ing to the recap, which varies the theme again.

A metric modula­

tion moves into the coda, which accelerates to the end ofthe piece.”

The transcription for cello of Brahms’ Violin Sonata inD Major,

Opus 78 was originally published by Simrock in 1897 and subse­

quently passed into obscurity. It was rediscovered in 1970 in the

library of the Vienna Conservatory.

A controversy ensued as to

whether Brahms was actually the transcriber. Addressing this ques­

tion, the eminent music critic Richard Freed writes:“Because no 

arranger is named in the published score and no manuscript ofthe

arrangement has come to light, it cannot be said with certainty that

Brahms prepared the adaptation himself. However, many believe

that only Brahms could have made the arrangement, because of

the incredible skill and craftsmanship found in the transcription.

The great Hungarian cellist Janos Starker finds evidence of the

composer’s own hand in the wealth of small changes, some two

hundred of them, ranging from the filling out of occasional piano

chords to reassigning to the celloa passage that had been given to

the piano in the original violin version. Nobody but the composer,

Mr. Starker argues, would have had the temerity to make such

changes ina work by Brahms.”

The Italian composer Mario Castelnuovo-Tedesco (1895-1968)

incorporated several themes from Rossini’s Barber of Seville into

Figaro, his concert piece for the renowned cellist Gregor Piatigorsky.

He also incorporated numerous passages requiringa highly devel­

oped technique,a salute to the virtuosity of one of the twentieth

century’s greatest cellists.

-Program notes adapted by Elmer Booze from materials provided by 

Bernard Lebow, Richard Freed, Stefan Freund, and Jiro Hamada

The use ofcameras or recording equipment during

theperformance is not allowed.

Forthe convenience ofconcertgoers

the Garden Cafe remains open until 6:30pm.

Concerts at The National Gallery of Art

Under the Direction of George Manos

The Fifty-sixth Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

March 1998

29 Jeffrey Multer, violinist

James Tocco, pianist

Corigliano:

Schumann:

Mozart:

Sonatafor

Violin and

Piano D Minor Sonata

Sonata, K. 481

April 5 National Gallery Orchestra

George Manos, conductor

Jason Stearns, baritone

Chabrier:

Debussy:

Saint-Saens:

Suitepastorale

Trois ballades

de Franqois

Villon

Symphony No.2

12 No Concert

19 Stefan W&fat, pianist J. S. Bach: Goldberg

Variations

26 Nelson Freirc, pianist Brahms:

Chopin:

Schumann:

Sonata No.3

Scherzo No.4

FMinor Fantasy

Papillons

THE FIFTY-FIFTH AMERICAN MUSIC FESTIVAL

MAY3 THROUGH 31, 1998

National Gallery of Art

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JI i I | j| !

2264th Concert

MARK KOSOWER, cellist

May 3 National Gallery Orchestra

George Manos, conductor

10 National Gallery Vocal Arts

Ensemble

Copland: Appalachian

Spring

Robert Ward: Symphony No.3

Sotireos Vlahpoulos:

{New work,

Worldpremiere)

Songs and part-songs by Ives,

Rorem, Donald Waxman, Nancy

Daley, and Steven Weber

JEE-WON OH, pianist

Sunday Evening, March 22, 1998

at SevenO’Clock

West Building, West Garden Court

Admission Free
PROGRAM

Frangois Francoeur Sonata in E Major

(1698-1787) Arranged for Cello and Piano

by Arnold Trowell

Adagio cantabile

Tempo di gavotta

Largo cantabile

Gigue: Allegro vivace

Stefan Freund Epic, for Solo Cello (1997)

(b. 1974)

Evocation

Indignation

Retrospection

Delusion

Washington Premiere Performance

INTERMISSION

Johannes Brahms Sonata in D Major, Opus 78

(1833-1897) (1878-1879)

Vivace ma non troppo

Adagio

Allegro molto moderato

Rossini/ Figaro, from “The Barber of Seville”

Castelnuovo-Tedesco

MARK KOSOWER began his cello studies at the age of eighteen months with his father, who is a professor of cello at the University of Wisconsin-Eau Claire. Kosower’s performance career

began at the age of four, when he began to perform concerts with

the Dolce Trio, a collaboration that continued for ten years. At age 

seven he began performing concertos with symphony orchestras.

