
Joshua has conducted orchestras worldwide, and he has studied with various eminent conductors – James DePreist, Charles Dutoit, David Zinman and Kurt Masur – and worked with many others, such as Michael Tilson Thomas, Ingo Metzmacher and George Manahan.
Known as a versatile conductor, Joshua is at home with symphonic, operatic and ballet works. His substantial repertoire for opera includes La Traviata, Rigoletto, Das Rheingold, Der fliegende Holländer, Lohengrin, and Carmen, among others. He is also equally adept with music for ballet, film and multimedia. For the latter, his extensive work includes Disney’s Fantasia and Pixar, West Side Story, Jurassic Park and more.
Joshua is presently Music Director of the Singapore National Youth Orchestra and the Asia Virtuosi. He has served successful stints as Associate Conductor of the Singapore Symphony Orchestra, Resident Conductor of the National Centre for the Performing Arts (China) Orchestra, and Principal Conductor of the Guiyang Symphony Orchestra. Highlights of this season include debuts with Orchestre National de Bretagne, Kanagawa Philharmonic Orchestra, Hiroshima Symphony Orchestra, as well as return engagements to Hong Kong Philharmonic Orchestra, Shanghai Symphony Orchestra, Tokyo Metropolitan Symphony Orchestra, and the Singapore Ballet for Romeo and Juliet and Cinderella
Darrell Ang
Conductor
Conductor and composer Darrell Ang is one of the most influential musical personalities in China, and a foremost interpreter of contemporary Asian music. Since 2017, Ang has served as Artistic Director & Chief Conductor of the Sichuan Symphony Orchestra, building the ensemble into the leading musical force not only of the Chengdu province, but also of mid-Western China. At the behest of the regional government, he leads numerous creative projects, including international festivals, education projects, competitions and touring circuits for international orchestras.
Fluent in six languages (English, French, German, Italian, Mandarin Chinese, and Russian), he himself is a prolific composer of symphonic, chamber, and solo instrumental works. His Kung Fu Koncerto (a concerto for orchestra and martial arts master) is being performed to great critical acclaim in China.
Ang regularly guest conducts the leading orchestras of the world, including those of China, Japan, Singapore, Estonia, UK, Poland, Hungary, Spain, Germany, Russia and the USA. Alongside his symphonic expertise, Ang is a skilled conductor of opera, working with world-renowned houses such as the Mariinsky Theatre, National Taichung Theater, and Opéra National de Bordeaux. In 2022, he conducted a 7-show production of Bright Sheng’s Dream of the Red Chamber at the San Francisco Opera.
Darrell Ang shot into the international spotlight in 2007 when he took all three top prizes at the prestigious 50th Besançon International Conducting Competition. He has also won first prize at the 9th Antonio Pedrotti International Conducting Competition, the 8th Arturo Toscanini International Conducting Competition, and has received the Chevalier dans l’ordre des Arts et des Lettres in 2015.
Ang was formerly Music Director of the Orchestre Symphonique de Bretagne (2012-2015), the youngest ever Associate Conductor of the Singapore Symphony (2008-2013), and Music Director of the Singapore National Youth Orchestra (2010-2013).
Born in Singapore, Ang began playing the violin and the piano at age 4. After studying Composition under Leong Yoon Pin, he embarked on the study of Conducting in St. Petersburg, before becoming Yale’s very first-ever Conducting Fellow. Amongst his conducting mentors are luminaries such as Esa-Pekka Salonen and the late Lorin Maazel.
Robert Casteels
Conductor
Robert Casteels is a versatile artist, composer, researcher, conductor, pianist and educator based in Singapore, noted for his pedagogical work in piano, analysis, composition and conducting.
Casteels has written a growing corpus of 130 musical works across cultures, genres and disciplines. His compositional output was at first atonal, then – coinciding with his arrival in South-East Asia – microtonal (gamelan) and now electro-acoustic and modal. His compositions have been premiered or performed in Australia, Belgium, China, England, Indonesia, Japan, Korea, Malaysia, New Zealand, the Netherlands, the Philippines and Singapore. For four years in a row, his compositions were selected by the Asia Composers League for their festivals in Singapore, Tokyo, Manilla and Hanoi.
