CONCERT PROGRAMME 2017/18 SEASON - MPO
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CONCERT PROGRAMME 2017/18 SEASON
Fri 9 Mar 2018 at 8.30 pm
Sat 10 Mar 2018 at 8.30 pm
The Malaysian Philharmonic Orchestra (MPO) gave its inaugural performance at Dewan Malaysian Philharmonic Orchestra
Filharmonik PETRONAS (DFP) on 17th August 1998. The MPO today comprises musicians Michał Nesterowicz, conductor
from 24 countries, including 6 from Malaysia, a remarkable example of harmony among Bobby Chen, piano
different cultures and nationalities.
PROGRAMME
A host of internationally-acclaimed musicians has worked with the MPO, including Lorin
Maazel, Sir Neville Marriner, Yehudi Menuhin, Joshua Bell, Harry Connick Jr., José Carreras, KILAR Orawa 9 mins
Andrea Bocelli and Branford Marsalis, many of whom have praised the MPO for its fine BEETHOVEN Piano Concerto No. 4 in G major, Op.58 34 mins
musical qualities and vitality.
INTERVAL 20 mins
With each new season, the MPO continues to present a varied programme of orchestral
SHOSTAKOVICH Symphony No. 10 in E minor, Op.93 57 mins
music drawn from over three centuries, as well as the crowd-pleasing concert series.
Its versatility transcends genres, from classical masterpieces to film music, pop, jazz,
contemporary and commissioned works.
Piano Recital
The MPO regularly performs at major cities of Malaysia. Internationally, it has showcased Sun 11 Mar 2018 at 3.00 pm
its virtuosity to audiences in Singapore (1999, 2001 and 2005), Korea (2001), Australia Bobby Chen
(2004), China (2006), Taiwan (2007), Japan (2001, 2009 and 2017) and Vietnam (2013). Its
Education and Outreach Programme, ENCOUNTER, reaches beyond the concert platform PROGRAMME
to develop musical awareness, appreciation and skills through dedicated activities that
include instrumental lessons, workshops and school concerts. ENCOUNTER also presents TAJUDDIN Meditasi Lagu Dalam Mimpi (world premiere)
memorable events in such diverse venues as orphanages, hospitals, rehabilitation LISZT Sonetto 104 del Petrarca, S.161, No. 5
centres and community centres. SCHUBERT 4 Impromptus D899 Op.90
BACH-BUSONI Ich ruf’ zu dir BWV639
The MPO’s commitment to furthering musical interest in the nation led to the creation of
the Malaysian Philharmonic Youth Orchestra (MPYO). It gave its inaugural concert at DFP BACH-BUSONI Chaconne in D minor BWV1004
on 25 August 2007, followed by a tour in Peninsular Malaysia. It has performed in Sabah LISZT Ballade No. 2 in B minor S.171
and Sarawak (2008), Singapore (2009) and Brisbane, Australia (2012).
The recital will last approximately 60 minutes.
As it celebrates its 20th anniversary in 2018, the MPO remains steadfast in its mission to
share the depth, power and beauty of great music.
The MPO’s main benefactor is PETRONAS and its patron is Tun Dr. Siti Hasmah Haji Mohd Ali.
All details are correct at time of printing. Dewan Filharmonik PETRONAS reserves the right to vary without notice the artists and/or repertoire as
necessary. Copyright © 2018 by Dewan Filharmonik PETRONAS (Co. No. 462692-X). All rights reserved. No part of this programme may be
reproduced in any form without the written permission of the copyright owners.MICHAŁ NESTEROWICZ BOBBY CHEN
conductor piano
Principal Guest Conductor of Sinfonieorchester Described by International Piano Magazine
Basel, Michał Nesterowicz is in demand as “... an armour-clad player of complete
worldwide for his dynamic performances and technique, a thinking musician, a natural
eloquent interpretations of the symphonic Romantic. Young bloods come no better”,
repertory. Malaysian pianist Bobby Chen was a pupil
of Ruth Nye and Hamish Milne at the Yehudi
His 2017/18 season includes a debut with Menuhin School and Royal Academy of
the Netherlands Philharmonic Orchestra and Music. He burst onto the scene in 1996 on
Renaud Capuçon, Bruckner Orchester Linz, a British tour with Lord Yehudi Menuhin and
Staatsorchester Kassel, NFM Wrocław the Warsaw Sinfonia, and with a recital at
©Lukasz Rajchert Philharmonic, Lahti Symphony Orchestra, the Royal Festival Hall as part of the South
Natoinal Symphony Orchestra of Taiwan, ©Sussie Ahlburg Bank Prokofiev Festival.
