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 ofthe

West Building after 6:30 pm is not permitted.

For the convenience of concertgoers, 

the Garden Cafe remains open for light refreshments

until 6:00 pm on Sundays.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

www.nga.gov

Concerts are made possible in part through the generosity of donors

to the National Gallery ofArt through The Circle. Reserved seating is

available in recognition oftheir support. Please contact the development

office at (202) 842-6450 or circle@nga.gov for more information.

The Seventy-first Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,904th Concert

The Catholic University ofAmerica Symphony Orchestra

Murry Sidlin, conductor

The Catholic University ofAmerica Chamber Choir

Leo Nestor, conductor

Presented in conjunction with

the Mutual Inspirations Festival 2012— Milos Forman

www.mutualinspirations.org

September 30, 2012

Sunday, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Nikolay Andreyevich Rimsky-Korsakov (1844 -1908)

Mozart and Salieri (1897)

Scene 1: Salieri invites Mozart to dinner and plans to poison him.

Scene 11: Mozart and Salieri dine at an inn.

The role of Salieri is sung by Eugene Galvin.

The role of Mozart is sung by Matthew Loyal Smith.

INTERMISSION

Wolfgang Amadeus Mozart (1756-1791)

Requiem in D Minor, K. 626 (1791)

I. Introitus: Requiem aeternam (chorus and soprano solo)

II. Kyrie eleison (chorus)

hi. Sequentia (text based on sections ofthe Dies Irae)

Dies irae (chorus)

Tuba mirum (soprano, contralto, tenor and bass solo)

Rex tremendae majestatis (chorus)

Recordare, Jesu pie (soprano, contralto, tenor and bass solo)

Confutatis maledictis (chorus)

Lacrimosa dies ilia (chorus)

iv. Offertorium

Domine Jesu Christe (chorus with solo quartet)

Versus: Hostias et preces (chorus)

v. Sanctus

Sanctus Dominus Deus Sabaoth (chorus)

Benedictus (solo quartet, then chorus)

vi. Agnus Dei (chorus)

vii. Communio

Lux aeterna (soprano solo and chorus)

Arianna Zukerman, soprano

Anamer Castrello, mezzo-soprano

Issachah Savage, tenor

Eugene Galvin, bass

This concert has been made possible by support from the

Embassy ofthe Czech Republic.
The Musicians

THE CATHOLIC UNIVERSITY OF AMERICA SYMPHONY ORCHESTRA

Recently featured in concert at Carnegie Hall, the Catholic University of

America (cua) Symphony Orchestra, conducted by David Searle, performs

major orchestral works regularly throughout the school year. The orchestra

also serves as the ensemble for the cua Opera Theatre, and is featured in

the university’s annual Christmas Concert for Charity, broadcast from the

Basilica ofthe National Shrine ofthe Immaculate Conception. The ensemble

will accompany productions at cua’s Hartke Theatre (Finian’s Rainbow,

October 25-28; The- Merry Widow, November 15-18), and will appear again

in concert on November 4 at Sligo Seventh Day Adventist Church in Talcoma

Park, Maryland, playing works by Berlioz, Nielsen, and Vaughan Williams.

THE CATHOLIC UNIVERSITY OF AMERICA CHAMBER CHOIR

The Catholic University ofAmerica Chamber Choir is the premiere vocal

ensemble ofthe cua School of Music. Founded by Leo Nestor in 2002, the

ensemble includes a broad spectrum ofstudents from all schools and departments. In addition to concerts, the cua Chamber Choir represents the university at professional gatherings, recruitment tours, liturgical celebrations,

and convocations. It sang at the January 2011 Inaugural Mass of cua president John Garvey, and in 2008 served as the foundation ofthe “Choir of

Seventeen” that greeted His Holiness Pope Benedict xvi on the occasion of

his apostolic visit to university. The Chamber Choir sings again on December 7, 2012, in the university’s Annual Christmas Concert for Charity, which

will also feature the cua Symphony Orchestra, University Singers, and

University Chorus. For this evening’s performance, the cua Chamber Choir

is augmented by invited alumni, faculty, and staff ofthe School of Music.

