THE WILLIAM NELSON CROMWELL and

E LAMMOT BELIN CONCERTS

National Gallery of Art

FIFTY-SIXTH AMERICAN MUSIC FESTIVAL

Under the Direction of George Manos

The Fifty-sixth American Music Festival

is made possible in part by a generous giftfrom

theAnn and Gordon GettyFoundation.

2 May through 30 May 1999

Sunday Evenings at Seven O’clock

West Building, West Garden Court

Admission Free
2308th Concert

Z May 1999

NATIONAL GALLERY ORCHESTRA

GEORGE MANOS, conductor

Aaron Copland

(1900-1990)

PROGRAM

Quiet City

(1939)

Douglas Moore

(1893-1969)

Farm Journal, A Suite for

Chamber Orchestra (1947)

1. Up Early

Z. Sunday Clothes

3. Lamp Light

4. Harvest Song

Robert Ward

(b. 1917)

INTERMISSION

Symphony No. 3

(1950)

Fantasia

Arioso

Rondo

The use ofcameras orrecording equipment

during theperformance is not allowed.

Forthe convenience ofconcertgoers

the Garden Cafe remains open until 6:30pm.

3
Conductor, composer, and pianist George Manos has been

director ofmusic at the National Gallery ofArt and conductor of

the National Gallery Orchestra since 1985. He is also artistic

director ofthe American Music Festival and ofthe National Gallery vocal and chamber ensembles, which he founded. A native

Washingtonian, George Manos already organized and conducted

orchestras and choirs in this city at the age ofseventeen. Among

those were the Hellenic, Washington, and National Oratorio Societies, and the American Composers and Conductors Chamber

Orchestra, an ensemble dedicated to the presentation of new

works by American composers. Manos’ career as a performing

pianist and teacher has included several years on the faculty of

Catholic University in Washington, DC, where he taught piano,

conducting, and chamber music. In addition, he held the directorship of the Wilmington, Delaware, School of Music, where he

presented an annual jazz festival and clinic. Maestro Manos

founded and directed for ten years the renowned Killarney Bach

Festival in the Republic of Ireland, and was the music director of

the 1992 Scandinavian Music Festival in Kolding, Denmark.

Conceived as incidental music to Irwin Shaw’s play ofthe same

name, Quiet City's genesis is explained by Copland in an article

that appeared in the Boston Symphony Orchestra program bulletin of 1941 (excerpted): "Quiet City was a realistic fantasy concerning the night-thoughts of many different kinds of people in

a great city. It called for music evocative of the nostalgia and

inner distress of a society profoundly aware of its own insecurity.... Several friends urged me to make use of the thematic

material used in my score as the basis for an orchestra piece.

This is what I did in the summer of 1940.... I borrowed the name,

the trumpet and some themes from the original play. The addition of English horn and string orchestra (I was limited to clarinet, saxophone, and piano, plus the trumpet, of course, in the

stage version), and the form of the pieces as a whole were the

result of work in a barn-studio two miles down the road from

Tanglewood. The orchestration was completed in late September, and the score dedicated to Ralph Hawkes [of the publishers Boosey & Hawkes].” According to the critic Sidney

Finkelstein, “Quiet City is the kind of work that makes us feel

that something deep within ourselves has been made explicit to

the extent that music can do it.”

4

Farm Journal, a work commissioned for chamber orchestra by

New York’s Little Orchestra Society, premiered on 19 January

1948 under the baton ofits conductor, Thomas Scherman. Originating from his documentary film score of 1940, PowerandLand,

the work is evocative of Moore’s sympathy and compassion for

the American farmer and his plight to survive amid the bureaucratic and doctrinal dissension prevalent during this era. Moore’s

daring effort in describing this milieu culminates in a vibrant

portrayal of four short musical epigrams brought together in a

suite. An analogy, perhaps, can be drawn between Moore’s Farm

Journal and Virgil Thomson’s Plow That Broke the Plains (1936),

music for a film designed to highlight the despondency of the

agricultural life. On the other hand, the Austrian-born American composer/critic Peggy Glanville-Hicks (1912-1990) describes the work succinctly and poignantly as “in a sense nature

music, but a peopled landscape, landscape with human figures.”

