moods of Schumann and includes some of his finest music.

Neglected by several generations of pianists, Bunte Blatter is

currently enjoying a renaissance on recital programs and recordings.

Schumann’s Symphonic Etudes in the Form of Variations is considered one of his most inspired and significant works for the piano,

yet was written when he was only twenty-four. As performed

today, the variations include twelve etudes that were juxtaposed

by Schumann and five others that he wrote but did not include.

These were added after his death by Johannes Brahms, who edited the work and published it in 1873 in a supplementary volume of his Complete Works ofSchumann. The pianistic writing is

demonic and requires technique of a superior order. The variations run the gamut from capricious and alluring through clamorous and forceful to highly poetic and sensuous.

-Program notes by Elmer Booze

Concerts at the National Gallery ofArt

Under the Direction of George Manos

November 1998

22 National Gallery Orchestra

George Manos, conductor

Claudia Chudacoff, violinist

Mozart: “Don Giovanni ’

Overture

Symphony No. 35

Marcio Botelho, cellist Brahms: Concertofor

Violin, Cello,

and Orchestra

29 Joao Carlos Martins, pianist J. S. Bach:

Mozart:

Ten Preludes and

Fuguesfrom “The

Well-tempered

Clavier”

Sonata, K. 309

Sonata, K. 330

The use ofcameras orrecording equipment

during theperformance is not allowed.

Forthe convenience of concertgoers

the Garden Cafe remains open until 6:30p.m.

The Fifty-seventh Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2285th Concert

KIRILL GLIADKOVSKY, pianist

Sunday Evening, November 15, 1998 

Seven O’clock

West Building, West Garden Court

Admissionfree
Muzio Clementi

(1752-1832)

PROGRAM

Sonata in B-flat Major

Opus 24, No. 2 (1804)

Allegro

Andante

Rondo: Allegro assai

Ludwig van Beethoven Sonata in C-sharp Minor

(1770-1827) (“Moonlight")

Opus 27, No. 2 (1801)

Adagio sostenuto

Allegretto

Presto agitato

Sergei Prokofiev

(1891-1953)

Sonata No. 3 in A Minor

Opus 28 (1917)

INTERMISSION

Robert Schumann

(1810-1856)

Seven Pieces from “Bunte Blatter”

Opus 99 (1838-1849)

1. Drei Stucklein I

(Nicht schnell, mit Innigkeit)

2. Drei Stucklein II

(Sehr rasch)

3. Drei Stucklein III

(Frisch)

4. Albumblatter I

(Ziemlich langsam)

5. Albumblatter II

(Schnell)

6. Albumblatter V

(Langsam)

7. Praludium

(Energisch)

Schumann Symphonic Etudes in the Form ofVariations

Opus 13 and Opus Posthumous (1834-1836)

Kirill Gliadkovsky was born in Moscow, where he began his

music studies at age five and gave his first public performance at

age six. He attended the Tchaikovsky Conservatory, studying

under pianists Lev Vlasenko and Mikhail Pletniev, and organist

Leonid Royzman. Gliadkovsky has performed piano and organ

recitals in Italy, Poland, Mongolia, Canada, and throughout the

United States. He earned the doctor of musical arts degree at

the University of Southern California, working with professors

Daniel Pollack (piano), Cherry Rhodes (organ), and William

Schaefer (conducting).

Muzio Clementi’s Sonata in B-flatMajor was first performed by

the composer on Christmas Eve, 1781, in a program arranged by

EmperorJoseph II ofAustria. That concert also included Mozart

playing some of his own works, in a contest between the two

composers. In a letter to his father following the concert, Mozart

criticized Clementi mercilessly, using such words as “charlatan”

and “mechanical.” Mozart did not shrink from borrowing from

the composer he found so inferior, however. The theme of the

opening Allegro of the Clementi sonata became the principal

theme of Mozart’s Overture to The Magic Flute.

Beethoven’s Sonata in C-sharp Minor begins with a slow movement, in its time a very modern innovation. The second movement, Allegretto, has a three-part song form (ABA), while the finale, Presto agitato, has a straightforward sonata-allegro form, consisting of an exposition, a development, and a recapitulation.

This movement also presents music that was modern for its time,

with some remarkable arpeggio and scale passages, followed by

shattering accents and gasping syncopations. The concluding

cadenza has a scope and drama usually found only in the cadenzas of Beethoven’s concertos.

'From Old Sketchbooks'’ is the subtitle of Prokofiev’s third piano

sonata, which he conceived during his student days at the Saint

Petersburg Conservatory, but completely re-wrote after his graduation. Written in one movement, the sonata is characterized by

natural lyricism that is devoid ofsentimentality. However, there

are also passages of driving brilliance and a scintillating coda,

which imply that Prokofiev was encountering a period of “storm

and stress” at the age of twenty-six.

Bunte Blatter (ColoredLeaves) was Schumann’s initial adventure

into the world ofminiature piano pieces. Although the first pieces

were written in 1838, the complete set was not published until

1852. This heterogeneous assembly sharply contrasts the many