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.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

ivuw.nga.gov

cover: John Taylor Arms, French Lace, 1949, etching on wove paper,

National Gallery ofArt, Washington, Rosenwald Collection

The Seventieth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,852nd Concert

Monadnock Music Trio

Laura Gilbert, flute

Jonathan Bagg, viola 

Dan Lippel, guitar

Presented in honor of

The Gothic Spirit ofJohn Taylor Arms

November 2, 2011

Wednesday, 12:10 pm

West Building Lecture Hall

Admissionfree
Program

Andrew Earle Simpson (b. 1967)

Tesserae: Six Mosaics ofAncient Rome for flute, viola, and guitar (2004)

The Emperor Caracalla 

Geta, the Youth

The Syrian Woman

Banqueting Music

Funeral March and Oration

Coda: Apotheosis

Dusan Bogdanovic (b. 1955)

Songs and Dancesfrom the New Village for flute and guitar (2004)

Shepherd’s Song 

Lesnoto According to Johann

Gankino Oro 

Prophet’s Song 

Milcho’s Boogie

Andrew Norman (b. 1979)

Sabina for solo viola (2008)

David Kirkland Garner (b. 1982)

Abandoned e[ Forgotten Places for flute, viola, and guitar (2011)

I. Mysterious

II. Tranquil

World premiere performance

Scott Lindroth (b. 1954)

Y.T.T.E. for flute, viola, and guitar (2009)
The Musicians

LAURA GILBERT

Flutist Laura Gilbert has performed worldwide as chamber musician, soloist,

recitalist, and guest lecturer. In addition to founding and performing with 

Aureole, a trio comprised offlute, viola, and harp, Gilbert has appeared with 

Alexander Schneider’s Brandenburg Ensemble, the Brentano and Saint

Lawrence String Quartets, Chamber Music at the 92nd Street “Y,” the 

Metropolitan Opera Orchestra, Musicians from Marlboro, the New York

Philharmonic Orchestra, Saint Luke’s Ensemble and Orchestra, and Speculum 

Musicae. An advocate for folk-inspired classical music, Gilbert performs

frequently with Greek guitarist Antigoni Goni. The duo has commissioned

new works, many ofwhich are included on their debut solo disc, From the

New Village, on Koch International Classics. Gilbert’s extensive discography 

includes two solo recordings on Koch International: The Flute Music ofSerge

Prokofiev and The Flute Music ofTorn Takemitsu.

Laura Gilbert has served on the flute and chamber music faculties ofthe 

Aaron Copland School at Queens College, Bowdoin Summer Music Festival,

Harid Conservatory, Mannes College of Music, Peabody Conservatory,

Purchase College, and Saint Ann's School. She studied with Samuel Baron,

Julius Baker, and Thomas Nyfenger, receiving her bachelor ofmusic degrees 

from Sarah Lawrence College and the New England Conservatory of Music,

her diploma and master ofmusic degree from Juilliard, and her doctorate

from the State University of New York at Stony Brook.

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Professor ofthe practice ofmusic at Duke University, Jonathan Bagg teaches 

viola, directs the chamber music program, and serves as violist ofthe

Ciompi String Quartet. His career with the Ciompi spans twenty-five years

and includes hundreds of concerts across the United States and in China, 

Europe, Israel, and South America. As a solo violist, he has an interest in

bringing new and unfamiliar works to life, including many that were written

for him. Recitals have brought him to the Phillips Collection in Washington, 

dc; Boston’s Jordan Hall; and many locations along the East Coast. Concerto

appearances include the Handel and Haydn Society of Boston, the New

Haven Symphony Orchestra, and the Monadnock Music Orchestra. He has

performed at the Castle Hill Festival, Eastern Music Festival, Great Lakes

Chamber Music Festival, Highlands Chamber Music Festival, and Mohawk

Trail Concerts.

Jonathan Bagg has collaborated with many notable musicians, including

cellist Ronald Leonard, jazz vocalist Nnenna Freelon, pianists Menahem

Pressler and James Tocco, and saxophonist Branford Marsalis as well as the 

Tokyo String Quartet. Bagg’s solo cds include music for viola and piano by

Robert and Clara Schumann and Robert Fuchs (1847-1927), on Centaur

Records, and contemporary solo works by Arthur Levering, Malcolm Peyton,

Robert Ward, and Donald Wheelock on the Bridge, Centaur, and Gasparo

labels. Jonathan Bagg graduated with honors from both Yale University and

the New England Conservatory, where he studied with Steven Ansell and

Walter Trampler.