Gewandhausorchester Leipzig, West Australian Symphony Orchestra and Tasmania
Symphony Orchestra. Following hugely successful visits in the past seasons, he will Since then, he has performed as soloist with orchestras including the Academy of
be returning to Orquestra Sinfonica Siciliana, Prague Radio Symphony Orchestra, St. Martin in the Fields, Singapore Symphony Orchestra and London Sinfonietta,
Macedonian Philharmonic Orchestra, Malmö Symfoniorkester, Singapore Symphony under the baton of conductors Lan Shui, Mathias Bamert, Maximiliano Valdés, Sir
Orchestra, Orchestre National de Lille, Royal Philharmonic Orchestra with Esther Neville Marriner, Pierre-André Valade, Jonathan Bloxham and Giancarlo Guerrero.
Yoo, and the Orchestra Filamônica de Minas Gerais.
Chen has broadcast ‘live’ for UK’s Classic FM, Ireland’s Raidió Teilifís Éireann
In the 2016/17 season, he made his debut with the Royal Concertgebouw Orchestra, (Radio Television Ireland), Hong Kong’s Radio Television Hong Kong and USA’s
Berlin's Konzerthausorchester and Vienna's Tonkünstler-Orchester Niederösterreich Pianoforte Chicago. He was selected as one of the pianists for the South East
respectively as well as first visits to the Auckland Philharmonia Orchestra and the Asian début of the Complete Beethoven Sonatas Cycle in Singapore. He has given
RTÉ National Symphony Orchestra of Ireland. He also consolidated relationships recitals and piano concertos at Hong Kong’s City Hall, Italy’s Fazioli Concert Hall,
with the Bilbao Orkestra Sinfonikoa, Arthur Rubinstein Philharmonic Orchestra Dublin’s National Concert Hall, Singapore’s Victoria Concert Hall, Turku’s Sibelius
of Łodz, Residentie Orkest anod Noord Nederlands Orkest, Real Filharmonia de Museum, and UK’s Bridgewater Hall, Royal Concert Hall, Cadogan Hall, Purcell
Galicia and Orquesta Sinfónica de Navarra. Room, Reid Concert Hall, Royal Overseas League, Menuhin Hall and Wigmore
Hall.
Nesterowicz appeared frequently with Orquestra Simfònica de Barcelona (including
a tour to France), Orchestre Philharmonique de Nice and Orquesta Ciudad de Chen has performed chamber music at Beijing’s Forbidden City Concert Hall,
Granada. He also had a regular presence with the NDR Elbphilharmonie Orchester, Vigo’s Auditorio Sala de Concertos Martín Códax, London’s Royal Academy of the
Tonhalle-Orchester Zürich, Royal Philharmonic Orchestra, Royal Liverpool Arts, São Paulo’s Musica Nova Contemporary Music Festival, Sweden’s Lidköping
Philharmonic Orchestra, Münchner Philharmoniker, WDR Sinfonieorchester Music Festival, Ireland’s Music for Wexford and Wicklow Arts Festival, and at UK’s
Köln, Deutsches Symfonie-Orchester Berlin, Gulbenkian Orchestra, Orchestre Worcester Three Choirs Festival, Guildford International Music Festival and Bristol
Philharmonique du Luxembourg, Buffalo Philharmonic, BBC Symphony Orchestra, International Piano Duo Festival.
Copenhagen Philharmonic, Orchestre National Bordeaux Aquitaine and Orchestra
della Svizzera Italiana.
