Rachmaninoff’s Rhapsody WITH THE DEVIL Rachmaninoff’s Rhapsody APT MASTER SERIES Wednesday 12...
Transcript of Rachmaninoff’s Rhapsody WITH THE DEVIL Rachmaninoff’s Rhapsody APT MASTER SERIES Wednesday 12...
DANCING WITH THE DEVIL Rachmaninoff’s Rhapsody
APT MASTER SERIES
Wednesday 12 August 2015 Friday 14 August 2015 Saturday 15 August 2015
concert diary
Kirill Gerstein in Recital BARTÓK 2 Chromatic Inventions from Mikrokosmos BACH Three-Part Inventions (Sinfonias) LISZT Transcendental Etudes
International Pianists in Recital Presented by Theme & Variations
Mon 17 Aug 7pm City Recital Hall Angel Place
Pre-concert talk by David Garrett at 6.15pm
Romeo & Juliet with Bell Shakespeare PROKOFIEV Romeo and Juliet: Scenes from the ballet music with excerpts from Shakespeare’s play
Simone Young conductor John Bell director Actors from Bell Shakespeare
SPECIAL EVENT Premier Partner Credit Suisse
Thu 20 Aug 8pmTea & Symphony
Fri 21 Aug 11am complimentary morning tea from 10am
Great Classics
Sat 22 Aug 2pmMondays @ 7
Mon 24 Aug 7pmPre-concert talk by Yvonne Frindle 45 minutes before each performance (Thu, Sat, Mon)
Discover Ravel RAVEL Mother Goose – Suite
Richard Gill conductor SSO Sinfonia
Tenix Discovery
Tue 25 Aug 6.30pm City Recital Hall Angel Place
Time for Three America’s hottest string trio Three young Americans who defy classification, happily and infectiously. Including their own ingenious mash-ups of the Beatles, Mumford & Sons’ Little Lion Man, Hallelujah and more. Enjoy these ultimate crossover artists in a concert of pure fun!
Meet the Music
Thu 27 Aug 6.30pmKaleidoscope
Fri 28 Aug 8pm Sat 29 Aug 8pmPre-concert talk 45 minutes before each performance
French ImpressionsRAVEL Rapsodie espagnole DEBUSSY Nocturnes BERLIOZ Te Deum
Charles Dutoit conductor • Joseph Kaiser tenor Sydney Philharmonia Choirs • Sydney Children’s Choir Tasmanian Symphony Orchestra Chorus
Thursday Afternoon Symphony
Thu 3 Sep 1.30pmEmirates Metro Series
Fri 4 Sep 8pmPre-concert talk by David Garrett 45 minutes before each performance
Roman TrilogyBERLIOZ Roman Carnival – Overture SCHUMANN Cello Concerto RESPIGHI Roman Festivals Fountains of Rome Pines of Rome
Charles Dutoit conductor Daniel Müller-Schott cello (PICTURED)
APT Master Series
Wed 9 Sep 8pm Fri 11 Sep 8pm Sat 12 Sep 8pmPre-concert talk by David Larkin at 7.15pm
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Welcome to tonight’s concert in the APT Master Series for 2015. Tonight, performers and audience come together in a concert hall, but the music on offer is so dramatic we could easily be in a theatre.
This week a young American, James Gaffigan, is making his
third visit to the Sydney Symphony Orchestra. The program
he conducts begins in the world of opera, with music from
Verdi’s Macbeth. In the second half we’ll hear the thrilling and
energising sounds of Shostakovich’s Fifth Symphony.
Piano soloist Kirill Gerstein is also making a return visit to
Sydney; this time to perform Rachmaninoff’s Rhapsody on a
Theme of Paganini – music to inspire awe and make
you swoon.
Music has an amazing power to grip the emotions, to inspire,
to leave you breathless. But if you’ve ever had a chance to visit
the Kimberley region in Western Australian you’ll know that the
beauties of the natural world – especially in our own country –
are just as powerful. If you haven’t had a chance to admire the
Kimberley and Australian Outback, we invite you to join us on
one of our 4WD wilderness adventures or coastal cruises and
discover its majesty for yourself.
We hope you’ll be moved by the drama of tonight’s program
and we look forward to seeing you at future Master Series
concerts during the year.
WELCOME
Geoff McGeary oam APT Company Owner
PRESENTED BY
Friday Night’s performance will be recorded by ABC Classic FM for broadcast on Saturday 22 August at 8pm.
Pre-concert talk by Natalie Shea at 7.15pm in the Northern Foyer.
Estimated durations: 10 minutes, 23 minutes, 20-minute interval, 45 minutes The concert will conclude at approximately 10pm.
COVER IMAGE: Detail from Burning: February, a lithograph from the early 1930s by Harold Sandys Williamson (1892–1978).
DANCING WITH THE DEVILJames Gaffigan conductor Kirill Gerstein piano
GIUSEPPE VERDI (1813–1901) Macbeth: Ballet music from Act III
SERGEI RACHMANINOFF (1873–1943) Rhapsody on a Theme of Paganini, Op.43
Kirill Gerstein, piano
INTERVAL
DMITRI SHOSTAKOVICH (1906–1975) Symphony No.5
Moderato – Allegro non troppo Allegretto Largo Allegro non troppo
APT MASTER SERIES
WEDNESDAY 12 AUGUST, 8PM FRIDAY 14 AUGUST, 8PM SATURDAY 15 AUGUST, 8PM
SYDNEY OPERA HOUSE CONCERT HALL
2015 concert season
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Clockwise from top left: Portrait of Verdi in 1886 by Giovanni Boldini. Photograph of Shostakovich taken around the time of the premiere of the Fifth Symphony (colourised). After leaving Russia for the West, Rachmaninoff reinvented himself as a concert pianist (portrait by Boris Chaliapin, 1940). Paganini’s tall, lean physique and distinctive posture contributed to the legends of his ‘supernatural’ gifts (portrait by Eugene Delacroix, 1832).
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The supernatural can make for good theatre. Shakespeare knew
that – think Hamlet’s ghost and Macbeth’s weird sisters. But in
those plays the ghost and the witches are more than Elizabethan
special effects. They play a motivating role in the drama, and
Verdi recognised that, to the extent of declaring that in his opera
Macbeth there were just three principal characters: Macbeth,
Lady Macbeth, and the ‘chorus of witches’. It was for the scene
in which Macbeth seeks out those witches that tonight’s ballet
music was composed.
The supernatural can also make for good publicity. In the
18th century, Giuseppe Tartini wrote a sonata that remains
famous for its difficulty. But it wouldn’t be quite so famous if it
didn’t also carry a nickname – the Devil’s Trill Sonata – and a
backstory in which the Devil appeared to Tartini in a dream. In
the 19th century, the violinist Niccolò Paganini caused an even
greater furore with an astonishing virtuosity that was attributed
to a pact with the devil. This rumour may have cost him a
Catholic burial, but it didn’t hurt the ticket sales to his concerts!
‘Supernatural’ virtuosity is found in the piano world as well.
Franz Liszt used his prodigious skill to represent the devil in
music – more than once. In the 20th century it was
Rachmaninoff whose virtuosity seemed to exemplify the
glamorous and seductive side of things diabolical. And the
themes came together when he chose the 24th Caprice of
Paganini as the basis for his Rhapsody for piano and orchestra.
Rachmaninoff’s Rhapsody was composed in 1934, after he
had moved to America and established himself as a concert
pianist. Just three years later, Shostakovich, at home in the
Soviet Union, wrote his Fifth Symphony. It followed the more
challenging Fourth, which had been shelved without a premiere.