MURRY SIDLIN

Now in his eleventh year at the School of Music at the Catholic University

ofAmerica, eight ofwhich he served as dean ofthe school, Murry Sidlin has

balanced a career as an educator and professional conductor. He was assistant

4

conductor ofthe Baltimore Symphony Orchestra; resident conductor ofthe

National Symphony and Oregon Symphony orchestras; music director of

the New Haven Symphony, Tulsa Philharmonic, and Long Beach Symphony

orchestras; and principal conductor ofthe summer season ofthe San Diego 

Symphony. Among the many American orchestras he has conducted are the

Atlanta, Houston, Minnesota, Seattle, Saint Louis, San Francisco, and Utah

symphony orchestras as well as the Boston Pops. He has guest conducted

orchestras in Bucharest, Budapest, Jerusalem, Monte Carlo, Padua, and Prague

as well as Edmonton, Quebec, Vancouver, and Victoria in Canada. For thirtythree summers he was codirector of conducting studies and resident artist

at the Aspen Music Festival. Sidlin created and conducts a concert-drama,

Defiant Requiem, about music performed at Terezin concentration camp

outside of Prague in 1943. In addition, Sidlin served as producer and music

director ofthe eponymous documentary film that premiered in Jerusalem

this past summer. Recently decorated by the Archbishop of Prague with the

medal of Saint Agnes of Bohemia for his continued illumination ofthe legacy

ofTerezin, Sidlin also received the distinguished alumnus award from Johns

Hopkins University Peabody Conservatory of Music.

LEO NESTOR

Continuing an association that began in 1984, conductor and composer Leo

Nestor is since 2001 Justine Bayard Ward Professor, Director of Choral

Studies, Director ofthe Institute of Sacred Music, and a member ofthe

conducting and composition faculties at the Catholic University ofAmerica

Benjamin T. Rome School of Music. In addition to conducting the cua

Chamber Choir and University Singers, he is the founder, conductor, and

artistic director ofthe American Repertory Singers, a professional vocal

ensemble specializing in the performance and recording of contemporary

choral music. Among the four founding members ofthe Conference of

Roman Catholic Cathedral Musicians, Nestor has served as musical advisor

to the Committee for Divine Worship ofthe United States Conference of

Catholic Bishops and taught at Mount Saint Mary’s College in Los Angeles;

Saint John’s Seminary in Camarillo, California; the University ofWisconsin

in Madison; and Saint John’s University in Collegeville, Minnesota. From

5
19911° 1998 he served as an artistic advisor, jurist, and honorary commissioner for the International Association of Friends of Sacred Music in Rome.

From 1984 to 2001 he was music director ofthe Basilica ofthe National

Shrine ofthe Immaculate Conception.

ARIANNA ZUKERMAN

American soprano Arianna Zukerman’s extensive career includes performances with Charles Dutoit, Jane Glover, James Levine, Lorin Maazel,

Leonard Slatkin, and her father, Pinchas Zukerman. In addition to her work

in concert and opera, she has made multiple appearances at leading chamber

music festivals, including the Vail Valley Music Festival and the Savannah

Music Festival. She has been a member ofthe voice faculty at the Catholic

University ofAmerica since 2008.

ANAMER CASTRELLO

Praised by the Washington Post as having “the richest and most expressive

voice... round and clear with a smoky finish... powerful and passionate,”

mezzo-soprano Anamer Castrello is a native of Guaynabo, Puerto Rico.

Currently a doctoral candidate in vocal performance at the Catholic University

ofAmerica, where she studies with Rosemarie Houghton, Castrello holds

a master ofmusic degree in opera performance from the University of

Maryland. She has won numerous awards, including first prize in the cua

Concerto/Aria Competition, Best Latino Female Vocalist at the Washington 

Area Music Awards, and Operatic Singing Artist ofthe Year from the Institute 

of Puerto Rico in New York. Her numerous appearances in the Washington 

metropolitan area include engagements with the Diaspora Opera ofWashington, gala Hispanic Theater, In Series, Opera Camerata ofWashington, 

Pan American Symphony Orchestra, and Zarzuela Di Si. Her first solo CD,

titled Anamer Castrello: Latin American Mezzo, Latin American Hits, features 

a mixture of Latin American music styles. A vocal instructor at Morgan State

University and Suitland High School in Maryland, Castrello maintains a

website at www.acastrello.org.