She continues: “It is perhaps this capacity to create vivid moods

that is the composer’s most outstanding asset.”

Commissioned by William Strickland and the Friends of Music

of Dumbarton Oaks, Robert Ward’s Symphony No. 3 was given its

premiere performance under the composer’s direction on 31 March

1950. It was originally written for single string players without

the use of a trumpet, which was incorporated later. In 1953, the

Juilliard Symphony Orchestra gave the first performance of the

newly revised and enlarged version, under the direction of the

French-American conductor and pedagogue Jean Morel (1903-

1975). The first movement, Fantasia, is cloaked in an altered sonata form. It opens with an introduction and ends with a coda

that utilizes fragmented themes heard early on. The second

movement, Arioso, employs the eighteenth-century concertante

(concerto) element, calling on one or two ofthe orchestral instruments for solo appearances. In this case, there is a pronounced

solo for the piano, with a cameo appearance for the solo winds.

There is a slight return of the opening melody at the end of the

Arioso, otherwise the form is through-composed. In sharp contrast to the brooding agitation ofthe first movement and the nocturnal meditation of the second, the concluding Rondo is highspirited and good-humored throughout. After the symphony’s

premiere, theWashington critic wrote, “The finale is swift, brittle,

and witty; the season’s best musical joke.”

- Program notes by Elmer Booze

5
2309th Concert

9 May 1999

WILLIAM BLACK, pianist

Alexander Reinagle Sonata in D (from the “Philadelphia

(1756-1809) Sonatas”) (c. 1790)

Allegro con brio

Allegro

Louis Moreau Gottschalk Souvenir de Porto Rico

(1829-1869) (1857)

HunterJohnson Piano Sonata

(1906-1998) (1933-1936; rev. 1947-1948)

Allegro molto e dinamico

Andante cantabile

Allegro giusto

INTERMISSION

William Bolcom

(b. 1938)

Three Ghost Rags

(1970-1971)

Graceful Ghost Rag

Dream Shadows

The Poltergeist

Charles Tomlinson Griffes Piano Sonata

(1884-1920) (1917-1918)

Feroce; allegro con moto

Molto tranquillo

Allegro vivace

6

“Marked by the sort of maturity and emotion that make a musical event,” is a typical example of the critics’ assessment of

the artistry and musicianship of pianist William Black, who

first gained national prominence as winner of the Concert Artists Guild Award in 1976. His sold-out New York debut the

following year led to a highly successful European debut in

London’s Wigmore Hall, and appearances with the English Baroque Orchestra at Queen Elizabeth Hall and the Barbican Centre. He has been a featured performer at the Kennedy Center,

WolfTrap Farm Park, the Library ofCongress, and Musique d’Ete,

and has performed with numerous orchestras and on prestigious

concert series throughout the United States, Canada, Great Britain, Austria, France, Belgium, The Netherlands, Germany, Italy,

and Ukraine. Recent appearances have included a tour ofJapan

and concerts in the People’s Republic of China, where he was

the United States representative at the First Shenyang InternationalMusic Festival. In 1991, Black made the historic world premiere recording for Chandos Records of the original version of

Sergei Rachmaninoff’s Fourth Piano Concerto with Igor Buketoff

and the Iceland Symphony Orchestra.

William Black has premiered numerous works, including compositions by Aaron Copland and David Diamond. His long association with Diamond led to a recording ofseveral compositions

under the sponsorship of the Library ofCongress and the world

premiere performance of Diamond’s Concertinofor Piano and Orchestra. Last year, Black was named artistic director of the 1998

Sichuan International Piano Festival, which took place in China.

William Black is a member ofthe artist faculty ofthe Cincinnati

College-Conservatory of Music, and has been invited to give

workshops and master classes on three continents.