There is nothing supernatural about the Fifth; its conventional
outlines and its cheerfulness, melancholy and optimism are very
real indeed. And Shostakovich never rebutted the subtitle given
to it: ‘an artist’s response to just criticism.’ But if you think, like
his friend Mstislav Rostropovich, that it’s ‘idiocy’ to hear triumph
in the finale and that this is music in which ‘the victim still tries
to smile in his pain’, then perhaps you can hear this as an
example of a composer in fear for his life and ‘dancing with
the devil’.
INTRODUCTION
Dancing with the DevilVerdi, Rachmaninoff, Shostakovich
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Verdi Ballet music from Act III of Macbeth
The ‘gothic’ formed an popular sub-genre in 19th-century opera, exemplified by such perennial hits as Weber’s Freischütz, Meyerbeer’s Robert le Diable, Gounod’s Faust and Balfe’s Satanella. There was even an Australian gothic opera, The Gentleman in Black by Stephen Marsh, which was premiered in Melbourne in 1861 in the famous Lyster Opera Company’s inaugural season.
During a long artistic apprenticeship, Verdi had worked hard at providing mostly unadventurous Italian opera houses with the sort of stage works they thought they wanted. But he saw in Shakespeare’s Macbeth a rare opportunity to produce a musical drama that turned away from conventional romantic plots and embraced the hellish horror of the bard’s Scottish tragedy. As he put it to his librettist: ‘if we can’t do something great with it, at least let’s try to do something out of the ordinary.’
After seeing the finished opera through its Turin premiere in 1847, Verdi was twice approached to adapt it for the French stage. A first opportunity, for Paris in 1852, came to nothing, and by the time the second came, in 1864, Verdi realised nothing short of a major revamp of the almost 20-year-old work would be required. As he now understood, the next most important protagonists after Macbeth and Lady Macbeth were the witches. By prophecy, incantation, and divination, he explained, ‘the Witches rule the drama’.
Verdi’s decision to rework the witches’ cauldron scene to include a fully fledged ballet allowed him to flesh out the three conjured apparitions in a new three-section orchestral
ABOUT THE MUSIC
KeynotesVERDIBorn near Parma, 1813 Died Milan, 1901
Giuseppe Verdi is without doubt Italy’s greatest composer of the 19th century and the grand master of Romantic Italian opera. He composed nearly 30 operas, many of which remain staples of the repertoire: La Traviata, Rigoletto, Aida, Otello, Un ballo in maschera and La forza del destino, to name just some. ‘Va pensiero’, the moving Chorus of the Hebrew Slaves from Nabucco, resonated with Italian patriots in the mid-19th century and was so closely associated with Verdi that mourners sang it as his funeral cortège passed through the streets of Milan.
MACBETH
Verdi’s opera after Shakespeare’s Macbeth was premiered in 1847, in Italy. In 1864–65 he revised it for Paris, where ballet was considered an obligatory component of the evening. In this case, the ballet served a real dramatic purpose as Verdi placed greater focus on the role of the three weird sisters, or witches.
The Three Witches, depicted by Henry Fuseli (1783). ‘The Witches rule the drama,’ wrote Verdi at the time he revised Macbeth for Paris. ‘They are truly a character, and a character of greatest importance.’
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episode on a symphonic scale. The first apparition (Allegro vivacissimo, in the guise of a super-energised ballroom schottische) warns Macbeth to be wary of Macduff. According to the deceptively comforting second apparition (Andante), Macbeth will not come to harm at the hand of mortal man. But the benighted thane becomes even more unjustifiably confident when the third spectre vows (to the strains of a furious Allegro vivacissimo waltz) that he will not be conquered unless the impossible happens – as we know it shall – and Birnam Wood comes to Dunsinane!
GRAEME SKINNER © 2015
The orchestra for the Macbeth ballet music comprises flute, piccolo, and
pairs of oboes, clarinets and bassoons; four horns, two trumpets and four
trombones; timpani and percussion, and strings.
According to our records this is our first performance of the ballet
music from Verdi’s Macbeth.
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Set design for Act III of Verdi’s Macbeth as it was presented by the Théâtre Lyrique in Paris, in 1865.
Verdi conducting in Paris (1881)
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KeynotesRACHMANINOFFBorn Oneg (Novgorod region), 1873 Died Beverly Hills CA, 1943
Before leaving Russia for good in 1917, Rachmaninoff had composed two symphonies, three piano concertos, and three substantial orchestral works: The Rock, the Capriccio on Gypsy Themes and The Isle of the Dead, as well as the much-loved Vocalise. After settling in the West, Rachmaninoff shifted his attention to building a career as a concert pianist, and composed much less. The Rhapsody on a Theme of Paganini dates from this period.
THE ‘RACH PAG’
The Rhapsody on a Theme of Paganini is one of Rachmaninoff’s most popular works for piano and orchestra. The Rhapsody is a set of 24 variations on a theme by the 19th-century violin virtuoso, Paganini. (The theme is heard after the first variation.) These variations are played continuously without pause, but they also fall naturally into groups: some commentators hear three groups, corresponding to the first, slow and finale movements of a traditional concerto; others hear four groups, as outlined by Phillip Sametz in his program note.
The Rhapsody was completed in 1934 – effectively making it Rachmaninoff’s final ‘concerto’. It found an instant place in the repertoire – admired by audiences and musicians for its charm, wit and satisfying showmanship.
Rachmaninoff Rhapsody on a Theme of Paganini, Op.43
Kirill Gerstein piano
On leaving Russia for good in 1917, Rachmaninoff descended into a composerly silence. While he busied himself with his self-appointed task of acquiring a concert pianist’s repertoire, so that he could earn a steady income, he ceased composing altogether.
After deciding to settle in the USA, he gave 40 concerts in four months during his first concert season there. But he eventually reduced his concert commitments and, in 1925/26, took nine months off to compose. During this sabbatical he composed his first post-Russian pieces: Three Russian Songs for orchestra and chorus, which were well received, and the Fourth Piano Concerto, which, to his dismay, was greeted with widespread indifference.
Rachmaninoff was always sensitive about his own music, and his eagerness to bring a new concerto into his repertoire had been seriously rebuffed by the Fourth Concerto’s failure after its 1927 debut. He did not produce another original work for four years.
When the Variations on a Theme of Corelli for solo piano appeared in 1931, they not only signalled a more astringent approach to harmonic language and musical texture – what Francis Crociata called ‘a kind of personal neo-classicism’ – but indicated that a large-scale variation structure might serve Rachmaninoff’s musical needs better than the more traditional concerto structure in which success had so recently eluded him.
So the Corelli Variations, still not particularly popular, might be thought of as the moodier, introspective dress rehearsal for the work that was to follow in 1934, the Rhapsody on a Theme of Paganini. The Corelli ‘theme’ Rachmaninoff had chosen was actually not by Corelli at all, but was the Baroque popular tune La Folia, which forms the basis of a movement in Corelli’s violin sonata Op.5 No.12. It was to another celebrated work for violin that Rachmaninoff turned for the Rhapsody: the 24th Caprice of Paganini that had already been mined with distinguished results by Schumann, Liszt and Brahms, not to mention Paganini himself. How confident Rachmaninoff must have felt about himself – a man so often pessimistic about his musical achievements – to be exploring the theme yet further, in a big work for piano and orchestra.
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The Rhapsody is one of those works which attained an instant popularity that has never waned. Rachmaninoff finally had a new ‘concerto’ to play, and was asked to do so frequently. The work has wit, charm, shapeliness, a clear sense of colour, strong rhythmic impetus and a dashing, suitably fiendish solo part that translates Paganini’s legendary virtuosity into a completely different musical context.
In the Rhapsody, Rachmaninoff’s quicksilver musical imagination seems to grasp the big picture and distil a sense of unity, from variation to variation, that he does not achieve in the more extended forms of the Fourth Concerto. Yet the Rhapsody’s theme and 24 variations behave like a four-movement work. Variations 1 to 11 form a quick first movement with cadenza; Variations 12 to 15 supply the equivalent of a scherzo/minuet; Variations 16 to 18, the slow movement; and the final six variations, the dashing finale.
