YONG SIEW TOH CONSERVATORY OF MUSIC

RECITAL PROGRAMME FORM

INSTRUCTIONS

PROGRAMME FORM

Programme must be typed (No exceptions)

List movements for each work (e.g. I. Allegro II. Adagio etc)
Timings must be accurate. Please indicate intermission (and duration), if any.
Print out a copy for your major teacher, Head of Department and yourself to sign.
Hand in the form to Poo Lai Fong (Administration Office) by 15 March 2017.

PROGRAMME NOTES

Please provide your own programme notes in a word document (maximum two A4 sides).
Email to: laifong@nus.edu.sg.
Please also submit a hardcopy with your major teachers signature on it.

Late submissions are subject to a $25 administrative fee (payable by cash)

OTHER INFORMATION

PROGRAMMES
50 programme sheets will be printed for your recital without charge.

STAGE REQUIREMENTS
Please notify Concert Office AT LEAST THREE WEEKS in advance if you require special stage set-
up other than the piano and music stands and chairs.

JURY MEMBERS
You need not contact teachers to be jury members for your recital.

REHEARSALS
You may book a 2 hour rehearsal slot (or separately, 1+1 hour) for Seniors and Master; and 1 hour for
Juniors in the Concert Hall.

RECITAL DAY
Please dress in concert attire and report backstage at least 10 minutes before the start of your recital.
Encore pieces are not permitted due to time constraints.

For queries, please see Poo Lai Fong, Manager (Concerts & Events).
 YONG SIEW TOH CONSERVATORY OF MUSIC
RECITAL PROGRAMME FORM

JUNIOR RECITAL FOR OFFICIAL USE

SENIOR RECITAL Date of Submission
MASTERS RECITAL No. of programmes

NAME Andrew Ng Wen Hao TEL NO. 91226004

MATRICULATION NO. A0123619H DATE 19 April
MAJOR INSTRUMENT Violin TIME 4 P.M.
ACCOMPANIST Kerim Verzagov VENUE Concert Hall

PROGRAMME

Complete title of work (include key signature, opus number, movement titles etc) Composer Timings
Please indicate intermission, if any.

Symphonie Espagnole in D Minor Op. 21 Edouard Lalo

I. Allegro non troppo 8
II. Scherzando: Allegro molto 4
III. Intermezzo: Allegretto non troppo 7
IV. Andante 6
V. Rondo: Allegro
8

TOTAL TIMING: 32

Please print names & signatures of:

STUDENT

MAJOR TEACHER

HEAD OF DEPARTMENT
YONG SIEW TOH CONSERVATORY OF MUSIC
RECITAL PROGRAMME FORM
 YONG SIEW TOH CONSERVATORY OF MUSIC
RECITAL PROGRAMME FORM

Programme Notes

Symphonie Espagnole in D minor, Op. 21

1. Allegro non troppo
2. Scherzando: Allegro molto
3. Intermezzo: Allegretto non troppo
4. Andante
5. Rondo: Allegro

The resolution of the Franco-Prussian War in 1871 heralded a relatively peaceful and illustrious period
in Europe termed La Belle poque (French for The Beautiful Era). This period was marked by
technological and architectural advances, of social and cultural innovations, and economic prosperity.
During this era, the tastes of Parisian bourgeoisie became much more sophisticated , and many
composers drew inspiration from other cultures to provide entertainment for the public.

It was in this point in history where the Symphonie Espagnole was premiered by Spanish violin
extraordinaire Pablo de Sarasate to enthusiastic audiences on February 7th, 1875. Unlike Bizets
Carmen, which debuted a month later and was shunned by the French for being morally controversial,
the depictions of Spanish passion and flamboyance in the Symphonie finally won Lalo the adoration
and recognition that had vexingly eluded him for so long.

douard Lalo was born in Lille, located in northern France on the January 27th, 1823 to parents who
were of Spanish descent, but settled in France around the 16th century. Although initially supportive
of Lalos musical talents and endeavours, Lalos father later disowned him for attempting to continue
his musical studies, leading to the sixteen-year old composer to leave for the Paris Conservatoire
where he spent his formative years studying violin playing and composition.

It would be fanciful to imagine that Lalo was struck with fame and fortune not long after, however that
was not to be. Attempts to break into the mainstream met with considerable failure. Lalos inclinations
towards performances of chamber music was considered unfashionable by French standards at that
time and was met with disapproval. Similarly, after Lalo spent much of his money on emulating
Parisian tastes by publishing his own opera, Fiesque, it was never performed in public.

It was not until 1870 that Lalos fortunes changed. The Socit Nationale de Musique had just been
formed to promote French music and Lalo saw his works increasingly performed. His meeting with
Pablo de Sarasate at that time would prove to be the defining moment of his life. Sarasate was, as
prominent musicologist Boris Schwarz puts it, the ideal embodiment of the salon virtuoso, and his
assured playing and good looks charmed audiences and packed concert halls everywhere. Lalo
would go on to write two pieces that characterised Sarasate best, a violin concerto and the
Symphonie Espagnole, which you will hear today.

The Symphonie Espagnole is uniquely both concerto and symphony amalgamated into one, where
symphonic material is developed alongside the violin solo. The first movement starts with a fanfare,
quickly segueing into the habanera rhythms that identify as uniquely Spanish. Both orchestra and
 YONG SIEW TOH CONSERVATORY OF MUSIC
RECITAL PROGRAMME FORM

violin come into fiery conflict with each other, with themes that showcase spontaneity and emotional
depth. The brief second movement, although initially flirtatious and bewitching, quickly descends into
a flurry of movements and scurrying about. Although the music becomes a little wistful in the middle
section, the violin eventually returns with charming entreaties and enticing blandishments,
disappearing into the night.

What follows next is an Intermezzo and the Andante movement, perhaps Lalos most daring works in
terms of colour and mood, ranging from morose and hushed tones to coquettish fickleness. The
Andante movement in particular captures some of the most extreme pathos in this piece, with
exclamations of despair and melancholy. Some hope is stirred awake however, and although the
despondence of the fourth movement returns, our violin protagonist is eventually revived with renewed
vigour for the final episode.

Sparks fly amid the electrifying atmosphere of the finale, where the feisty violinist dances with wild
abandon among the hypnotic rhythm provided by the orchestra. This is where the Symphonie is at its
bubbliest and most exuberant, as it moves with all the spiritedness and dynamism of youth. A hushed
moment occurs amidst the movement, as if fondly recalling former days, before a whirlwind of activity
sweeps the music off its feet into the brilliant pyrotechnics that herald an end to the Symphonies
turbulent yet satisfying ending.