Beethoven250 Evening Concerts
Sat 8 Jan 2022
Beethoven Sonata No. 1 for piano and violin Op. 12 No. 1
Beethoven Sonata No. 2 for piano and violin Op. 12 No. 2
Beethoven Sonata No. 3 for piano and violin Op. 12 No. 3
Beethoven Sonata No. 4 for piano and violin Op. 23
Beethoven Sonata No. 5 for piano and violin Op. 24
Sun 9 Jan 2022
Beethoven Sonata No. 6 for piano and violin Op. 30 No. 1
Start Sales Date
Internet & Mobile:
1 Nov 2021, 9am
1 Nov 2021, 10am
8 Jan 2022, 6.30pm
Approximately 1 hour and 5 minutes, no interval
8 Jan 2022, 9pm
Approximately 55 minutes, no interval
9 Jan 2022, 6.30pm
Approximately 1 hour and 15 minutes, no interval
9 Jan 2022, 9pm
Approximately 1 hour and 10 minutes, no interval
Rating / Age Limit
- Rating: General
- No admission for infants in arms and children below 5 years old
- Children 5 years and above must purchase ticket for entry
- Admission is subject to tickets produced at the entrance
Late Seating Advisory
- Please be seated 15 minutes before the performance start time.
- There will be no admission into the venue once the performance has commenced.
- Admission may only be permitted during a suitable pause, depending on the nature of the performance.
Photography / Video Recording Rules
- No photography, video recording and audio recording is allowed for this event.
Since winning the 2015 Honens International Piano Competition, Luca Buratto has performed on three continents to warm acclaim. Critics and audiences across the globe recognise Buratto as a distinctive performer. He has been described as “a name to watch” (The Guardian) and “no ordinary virtuoso” (The Telegraph). His playing was highlighted by International Piano magazine as “masterly,” his highly regarded interpretations of prolific British composer Thomas Adès reveal Buratto’s versatility as “an artist who is both illuminating and unafraid” (ConcertoNet).
Buratto’s recent appearances include solo recitals and concerto performances at venues such as Wigmore Hall, Zankel Hall at Carnegie Hall, Gilmore Festival Rising stars - Kalamazoo, Berlin Konzerthaus, Teatro alla Scala - Milan, Royal Festival Hall, Roy Thompson Hall and Victoria Concert Hall - Singapore.
He has collaborated as soloist with conductors like Hans Graf, Karina Canellakis, Claus Peter Flor, Jader Bignamini, Thomas Søndergård and orchestras including the London Philharmonic, Calgary Philharmonic, La Verdi Orchestra - Milan, Toronto Symphony, Magedburg Philarmonie and Edmonton Symphony.
Equally at home on the recital stage as the concert hall, Buratto’s festival appearances and residencies include Progetto Martha Argerich at the Lugano Festival and Verbier Festival (Switzerland), Busoni Festival (Italy), Marlboro Music Festival and Music Academy of the West (USA), and the Ottawa Chamber Music Festival and Banff Centre (Canada).
Buratto’s interpretations of Robert Schumann have earned him particular praise. In a review of his 2017 CD release Schumann: Davidsbündlertänze, Humoreske & Blumenstück (Hyperion Records), Alex Baran from Wholenote Toronto said: “Buratto plays with such a conviction that you immediately know he is certain he has revealed Robert Schumann’s true voice. It’s a deep connection that he sustains effortlessly through the entire recording. Hear him live if you can.”
Other Buratto’s competition successes include Third prize and Audience prize in the 2012 International Robert Schumann Competition. He has been featured on national radio and TV broadcasts such as BBC Radio 3, Radio Classica, Radio 3 RAI, WFMT, WQXR and Canale 5. Buratto mentored under Kirill Gerstein and currently serves on the faculty of Hochschule für Musik Hanns Eisler Berlin.
Tang Tee Khoon
Tang Tee Khoon has been described by the Straits Times Singapore as ‘a chamber musician of the highest order’, a ‘national treasure’, and her playing as ‘truly transcendent’.
Tang first made her concerto debut with the NUS Symphony Orchestra in Singapore at age 12 and has since performed as a soloist with the Singapore Symphony Orchestra, the Singapore Arts Festival Orchestra, the Singapore Chinese Orchestra, and other orchestras in the U.S., Europe and Japan.
Named one of the 40 under 40 faces to watch by Prestige Singapore and The Peak Power List 2021 Next Gen Women, Tang Tee Khoon was the second-ever violinist to be awarded the loan of a J.B. Guadagnini violin by the Singapore National Arts Council from 2009-17.
