For the convenience of concertgoers 

the Garden Cafe remains open until 6:oo pm.

The use of cameras or recording equipment during the 

performance is not allowed. Please be sure that cell phones,

pagers, and other electronic devices are turned off.

Please note that late entry or reentry of

the West Building after 6:30 pm is not permitted.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

Mailing address

2000B South Club Drive

Landover, md 20785

www.nga.gov

The Sixty-eighth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,736th Concert

ArcoVoce Chamber Ensemble

Rosa Lamoreaux, soprano

Elizabeth Field, baroque violin

Nina Falk, baroque violin

Douglas McNames, baroque cello

Steven Silverman, harpsichord

Presented in honor of An Antiquity ofImagination:

Tullio Lombardo and Venetian High Renaissance Sculpture

October 4, 2009

Sunday Evening, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Isabella Leonarda (1620-1704)

Motet: Ave suavis dilectio

Leonarda

Sonata in A Minor, from op. 16

Claudio Monteverdi (1567-1643)

Exultafilia

Antonio Vivaldi (1678-1741)

Sonata in B Minor, op. 5, no. 16

Preludio

Allemanda

Corrente

Francesco Mancini (1672-1737)

Cantata for Soprano, Violin, and Continuo: Quanto dolce e quell’ ardore

Aria: Quanto dolce e quell’ ardore

Recitative: Purche a te sia vicina

Aria: Aprim’ il petto mio bel diletto

INTERMISSION

Marco Uccellini (1603-1680)

Sonata: La Luciminia contenta, op. 4, no. 2

Tarquinio Merula (1595-1625)

Cantata: Gaudeamus omnes

Alessandro Stradella (1639-1682)

Symphonia

Alessandro Scarlatti (1660-1725)

Recitative and Aria from II Giardino di amore

The Musicians

The ArcoVoce Chamber Ensemble’s name elides the Italian words for 

strings (arco) and voice (voce), and reflects its commitment to combining

vocal and instrumental music in its programs. The instrumentalists in the

ensemble perform on both modem and period instruments. In the Washington, DC, area, ArcoVoce has performed at the Corcoran Gallery, the

embassies ofThe Netherlands and Germany, the Lyceum, and the Phillips

Collection, where it has been named resident chamber ensemble. Among

the notable guest artists who have appeared with ArcoVoce are Elisabeth

Wallfisch, the celebrated baroque violinist; Phoebe Carrai, principal cellist of

Musica Antiqua Koln; and Franklin Cohen, longtime principal clarinetist of

the Cleveland Orchestra.

NINA FALK

The Washington Post has called Nina Falk “one ofWashington’s finest musicians,” praising her “warmth oftone and expressive phrasing.” Born in New

York City, Falk studied at the Juilliard School of Music and the Oberlin College

Conservatory of Music. She received a Fulbright fellowship to study in

London and Rome and received a diploma with honor from the Accademia

Chigiana in Siena, Italy. Falk performs, tours, and records with Apollo’s Fire,

the Bethlehem Bach Festival, Brandywine Baroque, the Carmel Bach Festival,

the Folger Consort, the Four Nations Ensemble, the Handel and Haydn

Society, Opera Lafayette and the Violins of Lafayette, the Smithsonian Chamber Orchestra and Chamber Players, and the Washington Bach Consort.

She has recorded on the Dorian label with the Apollo Ensemble. She is also

a visual artist, working in the medium of glass.

ELIZABETH FIELD

Violinist Elizabeth Field holds a doctorate in historical performance practice

from Cornell University. She is a member ofthe Washington String Quartet

and Brandywine Baroque. She is concertmaster ofthe Bethlehem Bach

Festival and the Violins of Lafayette and has served as a guest concertmaster

3
for the Washington Bach Consort and the Washington Chamber Symphony.

She also performs with the Kennedy Center Opera House Orchestra. She is

the founder and principal violinist ofthe Vivaldi Project, which will perform

next Sunday at the National Presbyterian Church.

ROSA LAMOREAUX

Soprano Rosa Lamoreaux is known for her flawless sense ofstyle, incandescent presence, and “a wonderfully rich timbre and an amazingly flexible

voice” (The Washington Post). After winning the Handel Aria Competition at 

the Aspen Music Festival and becoming a finalist in the Oratorio Society

Competition of New York, Lamoreaux went on to perform at Carnegie Hall, 

the Dorothy Chandler Pavilion, and the Kennedy Center. In Europe she has

appeared at the Amalfi Coast Music and Arts Festival in Italy’s Campania

Region, the Belvedere Schloss in Salzburg, the Proms in London, La Fenice

in Venice, the Louvre in Paris, and the Rheingau Music Festival in Germany.