Nesterowicz was the winner of the Cadaqués Orchestra European Conducting
Competition in 2008 and among the prizewinners at the 6th Grzegorz Fitelborg
International Conducting Competition in Katowice.PROGRAMME NOTES LUDWIG VAN BEETHOVEN (1770-1827)
Piano Concerto No. 4 in G major, Op.58 (1808)
Modern Music can be a stumbling block to many concertgoers today, but matters
were no different in Beethoven’s time. Many of his works that we now regard as I. Allegro moderato
revered masterpieces mystified audiences when they were first presented, including II. Andante con moto
his Fourth Piano Concerto. In this context, listen respectfully to Wojciech Kilar’s III. Rondo: Vivace
late twentieth century work Orawa, and be grateful for the modern facilities that
allow you to hear it in the comfort of DFP (Beethoven’s audience sat in a freezing The Background
cold hall!). Shostakovich’s Tenth Symphony also bears a Beethoven connection –
it ranks as one of the greatest symphonies of the past century, and its emotional It is the nature of many concertgoers today to test
impact can be devastating. the waters of new music hesitantly and carefully.
Imagine, then, the circumstances under which
wikimedia.org Beethoven’s Fourth Piano Concerto was given its
WOJCIECH KILAR (1932-2013) first public performance – as one of seven(!) works
Orawa (1986) all heard by the Viennese for the first time, all by the same composer, and four of them
of major dimensions. This four-hour marathon concert took place on 22 December
The Background 1808 in Vienna’s Theater an der Wien. It was a freezing cold evening, which meant
Wojciech Kilar, who died just five years ago, might conditions inside the unheated hall were uncomfortable, to say the least. In addition,
well be remembered as the Polish equivalent of Beethoven’s music was generally considered to be advanced and difficult both to play
John Williams in America or of Erich Wolfgang and to understand. It was truly a daunting prospect for most concertgoers that night.
Korngold in Vienna. His compositional career
generously encompassed two worlds, those of The Music
film and of classical concert music. His catalogue
of film scores numbers over 130, most of which There are many bold, innovative and radical touches to this concerto. The most famous
are for Polish films, but those for which he won and most obvious of these is the unprecedented solo introduction. The orchestra
latimes.com the greatest recognition were done abroad. responds in a harmonically remote key (another surprise), and goes on to present
Leading the list are Francis Ford Coppola’s horror and develop other themes. The soloist re-enters in a quasi-cadenza passage, and
film Bram Stoker’s Dracula, for which Kilar won an ASCAP Award, and Roman then joins the orchestra in a closely-woven tapestry of themes, motifs and rhythmic
Polanski’s The Pianist, for which he won a César Award. So prominent a figure was patterns.
Kilar in his homeland that his funeral was attended by Poland’s First Lady and its
Culture Minister. The slow movement is, if anything, even more compelling and innovative than the
first. In just a little over five minutes (one of the shortest slow movements of any well-
Orawa (the name of a small region in south central Poland bordering on Slovakia) known concerto) there unfolds one of the most striking musical dialogues ever written.
was written in 1986 for an ensemble of fifteen strings (which may be doubled) and Initially we hear two totally different musical expressions: the orchestra (strings only)
first performed in Zakopane by the Polska Orkiestra Kameralna (today the Sinfonia in unison octaves – imperious, assertive, angry, loud, angular; and the solo piano fully
Varsovia) conducted by Wojciech Michniewski on 10 March of that year. harmonized – meek, quiet, legato. Over the span of the movement the orchestra by
stages relents and assumes more and more the character of the soloist.
The Music
The rondo finale steals in quietly, without pause, bringing much-needed wit, charm and
Orawa begins innocuously enough, even bordering on the monotonous, but careful lightness after the tense, dark drama of the slow movement. A brilliantly spirited coda
listening reveals a continuously if subtly changing surface as well as, later on, brings the concerto to its conclusion.
shifting textural and harmonic substrata. Much like Ravel’s Bolero, it achieves its
effect through cumulative growth. In the final pages of the score, the performance
directions read Precipitando, a few bars later Feroce, then Furioso, then fff
Ferocissimo,
i.pinimg.com and finally ffff Ardente. The surprise ending consists of a simple
C major chord, but be prepared for something a bit more!The Music
Shostakovich’s command of musical material is seen at its finest in the opening pages.
Working with little more than a six-note motif, he presents a long (sixty bars), quiet
passage for strings alone. The scope and darkly brooding quality of the music have led
some to describe it as “Faustian.” Finally the clarinet enters with the second subject,
an infinitely sad yet lyrical idea that slowly unwinds, growing by small increments to
the first of the movement’s big climaxes. Eventually a third subject is introduced –
a languid, waltz-like theme first heard in the sombre low range of the flute.