We actually hear the first variation – a skeletal march that evokes Paganini’s bony frame – before the theme itself. The ensuing variations are increasingly animated and decorative until Variation 7 gives us a first stately glimpse, on the piano, of the ‘Dies irae’ plainchant, with the strings muttering the Paganini theme against it. This old funeral chant features prominently in Rachmaninoff’s output. Sometimes, as in his final work, the Symphonic Dances, he uses it without irony, but its appearances in the Rhapsody are essentially sardonic.
Variation 8 is a kind of demented ‘can-can’ which rushes headlong into the even more helter-skelter Variation 9, in which the strings begin by playing with the wood of their bows. Grimly glittering arpeggios are tossed between piano and orchestra in Variation 10, in which the ‘Dies irae’ is heard in brazen octaves on the piano, with syncopated brass commentary.
The work has wit, charm, shapeliness, a clear sense of colour, strong rhythmic impetus and a dashing, suitably fiendish solo part that translates Paganini’s legendary virtuosity into a completely different musical context.
In 1937 Rachmaninoff approached the choreographer Michel Fokine with a ballet scenario based on the Rhapsody: ‘Why not recreate the legend of Paganini selling his soul to the Evil Spirit for perfection in art and also for a woman?’ Fokine’s response was premiered at Covent Garden in 1939.
Fokine had created the ballet while on tour in Australia in 1938–39, and it received its Sydney premiere in December 1939. Eric Landerer, who later played the work with the SSO, was the piano soloist.
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With the cadenza-like Variation 11 forming a point of transition, we move to the exquisite, gently regal minuet of Variation 12. The drive, directness and power of Variation 14 are created with much bolder writing for wind and brass than Rachmaninoff employed in his earlier orchestral scores. The piano is given a very subsidiary role here, then comes instantly to the fore in the dazzling, soloistic Variation 15.
After a pause, Variation 16 has an intimacy and exoticism that evokes the Arabian Dance from Tchaikovsky’s Nutcracker, with short but telling solo phrases for oboe, horn, violin, clarinet and cor anglais. Variation 17 is more palpably mysterious, even sinister, and the only one where the theme seems to have vanished altogether, as Rachmaninoff buries it in the harmony. But we land on very deep shag-pile indeed with the celebrated 18th Variation, in which Rachmaninoff uses his sleight of hand to turn Paganini’s theme upside down and create a luxuriant, much admired (and much imitated) melody of his own. Rachmaninoff is reported to have said of it: ‘This one is for my agent.’
As if being woken suddenly from a dream, the orchestra calls the soloist and the audience to attention for six final variations that evoke Paganini’s legendary left-hand pizzicato playing (Variation 19) and the demonic aspects of the Paganini legend, with more references to the ‘Dies irae’ and an increasing emphasis on pianistic and orchestral virtuosity in the last two variations. Just as a final violent outburst of the ‘Dies irae’ seems to be leading us to a furious crash- bang coda, we are left instead with a nudge and a wink, as Rachmaninoff’s final masterpiece for piano and orchestra bids us a sly farewell.
ADAPTED FROM A NOTE BY PHILLIP SAMETZ © 2000
The orchestra for the Rhapsody calls for two flutes, piccolo, two oboes,
cor anglais, two clarinets and two bassoons; four horns, two trumpets,
three trombones and tuba; timpani and percussion (glockenspiel,
suspended cymbal, snare drum, triangle, cymbal, bass drum); harp
and strings.
The Rhapsody received its world premiere in Baltimore on 7 November
1934. Rachmaninoff was the soloist and Leopold Stokowski conducted
the Philadelphia Orchestra. The SSO gave the first Australian performance
in 1940 with conductor Georg Schnéevoigt and soloist Eric Landerer.
Our most recent performance was in 2011 with pianist Freddy Kempf and
conductor Thomas Dausgaard.
What tune is that?The 18th variation from the Rhapsody has become one of Rachmaninoff’s most famous melodies, and it has turned up in movies such as the 1995 remake of Sabrina, Groundhog Day where Bill Murray learns to play it (1993), Dead Again (1991), Somewhere in Time (1980) and Rhapsody (1954).
Pianist and Rachmaninoff scholar Scott Davie has examined the composer’s sketch books in Moscow and points out that the inversion of the Paganini theme in this famous 18th Variation is one of the first ideas that Rachmaninoff had for the Rhapsody.
Portrait of Paganini by Ingres, 1819
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Shostakovich Symphony No.5 in D minor, Op.47Moderato – Allegro non troppo Allegretto Largo Allegro non troppo
Shostakovich’s Fifth Symphony is one of the iconic works of the 20th century. In purely musical terms it is a masterpiece, coherently expressed and brilliantly orchestrated in a large-scale architecture whose pacing is always expertly judged. But the work’s status derives at least in part from extra-musical considerations: the circumstances in which the work was conceived were extraordinary, and the piece has become a powerful symbol in the battle for the composer’s ideological soul.
The well-known facts of the symphony’s genesis bear repeating. By 1936 Shostakovich’s opera Lady Macbeth of Mtsensk had enjoyed a very successful two year run, but then Stalin, whose tastes tended no further than Lehár’s Merry Widow, saw the show. An anonymous review appeared in the official newspaper Pravda accusing the composer of producing ‘muddle [or chaos] instead of music’ and warning that this ‘could end very badly’ for him. Shostakovich took to sleeping in the hallway of his apartment so as not to disturb his family when the NVKD (the predecessor of the KGB) arrived to arrest him – though it never came to that. Lady Macbeth was pulled from the stage and revised as the toned-down Katerina Ismailova, and he withdrew, or allowed to be withdrawn, his Symphony No.4. He had good reason for alarm. The Great Terror, Stalin’s infamous ‘purges’, was at its height, resulting in the incarceration, and often murder, of a colossal number of leading intellects in all walks of life as well as potential political rivals. Whether out of caprice, paranoia or sheer sadism, Stalin came close to fatally weakening his country.
Shostakovich’s Fourth Symphony – which had to wait decades for a performance – is an epic, blisteringly ironic work where triumphal fanfares turn sour in the space of a single bar and glacial spaces unfold menacingly. Composed in 1937, the Fifth, by contrast, is essentially a neoclassical piece, the angular contour and dotted rhythms of its opening gesture immediately recalling the baroque overture. The work has four movements in conventional forms (sonata-allegro, scherzo and so on); its musical language affirms traditional
KeynotesSHOSTAKOVICHBorn St Petersburg, 1906 Died Moscow, 1975
One of the great symphonic composers of the 20th century, Shostakovich was also a controversial and enigmatic personality who lived through the Bolshevik Revolution, the Stalinist purges and World War II. His music is often searched for cryptic messages: criticism of the Stalinist regime disguised in music that, it was hoped, would be found acceptable by authorities. But Shostakovich’s compromises only went so far and his music was nonetheless subject to censure, usually on stylistic or ‘moral’ grounds. Most famously, in 1936, his opera Lady Macbeth of Mtsensk was dismissed in Pravda as ‘Muddle instead of Music’.
FIFTH SYMPHONY
This symphony was composed in 1937, following the Pravda criticism and the withdrawal of his audacious Fourth Symphony, and it has long been associated with the tagline (not from Shostakovich): ‘A Soviet artist’s reply to just criticism.’ In that light, the conservative aspects of the symphony make sense. The first movement seems positively orderly in character, despite its boldly jagged opening. The second movement is a traditional scherzo with playful central section, and the slow third movement is powerful and expressive in a way that made the first audience weep. The finale is contentious – it might be optimistic on the surface but the rejoicing seems forced.