After being awarded the violin loan in 2009, Tang performed as soloist and recitalist at Kioi Hall Tokyo, Banff Centre for the Arts Canada, St. John Smith’s Square London and at Singapore’s celebration of 40 years of diplomatic ties with Philippines as soloist with the Philippines Philharmonic Orchestra.
Tang has won numerous awards for her work, including being named the 2004 winner of the East and West International Artists Auditions in New York, which led to her successful debut recital at Weill Recital Hall the following year. Prizes and awards also include 2nd prize at the Klein International Competition U.S.A., 1st prize at Kocian International Violin Competition Czech Republic, the Myra Hess Award U.K., the Martin Musical Scholarship U.K., and the Singapore Shell-National Arts Council Arts Scholarship.
As a chamber musician, Tang Tee Khoon has collaborated with members of the Emerson, Takács and Borromeo String Quartets, Wu Han, Colin Carr, Midori, and Ian Swenson. Her appearances at chamber music festivals include Seiji Ozawa’s International Music Academy in Switzerland; Open Chamber Music Sessions at Prussia Cove, U.K.; and the Chamber Music Residencies at Banff Centre for the Arts, Canada.
Tang Tee Khoon mentored with Donald Weilerstein at the New England Conservatory in Boston and David Takeno at the Guildhall School of Music & Drama in London U.K.. She plays on a Stefan-Peter Greiner violin c.2006.
Luca Buratto’s passionate interpretations enchant the season’s first Gilmore audience
By Erin Bensinger, Revue and Revue Holding Company, Michigan USA, Sep 2018
The Gilmore kicked off its 2018-2019 season on Sunday evening with the first performance from its Rising Stars series. Italian concert pianist Luca Buratto impressed a near-full house at the Wellspring Theater in Kalamazoo with a century-spanning selection from his repertoire. (…)
As he approached the piano, Buratto appeared unassuming, almost shy — immediately upon sitting down and placing his hands on the keys, his demeanor changed completely. The performer launched wholeheartedly into a bright, effervescent rendition of Johann Sebastian Bach's “Italian Concerto” in F Major (BWV 971). His passion for both the craft and the pieces he selected was evident from the moment he began – in his fervent facial expressions, in the flourish of his hand as it left the keys – and it did not wane until after he left the stage.
Buratto transitioned effortlessly from the rapid, forceful, untitled first movement of the Concerto to the gentle, quiet andante movement, and back again to the rapid force of the third and final presto movement. He did so without losing any emotional intensity. The quieter moments of the performance seemed to reveal an intimacy between Buratto and the piano; at times, I felt like an intruder on a secret rendezvous, as the pianist was so clearly in his own world without regard for the audience or the camera that livestreamed the performance to the Gilmore website. The audience seemed equally entranced by Buratto.
Next came a 2015 piece by British composer Thomas Adès titled “Blanca Variations,” from his opera The Exterminating Angel ... Buratto kept the surrealist-inspired piece anchored firmly in reality with his absolute mastery of the piece's wide range of dynamics, even as it grew from structured and romantic to chaotic and dissonant.
Buratto followed “Blanca Variations” with Beethoven's Sonata No. 23 in F Minor, Op. 57 (“Appassionata”), and the performance certainly lived up to the name of the piece. This selection was darker than the ones before it, and Buratto glided through technically difficult sections all the same. It occurred to me during the first movement that this piece and the one played before it were composed 200 years apart, and the performer was still able to make them sound like they were meant to belong to the same collection. (…)
After the intermission, Buratto hardly waited for the room to go quiet before he launched into Adès's Mazurkas, Op. 27. Each movement of the piece was slightly darker and more experimental than the last, and the pianist clearly descended further and further into his comfort zone as the movements became more dreamlike — nightmarish, even.
For the final piece of the program, Buratto brought Schumann's Sonata No. 3 in F Minor, Op. 14, to life before the audience's eyes. Again, his engagement with the piece was a delight to watch; he seemed to be physically in conversation with the composer throughout the performance. Buratto soared through a vast range of tempo, dynamics and rhythms without losing even a bit of the emotional intensity the audience had come to expect. The romantic, longing energy of the piece was palpable as Buratto gestured emphatically toward the keys with a non-playing hand, almost as if he was pulling the air to bend the sound waves to his will.
He finished the piece strongly and, after shouts of “bravo!” returned to the stage for an absolutely gorgeous encore of Schumann's Davidsbündlertänze #14, Op. 6, a brief melodic piece in E flat major. By the time he finished and took his final bows, the crowd was buzzing with excitement and praise after a deeply passionate, enthusiastic performance by Buratto.