6

ISSACHAH SAVAGE

A Washington, DC, resident who has been recognized by the Washington

Post as “a golden tenor with both dramatic and lyrical qualities,” Issachah 

Savage sings the tenor solos in tonight’s performance ofthe Mozart Requiem.

Among the varied operatic roles he has undertaken are the title role in

Wagner’s Rienzi, Turiddu in Cavalleria Rusticana, and Ramon in La Navarraise (with the New York City Opera Orchestra). Savage sang the world

premiere concert and recording ofWynton Marsalis’ All Rise with the New

York Philharmonic and has had the privilege ofsinging under the baton of

some ofthe world’s most respected conductors, including Marin Alsop, Kurt

Masur, Eve Queler, Murry Sidlin, and Yuri Temirkanov. Next year, he will

make company debuts with the Bayreuth Festival Opera, Houston Grand 

Opera, and North Carolina Opera.

MATTHEW LOYAL SMITH

A proud member ofthe United States Army Chorus, tenor Matthew Loyal

Smith sings the role of Mozart in tonight’s concert. He has performed as tenor

soloist with the Washington National Cathedral Choral Society, Mendelssohn 

Club of Philadelphia, National Philharmonic Orchestra, Washington Bach

Consort, and Washington Chorus. He has sung the tenor solos in Handel’s

Messiah, Monteverdi’s Vespers of1610, and the oratorios and many cantatas 

ofJohann Sebastian Bach. A finalist in the San Francisco Opera Center auditions, he has gone on to sing Frederic in Pirates ofPenzance, Baron Zsupan

in Countess Maritza, The Prologue in The Turn ofthe Screw, Kaspar in Amahl

and the Night Visitors, and the Mayor in Albert Herring. A recipient ofthe 

Carmel Bach Festival’s Adams Fellowship for performance and study ofthe 

music of Bach, Smith studied voice with Beverley Rinaldi and Christine

Anderson at the Cleveland Institute of Music and earned a master ofmusic

degree in opera performance from Temple University.

7
EUGENE GALVIN

Praised in Opera News for his “rich voice and superb musicianship,” Eugene

Galvin has sung with the Cincinnati, Sarasota, Washington National, and

WolfTrap opera companies as well as Opera New England, Opera Theater of

Northern Virginia, and Washington, dc’s Summer Opera Theater Company. 

He has sung Alidoro in Washington Concert Opera’s La Cenerentola, Figaro 

in The Marriage ofFigaro with the New York Grand Opera, Gremin in Cleveland Opera’s Eugene Onegin, and Sarastro in The Magic Flute. He also created

two roles in WolfTrap Opera’s critically acclaimed world premiere ofJohn

Musto’s Volpone. As an oratorio soloist, Galvin has appeared with the National 

Symphony Orchestra (Weill's Seven Deadly Sins and Handel’s Messiah), and

with the Catholic University ofAmerica Orchestra and Chorus (Mendelssohn’s

Elijah). He also directed opera productions for cua Opera Theater and Opera

Theater of Northern Virginia. A recipient ofthe doctor ofmusical arts degree

in opera performance from the University of Maryland, Galvin teaches voice

and stage movement at cua and voice at The George Washington University.

8

Program Notes

Concertgoers who did not attend this afternoon’s film at the Gallery and who

are not well acquainted with the work ofMilos Forman (b. 1922) may wonder

how this evening’s program ofmusic by Rimsky-Korsakov and Mozart connects with the Mutual Inspirations Festival 2012-Milos Forman. In his celebrated film, Amadeus, Forman and playwright Peter Shaffer develop the

story of composer Antonio Salieri (1750-1825) and his alleged role in the

death of his highly celebrated rival, Wolfgang Amadeus Mozart. Expanding

the role of Salieri well beyond actual historical fact, Forman uses him to

narrate Mozart's life story. The film incorporates excerpts from Mozart’s

Requiem into its powerful score as an extremely effective musical underpinning for the unfolding drama.

