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the Garden Cafe remains open until 6:oo pm.

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is not permitted.

Music Department

National Gallery of Art

Sixth Street and Constitution Avenue nw

Washington, dc

Mailing address

2000b South Club Drive

Landover, md 20785

www.nga.gov

COVER: Jan de Bray, Portrait ofthe Artist’s Parents,

Salomon de Bray and Anna Westerbaen, 1664, oil on panel, National Gallery

of Art, Washington, Gift ofJoseph F. McCrindle

The Sixty-third Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery of Art

2,535th Concert

The Baltimore Consort

Mary Anne Ballard, treble, tenor, and bass viols and rebec

Mark Cudek, cittern, recorder, crumhom, bass viol, and percussion

Jose Lemos, countertenor

Larry Liplcis, tenor and bass viol, recorders, and crumhom

Ronn McFarlane, lute

Mindy Rosenfeld, flutes, recorders, and crumhom

Presented in honor of

Jan de Bray and the Classical Tradition

May 8, 2005

Sunday Evening, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

The World of Jacob van Eyck: Music and Instruments

the Seventeenth-Century Dutch Soundscape

(Titles in parentheses indicate tunes found in Van Eyck’:

collection Der Fluyten Lust-hof.)

Thomas Morley (c. 1557-1602)

Lord Zouche (Onder de Undo groene)

From Consort Lessons (1599)

John Dowland (1563-1626)

Come Again, Sweet Love Doth Now Invite (Comagain)

From The First Booke of Songes or Ayres (1597)

Anonymous

The Ladyes Delight and Jumpe at My Cozen

From a Paris virginal manuscript (c. 1630)

John Dowland

Flow My Tears (Lachrimae)

From The Second Book of Songs or Ayres (1600)

John Dowland

Earl ofEssex, His Galliard

From Robert Dowland: A Varietie ofLute Lessons (1610)

Thomas Morley

Can She Excuse (Excusemoy)

From Consort Lessons

Nicolas Vallet (1583-1626)

Carillon de village

From Secretum musarum Book 11 (1616)

Etienne Moulinie (c. 1599-c. 1699)

Repicavan las campanulas (Repicavan)

From Airs de cour Book in (1629)

Jacob van Eyck (c. 1590-1657)

Engels nachtegaeltje

From Der Eluyten Lust-hofBook 1 (1649)

Jean-Baptiste Besard (c. 1567-c. 1617)

Diminutio

From Thesaurus harmonious (1603)

Claudio Monteverdi (1567-1643)

Si dolce e il tormento

From Scherzi delle ariose vaghezze (1624)

Jean d’Estree (c. 1520-1576)

Les bouffons (Bojfons)

From Tiers livre de danseries (1559)
Anonymous

The French Report

A ballad to the tune of A la mode de France, or Nonesuch

From Rump, or An Exact Collection ofthe Choicest Poems

and Songs Relating to Late Times (1662)

INTERMISSION

John Playford (1623-1686)

All in a Garden Green

From The English Dancing Master (1651)

Anonymous

Parson’s Farewell (Stil, stil een reys)

Beggar Boy

From The English Dancing Master

John Playford

Jon Come Kisse Me Now

From Musick’s Delight on the Cithren (1666)

Anonymous

Newcastle

From The English Dancing Master

John Dowland

Now, Oh Now I Needs Must Part (2. Courante)

From The First Booke of Songes or Ayres

Jacob Van Eyck

Doen Daphne c’over schoone maeght

From Der Fluyten Lust-hofBook 1

Jacob Van Eyck

Verwaelde Koningin

From Der Fluyten Lust-hofBook 1

John Playford

The Famous Ratcatcher (Verwaelde Koningin)

A ballad to the tune of The Joviall Tinker,

also known as Fly Brass or Tom a Bedlam

Text: from a broadside by Samuel Pepys (1633-1703) 

Tune: from Musick’s Delight on the Cithren

Giulio Caccini (1551-1618)

Amarilli mia bella (Amarilli mijn schoone)

From Le nuove musiche (1601)

Orazio Vecchi (1550-1605)

So ben mi ch’ha bon tempo (Questa dolce sirena)

From Selva di varia ricreatione (1590)
The Musicians

Founded in 1980 to perform the instrumental music of Shakespeare’s time,

the Baltimore Consort has developed a reputation throughout North America

for lively and authentic interpretations of early music in many ofits manifestations. The interest ofthe consort members in early music ofthe English 

and Scottish tradition has led them to the rich trove oftraditional music

preserved in North America. The consort’s recordings on the Dorian label 

have earned rave reviews and led to recognition ofthe ensemble by Billboard

magazine as top classical-crossover artist ofthe year. The ensemble is often 

heard on such syndicated radio broadcasts as Saint Paul Sunday, Performance

Today, Harmonia, and the Canadian Broadcasting Company’s OnStage.