The breathless silence that ends the first movement could not stand in greater
contrast to what follows. For sheer demonic fury and searing, white-hot intensity,
there are few moments in all music to match this symphony’s second movement, the
musical equivalent of a tornado ride through hell. Though only four minutes in length,
it inevitably leaves the listener emotionally drained by the time the last wall of sound
has roared to an abrupt stop.
friendsofchambermusic.ca If the first movement is the symphony’s most awesome in design, and the second its
most viscerally exciting, the third might be considered the philosophical centerpiece.
DMITRI SHOSTAKOVICH (1906-1975) A gentle, folklike tune for strings alone sets things in motion, beginning with the same
Symphony No. 10 in E minor, Op.93 (1953) series of three pitches that opened each of the previous movements. A sinister, dance-
like tune intrudes, written for the entire woodwind choir accompanied only by timpani
I. Moderato and triangle.
II. Allegro
The finale opens with one of the longest slow introductions in the entire symphonic
III. Allegretto
repertory, amounting almost to a movement in itself. The mood is tense, ominous,
IV. Andante – Allegro
foreboding. Suddenly all anxiety is thrust aside with the intrusion of a sprightly,
affirmative theme in the violins. Churning strings, brass fanfares and a sinister military
The Background
march derived from material in the second movement all contribute to the summation
and resolution of inner conflicts spanning fifty minutes of music. The symphony ends
Although Dmitri Shostakovich wrote music in all genres, it was as a composer of
exultantly in glorious E major.
symphonies and string quartets that he was best known in the West during his lifetime.
From the vantage point of nearly over forty years after his death, this assessment
remains unchallenged. In this regard, he can be compared to Haydn, but not even
Haydn’s symphonic creativity lasted as long as Shostakovich’s. From his First
Symphony, written as a diploma exercise at the St. Petersburg Conservatory in 1924-
1925, to his Fifteenth, written nearly half a century later, Shostakovich left an indelible
mark on the twentieth century as one of its greatest symphonists, comparable to
Beethoven in the nineteenth, some would contend.
The world premiere in Leningrad (today St. Petersburg again) of the Tenth Symphony
on 17 December 1953, conducted by Yevgeny Mravinsky, and the subsequent
performance in Moscow twelve days later, won exuberant public acceptance. The
symphony went on to worldwide fame and is now, along with the First and Fifth, the
most frequently heard of the composer’s symphonies. Many consider it his greatest.DEWAN FILHARMONIK PETRONAS
CHIEF EXECUTIVE OFFICER
Nor Raina Yeong Abdullah
MALAYSIAN PHILHARMONIC ORCHESTRA BUSINESS DEVELOPMENT
Wan Yuzaini Wan Yahya
At Ziafrizani Chek Pa
Nurartikah Ilyas
RESIDENT VIOLA FLUTE HORN Kartini Ratna Sari Ahmat Adam
Aishah Sarah Ismail Affendee
CONDUCTOR Co-Principal Section Principal Section Principals
Naohisa Furusawa Gábor Mokány *Meg Sterling Grzegorz Curyla MARKETING
Yazmin Lim Abdullah
Co-Principal *Matthew Berliner Hisham Abdul Jalil
FIRST VIOLIN Ong Lin Kern Yukako Yamamoto Co-Principal Munshi Ariff Abu Hassan
Farah Diyana Ismail
Co-Concertmaster Sun Yuan Sub-Principal James Schumacher Noor Sarul Intan Salim
Peter Daniš Thian Ai Wen Rachel Jenkyns Sub-Principals Muhammad Shahrir Aizat