Scottish-born Alexander Reinagle came to the United States

in 1776 and eventually settled in Philadelphia, where he became established as one of the most significant composers and

performers in the early years of the nation. His Philadelphia Sonatas, presumed to have been written between 1786 and 1794,

are texturally akin to the sonatas of Domenico Scarlatti (1685—

1757) and Antonio Soler (1729-1783), but are multi-movement

works using the sonata form prevalent in the late eighteenth

century, rather than the earlier binary (AB) concept. Similar to

the sonatas of Haydn, Reinagle’s sonatas combine elements of

both the Italian classic and the German empfindsamer Stil, as expressed in the keyboard works of Carl Philip Emanuel Bach.

7
America’s first composer/pianist to be celebrated on both sides

of the Atlantic was Louis Moreau Gottschalk, and Souvenir de

Porto Rico is one of his most popular and enduring works. Based

on an authentic folk song, the Souvenir also bears the title Marche

des Gibaros {March ofthe Puerto Ricanpeasants). The march starts

quietly and mysteriously, then builds to a brilliant climax before

returning to the modest material at its beginning.

Hunter Johnson’s Piano Sonata has been recognized as an important addition to the American piano repertoire. The first

version was written in Rome, during the two yearsJohnson spent

traveling and studying in Europe after having been awarded the

PrixdeRome. The sonata, largely rhapsodic and improvisational,

follows the general outlines of traditional sonata form and is

permeated with the mixed (blues) third, giving the work a thoroughly assimilated jazz flavor, to which hints ofragtime and spirituals are added. It is an exuberant and muscular work, tempered with languorous episodes and ending with what the composer describes as a “rambunctious fugato.”

The Three Ghost Rags ofWilliam Bolcom are the outpouring of

his interest in piano rags, both as a performer of the classics

written by Scott Joplin, and as a composer of superb examples

of the familiar form, dressed in a more advanced harmonic context. As examples ofBolcom’s highly sophisticated and nuanced

contributions to the form, the three rags combine virtuosity and

lyricism in an expressive palette that ranges from the nostalgic

to the humorous. The Graceful GhostRag was written in memory

of Bolcom’s father.

In contrast to the charm and refined sounds of Bolcom’s Rags,

Griffes’ Piano Sonata fumes with passion and frenzied motion.

The sonata was written shortly before his tragic early death at

age thirty-five, and its expressionistic style heralds the beginning of his move away from impressionist influences found in

his earlier works. It is considered among the earliest masterpieces of American piano music. English musicologist Wilfred

Mellers (b. 1914) describes it as “disturbingly powerful.” The

first movement sets the tone for the sonata, with its large, sweeping gestures, rich textures, and raw emotion. The chantlike

opening of the second movement is less intense, but still yearning, and the work concludes with a swirling quasi-tarantella.

-Program notes by William Black,

adapted and edited by Elmer Booze

8

2310th Concert

16 May 1999

THE BRUBEGK BROTHERS QUARTET

Compositionsperformedon thisprogram will be

announcedfrom the stage.

The Brubeck Brothers Quartet, an exciting and talented

jazz group, is composed offour versatile musicians, two ofwhom

are members of one ofAmerica’s most notable musical families:

Daniel Brubeck (drums and percussion) and Christopher

Brubeck (Bass, trombone and piano). Both have received international recognition for their extraordinary musical abilities.

Their performances with symphony orchestras and in recital format generate a unique blend oforiginal compositions, well-known

jazz standards and Dave Brubeck classics. The group combines

the beauty of classical music with the freedom found in jazz improvisation. The Brubeck Brothers Quartet provides a glimpse

into the future ofjazz, while honoring the jazz tradition.

9
Drummer Daniel Brubeck has toured the international music circuit for over two decades as performer with the Dave 

Brubeck Quartet, leader of his own group, The Dolphins, and as

featured soloist with many of the world’s top jazz artists. In 

addition, Daniel Brubeck has soloed with many of the world’s

leading orchestras as a member of the Dave Brubeck Quartet.