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diatonic harmony in a Beethovenian journey from a striving D minor opening to the blazing major-key optimism of the finale. Following the common practice of Russian composers like Borodin, Tchaikovsky and Rachmaninov, Shostakovich places the dance-like scherzo second, before an emotionally powerful Largo which alludes briefly to his own setting of Pushkin’s poem Rebirth. At the time, Shostakovich claimed that: ‘man with all his experiences [is] in the centre of the composition, which is lyrical in form from beginning to end. In the finale, the tragically tense impulses of the earlier movements are resolved in optimism and joy of living.’ Composers’ program notes are often unreliable, but years later Shostakovich’s conductor son Maxim claimed that his father had described it as an ‘heroic symphony’ – not unlike Beethoven’s Third in intent.
The Fifth Symphony was a huge success at its premiere, with audience members weeping during the slow movement and on their feet, cheering, as the finale drew to a close. (And they stayed on their feet for 40 minutes after the piece finished!) As a work which reflected the ideals of Socialist Realism, and which was clearly such a hit with the masses, the Fifth was Shostakovich’s passport to a return – for now at least – to official favour. When a journalist described it as ‘an artist’s response to just criticism’ Shostakovich didn’t demur, and that phrase has come to be seen as the work’s subtitle, though there is no evidence that it was indeed Shostakovich’s expressed view.
During the early stages of the Cold War, Shostakovich was derided in the West as a composer of what Virgil Thomson called ‘national advertising’ and a work like the Fifth seen as a piece of mandatory optimism and Soviet propaganda. In the late 20th century, however, that attitude changed radically as the view emerged that Shostakovich was a secret dissident, encoding anti-Soviet ‘messages’ in his music, including the Fifth Symphony.
This view gathered strength with the publication in 1979 (four years after Shostakovich’s death) of a volume entitled Testimony: Memoirs of Dmitri Shostakovich as related to and edited by Solomon Volkov. In it Volkov quotes Shostakovich contradicting what he told his son, by saying:
I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat, as in Boris Godunov. It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off,
Soon after his opera Lady Macbeth of Mtsensk was denounced in 1936, Shostakovich composed Rebirth (Vozrozhdenie), a setting of verse of Pushkin, portraying the immortality of beauty, the victory of the artist over his persecutors and the triumph of genius over mediocrity. In the Fifth Symphony he first alludes to the main theme of Rebirth in the Largo movement. Then, in the finale, he hides the theme amongst the triumphant brass and rejoicing strings, as if to say that the ‘secret’ of the symphony is the triumph of culture over barbarism.
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muttering, ‘our business is rejoicing, our business is rejoicing.’ What kind of apotheosis is that? You have to be a complete oaf not to hear that.
Testimony created an ongoing furore, with musicologists and journalists confidently proclaiming the work either a complete fraud or a valuable document of the composer’s thought. In 2004 one of the sceptics, Laurel E Fay, subjected the text to detailed examination. Fay cast doubt on the authenticity of the book, having discovered that the eight pages which the composer signed as having read all contained material which was not only innocuous but all of which had been published before. There was no guarantee that he saw, let alone dictated, the rest.
The stylistic change that came about with the Fifth was almost certainly fuelled by Shostakovich’s brush with the regime, and it is no accident that he began his epic cycle of intensely personal string quartets at this time. But certain facts are inconvenient to a simplistic reading of the man and his work, such as his decision to join the Communist Party in 1960, long after the immediate danger of Stalinism had passed. Moreover the Fifth Symphony was at one stage seen
‘The applause went on for an entire hour. People were in uproar, and ran up and down through the streets of Leningrad till the small hours, embracing and congratulating each other on having been there. They had understood the message that forms the “lower bottom”, the outer hull, of the Fifth Symphony: the message of sorrow, suffering and isolation; stretched on the rack of the Inquisition, the victim still tries to smile in his pain. The shrill repetition of the A at the end of the symphony is to me like a spear-point jabbing in the wounds of a person on the rack. The hearers of the first performance could identify with that person. Anybody who thinks the finale is glorification is an idiot – yes, it is a triumph of idiots.’
MSTISLAV ROSTROPOVICH (PREMIERE)
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Managing Director Michael NebenzahlEditorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan Ziegler
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SYDNEY OPERA HOUSE TRUSTNicholas Moore [Chair]Catherine Brenner, The Hon Helen Coonan, Brenna Hobson, Chris Knoblanche am, Deborah Mailman, Peter Mason am, Jillian Segal am, Robert Wannan, Phillip Wolanski am
Executive Management
Chief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am
Director, Programming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events [Acting] . . . . . . . . . . . . . . . . . . .Heather ClarkeChief Financial Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Natasha CollierGeneral Counsel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Michelle DixonDirector, Building . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Greg McTaggartDirector, Marketing [Acting] . . . . . . . . . . . . . . . . . . . . . . . . .Stephen O’ConnorDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner
SYDNEY OPERA HOUSE Administration (02) 9250 7111 Bennelong Point Box Office (02) 9250 7777GPO Box 4274 Facsimile (02) 9250 7666 Sydney NSW 2001 Website sydneyoperahouse.com
as pro-Soviet tub-thumping and then almost overnight regarded as a denunciation of the very same regime. Maybe it’s neither, but as critic Alex Ross puts it: ‘The notes, in any case, remain the same. The symphony still ends fortissimo, in D major, and it still brings audiences to their feet.’
GORDON KERRY © 2007
Shostakovich’s Fifth Symphony calls for two flutes, piccolo, two oboes,
two clarinets, E flat clarinet, two bassoons and contrabassoon; four horns,
three trumpets, three trombones and tuba; timpani and a large percussion
section; two harps, piano, celesta and strings.
Shostakovich’s Fifth Symphony was premiered on 21 November 1937
in a Leningrad Philharmonic concert conducted by the young Evgeny
Mravinsky. The SSO gave the first Australian performance of the
symphony on 16 June 1944, conducted by Eugene Ormandy. Its popularity
is reflected in its frequent programming in SSO concerts, often as close
as every two or three years. Memorable performances have included those
conducted by Mariss Jansons in 1995, Charles Dutoit in 2005, and most
recently Vladimir Ashkenazy in 2012.
‘The Great Hall erupted. Everybody left their seats and ran towards the platform, and their ecstatic clamouring joined into a single roar.’
DAVID OISTRAKH (MOSCOW PREMIERE)
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from Liszt to Stravinsky. This generously programmed 2-CD album includes Mussorgsky’s Night on Bald Mountain, Saint-Saëns’ Danse macabre, the third movement from Shostakovich Symphony No.15, more variations on Paganini’s theme (by Boris Blacher and Witold Lutosławski), Liszt’s Totentanz and music by Mahler and Mendelssohn, and The Sorcerer’s Apprentice by Dukas, among others!BERLIN CLASSICS 300103
Broadcast DiaryAugust
abc.net.au/classic
Sunday 16 August, 1pmMOZART AND THE VIOLINIsabelle Faust violin-directorMozart, Dvořák
Monday 17 August, 7pmKIRILL GERSTEIN IN RECITALBartók, JS Bach, Liszt
Saturday 22 August, 8pmDANCING WITH THE DEVILSee this program for details.
SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand:
sydneysymphony.com/SSO_radio
SYDNEY SYMPHONY ORCHESTRA HOUR
Tuesday 8 September, 6pm
Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.
finemusicfm.com
MORE MUSIC
MORE (DIABOLICAL) MUSIC
Well before we got Jane Austen with zombies, classical music had long been home to a shadowy population of devils, witches, and ghouls, and even the occasional golem. Larry Sitsky and Gwen Harwood’s gothic opera The Golem can be downloaded from iTunes in its 2003 Opera Australia recording, conducted by Christopher Lyndon-Gee.