A popular chamber music performer, she sings with the Folger Consort,

Hesperus, and the Vocal Arts Quartet, and she has toured with Musicians

from Marlboro. She is the music director ofthe National Gallery ofArt 

Vocal Ensemble.

DOUGLAS MCNAMES

As a member ofthe award-winning Delos Quartet, Douglas McNames

appeared regularly throughout the United States and abroad. A regular substitute player with the Philadelphia Orchestra, McNames also performs with

Brandywine Baroque, the Carmel Bach Festival, Concerto Soloists of Philadelphia, Melanomie, the Mid-Atlantic Chamber Music Society, the Opera Company of Philadelphia, Pro Musica Rara, and the Rider String Quartet. He has

been a member ofthe Santa Fe Opera Orchestra and the Casella Quartet,

which won the 1983 Fischoff National Chamber Music Competition. Awarded

the 1995 Delaware State Arts Council Individual Artist Fellowship, McNames

can be heard on the Centaur, Epiphany, Etcetera, and Spectrum labels.

4

STEVEN SILVERMAN

Steven Silverman has performed extensively in solo, chamber, and concerto

appearances throughout the United States on both piano and harpsichord.

The New York Times called his New York solo piano debut “a splendid affair...

his playing had dimension, atmosphere, energy and discipline—wedded to

a sense ofrhythm that would not quit.” Along with much ofthe standard

repertory, Silverman has given acclaimed performances ofrarely heard works

such as both ofCharles Ives’ piano sonatas, the complete Goyescas of Granados, Elliott Carter’s piano sonata, and Manuel de Falla’s harpsichord concerto.

Silverman holds bachelor and master ofmusic degrees from the University

of Michigan.

Program Notes

From about the year 1500 onward, painters in Venice went beyond traditional

commissions for altarpieces and household devotional images to develop 

new art forms—imaginative evocations of ancient mythology, poetry, history,

or philosophy made for a growing audience of private collectors. In the

process, they created new ideals of beauty, shaped by a poetic and nostalgic

approach to classical antiquity. The brilliant carver Tullio Lombardo (c. 1455 —

1532) was inspired by ancient art and the Venetian painters Bellini, Giorgione,

Mantegna, and Titian to devise his own innovations in marble. Blending

elements ofthe antique and the Renaissance, the sacred and the secular, his

works raise provocative questions about his haunting subjects. The exhibition

An Antiquity ofImagination: Tullio Lombardo and Venetian High Renaissance

Sculpture, which is the first in America dedicated to Tullio, remains on view

in the galleries adjacent to the West Garden Court until November 1, 2009.

The private collectors who sought out sculptures by Tullio and paintings

by his contemporaries were also patrons ofmusic, and they looked for some

ofthe same innovations from composers that they expected of artists,

especially imaginative evocations of ancient mythology, poetry, and history.

They shared with Plato the opinion that music occupied an even higher

5
place among the arts than painting and sculpture, since it was seen as a fine 

art, one that related to mathematics and that could carry the listener to the

world of utter perfection. Vocal music was especially esteemed, as it unites

the sublime messages ofpoetry with the beauty ofharmony.

The earliest examples of Italian music selected for this program by

ArcoVoce are vocal cantatas from the sixteenth century. The program traces

this genre as it developed in the seventeenth century, and proceeds to unveil

Italian instrumental music as it emerged as an independent art in the

seventeenth and eighteenth centuries. All ofthe composers represented had

unique and fascinating careers, but Isabella Leonarda stands out among

them for being a woman. Christened Anna Isabella Leonardi, she entered

the Collegio di Santa Orsola, a convent in her hometown, Novara, at age

sixteen. A document of 1658 identifies her as the music instructor as well as

the “mother and clerk” for her congregation. By 1676 she had attained the

rank ofmother superior. Leonarda was a skillful, versatile composer whose

approximately two hundred compositions include examples of nearly every

sacred genre. Leonarda’s instrumental works (published in 1693 as op. 16)

are the earliest published sonatas by a woman. Her Sonata in A Minor for 

solo violin and continuo is conservative in its technical demands, but harmonically advanced for its time.

Upcoming Concerts at the National Gallery ofArt

National Gallery ofArt Wind Quintet

Music by Deslandres, Jongen, and Taffanel

October 7, 2009

Wednesday, 12:10 p.m.