The Baltimore Consort appears at the National Gallery by arrangement with

JoAnne Rile Artists Management, Inc., ofJenkintown, Pennsylvania.

Mary Anne Ballard researches many ofthe Baltimore Consort’s programs. She also plays with Galileo’s Daughters, Brio, and the Oberlin

Consort of Viols. She has directed and coached early music at the Peabody 

Conservatory, Princeton University, and the University of Pennsylvania,

where she founded the Collegium Musicum. She devotes her summers to 

teaching at the Baroque Performance Institute at the Oberlin Conservatory

of Music.

Mark Cudek plays many early instruments and appears with ensembles

such as Hesperus and Apollo’s Fire. In recognition of his work as founder and

director ofthe Peabody Renaissance Ensemble at Johns Hopkins University 

and the high school early music program at the Interlochen Arts Camp,

Cudek received the 2001 Thomas Binkley Award from Early Music America.

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Countertenor Jose Lemos was the winner ofthe 2003 Baroque Vocal

Competition in Chimay, Belgium, an international event that brought

together forty-six entrants from sixteen countries. Subsequently, Lemos has

appeared as Oberon in Britten’s A Midsummer Night's Dream at Tanglewood

and Giulio Cesare in Handel’s eponymous opera with Martin Pearlman’s

Boston Baroque. In April 2005 he sang the role of Nireno in the same

Handel opera in a cast led by Cecilia Bartoli at the Zurich Opera. A native of

Uruguay, Lemos also performs Brazilian songs with guitarist Marco Sartor

and medieval/Sephardic music with Quartetto Brio.

Larry Lipkis is composer-in-residence and director of early music activities at Moravian College in Bethlehem, Pennsylvania. He has a trilogy of

instrumental concertos to his credit: a cello concerto, Scaramouche, recorded

on the Koch label; a bass trombone concerto, Harlequin, premiered by the

Los Angeles Philharmonic Orchestra to rave reviews; and a bassoon concerto,

Pierrot, premiered by the Houston Symphony. He also served as director of

Pinewoods Early Music Week.

Lutenist Ronn McFarlane has released more than twenty-five CDs on the

Dorian label, including solo music of John Dowland, lute song recitals, and

recordings with the Baltimore Consort. Inspired by the lutenist-composers of

the Renaissance, he has also composed more than thirty new lute solos. In

1996 McFarlane received an honorary doctorate of music from Shenandoah

University for bringing the lute and its music to a worldwide audience. In

2004 he played his London debut recital and in 2005 he served as guest professor oflute at Indiana University.

Flutist Mindy Rosenfeld was a founding member ofthe Baltimore

Consort in 1980. From 1989 to 2004 she was a member of San Francisco’s

Philharmonia Baroque Orchestra and a frequent guest soloist with numerous West Coast ensembles. The mother of five boys, Rosenfeld leads a very

active life that includes performing, teaching, and raising her family.