His original drumming style, distinctive solos, and use of odd 

time signatures have earned him the respect of many critics

worldwide.

Composer, orchestral arranger, and lyricist Christopher

Brubeck plays four instruments. He enjoys a very active and

diverse career and feels at home playing jazz, rock, folk, funk, 

and classical music. He continues to tour, record, and earn rave

reviews with the unique jazzy folk group Crofut & Brubeck, 

which has just finished its fourth CD, Bach to Brubeck, recorded

with the London Symphony Orchestra. Christopher Brubeck

recently collaborated with his father on a commissioned work

for a new orchestral composition for the Pittsburgh Symphony:

Theme andExplorationsfor Orchestra.

Keyboardist and composer Pete Levin, who has been active 

in both capacities since the 1960s, earned degrees from both

Boston University and the Juilliard School of Music. In addition to having recorded three CDs as a group leader, Levin has

been a co-leader or featured player on more than fifteen CDs. 

He has performed and/or recorded with such diverse artists as

Miles Davis, Gerry Mulligan, Willie Colon, and Paul Simon. 

Levin currently tours with Trio, the Pete Levin Band, Jimmy 

Giuffre, Annie Lennox, and Vanessa Williams.

Since 1980, guitarist and composer Mike DeMicco has toured

extensively worldwide. For ten years he performed and recorded 

with the acclaimed electric jazz quartet, The Dolphins. In addition to his work with the Brubeck Brothers, Demicco leads

his own jazz group and has recorded with jazz pianists Warren

Bernhardt and Chuck Lamb, drummer Peter Erskine, and popfolk artistsJames and Livingston Taylor. Among his many other

musical activities, Demicco offers clinics and maintains a private teaching practice.

- Program notes by Elmer Booze

10

2311th Concert

23 May 1999

SALLY McLAIN, violinist

LISA EMENHEISER LOGAN, pianist

PROGRAM

Anne LeBaron 

(b. 1953)

Devil in the Belfry

(1993)

Meyer Kupferman 

(b.1926)

Fantasy Sonata

(1970)

INTERMISSION

Ned Rorem

(b. 1923)

Four Pieces from Night Music

(1972)

Mosquitoes and Earthworms 

Gnats

Epeira sclopetaria

The Two Moths

David Baker Jazz Suite

(b.1931) (1978)

Minton’s

Harlem, Saturday Night

Perfume/Perspiration

Jamaican Jam 

52d Street

11
Violinist Sally McLain, a Washington, DC, native, is a graduate of the DC Youth Orchestra Program. She received her bachelor and master of music degrees (with high distinction) from

Indiana University, where she was both student of and assistant

to the noted violinist James Buswell. In addition, she performed

at the Tanglewood Music Center (Massachusetts), the Bach Aria 

Festival and Institute, and with the New York String Orchestra.

McLain performs as a soloist and a chamber and orchestral musician throughout the Washington area, in such venues as the

Kennedy Center Terrace Theater, the Corcoran Gallery, Lisner

Auditorium, and the Embassy Series. She collaborates with musicians in The Eclipse Chamber Orchestra, the Washington Bach

Consort (concertmaster), the Wolf Trap Opera Company (concertmaster), and members of the National Symphony Orchestra.

Sally McLain is currently concertmaster oftheWashington Chamber Symphony and a member of the Theater Chamber Players.

Pianist Lisa Emenheiser Logan is a graduate of the Juilliard

School ofMusic (holding both the bachelor and master of music

degrees), where she was a scholarship student of the late Ania

Dorfmann. She is a winner of The Young Artist in Recital and

The National Arts Club Competitions. As an established chamber musician, she has performed with such artists asJulius Baker, 

Eugenia Zukerman, Ransom Wilson, Jean-Pierre Rampal, and

Nadja Salerno-Sonnenberg, as well as with principal members

of the New York Philharmonic, the Cleveland Symphony, and

the National Symphony Orchestra. In addition to her three previous performances at the National Gallery, she has concertized

in virtually every major city in the United States, as well as London and Manchester (England), Berne (Switzerland), Haifa (Israel), Nice (France), and Mexico City. Lisa Logan is adjunct

pianist for the National Symphony Orchestra, pianist for

Washington’s noted ensemble, The 20th-Century Consort, and

artist-in-residence at The Washington Conservatory ofMusic as

a member of the Opus 3 Trio.