Ahmad Kusolehin Adha Kamaruddin
Principal Fan Ran Laurence Davies
Ming Goh Emil Csonka PICCOLO *Timothy Skelly CUSTOMER RELATIONSHIP
MANAGEMENT
Co-Principal *Atelier Javier Lopez Principal Assistant Principal Yayuk Yulianawati Rila
Zhenzhen Liang *Ida Kovács Sonia Croucher Sim Chee Ghee Jalwati Mohd Noor
*Ling Li Yen MUSIC TALENT DEVELOPMENT &
Runa Baagöe *Kazuyo Nozawa OBOE TRUMPET MANAGEMENT
Maho Daniš *David Samuel Section Principal Section Principal Soraya Mansor
Miroslav Daniš Simon Emes *Sergio Pacheco PLANNING, FINANCE & IT
Evgeny Kaplan CELLO Sub-Principal Co-Principal Mohd Hakimi Mohd Rosli
Norhisham Abd Rahman
Martijn Noomen Co-Principal Niels Dittmann William Theis Siti Nur Ilyani Ahmad Fadzillah
Sherwin Thia Csaba Körös Sub-Principal Nurfharah Farhana Hashimi
Marcel Andriesii Assistant Principal COR ANGLAIS Jeffrey Missal PROCUREMENT & CONTRACT
Tan Ka Ming Steven Retallick Principal Logiswary Raman
TROMBONE Norhaszilawati Zainudin
Petia Atanasova Sub-Principal Elisa Metus
Ikuko Takahashi Mátyás Major Section Principal HUMAN RESOURCE MANAGEMENT &
*Stig Nilsson CLARINET *Ricardo Molla ADMINISTRATION
Sharhida Saad
*Branislava Tatic Gerald Davis Section Principal Co-Principal Muknoazlida Mukhadzim
*Veronique Serret Julie Dessureault Gonzalo Esteban Fernando Borja Nor Afidah Nordin
Nik Nurul Nadia Nik Abdullah
Laurentiu Gherman Co-Principal Sub-Principal
SECOND VIOLIN Elizabeth Tan Suyin David Dias da Silva *Marques Young TECHNICAL OPERATIONS
Firoz Khan
Section Principal Sejla Simon Sub-Principal Mohd Zamir Mohd Isa
Timothy Peters *Ken Ichinose Matthew Larsen BASS TROMBONE Shahrul Rizal Mohd Ali
Dayan Erwan Maharal
Assistant Principal Principal Zolkarnain Sarman
Luisa Hyams DOUBLE BASS BASS CLARINET *William Baker
MALAYSIAN PHILHARMONIC
Section Principal Principal CORPORATE SUITE CLUB MEMBER ORCHESTRA
Catalina Alvarez Wolfgang Steike Chris Bosco TUBA
Chia-Nan Hung Section Principal CHIEF EXECUTIVE OFFICER
Nor Raina Yeong Abdullah
Anastasia Kiseleva Raffael Bietenhader BASSOON *Daniel Honaker
Stefan Kocsis Jun-Hee Chae Section Principal GENERAL MANAGER
Khor Chin Yang
Ling Yunzhi Naohisa Furusawa Alexandar Lenkov TIMPANI Soraya Mansor
Ionut Mazareanu John Kennedy Co-Principal Section Principal GENERAL MANAGER'S OFFICE
Yanbo Zhao Foo Yin Hong *Ignacio Perez Matthew Thomas Timmy Ong
Ai Jin Andreas Dehner Sub-Principal Sub-Principal
ARTISTIC ADMINISTRATION/
Robert Kopelman *Yang Tzu-Hsien Denis Plangger *Matthew Kantorski ORCHESTRA MANAGEMENT/
*Marco Roosink *Heinz-Peter Graf MALAYSIAN PHILHARMONIC YOUTH
CONTRABASSOON PERCUSSION ORCHESTRA
*Noel Martin Ahmad Muriz Che Rose
*Liu Yi Retallic Principal Section Principal Sharon Francis Lihan
Vladimir Stoyanov Matthew Prendergast Fadilah Kamal Francis
Shireen Jasin Mokhtar
Sub-Principals Katherine Tan Jia Yiing
Joshua Vonderheide MUSIC LIBRARY
*Matthew Kantorski Ong Li-Huey
*Kyle Ritenauer Wong Seong Seong
Muhamad Zaid Azzim Mohd Diah
EDUCATION & OUTREACH
Shafrin Sabri
Shireen Jasin Mokhtar
Note: Sectional string players are rotated within their sections. *Extra musician. DEWAN FILHARMONIK PETRONAS – 462692-X MALAYSIAN PHILHARMONIC ORCHESTRA – 463127-HBox Office:
Ground Floor, Tower 2,
PETRONAS Twin Towers
Kuala Lumpur City Centre
50088 Kuala Lumpur
Email: boxoffice@dfp.com.my
Telephone: 603 - 2331 7007
Online Tickets & Info: mpo.com.my
malaysianphilharmonicorchestra
DEWAN FILHARMONIK PETRONAS – 462692-X
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