From Raw Talent to Mature Virtuoso
Straits Times Mar 2014
Some items of historical significance may be classified as national treasures. One such treasure is a 1750 J.B. Guadagnini violin, purchased by an institutional benefactor and donated to the National Arts Council in 2000. The instrument has since been lent to Singaporean violinists making their mark in the global scene. It now rests in the deserving hands of (…) Tang Tee Khoon.
Having won the grand prize for all-round best musician … National Music Competition at age nine, Tang has gone on to become a chamber musician of the highest order. Her latest concert, one centred on Russian music, also showed she has matured beyond raw prodigious talent to something truly transcendent.
Despite her petite built, she exuded a big and brawny tone on the violin, one capable of cutting through plangent piano textures and capaciously filling the hall. In Prokofiev's 2nd Violin Sonata, she alternated between its bittersweet reminiscences and mercurial dervishes so expertly and confidently without as much as breaking into a sweat.
She brought out the requisite shades and nuances of Tchaikovsky's Souvenir D'un Lieu Cher (Memory Of A Beloved Place) … Through these, an unfailingly singing tone happily co-existed with an iron-clad technique and razor-keen responses …
Unveiling Beethoven's secrets
Straits Times Mar 2016
Other than the regular airing of his Choral Symphony, Ludwig van Beethoven's late works are hardly ever performed in Singapore. His visionary musical ideas and profundity of thought make these utterances demanding for both performers and audiences alike.
But trust Singaporean violinist Tang Tee Khoon to bring together musical colleagues from around the world and devote two concerts for this just cause. (…)
Tang … appeared in the second half with Yuki Kasai (2nd violin, Japan), Jessica Thompson (viola, the United States) and Olivia Jeremias (cello, Germany) for Beethoven's String Quartet In E Flat Major Op. 127 … the opening … was robust and purposeful and the chemistry among the four women in the stirring music became immediately palpable.
The foursome achieved a fine balance. The quiet beginning of the sublime second movement was a case in point: Each individual voice came in clearly and without clamour for limelight …
In the ensuing variations, it was Tang's exquisite solos and leadership that lit the way. Yet hers was an intimately wielded authority, to which the group responded with seeming telepathy and utmost musicality.
The light-hearted scherzo jaunted with the sprightliest of pizzicatos, before giving way to an even more animated central section. The finale … exhibited all the qualities that make great chamber music-making, with all four listening intently, reacting and gelling as one. As the tempo quickened towards its final pages, the more acutely these qualities became apparent.
The secrets of late Beethoven were laid bare and lapped up by the most attentive and receptive of audiences. (…)
Violinist Tang Tee Khoon and friends Transcend the Ordinary
Straits Times May 2015
When the National Arts Council's prized 1750 J.B.Guadagnini violin was loaned to young Singaporean violinist Tang Tee Khoon some six years ago, one of the conditions was that she performed it regularly here in concert. She has more than fulfilled that role of violin ambassador and now has her own line of recitals called the Tang Tee Khoon Grand Series, featuring guest musicians from around the world. (…)
This (the Fantasy in C major for violin and piano) is undoubtedly Schubert's most virtuosic work for these two instruments, from its hushed dreamy opening … to soaring highs … Tang and her Guadagnini made their entrance … fully aware of the music's innate poetry.
Playing for almost half an hour, the work traversed peaks and valleys, best exemplified in the central variations on the Schubert's lied Sei mir gegrusst (I Greet You) which had all the nuances one could hope for …
For the second half, Tang was joined by violinist Yuki Kasai, violist Mariko Hara and cellist Olivia Jeremias, musicians all based in Germany, for Schubert's String Quartet in D minor … All the ladies are experienced chamber musicians, and one could tell by their immediacy in the way they launched into its dramatic first movement.
A common sense of purpose united the foursome through the music's heightened tension, and this electricity never flagged in the work's 40 minutes. (…)
The brief and prickly Scherzo served as a prelude to the finale's furious tarantella rhythm. Here the unison playing in high tempos … was delivered with stunning accuracy. There was to be no tiring as the quartet raced to a breathless finish, that was greeted by a near-capacity audience with loud acclaim.
Standard: S$82, S$62, S$42, S$32
- Applicable for purchase any 2 of the 4 shows
- Applicable from 1 Nov 2021 onwards
- Applicable for purchase any 3 of the 4 shows
- Applicable from 1 Nov 2021 onwards
- Applicable for purchase all of the 4 shows
- Applicable from 1 Nov 2021 onwards