Nor is the Golem the only Australian gothic opera. Richard Meale’s Mer de Glace takes us back to the inception of the genre to eavesdrop as Byron and the Shelleys conjured Frankenstein and his monster. Scenes from Mer de Glace, as recorded by David Porcelijn and the Adelaide Symphony Orchestra, appear on the ABC Classics compilation Preludes – Great Opera Overtures. And it’s not the only piece of devilry on this 2-CD set. You also get the overtures to Mozart’s hell-destined Don Giovanni, and Weber’s devil-dealing Der Freischütz. ABC CLASSICS 481 0616
Operatic witches have been summoning apparitions since the 1680s, when Henry Purcell and his librettist Nahum Tate produced Dido and Aeneas for performance by the students at a London girls school. Like Macbeth, it has a whole scene in a witches’ cave, whose chorus of resident hags gleefully boasts: ‘Harm’s our delight and mischief all our skill!’ It would be hard to conjure a more vivid portrayal than that of the Taverner Consort and Andrew Parrott in the now classic 1981 recording.CHANDOS CHAN 0521
‘Diabolical enthusiasm…enough to send people crazy’, ‘truly astonishing’, ‘technical wizardry’: so read three typical contemporary accounts of violin virtuoso Niccolò Paganini in action. No wonder that even during his life he was considered not merely to be a cult figure, but an ‘occult’ figure as well. How else could a mere mortal play such music, unless, like the legendary Faust, he had sold his soul to the Devil? And, if so, might his performances be not merely shocking to hear, on account of their difficulty, but dangerous as well? Witnessing such virtuosity was like risking damnation! No riskier way to answer that question than by turning to the source for Rachmaninoff’s ‘Pag theme’, the dark master’s 24 Caprices for Solo Violin. Armenian violinist Nikolay Madoyan has uploaded on YouTube his own vivid 72-minute performance of the complete set! bit.ly/PaganiniCaprices-Madoyan
Finally, for something a little more bracingly symphonic, look for Danse Macabre: Dances at Dusk
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SSO Live RecordingsThe Sydney Symphony Orchestra Live label was founded in 2006 and we’ve since released more than two dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists. To buy, visit sydneysymphony.com/shop
Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfinished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803
Sir Charles MackerrasA 2CD set featuring Sir Charles’s final performances with the orchestra, in October 2007. SSO 200705
Brett DeanTwo discs featuring the music of Brett Dean, including his award-winning violin concerto, The Lost Art of Letter Writing. SSO 200702, SSO 201302
RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO 200801
Rare RachmaninoffRachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901
Prokofiev’s Romeo and JulietVladimir Ashkenazy conducts the complete Romeo and Juliet ballet music of Prokofiev – a fiery and impassioned performance. SSO 201205
Tchaikovsky Violin ConcertoIn 2013 this recording with James Ehnes and Ashkenazy was awarded a Juno (the Canadian Grammy). Lyrical miniatures fill out the disc. SSO 201206
Tchaikovsky Second Piano ConcertoGarrick Ohlsson is the soloist in one of the few recordings of the original version of Tchaikovsky’s Piano Concerto No.2. Ashkenazy conducts. SSO 201301
Stravinsky’s FirebirdDavid Robertson conducts Stravinsky’s brilliant and colourful Firebird ballet, recorded with the SSO in concert in 2008. SSO 201402
LOOK OUT FOR…
Our recording of Holst’s Planets with David Robertson. Available now!
Mahler 1 & Songs of a Wayfarer SSO 201001
Mahler 2 SSO 201203
Mahler 3 SSO 201101
Mahler 4 SSO 201102
Mahler 5 SSO 201003 Mahler 6 SSO 201103
Mahler 7 SSO 201104
Mahler 8 (Symphony of a Thousand) SSO 201002
Mahler 9 SSO 201201
Mahler 10 (Barshai completion) SSO 201202
Song of the Earth SSO 201004
From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204
MAHLER ODYSSEY
The complete Mahler symphonies (including the Barshai completion of No.10) together with some of the song cycles. Recorded in concert with Vladimir Ashkenazy during the 2010 and 2011 seasons. As a bonus: recordings from our archives of Rückert-Lieder, Kindertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.
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James Gaffigan is Chief Conductor of the Lucerne Symphony Orchestra and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra; he recently concluded his tenure as Principal Guest Conductor of the Gürzenich Orchestra in Cologne.
In addition to these titled roles, he is in demand as a guest conductor with leading orchestras and opera houses worldwide. In North America he has conducted the Cleveland, Philadelphia and Minnesota orchestras, Los Angeles Philharmonic and the orchestras of Chicago, Pittsburgh, St Louis, Detroit, Cincinnati, Atlanta, Houston, Baltimore, Milwaukee, Vancouver and Toronto, as well as the National Symphony Orchestra and New World Symphony, among others. His festival appearances include Blossom, Aspen, Grand Teton and Grant Park festivals, as well the Hollywood Bowl and the Music Academy of the West.
Born in New York City in 1979, James Gaffigan graduated from the New England Conservatory of Music and the Shepherd School of Music at Rice University, Houston. He also participated in the American Academy of Conducting (Aspen Music Festival) and was a conducting fellow at the Tanglewood Music Center. In 2009 he completed a three-year tenure as Associate Conductor of the San Francisco Symphony; before that he was
Assistant Conductor of the Cleveland Orchestra.
His international career was launched when he won the 2004 Sir Georg Solti International Conducting Competition in Frankfurt. Since then, his European engagements have included the Munich, London, Dresden, Rotterdam, Oslo and Czech philharmonic orchestras, Dresden Staatskapelle, Gothenburg Symphony, Vienna Symphony Orchestra, BBC Symphony Orchestra, London Symphony Orchestra, City of Birmingham Symphony Orchestra, Bournemouth Symphony, the Orchestra of the Age of Enlightenment, Orchestre de Paris, Orchestre National de France, and the Berlin, Leipzig and Stuttgart radio orchestras.
Since making his opera conducting debut in Zurich in 2005, he has conducted productions for the Aspen Music Festival, Glyndebourne and Houston Grand Opera. He made his Vienna State Opera debut in 2011 with La Bohème followed by Don Giovanni in 2012. In the 2014–15 season he made his debut at the Hamburg Opera with Salome and in La Traviata with the Norwegian Opera.
James Gaffigan’s most recent appearance with the SSO was in 2013.
James Gaffiganconductor
THE ARTISTS
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Kirill Gerstein is the sixth recipient of the Gilmore Artist Award, presented every four years to an exceptional pianist possessing broad and profound musicianship and charisma. Since receiving the award in 2010, he has shared his prize through the commissioning of boundary-crossing new works by Oliver Knussen, Chick Corea, Brad Mehldau, Timothy Andres and Alexander Goehr. That same year he also received an Avery Fisher Career Grant.
Highlights of his 2014–15 season include performances with the Boston Symphony Orchestra (Charles Dutoit) and Philadelphia Orchestra (Yannick Nézet-Séguin), and Thomas Adès’ In Seven Days with the San Francisco Symphony. He also gives a recital in Carnegie Hall’s Keyboard Virtuosos series. In Europe he appears with the Vienna Philharmonic, Leipzig Gewandhaus Orchestra, St Petersburg Philharmonic, BBC Symphony Orchestra and the Gürzenich Orchestra, and in 2014 he returned to the Verbier Festival and featured in the Edinburgh Festival opening concert.
Last year, he released his second solo recording, featuring Mussorgsky’s Pictures at an Exhibition and Schumann’s Carnaval. His recording of Tchaikovsky’s First Piano Concerto (the first recording using the new critical edition from the Tchaikovsky Museum in Moscow) and Prokofiev’s Second Concerto was released earlier this year.