All of the compositions on tonight’s program were commissioned by the McKim Fund of the Library of Congress. The

McKim Fund was established in 1970 to support the creation

and appreciation of music for violin and piano. To date, more

than forty-five works for violin and piano have been commissioned by the fund.

The inspiration for Devil in the Belfry, by Anne LeBaron, was

Edgar Allen Poe’s tale of the same name. In the tale, an orderly

12

village is thrown into chaos when an outsider, a folk fiddler, comes

and strikes the bell in the belfry thirteen times instead of the

expected twelve. LeBaron writes: “Against the background of

contemporary society, the allegorical power ofthis story emerges.

The dominant time value of our age, efficiency, has grown in

importance over the centuries. At the opposite end of the temporal spectrum, ‘time rebels’ advocate abandoning increased

efficiency and speed. In this work I hope to convey the tension

between these two divergent approaches to time observed at

the close of our century.”

Meyer Kupferman’s Fantasy Sonata was commissioned in the

first year of the McKim Fund. In 1977 it was used as the music

for the ballet, 0 Thou Desire Who ArtAboutto Sing, choreographed

by Martha Graham. Kupferman writes: “For me, exclusivity in

music in any one stylistic area for an extended period of time

makes me restless or uncomfortable. I do not believe there is,

or ever was, a European style; I do feel, however, that the particular way I handle any musical statement always has my personal stamp. After experimenting for many years with the rich

resources and techniques available to the twentieth-century

composer I came to the conclusion that a mixed stylistic method

was the only right direction for me.”

Ned Rorem’s NightMusic, a collection of eight short pieces, premiered on 12 January 1973 at the Library ofCongress. It represents a continuation of his Day Music, written one year earlier.

The four pieces, Mosquitoes and Earthworms, Gnats, Epeira

sclopetaria, and The Two Moths are numbered two, three, five, and

six, respectively. Rorem writes about his two sets: “Although

they were conceived as independent works, I have no objection

to the performance of individual pieces, or to the grouping of

any combination of the sixteen pieces.” A Washington Post review of a performance of the complete work states: “Night Music

[is a] splendidly crafted tonal landscape that gives vivid interpretations of gnats, mosquitoes, and all the other creatures that

fill the night air with sounds.”

David Baker, a prominent jazz performer, composer, teacher,

and author, heads the department of jazz studies at Indiana

University, a position he has held since 1966. A professional

cellist and trombonist, he has performed with such jazz notables

as Quincy Jones, Maynard Ferguson, Stan Kenton, and Lionel

Hampton. A prolific composer, he has written compositions in

practically all musical genres. His five-movement Jazz Suite,

13
expressing the vitality and fervor of our contemporary musical

language in a classical format, takes on the semblance of a multimovement tone poem with a nationalistic flavor, utilizing the

American jazz idiom. The work had its premiere on 14 December 1979 in the Coolidge Auditorium ofthe Library ofCongress.

-Program notes by Elmer Booze

The use ofcameras or recording equipment

during theperformance is not allowed.

Forthe convenience ofconcertgoers

the Garden Cafe remains open until 6:30pm.

14

2316th Concert

30 May 1999

MUSIKANTEN

KERRY KREBILL, conductor

ALICE MIKOLAJEWSKI, pianist

PROGRAM

Robert Evett Four Marian Antiphons

(1922-1975)

Alma redemptoris mater

Ave regina coelorum

Regina coeli

Salve regina

Nancy Wertsch Hymnus Matutinus

(b. 1943)

Nox et lux

Inde est

Dulce canunt melos

Venerat occiduis

Christe, redde lumen

Russell Woollen Dante’s Praises to the Virgin Mother

(1923-1994)

INTERMISSION

15
Norman Dinerstein

(1937-1982)

Frogs

“Day darken!” frogs say

An old silent pond...