Casteels has conducted more than 50 orchestras in a repertoire of 600 works ranging from the early classics to contemporary music, and from symphonic to vocal and dance repertoire. He has conducted first performances of symphonic works, ballets and operas in festivals such as: Spoleto Festival, Ars Musica, Brisbane Biennale, Focus, Wien Modern, Donaueschingen and Berlin Biennale. He has premiered significant masterpieces in Singapore, including works by Boulez, Ligeti, Takemitsu, Stockhausen and Varèse.
Casteels holds music degrees from both Royal Music Conservatories of Brussels, the Guildhall (London) and Juilliard (NY) Schools and the University of Melbourne. He is the recipient of several awards, including the Bruno Walter Scholarship for Orchestral Conducting awarded by the Juilliard School for two consecutive years, as well as the First Prize for contemporary music at the International Conducting Competition of the Hungarian Radio and Television. In 2001, Casteels became the youngest recipient and the second musician ever to receive the prestigious Christoffel Plantin Prize, the Flemish Government’s highest award for cultural achievements, in recognition of his contribution to cross-cultural research.
Casteels has been a pivotal figure in Singapore’s music scene, having served as Music Director of the Singapore National Youth Orchestra, led the Philharmonic Winds and NUS ensembles, and advanced arts education through his roles at LASALLE and national committees.
Born in Belgium, he took up permanent residency in Singapore in 1996 and became a citizen in 2007.
Leonard Tan
Conductor Singaporean musician Leonard Tan is a prolific conductor with a strong presence in the Singapore arts scene.
He earned his doctoral degree from the Indiana University Jacobs School of Music, where he studied orchestral conducting with David Effron, Arthur Fagen, and Murray Sidlin. Additional conducting studies were with Leif Segerstam and Alexander Polischuk in Russia, where he worked with the St. Petersburg Chamber Philharmonic, and with Johannes Schlaefli, where he worked with Academic Orchestra Zurich.
He has conducted numerous leading ensembles, including the Singapore Symphony Orchestra, Singapore National Youth Orchestra (Principal Conductor), Philharmonic Wind Orchestra (Music Director), and Indiana University Orchestras. During his tenure as Principal Conductor of SNYO from 2014-2018, which he served “with Distinction”, the SNYO benefitted from his artistic direction, including a thematic programming approach of core orchestral repertoire, the championing of works by Singapore composers, and a joint concert with the Singapore National Youth Chinese Orchestra celebrating SG50. Under his baton, the SNYO was praised in The Straits Times for how it played with “rare blazing intensity.” He also led the orchestra and the Singapore Symphony Children’s Choir (SSCC) in a successful concert tour, performing at the Dewan Filharmonik Petronas.
Leonard Tan is currently an Associate Professor of Music at the National Institute of Education, Nanyang Technological University, Singapore.
Jacob Cheng
Violin
Jacob has been a member of Singapore National Youth Orchestra since the age of 10. Despite his young age, Jacob has already earned several notable awards, including wins at multiple editions of Singapore’s National Piano & Violin Competition and Best Vivaldi Prize from the Italian National Music Council at Il Piccolo Violino Magico Italy. He has been selected for programmes such as the UK New Virtuosi Mastercourse, Singapore Violin Festival & Competition Outreach, SNYO Workshops & Masterclasses, Resound Chamber Festival, and the Kirishima International Music Festival in Japan, receiving valuable guidance from renowned international musicians.
In line with Jacob’s joy of sharing music through community and charity events, he has performed at Sing50 celebrations with the Metropolitan Festival Orchestra, World Strings of Hope, and the CDL Youth4Climate & Singapore Red Cross Festivals. As a soloist, he has performed with orchestras such as the Orchestra Accademia d’Archi Arrigoni Italy, the MacPherson Philharmonic Orchestra, the Musicians’ Initiative and Resound Collective, where his playing was described by The Straits Times as “the most personal of performances”.
This summer 2025, Jacob was an invited soloist with the Kids Philharmonic Orchestra, performing the Beethoven Triple Concerto in collaboration with the Janáček Philharmonic Orchestra in Europe. This was followed by a memorable orchestra tour with the SNYO, performing in Macau, Shenzhen and Hong Kong.
Jacob has been a concertmaster for his school’s String Orchestra and SNYO. He also performs regularly with various chamber groups and the Orchestra of the Music Makers. He currently studies violin with Jun Hong Loh.