Presented in celebration ofthe Oscar-winning Czech film director’s

eightieth birthday, the Mutual Inspirations Festival features more than thirty

films and events in Washington-area arts venues, including the afi Silver

Theater, Avalon Theater, Katzen Arts Center at American University, and the

Fibrary ofCongress, in addition to the National Gallery ofArt. The project

highlights Forman’s vibrant films, pays tribute to his transatlantic success,

and explores themes in his work that continue to play out in today’s society,

including questions of personal freedom, social conformity, and the oppression ofthe individual.

Concerts, lectures, and exhibitions related to film and photography are

also included in the Mutual Inspirations Festival, which is an annual initiative spearheaded by the Embassy ofthe Czech Republic under the patronage

of Deputy Prime Minister and Minister ofForeign Affairs Karel Schwarzenberg.

9
When Mozart died unexpectedly in 1791 at age thirty-five, rumors about

the cause ofhis demise began to circulate. One account posited that the

Requiem that Mozart left unfinished at the time of his death was a commission from Antonio Salieri who, driven by intense jealousy, poisoned Mozart,

thus assuring that the composer would be writing his own mass for the

dead. Although there is no historical evidence for such a conspiracy theory, 

it fascinated dramatists throughout the nineteenth century. Aleksandr

Pushkin was the first to make use ofthe plot in a play, Mozart and Salieri

(1830), which Nikolai Rimsky-Korsakov made into an opera in 1897.

The real story, already well documented by 1800, is less dramatic. In all

likelihood, the commission came from Franz Count von Walsegg-Stuppach

(1763-1827), who lost his wife, Anna, in February 1791, and wanted to have 

a requiem written in her memory. For some reason, he issued the commission in secret—not even Mozart himselfwas supposed to know its source.

By the time ofhis final illness, the composer had completed only the “Requiem

aeternam” in its entirety. From the “Kyrie” to the “Confutatis,” only the vocal

parts and basso continuo were fully written out. For the “Lacrimosa,” only 

the first eight bars were present for the vocal parts, along with the first two

bars for the violins and viola. Sketches for the remaining movements, now

mostly lost, probably included vocal parts and basso continuo. Rather than

forego the commission, the composer's widow, Constanze, arranged for the

score to be completed by a group of her husband’s pupils, led by Franz Xaver

Siissmayr (1766-1803).

The combined authorship ofthe final Requiem score enables listeners

and experts alike to delineate and define the genius of Mozart. The “Lacrimosa,” for example, was completed by Siissmayr. Here, one can note the distance between the two composers’ skills. The remainder ofthe “Lacrimosa”

is predictable and formulaic, consisting largely offour-bar phrases in which

the vocal parts move together from one chord to the next—techniques that

Mozart would have deemed too simple.

10

In his chamber opera Mozart and Salieri, Rimsky-Korsakov adds another

layer to the discourse about musical identity. The opera is atypical for him

since he chose to write it in a Viennese classical style. There is not a hint of

the composer’s nationalism, inclination to adapt folk music, or grand Romantic 

gesture. The instrumentation is sparse, and although much ofthe music is

loosely formed recitative, the more instrumental sections mimic the regular

phrases and light flowing melodies found in Mozart’s music. Three quotes

ofknown Mozart passages are found in the score, and each is specifically 

mentioned in the libretto: the section of Don Giovanni played by the blind

violinist in scene one, an excerpt from The Marriage ofFigaro in scene two,

and the opening ofthe Requiem, as Mozart drinks the poisoned wine. Otherwise, the score reflects Rimsky-Korsakov’s version of classical style. Even if

the libretto is pure historical fiction, the music remains a fitting tribute to the

Mozart Requiem and its complex authorship.

Program notes by Christina Taylor Gibson, Clinical Assistant Professor

ofMusicology, Benjamin T. Rome School ofMusic, The Catholic University

ofAmerica

11
Catholic University of America Symphony Orchestra

and Chamber Choir

September 30, 2012

Texts and Translations

Mozart and Salieri

Libretto derived from Aleksandr Puskhin's play ofthe same name

Synopsis

Scene One

Salieri describes his struggle “through unremitting, concentrated effort” to achieve a high

position in art, upon which fame might smile.

“And did I envy then my colleague’s works, their triumphs in that wondrous art?

No, never!

When Piccini charmed the Paris mob, when I first heard the opening of Gluck’s

great Iphigenia, could any man have called the proud Salieri envious?