In 1986, at age nine, Kosower was chosen by the renowned cellist

Janos Starker to open the gala final concert at the Third American

Cello Congress at Indiana University. He went on to win the first

prize in the seventh Irving Klein International String Competition

in San Francisco, where he became the first winner in the

competition’s history to gain a unanimous vote from all nine judges.

In 1994 he won, again by judges’ unanimous decision, the Minnesota OrchestraVolunteerAssociationYoungArtist Competition, held

in Minneapolis. Mr. Kosower has appeared as recitalist and concerto soloist throughout the United States, Mexico, and Europe.

Orchestras that have featured him as guest soloist include the St.

Paul Chamber Orchestra, the Minnesota Orchestra, and the Milwaukee Symphony Orchestra. He appears at the National Gallery

by arrangement with Arts Management Group, Incorporated, of

New York City.

JEE-WON OH is a native of Seoul, Korea. She is a graduate of

the Seoul Music and Arts High School and the Han Yang University School ofMusic. Ms. Oh received her master of music degree

from Indiana University. She is also a recipient of a Young Chang

Piano Foundation Scholarship. She has participated in several prestigious music festivals, including the Musikdorf (Ernen, Switzerland), Salzburg International Summer Academy, and SchleswigHolstein Festivals. A student of Shigeo Neriki and Gyorgy Sebok,

Ms. Oh is currently an associate instructor at Indiana University,

where she is a candidate for the doctor of musical arts degree as

well as an assistant to Janos Starker.

Francois Francoeur’s Sonata in E Major is one of a number ofviolin 

sonatas that he wrote and published in two books as the director of

court music for Louis XV The sonata is not often heard in its entirety, since it is a popular custom among cellists to program only the

third and fourth movements. The liveliness and charm ofthe latter

movements foreshadow the violin and cello sonatas ofthe romantic

era.

A native ofTennessee, composer Stefan Freund studied composition at Indiana University in Bloomington, where his teachers were

Frederick Fox and Tsuyoshi Tsutsumi. He has been the recipient

of numerous awards, including the William Schumann and

Boudleaux Bryant Prizes from Broadcast Music International, two

grants and two special awards from the American Society ofComposers and Publishers, and a music merit award from the National

Society ofArts and Letters. Mr. Freund has received fellowships to

attend the Latin American Music Center’s Crossroads of Traditions

workshop and the Yale Summer School of Music. He is currently a

graduate student at the Eastman School of Music, where he has 

received a fellowship and teaching assistantship in composition.

About Epic,for Solo Cello Stefan Freund writes: “Epic is a story of

the composer’s search for inspiration as told by the performer. Written in an improvisatory [manner], it demands a great deal of personal input by the performer. The piece displays a vast spectrum

of ideas which are significantly enhanced by the composer’s abundant use of expressive markings. However, the translation of their

musical meaning leaves room for numerous interpretive ideas and

innovations.

The four-movement work opens with an Evocation, where the

composer calls to a higher power for inspiration. The theme is developed harmonically through a spectrum of tonalities and grows 

with increasing determination and intensity in the [ensuing] variations.

Out ofdisappointment [on account of] a perceived lack ofintervention from the higher power, the composer proceeds to take his 

aggressions out on the instrument in the second movement, Indignation. This bow-less movement displays a variety ofpizzicato techniques, including snaps, strums, and slaps. The rhythms in the

movement are developed using displacement, augmentation, and

diminution.

Still frustrated at the moment ofRetrospection, the composer draws 

from a masterwork ofthe past.,.the cello solo from the middle movement of Bartok’s Fourth String Quartet. Its chromatic language [is

combined] with a theme from Evocation and chorale-like figures

reminiscent of the string [passages] that set the background for

the solo in the Bartok.

Completely bewildered, the composer writes whatever ideas

come to mind [in Delusion\. The piece evolves into a variation of

sonata form, as the original ideas are altered in a repeat ofthe exposition. A development with much tempo fluctuation follows, lead-