Programme Notes
MIKHAIL GLINKA (1804 – 1857)
Ruslan and Ludmilla – Overture (1842)
In 1820, Russian poet and playwright Alexander Pushkin wrote a narrative poem, telling of a bride Ludmilla who was kidnapped by an evil magician during a party given for her three suitors. Each of the suitors tries to win Ludmilla back, travelling to foreign lands facing various challenges and a fantastical assortment of witches, hermits, enchanted gardens, magic castles – not unlike the collection of tales in 1001 Arabian Nights. The story’s hero, Ruslan eventually defeats the magician, breaks the magician’s spell, and wins Ludmilla’s hand in marriage.
Glinka was supposed to work with Pushkin on a libretto, but he was unfortunately killed in a duel, so Glinka set to work without a librettist. One was eventually hired, but Glinka was so dissatisfied with his writing that he reworked some parts himself and enlisted the help of others to work on it. The libretto ended up ostentatious and rambling, and no amount of good music could have saved the production: it was withdrawn from the repertoire a few years after, only to be reinstated and restaged twenty years later by Balakirev, who thought the music too good to fade into obscurity.
Glinka’s music describes Ruslan’s sojourn to the foreign lands with various exotic musical themes: Persian, Finnish, Russian, but his inspiration for the overture actually came from “the clattering of knives, forks and plates” at a wedding dinner he attended. The prelude has two contrasting musical themes, the first has an infectious, driving energy that emanates from the strings and their scalic passages; the second is more lyrical. The evil magician has his own theme too – a menacing, descending whole-tone scale from the brasses marks his appearance, first in the overture and later elsewhere too, making this possibly the first use of a motif for a character, even before Wagner and his leitmotif.
Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, strings
GIOACHINO ROSSINI (1792 – 1868)
The Thieving Magpie – Overture (1817)
“When the phone rang I was in the kitchen, boiling a potful of spaghetti and whistling along with an FM broadcast of the overture to Rossini’s ‘The Thieving Magpie,’ which has to be the perfect music for cooking pasta.”
– Haruki Murakami, The Wind-up Bird Chronicle Bright, cheerful and fun, the Thieving Magpie Overture has firmly established itself in pop culture as the perfect music to accompany mischief-making or enliven a mundane situation; this is music that is only playfully evil; used in the scene when Moriarty is stealing the Crown Jewels in the BBC series of Sherlock, and a fight scene in Kubrick’s A Clockwork Orange
Rossini’s semi-serious opera, written in 1817, tells of a family, a young household maid wrongly accused of theft, and as its title suggests, a thieving magpie. Rossini worked best under pressure, and was said to have written the overture “on the very day of the first performance of the opera, in the wings of the Scala Theatre in Milan” throwing pages down to the copyist who was to copy by hand the parts for the orchestra to rehearse that very evening.
The most prominent instrument we hear in the opening of the overture is the snare drum – symbolising the military aspect of the production: a character returning from war as a military hero, and later, a march to the scaffold for the poor household maid.
About halfway in, we hear an almost doleful chord played by the horns, then the mischievous magpie begins its antics. Elegant yet playful, the melody is like a game of hide and seek shared between the woodwinds and violins, building up and repeating over and over until it reaches a dark climax... then it resets itself. This is the famous ‘Rossini Crescendo’ – starting back at ground zero, Rossini builds up the melody, repeating it even bigger and louder each time before drawing the audience towards its glorious finale.
Rossini was so proud of the opera’s success that he called it “the most beautiful music I have written so far”.
Instrumentation: flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, bass trombone, timpani, percussion (bass drum, snare drum, triangle), strings
GABRIEL FAURÉ (1845 – 1924)
Pelléas et Mélisande, Op. 80 (1898)
I. Prélude
II. Entr'acte: Fileuse
III. Sicilienne
IV. La mort de Mélisande
Belgian symbolist poet Maurice Maeterlinck was known for the poetic nature of his texts. Yet as a playwright, his verbose descriptions in his scene and stage directions led English music critic Ernest Newman to remark, “Maeterlinck’s verbal cloudiness needed to be set to music before it could convey its full meaning”.