No, none!

But now — it is I who say it — now I am envious.

I feel the most profound, tormenting envy.

God in Heaven!

Where is justice, when the sacred gift, undying genius, is granted not for labor,

not for burning love, self-sacrifice, devotion, or prayer —

But illuminates a madman’s head, an idle waster?

Mozart! Mozart!”

Salieri invites Mozart to supper, planning to poison him.

“What is the point, ifMozart should live on, and rise to even more exalted heights?

Will he then elevate our art?

No, no —

When once he disappears, it will decline again, since he will leave no heirs. .

Scene Two

Mozart and Salieri dine at a private room in an inn. Mozart appears depressed. He explains that 

his Requiem is troubling him, a work commissioned by a strange man in black. Mozart even 

imagines his presence at their table. Salieri quotes Beaumarchais:

“Friend Salieri, listen — if a dark mood should descend on you, then just uncork a bottle of

champagne, or else re-read my Figaro.”

Mozart observes that Salieri and Beaumarchais were good friends. He then asks, “But is it true 

that Beaumarchais once poisoned someone? I mean, the man’s a genius, as are you and I. And 

surely genius and villainy are incompatible?”
Salieri pours the poison into Mozart’s glass. They toast and Mozart drinks. Mozart goes to the

piano and begins to play. He sees Salieri weeping. Salieri encourages him to play on. But Mozart 

feels unwell and leaves. Salieri bids au revoir:

“You’ll sleep for long enough now, Mozart!

What ifhe is right, though, and I’m not a genius?

Genius and villainy are incompatible?

Not true —just think ofMichelangelo;

Or is that just a fable by the stupid, mindless mob?

And wasn’t the designer ofthe Vatican a vile assassin?”
Requiem Mass

Introit

Requiem aetemam dona eis, Domine,

et lux perpetua luceat eis.

Te decet hymnus, Deus, in Sion,

et tibi reddetur votum in Jerusalem. 

Exaudi orationem meam,

ad te omnis care veniet.

Requiem aetemam dona eis, Domine,

et lux perpetua luceat eis.

Kyrie

Kyrie, eleison.

Christe, eleison.

Kyrie, eleison.

Sequence

Dies irae

Dies irae, dies ilia 

Solvet saeclum in favilla,

teste David cum Sibylla.

Quantus tremor est futurus, 

quando judex est ventums,

cuncta stricte discussurus!

Tuba mirum

Tuba mimm spargens sonum 

per sepulcra regionum, 

coget omnes ante thronum.

Mors stupebit et natura,

cum resurget creatura, 

judicanti responsura.

Liber scriptus proferetur, 

in quo totum continetur, 

unde mundus judicetur.

Judex ergo cum sedebit,

quidquid latet, apparebit, 

nil inultum remanebit.

Quid sum miser tunc dicturus? 

quern patronum rogatums,

cum vix justus sit secums?

Grant them eternal rest, Lord,

and let perpetual light shine on them.

You are praised, God, in Zion,

and homage will be paid to you in

Jerusalem.

Hear my prayer,

to you all flesh will come.

Grant them eternal rest, Lord,

and let perpetual light shine on them.

Lord, have mercy on us.

Christ, have mercy on us.

Lord, have mercy on us.

Day ofwrath, day of anger 

will dissolve the world in ashes,

as foretold by David and the Sibyl.

Great trembling there will be

when the Judge descends from heaven 

to examine all things closely.

The trumpet will send its wondrous sound 

throughout earth's sepulchres 

and gather all before the throne.

Death and nature will be astounded, 

when all creation rises again,

to answer the judgement.

A book will be brought forth,

in which all will be written, 

by which the world will be judged.

When the judge takes his place, 

what is hidden will be revealed, 

nothing will remain unavenged.

What shall a wretch like me say?

Who shall intercede for me,

when the just ones need mercy?
Rex tremendae

Rex tremendae majestatis, 

qui salvandos savas gratis,

salve me, fons pietatis.

King oftremendous majesty, 

who freely saves those worthy ones,

save me, source ofmercy.

Recordare

Recordare, Jesu pie,

quod sum causa tuae viae;

ne me perdas ilia die.