Ho, for the May rains

A tree frog trilling

Hop out of my way

Frog-school competing

Dominick Argento Peter Quince at the Clavier

(b. 1927)

Alice Mikolajewski, piano

Musikanten (German for “musicians”) was formed in June of

1979 as a “lab chorus” for the master’s degree work of director

Kerry Krebill. Beginning with a performance of madrigals at

Bethesda’s Davis Library, Musikanten has gone on to more than a

thousand performances. These have included concerts at the

National Gallery of Art, the National Portrait Gallery, the

Smithsonian Museums, and the Kennedy Center, in addition to

performances on concert series at embassies, churches, museums,

and homes throughout the Washington, DC area. The group has

traveled to Richmond, Philadelphia, Baltimore, Annapolis, and

many Eastern Shore venues. Members ofMusikanten have performed on seven European tours, including Maestra Krebill’s recent fiftieth birthday celebration, singing Monteverdi’s Vespers in

Venice. Musikanten’s first two recordings have received international acclaim. Musikanten Sings Music ofRussell Woollen was nominated for the 1991 Choral CD of the Year by Chorus! magazine,

and has been played on the national radio program “The First

Art.” Among the awards the ensemble has received are the Louise

Goucher Memorial Prize for a madrigal concert in 1992, Chorus

America’s American Performing Works stipends, and National

Endowment for the Arts Choruses grants. Musikanten’s newest

CD, A Spotless Rose, has just been released.

Colorado native Robert Evett studied with the outstanding

American composer Roy Harris (1898-1979) from 1941 to 1947 

in Colorado Springs. Subsequently, he served as chairman of the

16

music department of the Washington, DC, Institute of ContemporaryArts until 1950. From 1951 to 1952, Evett studied composition with the brilliant American composer, Vincent Persichetti

(1915-1987), at the Juilliard School ofMusic. Upon completion of

his studies with Persichetti, Evett returned to Washington, where

he remained until his death. His involvement with the musical life

in Washington led to commissions from the Pan-American Union,

the National Symphony, Georgetown University, and the

Composer’s Forum for Catholic Worship. In addition, he was an 

accomplished writer, serving as book editor and music critic for The

New Republic, editor ofthe “Arts and Letters” section of TheAtlantic

Monthly, contributing critic of books and music for The Washington

Starfrom 1961 to 1975, and its book editor from 1970 to 1975.

Nancy Wertsch was born in Wisconsin and studied at the University ofWisconsin-Madison, with additional studies in voice at

the Curtis Institute in Philadelphia. After advanced studies in

Germany, she returned to the United States. She was active as a

performer and teacher for several years in Tennessee before moving to New York City in 1979, where she currently lives. Her

secular choral works have been performed throughout the United

States by professional ensembles, such as the Gregg Smith Singers, the Dale Warland Singers, and the New York Virtuoso Singers. Wertsch’s sacred choral works have been heard in many prominent New York City churches, as well as hundreds of churches in

other cities. She has received commissions and grants from “Meet

the Composer,” New York’s Riverside Church, and Holy Trinity

Lutheran Church, whose Bach Orchestra premiered her organ

concerto, with Nancianne Parella as soloist. A recently commissioned work, ShaaluSh’lom Y'rushalayim (Psalm 122) was written

for an ecumenical service celebrating “Jerusalem 3000.” Hymnus

Matutinus was written for the Gregg Smith Singers in 1989.

Russell Woollen was born in Hartford, Connecticut. He studied

piano, theory, elementary harmony, and form with Charles King.