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Kirill Gersteinpiano
Born in Voronezh, Russia, Kirill Gerstein studied piano at a music school for gifted children and taught himself to play jazz by listening to his parents’ record collection. At the age of 14, he moved to Boston to study jazz piano at the Berklee College of Music. He then turned his focus back to classical music, attending the Manhattan School of Music, where he studied with Solomon Mikowsky and earned Bachelor and Master of Music degrees by the age of 20. He subsequently won the 2001 Arthur Rubinstein Piano Competition in Tel Aviv and received a Gilmore Young Artist Award (2002), and continued his studies in Madrid with Dmitri Bashkirov and in Budapest with Ferenc Rados.
An American citizen since 2003, Kirill Gerstein divides his time between the United States and Germany, where he has been a professor of piano at the Musikhochschule in Stuttgart since 2006. He is also Artist-in-Residence at the Berklee College of Music and a faculty member at Boston Conservatory.
Kirill Gerstein previously appeared for the SSO in a recital in 2008, when he made his Australian debut tour. On Monday 17 August he will give a recital of music by Bartók, Bach and Liszt at City Recital Hall Angel Place.
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SYDNEY SYMPHONY ORCHESTRA
Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities.
Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA – including three visits to China – have earned the orchestra worldwide recognition for artistic excellence.
The orchestra’s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenĕk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures
such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.
The SSO’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra’s recordings of music by Brett Dean have been released on both the BIS and SSO Live labels.
Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. In 2010–11 the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on ABC Classics.
This is the second year of David Robertson’s tenure as Chief Conductor and Artistic Director.
DAVID ROBERTSON THE LOWY CHAIR OF
CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
PATRON Professor The Hon. Dame Marie Bashir ad cvo
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The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.
To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians
If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.
MUSICIANS
David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
Dene OldingCONCERTMASTER
Andrew HaveronCONCERTMASTER
Toby ThatcherASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL
FIRST VIOLINS Andrew Haveron CONCERTMASTER
Kirsten Williams ASSOCIATE CONCERTMASTER
Sun Yi ASSOCIATE CONCERTMASTER
Lerida Delbridge ASSISTANT CONCERTMASTER
Fiona Ziegler ASSISTANT CONCERTMASTER
Jenny BoothSophie ColeAmber DavisClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerEmily Qin°Dene Olding CONCERTMASTER
SECOND VIOLINS Marina Marsden Emma Jezek ASSISTANT PRINCIPAL
Freya FranzenEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitMaja VerunicaKathryn Chilmaid*Monique Irik°Elizabeth Jones°Kirsty Hilton Marianne Broadfoot Maria Durek
VIOLASRoger Benedict Justin Williams ASSISTANT PRINCIPAL
Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenAmanda VernerLeonid VolovelskyCharlotte Fetherston†
Andrew Jezek*Tobias Breider Anne-Louise Comerford Felicity Tsai
CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL
Kristy ConrauFenella GillElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamRebecca Proietto†
Paul Stender*Umberto ClericiTimothy Nankervis
DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS
David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits°
FLUTES Janet Webb Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO
Emma Sholl
OBOESDiana Doherty Alexandre Oguey PRINCIPAL COR ANGLAIS
Stephanie Cooper*Shefali Pryor David Papp
CLARINETSFrancesco Celata Christopher TingayAlex McCracken†Lawrence Dobell Craig Wernicke PRINCIPAL BASS CLARINET
BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON
HORNSBen Jacks Geoffrey O’Reilly PRINCIPAL 3RD
Euan HarveyMarnie SebireRachel SilverRobert Johnson
TRUMPETSDavid Elton Paul Goodchild Anthony HeinrichsRosie Turner°
TROMBONESRonald Prussing Christopher Harris PRINCIPAL BASS TROMBONE
Iain Faragher†
Jonothan Ramsay*Scott Kinmont Nick Byrne
TUBASteve Rossé
TIMPANIRichard Miller
PERCUSSIONRebecca Lagos Mark Robinson Brian Nixon*Alison Pratt*Timothy Constable
HARP Louise Johnson Julie Kim*
PIANO & CELESTASusanne Powell*
° = CONTRACT MUSICIAN
* = GUEST MUSICIAN† = SSO FELLOW
GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT
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BEHIND THE SCENES
Sydney Symphony Orchestra StaffMANAGING DIRECTORRory Jeffes
EXECUTIVE TEAM ASSISTANTLisa Davies-Galli
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC PLANNINGBenjamin Schwartz
ARTISTIC ADMINISTRATION MANAGER Eleasha Mah
ARTIST LIAISON MANAGERIlmar Leetberg
RECORDING ENTERPRISE MANAGER Philip Powers
LibraryAnna CernikVictoria GrantMary-Ann Mead
LEARNING AND ENGAGEMENT
DIRECTOR OF LEARNING AND ENGAGEMENT Linda Lorenza
EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin
EDUCATION MANAGER Amy Walsh
EDUCATION OFFICER Tim Walsh
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert
ORCHESTRA MANAGERRachel Whealy
ORCHESTRA COORDINATOR Rosie Marks-Smith
OPERATIONS MANAGER Kerry-Anne Cook
PRODUCTION MANAGER Laura Daniel
STAGE MANAGERCourtney Wilson
PRODUCTION COORDINATORSElissa SeedOllie Townsend
PRODUCER, SPECIAL EVENTSMark Sutcliffe
SALES AND MARKETING
DIRECTOR OF SALES & MARKETINGMark J Elliott
MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates
SENIOR SALES & MARKETING MANAGERPenny Evans
A/ SENIOR SALES & MARKETING MANAGER Matthew Rive
MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall
MARKETING MANAGER, CRM & DATABASEMatthew Hodge
A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNSJonathon Symonds
DATABASE ANALYSTDavid Patrick
SENIOR GRAPHIC DESIGNERChristie Brewster GRAPHIC DESIGNER
Tessa ConnSENIOR ONLINE MARKETING COORDINATOR
Jenny SargantMARKETING ASSISTANT
Laura Andrew
Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS
Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR
Jennifer LaingBOX OFFICE BUSINESS ADMINISTRATOR
John RobertsonCUSTOMER SERVICE REPRESENTATIVES
Karen Wagg – CS ManagerRosie BakerMichael Dowling
PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER
Yvonne Frindle
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
PhilanthropyHEAD OF PHILANTHROPY
Luke Andrew Gay PHILANTHROPY MANAGER
Jennifer DrysdalePATRONS EXECUTIVE
Sarah MorrisbyPHILANTHROPY COORDINATOR
Claire Whittle
Corporate RelationsCORPORATE PARTNERSHIPS MANAGER
Belinda BessonCORPORATE PARTNERSHIPS EXECUTIVE
Paloma Gould
CommunicationsCOMMUNICATIONS & MEDIA MANAGER
Bridget CormackPUBLICIST
Caitlin BenetatosDIGITAL CONTENT PRODUCER
Kai Raisbeck
BUSINESS SERVICES
DIRECTOR OF FINANCE
John HornFINANCE MANAGER
Ruth Tolentino ACCOUNTANT
Minerva Prescott ACCOUNTS ASSISTANT
Emma Ferrer PAYROLL OFFICER
Laura Soutter
PEOPLE AND CULTUREIN-HOUSE COUNSEL
Michel Maree Hryce
Terrey Arcus AM Chairman Ewen Crouch AM
Ross GrantCatherine HewgillJennifer HoyRory JeffesDavid LivingstoneThe Hon. Justice AJ Meagher Goetz Richter
Sydney Symphony Orchestra CouncilGeoff Ainsworth AM
Doug BattersbyChristine BishopThe Hon John Della Bosca MLC
John C Conde ao
Michael J Crouch AO
Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM
David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM
Sandra SalteriJuliana SchaefferFred Stein OAM
John van OgtropBrian WhiteRosemary White
HONORARY COUNCIL MEMBERSIta Buttrose AO OBE Donald Hazelwood AO OBE
Yvonne Kenny AM
David Malouf AO
Wendy McCarthy AO
Leo Schofield AM
Peter Weiss AO
Anthony Whelan mbe
Sydney Symphony Orchestra Board
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SSO PATRONS
Maestro’s Circle
David Robertson
Peter Weiss AO Founding President & Doris Weiss
Terrey Arcus AM Chairman & Anne Arcus
Brian Abel
Tom Breen & Rachel Kohn
The Berg Family Foundation
John C Conde AO
Andrew Kaldor AM & Renata Kaldor AO
Vicki Olsson
Roslyn Packer AO
David Robertson & Orli Shaham
Penelope Seidler AM
Mr Fred Street AM & Dorothy Street
Brian White AO & Rosemary White
Ray Wilson OAM in memory of the late James Agapitos OAM
Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director
Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director
Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair
Kees BoersmaPrincipal Double BassSSO Council Chair
Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair
Timothy ConstablePercussionJustice Jane Mathews AO Chair
Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair
Lawrence DobellPrincipal ClarinetAnne Arcus & Terrey Arcus AM Chair
Diana DohertyPrincipal OboeJohn C Conde AO Chair
Richard Gill oam
Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair
Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett
Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair
Robert JohnsonPrincipal HornJames & Leonie Furber Chair
Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw
Elizabeth NevilleCelloRuth & Bob Magid Chair
Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair
Emma ShollAssociate Principal FluteRobert & Janet Constable Chair
Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair
Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair
FOR INFORMATION ABOUT THE CHAIR PATRONS
PROGRAM, CALL (02) 8215 4625.