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The Exhibition

Jan de Bray and the Classical Tradition spotlights works by one ofthe most

important portrait painters in Haarlem in the later half ofthe seventeenth

century, Jan de Bray (c. 1627-1688), whose career overlapped that of Frans 

Hals. De Bray not only painted compelling portraits of his family and

friends, but also depicted Dutch citizens in the guise of antique heroes. This

exhibition brings together works of both types and explores the relationship

between them. A particularly interesting juxtaposition is the double portrait

of his parents, Portrait ofthe Artist’s Parents, Salomon de Bray and Anna

Westerbaen (reproduced on the program cover), and Banquet ofAntony and

Cleopatra (1669), a large banquet scene in which his parents assume the role 

of Antony and Cleopatra. The classicism ofJan de Bray has its roots in the

revival ofinterest in classical antiquity in Renaissance Italy, a movement

that spread to the north, deeply affecting the arts and literature throughout

western Europe. Hendrik Goltzius (1558-1617), the Dutch artist who was

Salomon de Bray's mentor, traveled to Rome and sketched classical sculpture

as well as the works of Raphael and Michelangelo. Those sketches were 

formative for the work of both Salomon and Jan de Bray. The exhibition

was organized by the National Gallery of Art, Washington, and the Currier

Museum of Art, Manchester, New Hampshire, and is generously supported

by Greg and Candy Fazalcerley.

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Program notes by Mary Anne Ballard

In his monograph Music in Late Medieval Bruges (Oxford University Press,

1985), Reinhard Strohm entitles his first chapter “Townscape-Soundscape.”

In it he evokes images that bring to life the movement and sound that are

frozen moments in the paintings of Hubert and Jan van Eyck and Hans

Memling. Strohm’s idea of “soundscape” is particularly relevant to the concept ofthis program because it conveys the impression of a melange of both

sounds and visual images. To complement the exhibition, the Baltimore

Consort performs on a cornucopia ofinstruments that would have been

common in Jan de Bray’s time—lute, cittern, viola da gamba, rebec, wooden

flute, recorder, and crumhom. In addition to the instrumental selections,

countertenor Jose Lemos sings some ofthe sturdy popular tunes that served 

as the raw material for the famous improvisations by the blind virtuoso Jacob

van Eyck of Utrecht. His variations on 142 well-known tunes from all over

Europe (Der Fluyten Lust-hof) crossed the line between “popular” and “art”

music. Like so many blind musicians throughout history, Van Eyck improvised solos on the music he heard—in his case rendering them either on

the recorder, which he played after services in the churchyard of Utrecht’s

Janskerk, or on the carillon, which was two blocks away at the Domkerk.

In spite of his handicap, Van Eyck served as the official town carilloneur and

overseer of all the city’s bells.

In addition to several selections taken directly from Der Fluyten Lust-hof

this program presents fourteen settings of music Van Eyck would have heard

prior to creating his own versions. These are tunes that Netherlanders who 

knew and loved music, such as the De Bray family, would have recognized.

The lyrics of The Famous Ratcatcher and The French Report reflect the earthy

sensibility ofthe time. The rat catcher is a brash fellow who presents himself

as a heroic figure, like Odysseus, with tales of conquest and world travel.

The political ballad The French Report could well be a conversation among

Dutchmen about the crazy governments in England and France.

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Prominent among the foreign tunes that were familiar and popular in 

the Netherlands were the ballroom dances from England called “country

dances.” These are represented in this program by the selections from The

English Dancing Master (1651). English influence was particularly strong in

Holland, due not only to the many English religious refugees, but also to

traveling troupes of English actors and musicians. English tunes circulated 

in Holland for decades after their first appearance, and the works of Thomas 

Morley and John Dowland were well known in De Bray’s lifetime, even

though both died before De Bray was born.

The title ofthe collection from which the Morley piece is taken (Consort

Lessons) refers to the mixed consort of musical instruments as it evolved

from the Renaissance into the baroque period (treble viol, flute, cittern, 

bandora, lute, and bass viol). For the classicist of the time, the music ofthis 

mixed consort and its instruments, like the paintings of Jan de Bray, had

both a contemporary and a classical reference. The lute and other stringed

instruments served as the Renaissance equivalent ofthe silver strings of

Apollo’s lyre, which, when well tuned, represented a harmonious universe. 

Renaissance humanists came up with the name “cittern” (from the Greek

kithara) for their wire-strung folk instrument, in an effort to endow it with 

noble ancestry. Another manifestation of classicism in baroque music is

present in the songs by the Italians Monteverdi, Caccini, and Vecchi, for

whom clear declamation and expressive setting ofthe words was a return

to what they understood to be the essence of ancient Greek music.

Special credit in the assembling ofthis program goes to Ruth van Baak

Griffioen’s comprehensive work, Jacob van Eyck’s Der Fluyten Lust-hof

(1991), an essential reference for anyone interested in the music of the

Netherlands in the seventeenth century.

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