In 1940 he entered Saint Thomas Seminary to study for the priesthood, while at the same time becoming its organist. He was ordained in 1947 and was appointed to the faculty ofThe Catholic

University ofAmerica, as head ofliturgical music activity. Woollen

studied composition at the Peabody Conservatory of Music in 

Baltimore with the celebrated Russian-born American composer,

Nicholas Nabokov (1903-1978), and in Paris with the distinguished composition teacher, Nadia Boulanger (1887-1979). In

1954 he earned a master of music degree at Harvard University,

17
studying with Walter Piston (1894-1976). Dante's Praisesto the Virgin Mother, in Woollen’s words, was “written while I was experiencing the delights of five, six, and eight part high Renaissance

music. I was particularly keen on using the added transparency

produced by independent parts, and [using] the upper and lower

parts as antiphonal choirs. Dante’s text has an exalted and

celebratory quality which I tried to reflect. There is a certain

amount of word painting; as I customarily do, I sought to reflect

the meaning of the text.”

Norman Dinerstein was born in Springfield, Massachusetts. He

received degrees from Boston University (Bachelor of Music,

1960), Hartt College ofMusic in Connecticut (Master ofMusic,

1963), and Princeton University (Ph.D., 1974). Subsequent studies took place at the Berlin Hochschule fur Musik, the Berkshire

Music Center in Tanglewood, and in Darmstadt, Germany. He

served on several college faculties, including the University of

Cincinnati College-Conservatory of Music, where he was dean

until his death. Frogs, which has a cyclic text extracted from the

Japanese Haiku and translated by Harry Beh, was written for the

chamber choir at the Cincinnati Conservatory. As commented by

Mimi Stevens, “These settings are delightfully onomatopoeic

vocal tone-paintings, from the amazing variety of words that can

be made into froggy sounds, to the falling of rain, to the sudden,

almost random motion offrogs hopping, to the final competition

offrogs and larks [Frog-schoolCompeting]. [This final competition

is] a spoofofthe conservatory’s aspiring opera stars, all religiously

rehearsing in their practice rooms, competing...in the art ofsong.”

Dominick Argento was born in York, Pennsylvania. After receiving both the bachelor and master of music degrees from the

Peabody Conservatory ofMusic, he won the coveted annual composition prize three years in a row. In 1957, upon the completion

of his Ph.D. from the Eastman School ofMusic, Argento received

Fulbright and Guggenheim Fellowships, which he used to study

in Italy. Based on a chapter from the apocryphal Book of Daniel,

Peter Quince at the Clavier is a set of four poems symbolizing the

story ofSusanna and the Elders. It is, as reported by writer Mimi

Stevens, “a metaphor for the emotive power of beauty on the

human spirit, especially the beauty of music.” Argento explains

further that “Music, [being] feeling [rather than] sound, can be

taken as perhaps the key phrase of the entire cycle.”

Program notes by Elmer Booze

18

Index to the Composer and Performer Biographies

Argento, Dominick, composer.................................................18

Baker, David, composer..............................................................13

Black, William, pianist.................................................................. 7

Bolcom, William, composer and pianist....................................8

Brubeck, Christopher, composer, arranger, lyricist............ 10

Brubeck, Daniel, drummer..................................................... 10

Copland, Aaron, composer......................................................... 4

DeMicco, Mike, guitarist and composer................................ 10

Dinerstein, Norman, composer.............................................. 18

Evett, Robert, composer.............................................................16

Gottschalk, Louis Moreau, composer and pianist................8

Griffes, Charles Tomlinson, composer................................... 8

Johnson, Hunter, composer........................................................ 8

Krebill, Kerry, music director.................................................... 16

Kupferman, Meyer, composer..................................................13

LeBaron, Anne, composer.........................................................12

Logan, Lisa Emenheiser, pianist........................................... 12

Manos, George, conductor.......................................................... 4

McLain, Sally, violinist............................................................... 12

Moore, Douglas, composer.......................................................... 5

Reinagle, Alexander, composer..................................................7

Rorem, Ned, composer............................................................... 13

Ward, Robert, composer...............................................................5

Wertsch, Nancy, composer.........................................................17

Woollen, Russell, composer..................................................... 17

The use ofcameras orrecording equipment

during theperformance is not allowed.

Forthe convenience ofconcertgoers

the Garden Cafe remains open until 6:30pm.

19