JONATHAN BAGG

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DANIEL LIPPEL

An active soloist, chamber musician, and recording artist, guitarist Daniel

Lippel has recently been heard at the Darmstadt Festival for New Music in

Germany, the Macau International Music Festival in China, the Mostly

Mozart Festival at New York’s Alice Tully Hall, and Finland’s Musica Nova

Helsinki Festival. His recent recitals include the Cleveland Institute of

Music’s Guitars International Series, the Philadelphia Classical Guitar 

Society Series, and a Carnegie Hall celebration of Elliott Carter’s music

conducted by Oliver Knussen. He has also performed at Bowdoin College

and the University ofWisconsin at Eau Claire. Lippel’s recordings on his

own label, New Focus Recordings, have garnered acclaim from American

Record Guide, Guitar Review, Gramophone, Music Web International, and

several other publications. He has also recorded for the Bridge, Albany, and 

Centaur labels, as well as the commercial labels Fat Cat and Temporary

Residence Limited.

Closely involved in the contemporary classical music scene and a member

of ice (International Contemporary Ensemble) and the new music quartet

Flexible Music, Lippel has worked with eminent composers John Adams,

Mario Davidovsky, Magnus Lindberg, Ursula Mamlok, Philippe Manoury,

and Augusta Read Thomas. Also versatile in other genres, Lippel has toured

four continents and recorded extensively with the eclectic world music/indie

rock band Mice Parade. He received the doctor ofmusical arts degree from 

the Manhattan School of Music, under the guidance of David Starobin.

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Program Notes

American printmaker John Taylor Arms (1887-1953) believed in the uplifting quality of Gothic art and the power of close observation, skillfully

transcribed. Not all of his prints depict Gothic subjects, but all reflect the 

spirit of an artist whose intense devotion to craftsmanship echoed that

associated with medieval artisans. Born in Washington, DC, Arms began his 

career as an architect in New York but soon dedicated himselfto printmaking. He adapted the meticulous drafting skills required in his architectural

practice to the execution offinely wrought prints. Arms tended to create

prints in series based on a particular place or subject, from the Italian 

countryside to French gargoyles. Taking their cue from Arms’ work, the

Monadnock Trio has sought finely crafted musical works for this program,

all ofwhich are inspired by a particular place or object. Drawn primarily

from the Gallery’s collection as well as from other lenders both private and

public, the exhibition remains on view until November 27, 2011.

A series ofsix miniature portraits of historical figures or scenes of

ancient Roman life, Andrew Earl Simpson’s Tesserae: Six Mosaics ofAncient

Rome takes its inspiration from tesserae, the tiny glass or stone pieces used

in mosaics. Inspired by ancient Roman busts, the first three movements are

“character sketches” ofthe individuals as portrayed. The first two movements

depict Caracalla, Roman emperor from 211-217 AD> and Geta, his brother. 

The two were sons ofthe Emperor Septimius Severus, assigned to succeed 

him in a joint reign. This uneasy arrangement lasted for a few months, at

which point Caracalla had Geta assassinated. Whereas Caracalla’s music, in

5/8, is angular and dissonant, Geta’s music, in 6/8, is gentle, playful, and

firmly on a C-major tonality. Near the end ofthe second movement, Caracalla’s music returns; the two themes combat, and Caracalla’s music “kills”

Geta’s music.

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The third movement is based on the bust of an unknown Syrian woman.

The sculpture is remarkable both for its material, which is limestone rather

than marble, and the melancholy, faraway expression on the woman’s face.

This slow third movement is the emotional centerpiece ofthe work. Greatly 

influenced by Middle Eastern music, it features ornamented melodic lines,

heterophonic textures, drone notes, and drumming with fingers (golpe) on

the body ofthe guitar.

The final three movements are played without pause. “Banqueting Music”

is based on ancient Greek rhythm (one also employed by the Romans) called 

an Anacreontic. This very lively rhythm is associated with the ancient Greek

lyric poet, Anacreon, known for his exuberant poems on the subject ofwine.