Quaerens me, sedisti lassus,

redemisti crucem passus;

tantus labor non sit cassus.

Juste judex ultionis, 

donum fac remissionis 

ante diem rationis.

Ingemisco, tamquam reus:

culpa rubet vultus meus;

supplicanti parce, Deus.

Qui Mariam absolvisti, 

et latronem exaudisti, 

mihi quoque spem dedisti.

Preces meae non sunt dignae, 

sed tu, bonus, fac benigne, 

ne perenni cremer igne.

Inter oves locum praesta,

Et ab haedis me sequestra,

Statuens in parte dextra.

Remember, kind Jesus, 

my salvation caused your suffering;

do not forsake me on that day.

Faint and weary you have sought me.

redeemed me, suffering on the cross;

may such great effort not be in vain.

Righteous judge ofvengeance, 

grant me the gift of absolution

before the day ofretribution.

I moan as one who is guilty:

owning my shame with a red face;

suppliant before you, Lord.

You, who absolved Mary, 

and listened to the thief, 

give me hope also.

My prayers are unworthy, 

but, good Lord, have mercy, 

and rescue me from eternal fire.

Provide me a place among the sheep,

and separate me from the goats,

guiding me to Your right hand.

Confutatis

Confutatis maledictis, 

flammis acribus addictis, 

voca me cum benedictus.

Oro supplex et acclinis,

cor contritum quasi cinis,

gere curam mei finis.

When the accused are confounded, 

and doomed to flames ofwoe,

call me among the blessed.

I kneel with submissive heart, 

my contrition is like ashes,

help me in my final condition.

Lacrimosa

Lacrimosa dies ilia,

qua resurget ex favilla 

judicandus homo reus.

Huic ergo parce, Deus,

pie Jesu Domine, 

dona eis requiem. Amen.

That day oftears and mourning, 

when from the ashes shall arise,

all humanity to be judged.

Spare us by your mercy, Lord,

gentle Lord Jesus,

grant them eternal rest. Amen.
Offertory

Domine Jesu

Domine Jesu Christe, Rex gloriae, 

libera animas omnium fidelium 

defunctorum de poenis infemi

et de profundo lacu.

Libera eas de ore leonis,

ne absorbeat eas tartarus, 

ne cadant in obscurum.

Sed signifer sanctus Michael 

repraesentet eas in lucem sanctam.

Quam olim Abrahae promisisti

et semini ejus.

Hostias

Hostias et preces tibi, Domine, 

laudis offerimus.

Tu sucipe pro animabus illis,

quaram hodie memoriam facimus. 

Fac eas, Domine, 

de morte transire ad vitam,

Quam olim Abrahae promisisti

et semini ejus.

Agnus Dei

Agnus Dei, qui tollis

peccata mundi, 

dona eis requiem.

Agnus Dei, qui tollis

peccata mundi, 

dona eis requiem.

Agnus Dei, qui tollis

peccata mundi,

dona eis requiem sempitemam.

Communion

Lux aeterna

Lux aeterna luceat eis, Domine, 

cum sanctis tuis in aetemum,

quia pius es.

Requiem aetemum dona eis, Domine, 

et Lux perpetua luceat eis,

cum Sanctus tuis in aetemum,

quia pius es.

Lord Jesus Christ, King of glory,

liberate the souls ofthe faithful, 

departed from the pains of hell

and from the bottomless pit.

Deliver them from the lion's mouth, 

lest hell swallow them up,

lest they fall into darkness.

Let the standard-bearer, holy Michael, 

bring them into holy light.

Which was promised to Abraham

and his descendants.

Sacrifices and prayers of praise, Lord,

we offer to you.

Receive them in behalf ofthose souls

we commemorate today.

And let them, Lord,

pass from death to life,

which was promised to Abraham 

and his descendants.

Lamb of God, who takes away 

the sins ofthe world, 

grant them eternal rest.

Lamb of God, who takes away 

the sins ofthe world,

Grant them eternal rest.

Lamb of God, who takes away

the sins ofthe world,

grant them eternal rest forever.

Let eternal light shine on them, Lord,

as with Your saints in eternity, 

because You are merciful.

Grant them eternal rest, Lord,

and let perpetual light shine on them,

as with Your saints in eternity, 

because You are merciful.