When his play about a doomed love triangle Pelléas et Mélisande was published in 1892, Fauré was the first among several composers to write music for it. Fauré’s commission to write incidental music for an English-language production of Pelléas et Mélisande came less than three months before the production, leaving him “hardly a month and a half to write all that music”. He produced a total of 19 pieces for the play, later putting together a four-part concert suite.
Fauré’s music is pure enchantment – the Prélude sets the scene in a medieval forest. Solo instruments such as the flute, oboe, clarinet and cello take centrestage as the lush music shimmers gently, carrying whispers of foreboding. In its final moments, a horn call echoes through the woods. In Fileuse (Spinning song), a pastoral oboe melody soars above running triplets in the violins, depicting Melisande at the spinning wheel.
Recycled from previously written music, the Sicilienne is perhaps the most well-known of Fauré’s pieces. The flute introduces a melody both melancholic and buoyant, above the harp’s gently rippling accompaniment evoking the water fountain where Mélisande loses her wedding ring.
La mort de Mélisande (The Death of Mélisande) is a cortège, a funeral procession –the flute, haunting in its lowest register, begins the procession while hushed strings follow like mourners. Fragments of the Sicilienne resurface, turned into a march with trumpet calls and a plodding timpani, before drifting off into an eternal lament.
Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, harp, strings
MAURICE RAVEL (1875 – 1937)
Tzigane (1924)
The great-niece of violinist Joseph Joachim, the Hungarian violinist Jelly d’Aranyi, was known for her extensive collaboration with Béla Bartók, among other composers. In 1922, she performed Ravel’s Sonata for Violin and Cello with cellist Hans Kindler at a private soireé in 1922. Maurice Ravel was part of the audience, and he was so charmed by her playing that he asked to hear some Hungarian gypsy tunes. D’Aranyi obliged, playing tune after tune late into the evening. “You have inspired me to write a short piece of diabolical difficulty, conjuring up the Hungary of my dreams. Since it will be for violin, why don’t I call it Tzigane?”, he wrote to her shortly after their meeting.
For the next two years, Ravel buried himself in Hungarian folklore and music, studied Liszt’s Hungarian Rhapsodies and Paganini’s Caprices, and consulted with d’Aranyi on technical matters. The result, delivered to d’Aranyi just four days before the premiere in London on 26 April 1924, was what Ravel called a “showpiece à la hongroise”.
The first half of Tzigane (a variant form of “gypsy” but offensive to the Romani people) sees the violinist playing alone, using every technical trick possible, in a free rhapsodic cadenza of sorts. Then the piano comes in, as if a cimbalom (in the original version Ravel specifies the use of a luthéal – an iron mechanism that, when mounted on a piano, makes the piano sound like a Hungarian cimbalom), in a wild dance that is sparkly, playful and slightly manic. Ravel subsequently worked on an orchestral version, which premiered in Amsterdam by the Concertgebouw and Samuel Dushkin half a year later.
Instrumentation: solo violin, 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, trumpet, percussion (triangle, suspended cymbal, glockenspiel), harp, celesta, strings
LUDWIG VAN BEETHOVEN (1770
– 1827)
Symphony No. 5 in C minor, Op. 67 (1808)
I. Allegro con brio
II. Andante con moto
III. Scherzo. Allegro – Trio
IV. Allegro – Presto
When novelist E.M. Forster wrote Howards End around 1908, recordings or the radio had not yet been invented; one can only imagine how many times Forster heard this symphony. Yet, it left such an indelible impression on him that he used its movements to structure the novel’s plot. He opens his fifth chapter with high praise: “... that Beethoven’s Fifth Symphony is the most sublime noise that has ever penetrated into the ear of man. All sorts and conditions are satisfied by it.”
Beethoven described the opening rhythm as “fate knocking at the door”. This rhythm is heard throughout the symphony in various guises through its four movements.
In the Allegro con brio, fate knocks in almost every bar. Beethoven builds up the intensity as the music develops, and time suddenly stops for a moment: everything freezes, and an unaccompanied oboe plays a quasi-cadenza before it is business as usual with the recapitulation.
The Andante con moto follows a loose theme and variations form. In the more muted key of A-flat major, the first theme is introduced by lower strings, and the second, by the woodwind choir and higher strings. Just when one thinks that the music will end quietly, Beethoven builds up to a martial ending, all the while staying on an A-flat chord.