West Building Lecture Hall 

Presented in honor of

The Darker Side ofLight: Arts ofPrivacy, 1850-1900

ess

Washington Choral Arts Society

Norman Scribner, director

with

Douglas Riva, pianist

Music by Granados and other Spanish composers

October 11, 2009

Sunday Evening, 6:30 p.m.

West Building, West Garden Court

Presented in honor of

The Art ofPower: Royal Armor and Portraitsfrom Imperial Spain
Arco Voce, October 4, 2009

Texts and Translations

Ave suavis dilectio

Ave suavis dilectio.

Salve charitatis repletio.

O cibus cibans,

O mensa immensa,

de te bibere vivere est,

de te pasci nasci est.

Salve lumen animarum,

Ave flumen gratiarum

si sitio tu satias,

si esurio tu reficis.

O amoris misterium,

peccatoris refrigerium.

In te salus, in te vita,

in te totus Paradisu.

De pane gloria, de vino divinitas,

de morte vita.

O pro mortalibus vitalis mors,

vere fidelibus, o qualis sors.

Hail, sweet delight.

Hail, full of grace.

O nourishing food,

O vast table,

To drink from you is to live,

Your nourishment is new life.

Hail, living light,

Hail, river of grace.

IfI thirst, you satisfy,

IfI am hungry you restore.

O mysterious love,

Refreshment ofsinners.

In you is salvation, in you is life,

In you is complete Paradise.

From bread, glory, from wine, divinity,

From death, life.

0 for mortals a death which lives

For the truly faithful, 0 such a fate.

Exulta filia

Exulta filia Sion,

lauda filia Jerusalem:

ecce rex tuus venit sanctus,

ecce mundi salvator venit.

Omnes gentes plaudite manibus 

Jubilate deo in voce exultationis.

Laetentur coeli, exultet terra.

Quia consolatus est dominus

Populum suum,

Redemit Jerusalem.

Alleluia.

Rejoice, O daughter ofZion,

Give praise, O daughter ofJerusalem.

Behold thy King, the Holy One.

Behold the Savior ofthe World cometh.

O all ye people, clap your hands,

rejoice in God with a voice oftriumph.

Let the Heavens rejoice, let the earth be glad.

For the Lord hath comforted

his people,

He hath redeemed Jerusalem.

Quanto dolce, e quell’ardore

Aria:

Quanto dolce e quell'ardore

che per te m' infiamma il core,

Idol mio, caro mio ben.

Benche pare un gran martire,

pur m' alletta e fa gioire

tanto amante ho il core in sen.

How sweet is that passion 

that inflames my heart for you,

Dear loved one.

Although it seems a great suffering

it attracts me and makes me joyful 

So loving a heart do I have.
Recitative:

Purche' a te sia vicina,

ogni pena pur me si fa contento,

orch' io fabbraccio, o caro,

altro piu non desio,

altro non voglio.

Mio Fileno adorato,

6 qual gran gioia io sento

in dirti, amato bene,

Stringi, se piu le puoi

le mie catene.

Aria:

Aprimi il petto, mio bel diletto,

ch' io vo mostrartiquel tuo bel volto

dipinto in me.

Vo che tu almeno mi guardi in seno

per esser certo de la mia fe.

Gaudeamus omnes

Gaudeamus omnes in Domino,

diem festum celebrantes

sub honore Sanctorum omnium:

de cuius solemnitate gaudent angeli,

et collaudant Filium Dei.

Alleluja.

II giardino de Amore

Recitative:

Venere, assai ti deggio andianne mio tesor 

Andianne prima che PAurora nel Cielo

con piu serti di rose esca dall’onde.

Aria:

Con battaglia di fiero tormento 

Senza temi fa Guerra Cupido.

Come dunque lasciarti un momento

puo chi t’ama chi teco e si fido.

Though I am close to you,

every pain I suffer makes me

happy, now that I embrace you,

my love, I desire nothing else,

Nothing more do I want.

My adored Fileno,

Oh what great joy I feel

in saying to you, my love,

"Tighten, if you can,

My chains".

Open my heart, my beautiful treasure,

so that I can show your lovely face

reflected in me.

I want you at least to look into my heart 

to be certain ofmy fidelity.

Rejoice in the Lord all ye people

celebrate the day God has given,

Give honor to His name,

give solemn praise, rejoice, angels

Highest praise to the son of God.

Come, we have much to consider, my dear.

The first breezes from the heavens

will leave a wreath ofroses on the waves.

With battles offiery torment 

I will fight Cupid, when I am without you!

How then, could you leave me in such a

moment, I, who love you so faithfully?