Eunice Tong, Conductor
Wen Wen Bong, Violin
Jakarta Simfonia Orchestra
MOZART Violin Concerto No. 3 in G Major
iii. Rondeau: Allegro
MENDELSSOHN The Hebrides Overture
MENDELSSOHN Symphony No. 3 “The Scottish”
i. Andante con moto
ii. Vivace non troppo
iv. Allegro vivacisimo
EUNICE TONG, Conductor
A graduate of Westminster Choir College, New Jersey, Eunice Tong studied under the tutelage of Joseph Flummerfelt and Andrew Megill. Whilst there, she was able to perform with Pierre Boulez, Sir Colin Davis, Lorin Maazel, Rafael Frühbeck de Burgos, Neeme Järvi, Anton Armstrong, Alan Gilbert, Dale Warland, and Joseph Flummerfelt.
Eunice has been the Chorus Master of Jakarta Oratorio Society since 2006, leading the choir to perform the greatest works of Bach, Brahms, Handel, Mendelssohn, Bernstein, and many more. Until recently, Jakarta Oratorio Society as the choir-in-residence of Aula Simfonia Jakarta is an ensemble with the most demanding choral repertoire performances in Indonesia, with up to 5 major works per year.
As the Assistant Conductor of Jakarta Simfonia Orchestra, she is engaged to conduct concerts such as Symphonic Series, Mass and Oratorio Series, Concerto Series, and the beloved Family Concert Series.
Since its opening in 2009, Eunice has been assigned as the Managing Director and the Director of Artistic Planning of Aula Simfonia Jakarta, working alongside with many local musicians and corresponding with international artists. In 2020, when the pandemic took over the world and silenced many halls, Eunice passionately introduced the Chamber Music Society of Aula Simfonia Jakarta. In this setting, music can be played by Indonesian musicians and chamber music repertoires are gently brought back to the attention of classical music lovers.
WEN WEN BONG, Violin
Wen Wen Bong's violin journey started at the age of four. Lessons in the early years at Yayasan Music Jakarta (YMJ) with Mr. Yap Tjie Kian, the late Mr. Sudomo and Mr. Fauzan to name a few . Her talent is proven in obtaining highest achievement in violin from YMJ.
In 1995, Wen Wen continued her violin lesson with the late Mr. Addidharma Widjaja and at that same time also joined ProArte String Orchestra under Mr. Addidharma, Indonesian Youth Orchestra and Indonesia Philharmonic Orchestra under the late conductor Yazeed Djamin.
Formal violin education was obtained as Bachelor of Music In 2004 from Music Academy in Tuebingen, Germany having Prof. Julia Galic as her violin teacher. While in Germany she joined Arcademia Orchestra with conductor Dietrich Schoeler Manno. She has joined some orchestras in Jakarta such as Twilite Orchestra, Nusantara Symphony Orchestra, and Jakarta Chamber Orchestra. Currently she is with Jakarta Simfonia Orchestra and Jakarta Sinfonietta. Having been entrusted in several concerts of Jakarta Sinfonietta, Jakarta Simfonia Orchestra and also Jakarta Festival Chorus, as Concert Master/Co Concert Master, Wen Wen's rich experience and skill is shared to her students until now.
VIOLIN CONCERTO NO. 3 IN G MAJOR
Wolfgang Amadeus Mozart
1756 | January 27 – 1791 | December 5
Duration approximately 24 minutes
Undoubtedly a child prodigy, Mozart excelled in both keyboard instrument and violin. The young, gifted composer produced 5 violin concertos at the age of 19. Violin Concerto No. 3 demands high virtuosity and technicality. At the end of each movement, Mozart wrote a virtuosic cadenza passage for the soloist. The first movement, Allegro, is cheerful and bright. Mozart highlighted the soloist part with demanding technical skill, lightly accompanied by the orchestra. Contrasting to the first movement, the second movement, Adagio, is slow and relaxed. Resembling an aria, the soloist played a lyrical melody accompanied by the orchestra. The third movement, Rondeau, is in triple tempo. It is youthful and dance-like. The soloist played a delicate melody, lightly accompanied by the strings. As a whole, this violin concerto demonstrates Mozart’s outstanding composing capability in his youth.
THE HEBRIDES OVERTURE
Felix Mendelssohn Bartholdy
1809 | February 3 – 1847 | November 4
Duration approximately 10 minutes
A prolific German composer, Felix Mendelssohn had composed 12 string symphonies at the age of 14. By the age of 15 years, he had started composing his first mature symphony. Coming from a wealthy family and being a nature lover, Mendelssohn loved travelling and enjoying natural scenery. When he was 20 years old, he travelled to Scotland with Karl Klingemann where they visited The Hebrides Islands and toured the Fingal’s caves on The Island of Staffa. The astonishing pillars and geometric columns of Fingal’s cave left the two young travelers in awe, despite the seasickness. Mendelssohn was so inspired that he immediately sketched the overture opening melody to his sister, Fanny. The overture is actually a concert-overture, which is not affiliated with any opera. The main theme attempt to portray sea waves, through its undulating motif. The following section is a soaring melody, played by the cellos. Mysterious and majestic, it is one of the most beautiful musical painting of sea and wonders of nature.
SYMPHONY NO. 3 IN A MINOR "THE SCOTTISH"
Duration approximately 40 minutes
Aside from The Fingal’s cave, the Holyrood Castle was one of Mendelssohn’s itineraries during the Scotland
tour. The ruined Chapel in Holyrood Castle promptly ignited Mendelssohn that he wrote:
"In the deep twilight we went today to the palace where Queen Mary lived and loved...The chapel below is now roofless. Grass and ivy thrive there and at the broken altar where Mary was crowned Queen of Scotland. Everything is ruined, decayed, and the clear heavens pour in. I think I have found there the beginning of my 'Scottish' Symphony."
He enclosed the letter with 16 bars of the symphony opening theme. However, he struggled to finish the symphony immediately, that took 13 years to complete his fifth and final symphony. Nevertheless, the symphony turned out the third to be published. The first movement, Andante con moto, begins with a “ruins of Holyrood Chapel” ambience. It is majestic with some element of somberness. In the second part of first movement, Allegro un poco agitato, the music become more dramatic and heroic. The second movement, Vivace non troppo, is a very high-spirited and rhythmical Scherzo. The strings begin with a hurrying staccato passage and the clarinet introduces a cheerful Scottish melody. The third movement, Adagio, contains solemn melody, more like a hymn. It embodies “song without words” character, which is one of Mendelssohn’s most brilliant composition. The finale, Allegro vivacissimo, is energetic and rhythmical. Initially named as “guerrièro” (warlike), the last movement is confident with military style. In the last section of finale, Allegro maestoso assai, Mendelssohn noted that it should sound like the classic men chorus. Played in a bright A major, it is a victorious hymn, full of hope, optimism, and glory.
Written by Gloria Teo