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Lerida Delbridge was appointed Assistant Concertmaster of the SSO in 2013. She is a founding member of the Tinalley String Quartet and was previously a member of the Melbourne Symphony Orchestra. SSO Council member and leading providore Simon Johnson has been following Lerida’s career since her days in the Australian Youth Orchestra and is delighted to support her chair.
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Learning & Engagement
SSO PATRONS
fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsMrs W Stening Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,
Artistic Director, FellowshipJune & Alan Woods Family Bequest Bassoon ChairAnonymous Double Bass ChairAnonymous Trumpet Chair
fellowship supporting patronsMr Stephen J BellJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff White
tuned-up!TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street
Additional support provided by:Anne Arcus & Terrey Arcus AM
Ian & Jennifer Burton Ian Dickson & Reg HollowayMrs Barbara MurphyTony Strachan
major education donorsBronze Patrons & above
John Augustus & Kim RyrieBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationJ A McKernanMr & Mrs Nigel Price
Sydney Symphony Orchestra 2015 Fellows
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Commissioning CircleSupporting the creation of new works.
ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM
Christine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO
Jane Mathews AO
Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous
MAKE A DIFFERENCE
Through their inspired financial support,
Patrons ensure the SSO’s continued
success, resilience and growth. Join the
SSO Patrons Program today and make a
difference.
sydneysymphony.com/patrons(02) 8215 [email protected]
A U S T R A L I A - K O R E AF O U N D A T I O N
Foundations
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Stuart Challender Legacy Society
Celebrating the vision of donors who are leaving a bequest to the SSO.
Henri W Aram OAM & Robin Aram
Stephen J BellMr David & Mrs Halina BrettR BurnsHoward ConnorsGreta DavisBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM
John Lam-Po-Tang
Peter Lazar AM
Daniel LemesleLouise MillerJames & Elsie MooreVincent Kevin Morris &
Desmond McNallyDouglas PaisleyKate RobertsMary Vallentine AO
Ray Wilson OAM
Anonymous (10)
Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991
bequest donors
We gratefully acknowledge donors who have left a bequest to the SSO.
The late Mrs Lenore AdamsonEstate of Carolyn ClampertEstate Of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephThe Late Greta C RyanEstate of Rex Foster SmartJune & Alan Woods Family Bequest
IF YOU WOULD LIKE MORE INFORMATION ON
MAKING A BEQUEST TO THE SSO, PLEASE
CONTACT LUKE GAY ON 8215 4625.
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The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs.
Playing Your Part
DIAMOND PATRONS $50,000+Anne & Terrey Arcus am
In Memory of Matthew KrelMr Frank Lowy ac & Mrs Shirley
Lowy oam
Roslyn Packer ao
Paul Salteri am & Sandra Salteri
Estate of the late Rex Foster Smart
Peter Weiss ao & Doris WeissMr Brian White ao &
Mrs Rosemary White
PLATINUM PATRONS$30,000–$49,999Doug and Alison BattersbyMr John C Conde ao
Robert & Janet ConstableMr Andrew Kaldor am &
Mrs Renata Kaldor ao
Mrs Barbara MurphyVicki OlssonMrs W SteningMr Fred Street am &
Mrs Dorothy StreetKim Williams am & Catherine
Dovey
GOLD PATRONS $20,000–$29,999Brian AbelRobert Albert ao & Elizabeth
AlbertThe Berg Family FoundationTom Breen & Rachael KohnSandra & Neil BurnsEstate of Jonathan Earl
William ClarkJames & Leonie FurberI KallinikosHelen Lynch am & Helen
BauerJustice Jane Mathews ao
Mrs T Merewether oam
Rachel & Geoffrey O’ConorAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli
ShahamMrs Penelope Seidler am
G & C Solomon in memory of Joan MacKenzie
Ray Wilson oam in memory of James Agapitos oam
Anonymous (2)
SILVER PATRONS $10,000–$19,999Geoff Ainsworth am
Christine BishopAudrey BlundenMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny
CrouchIan Dickson & Reg HollowayPaul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantThe Estate of Mr Irwin ImhofSimon JohnsonRuth & Bob MagidSusan Maple-Brown The Hon Justice AJ Meagher &
Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr and Mrs Nigel PriceKenneth R Reed am
Mrs Joyce Sproat & Mrs Janet Cooke
John Symond am
The Harry Triguboff FoundationCaroline WilkinsonJune & Alan Woods Family
BequestAnonymous (2)
BRONZE $5,000–$9,999Mr Henri W Aram oam
John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara
BoshoffBoyarsky Family TrustPeter Braithwaite & Gary
LinnaneIan & Jennifer BurtonRebecca ChinMr Howard ConnorsDavid Z Burger FoundationDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesRobert JoannidesMr Ervin KatzBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable
FoundationJ A McKernan
28
Playing Your Part
SSO PATRONS
BRONZE PATRONS CONTINUED
Nexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine
ShawRodney Rosenblum am & Sylvia
RosenblumDr Evelyn RoyalManfred & Linda SalamonGeoff StearnTony StrachanMr Robert & Mrs Rosemary WalshIn memory of Geoff WhiteAnonymous
PRESTO $2,500–$4,999G & L BessonIan BradyMr David & Mrs Halina BrettMark Bryant oam
Lenore P BuckleMrs Stella ChenCheung FamilyDr Paul CollettEwen Crouch am & Catherine
CrouchProf. Neville Wills &
Ian FenwickeFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggAnn HobanJames & Yvonne HocrothMr Roger Hundson &
Mrs Claudia Rossi-HudsonMr John W Kaldor AMProfessor Andrew Korda am &
Ms Susan PearsonIn memoriam
Dr Reg Lam-Po-TangProfessor Winston LiauwRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment
Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonJohn & Josephine StruttMr Ervin Vidor am &
Mrs Charlotte VidorLang Walker ao & Sue WalkerWestpac GroupMary Whelan & Robert
BaulderstoneYim Family FoundationDr John YuAnonymous (2)
VIVACE $1,000–$2,499Mrs Lenore AdamsonAntoinette AlbertRae & David AllenAndrew Andersons ao
Mr Matthew AndrewsMr Garry and Mrs Tricia AshSibilla BaerThe Hon Justice Michael BallDavid BarnesDr Richard & Mrs Margaret BellIn memory of Lance BennettMs Gloria BlondeG D BoltonJan BowenIn memory of Jillian BowersIn Memory of Rosemary Boyle,