The banqueting music is boisterous and rowdy; as it reaches its peak, it is

suddenly cut short by Geta’s funeral procession.

Serbian-born American composer and classical guitarist Dusan

Bogdanovic has explored a unique synthesis of classical and ethnic music

and jazz, often taking a multidisciplinary approach that embraces music,

psychology, philosophy, and fine arts. As a soloist and in collaboration with

other artists, he has toured extensively throughout Europe, Japan, and the

United States. He has taught at the University of Southern California and

the San Francisco Conservatory of Music and is currently at the Geneva,

Switzerland, Conservatory. Among the jazz performers with whom he has

collaborated are Anthony Cox, Charlie Haden, Milcho Leview, James Newton, 

and Arto Tuncbayaci. More than seventy of Bogdanovic’s compositions are

published by Berben Editions, Doberman-Yppan, and Guitar Solo publications. His theoretical work includes polyrhythmic and polymetric studies as

well as a bilingual publication covering three-voice counterpoint and Renaissance improvisation for guitar. His five Songs and Dancesfrom the New Village

take inspiration from the folk life ofhis native Serbia.

About Sabina, Andrew Norman writes: “In October 2006 I visited the

ancient church of Santa Sabina on Rome’s Aventine Hill. I entered very early 

in the morning, while it was still dark, and as I listened to the morning

mass I watched the sunrise from within the church. The light in Santa

Sabina is breathtaking; the large clerestory windows are not made of glass 

but oftranslucent stone, and when light shines through these intricately

patterned windows, luminous designs appear all over the church’s marble

and mosaic surfaces. As I watched the light grow and change that morning,

I was struck by both its enveloping, golden warmth and the delicacy and

complexity ofits effects. I sketched the material for this piece soon after that

unforgettable experience.”

David Kirkland Garner is a composer based in Durham, North Carolina.

His music draws on folk traditions from North America and the British Isles, 

interests that also extend into his research on banjo and fiddle styles ofthe

American South and the traditional fiddling ofCape Breton Island, Nova

Scotia. His most recent work, Lamentfor the Imagined, was written for the

Kronos Quartet and premiered in May 2011 in Glasgow, Scotland. Garner is

the recipient ofnumerous awards, including an ascap Morton Gould Young

Composer Award in 2009, an honorable mention for the same award in

2010, and the William Klenz Prize in Music Composition in 2010.

About Abandoned e[ Forgotten Places, Garner writes: “Much ofthe music I

write is inspired by the music, people, and places ofAppalachia. Abandoned

e[ Forgotten Places centers around my fascination with the architecture of

ramshackle and decrepit barns found throughout the southeastern United

States. These shacks are simple structures architecturally, but the dirt, rust,

and age that they acquire through the years yields amazing textures. This

piece employs straightforward structures, melodies, and harmonies while

adding ‘dirt’ that keeps the music slightly off-kilter.”

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Scott Lindroth has collaborated with video artists, choreographers, and

playwrights, and he has presented multimedia installations at siggraph

and the North Carolina Museum of Life and Science. Currently the viceprovost for the arts at Duke University, he has been teaching at Duke since

1990 and is a former chair ofits department ofmusic.

Ofthe piece on today’s program, the composer writes, “Y.T.T.E. was

commissioned by the Monadnock Music Festival. I was attracted to the 

combination of alto flute, viola, and guitar, all ofwhich project a warm and

somewhat veiled tonal quality. A more hidden inspiration came from a

collection of architectural drawings by Achilles Rizzoli, an obscure draftsman in a San Francisco architecture firm in the early years ofthe twentieth

century. After work each day, Rizzoli created a divinely inspired world of

buildings and monuments, each ofwhich depicted close friends and family

members. Fie called this world ‘Yield to Total Elation.’ I used the phrase

‘Yield to Total Elation’ as a source for rhythmic and melodic patterns which 

make up the musical fabric of Y.T.T.E.”

Program notes by Jonathan Bagg

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Next week at the National Gallery ofArt

Talich String Quartet

Music by Beethoven

November 6, 2011

Sunday, 6:30 pm

West Building, West Garden Court

National Gallery ofArt New Music Ensemble

Music by Antosca, Karre,

and other composers

Presented in honor of

Warhol: Headlines

November 9, 2011

Wednesday, 12:10 pm

East Building, Auditorium