In the Scherzo, the basses creep in, joined by the higher strings, and the horns cross their path with their own loud, insistent version of fate. These alternate until the scene changes to the key of C major, marking the start of the Trio section. When the scherzo returns, it is quieter than before, with the strings plucking instead of bowing.
Timpani rolls set an atmosphere of expectancy, with a sustained chord in the winds and an insistent tremolo in the strings until the music bursts forth in an explosion of brilliance in C major from the brasses, announcing the triumphant Allegro – Presto “Beethoven chose to make all right in the end”, Forster writes, affirming the victory with fifty-four bars of pure C major music and destroying any shadow of doubt.
Notes by Natalie Ng
Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, strings
Schools represented in the Singapore National Youth Orchestra
Ai Tong School
Anderson Serangoon Junior College
Ang Mo Kio Secondary School
Anglo-Chinese Junior College
Anglo-Chinese School (Barker Road)
Anglo-Chinese School (Independent) (Junior College)
Anglo-Chinese School (Independent) (Secondary)
Anglo-Chinese School (International)
Anglo-Chinese School (Primary)
Broadrick Secondary School
Bukit Panjang Government High School
Bukit Timah Primary School
Canadian International School
Catholic High School (Primary)
Catholic High School (Secondary)
Changkat Primary School
CHIJ Our Lady of the Nativity
CHIJ Secondary (Toa Payoh)
CHIJ St. Nicholas Girls’ School (Primary)
Chung Cheng High School (Yishun)
Clementi Town Secondary School
Crescent Girls’ School
Dulwich College (Singapore)
Dunman High School (Junior College)
Dunman High School (Secondary)
Dunman Secondary School
Edgefield Secondary School
Eunoia Junior College
Fairfield Methodist School (Secondary)
Gan Eng Seng School
Hai Sing Catholic School
Hong Wen School
Hwa Chong Institution (Junior College)
Hwa Chong Institution (Secondary)
Hwa Chong International School
Jurong Pioneer Junior College
Mayflower Secondary School
Meridian Primary School
Methodist Girls’ School (Primary)
Methodist Girls’ School (Secondary)
Nan Chiau Primary School
Nanyang Academy of Fine Arts
Nanyang Girls’ High School
Nanyang Junior College
Nanyang Polytechnic
Nanyang Technological University
National Junior College
National Junior College (Secondary)
National University of Singapore
NUS High School of Mathematics and Science
Pei Hwa Presbyterian Primary School
Raffles Girls’ School (Secondary)
Raffles Institution (Junior College)
Raffles Institution (Secondary)
River Valley High School (Secondary)
School of the Arts, Singapore
Singapore American School
Singapore Chinese Girls’ School
Singapore Management University
St. Andrew’s Secondary School
St. Gabriel’s Secondary School
St. Hilda’s Primary School
St. Joseph’s Institution (Junior College)
St. Joseph’s Institution (Secondary)
St. Margaret’s School (Secondary)
St. Patrick’s School
Stamford American International School
Tanglin Trust School
Tanjong Katong Girls' School
Tao Nan School
Temasek Junior College
United World College of South East Asia
Unity Secondary School
Victoria Junior College
Victoria School
Yishun Innova Junior College
Yuying Secondary School
Zhonghua Secondary School
Singapore Symphony Group Administration
CHIEF EXECUTIVE OFFICER
Kenneth Kwok
DEPUTY CEO, PROGRAMMES & PRODUCTION
Kok Tse Wei
DEPUTY CEO, PATRONS & CORPORATE SERVICES
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Musriah Bte Md Salleh
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Acknowledgements
WITH SUPPORT FROM MINISTRY OF EDUCATION, ARTS EDUCATION BRANCH
Mrs Clara Lim-Tan Director, Arts Education
Mr Low Ying Ning Deputy Director, Music & Drama
Ms Chek Yui Hong Assistant Director, Visual and Performing Arts CCA & Singapore Youth Festival
Mr Jasper Lee Arts Education Officer, Music
THE SINGAPORE NATIONAL YOUTH ORCHESTRA WISHES TO THANK
National Arts Council
Tutors of the Singapore National Youth Orchestra
Parents of the Singapore National Youth Orchestra members
Principals of the participating schools
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