Music TeacherRoslynne BracherWilliam Brooks & Alasdair BeckMr Peter BrownIn memory of R W BurleyIta Buttrose ao obe
Mrs Rhonda CaddyHon J C Campbell qc &
Mrs CampbellDebby Cramer & Bill CaukillMr B & Mrs M ColesMs Suzanne CollinsJoan Connery oam & Maxwell
Connery oam
Mr Phillip CornwellMr John Cunningham scm &
Mrs Margaret CunninghamDiana DalyDarin Cooper FoundationGreta DavisLisa & Miro DavisDr Robert DickinsonE DonatiProfessor Jenny EdwardsDr Rupert C EdwardsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr & Mrs J B Fairfax am
Julie FlynnDr Stephen Freiberg & Donald
CampbellMr Matt GarrettVivienne Goldschmidt &
Owen JonesIn Memory of Angelica GreenAkiko GregoryDr Jan Grose oam
Mr & Mrs Harold & Althea Halliday
Janette HamiltonMrs Jennifer HershonSue HewittDorothy Hoddinott ao
Kimberley HoldenMr Kevin Holland & Mrs Roslyn
Andrews
The Hon. David Hunt ao qc & Mrs Margaret Hunt
Mr Phillip Isaacs oam
Dr Owen JonesAron KleinlehrerMrs Gilles KrygerMr Justin LamDr Barry LandaBeatrice LangMr Peter Lazar am
Airdrie LloydMrs Juliet LockhartGabriel LopataPeter Lowry oam & Carolyn
Lowry oam
Macquarie Group FoundationMelvyn MadiganDavid Maloney am & Erin
FlahertyJohn & Sophia MarMr Danny R MayMr Guido MayerKevin & Deidre McCannIan & Pam McGawMatthew McInnesI MerrickHenry & Ursula MooserMilja & David MorrisJudith MulveneyDarrol Norman & Sandra HortonMr & Mrs OrtisMr Andrew C PattersonIn memory of Sandra Paul
PottingerMr Stephen PerkinsAlmut PiattiThe Hon. Dr Rodney Purvis am
& Mrs Marian PurvisDr Raffi Qasabian &
Dr John WynterMr Patrick Quinn-GrahamErnest & Judith RapeeIn Memory of
Katherine RobertsonMr David RobinsonTim RogersDr Colin RoseLesley & Andrew RosenbergJanelle RostronMr Shah RusitiIn memory of H St P ScarlettGeorge and Mary ShadVictoria SmythDr Judy SoperJudith SouthamMr Dougall SquairThe Honourable Brian Sully am qc
Mrs Margaret SwansonThe Taplin FamilyMildred TeitlerDr & Mrs H K TeyDr Jenepher ThomasKevin TroyJohn E Tuckey
Judge Robyn TupmanDr Alla WaldmanIn memory of Denis WallisMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyJerry WhitcombMrs Leonore WhyteA Willmers & R PalAnn & Brooks C Wilson am
Dr Richard WingEvan WongDr Peter Wong & Mrs Emmy
K WongGeoff Wood & Melissa WaitesSir Robert WoodsLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (20)
ALLEGRO $500–$999Nikki AbrahamsKatherine AndrewsMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettJan BiberMinnie BiggsJane BlackmoreMrs P M BridgesR D and L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettHugh & Hilary CairnsEric & Rosemary CampbellM D & J M ChapmanJonathan ChissickMichael & Natalie CoatesDom Cottam & Kanako ImamuraAnn CoventryMr David CrossMark Dempsey sc
Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenMr Geoffrey GreenwellMr Richard Griffin am
In memory of Beth HarpleyV Hartstein
29
VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige
Founding PatronShefali PryorSeamus R Quick
Founding PatronChris Robertson & Katherine
Shaw Founding Patrons
MEMBERSLaird Abernethy Elizabeth AdamsonClare Ainsworth-HershellCharles ArcusPhoebe ArcusPhilip AtkinLuan AtkinsonJoan BallantineAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam Beaupeurt Anthony BeresfordDr Andrew BotrosPeter BraithwaiteAndrea BrownNikki BrownProfessor Attila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiRoslyn FarrarNaomi FlutterAlastair FurnivalAlexandra Gibson
Sam GiddingsJeremy GoffHilary GoodsonTony GriersonLouise HaggertyJason HairPeter HowardJennifer HoyKatie HryceVirginia JudgePaul KalmarJonathan KennedyPatrick KokJohn Lam-Po-TangTristan LandersGary LinnaneDavid LoSaskia LoGabriel LopataRobert McGroryAlexandra McGuiganDavid McKeanSarah MoufarrigeJulia NewbouldNick NichlesKate O’ReillyPeter O’SullivanCleo PosaJune PickupRoger PickupStephanie PriceMichael RadovnikovicKatie RobertsonDr Benjamin RobinsonAlvaro Rodas FernandezAdam SadlerProfessor Anthony SchembriBenjamin SchwartzCecilia StornioloRandal TameSandra TangIan TaylorDr Zoe TaylorMichael TidballMark TrevarthenMichael TuffySarah VickAlan WattersJon WilkieYvonne ZammitAmy Zhou
SSO Vanguard
A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists
n n n n n n n n n n
“Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people…”DAVID ROBERTSON SSO Chief Conductor and Artistic Director
PLEASE CONSIDER MAKING A TAX-DEDUCTIBLE DONATION TODAY
Benjamin Hasic & Belinda DavieSandra HaslamAlan Hauserman & Janet NashRobert HavardMrs A HaywardRoger HenningDr Mary JohnssonMrs Margaret KeoghAernout Kerbert & Elizabeth
NevilleDr Henry KilhamJennifer KingMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaElaine M LangshawMargaret LedermanRoland LeeMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienJudith OlsenDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockDr John I PittAnne PittmanJohn Porter & Annie Wesley-
SmithMrs Greeba Pritchard
Michael QuaileyMr Thomas ReinerDr Marilyn RichardsonAnna RoMr Michael RollinsonMrs Christine Rowell-MillerJorie Ryan for Meredith RyanMr Kenneth RyanGarry E Scarf & Morgie BlaxillMrs Solange SchulzPeter & Virginia ShawDavid & Alison ShilligtonMrs Diane Shteinman am
Margaret SikoraColin SpencerTitia SpragueRobert SpryMs Donna St ClairFred & Mary SteinAshley & Aveen StephensonMargaret & William SuthersPam & Ross TegelMrs Caroline ThompsonPeter & Jane ThorntonRhonda TingAlma TooheyHugh TregarthenMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeMiss Roslyn WheelerIn Memoriam JBL WattDr Edward J WillsDr Wayne WongDr Roberta WoolcottPaul WyckaertAnonymous (32)
SSO Patrons pages correct as of 7 July 2015
30
SALUTE
The Sydney Symphony Orchestra is assisted by the Commonwealth
Government through the Australia Council, its arts funding and
advisory body
GOVERNMENT PARTNERS
The Sydney Symphony Orchestra is
assisted by the NSW Government
through Arts NSW
PRINCIPAL PARTNER
EDUCATION PARTNERPLATINUM PARTNER
REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER
PREMIER PARTNER
SILVER PARTNERS
s i n f i n i m u s i c . c o m
UNIVERSAL MUSIC AUSTRALIA
MAJOR PARTNERS
GOLD PARTNERS
Salute 2015_July_#25+.indd 1 3/08/2015 9:21 am