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 after 6:30 pm 

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: Gilbert Stuart, George Washington (The Gibbs-ChanningAvery Portrait) (detail), begun 1795, completion date unknown, oil on canvas, 

Lent by The Metropolitan Museum of Art, Rogers Fund, 1907

The Sixty-third Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery of Art

Concerts in honor of

Gilbert Stuart

April 10, 17, 24, and May 1, 2005

Sunday Evenings, 6:30 pm

West Building, West Garden Court

Admission free
Gilbert Stuart

It is fitting that the National Gallery should present four concerts in honor

ofthe exhibition Gilbert Stuart, since Stuart (1755-1828), the most successful

portraitist ofthe early American republic, also contributed directly to the

musical culture of his day. A gifted keyboard player, he served for a year as

organist of Saint Catherine’s Church, Foster’s Lane, in London. The exhibition presents ninety-one of Stuart’s exceptional works, demonstrating his

tremendous natural talent and wit in the representation oflikeness and

character. Stuart is known for his portraits ofsome ofthe most famous men

and women ofhis era in America. After mastering the techniques oflate

eighteenth-century English portraiture during extended stays in London and

Dublin, Stuart returned in 1793 to America, where he spent the rest of his

life. Residence in the major cities ofthe republic—New York, Philadelphia,

Washington, and Boston—resulted in a body ofwork notable for its historical

importance and its elegant, refined beauty. The Gallery’s unequaled collection

offorty Stuart paintings is represented by eight works in the exhibition, 

including The Skater (William Grant) (1782), George Washington (The Vaughan

Portrait) (1795), Catherine Brass Yates (Mrs. Richard Yates) (1793-1794),

Abigail Smith Adams (Mrs. John Adams) (1800/1815), and John Adams

(c. 1800/1815). The exhibition has been organized by the National Portrait

Gallery, Smithsonian Institution, and The Metropolitan Museum of Art, in

association with the National Gallery ofArt. This exhibition is proudly sponsored by Target as part ofits commitment to arts and education. This exhibition and the acquisition of Gilbert Stuart’s Lansdowne portrait have been

made possible by the Donald W. Reynolds Foundation as a gift to the nation.

Gilbert Stuart remains on view in the West Building until July 31, 2005.

The music of the period that corresponds roughly to Gilbert Stuart’s

lifetime was written in the style that music historians have since labeled

classical. It is relatively simple in form and texture, compared to the music

that was written between 1600 and 1750 (the baroque era). Composers in

the latter half ofthe eighteenth century were heavily influenced by the writings ofthe French philosophers Denis Diderot, Francois-Marie Voltaire,

Jean le Rond d’Alembert, and Jean-Jacques Rousseau, who ushered in the

“age of enlightenment.” In their writings on music, all four agreed that the

ancient Greek practice of monody (music that is melody only, with no harmony) was the ideal musical archetype. Rousseau went so far as to say: “No

animal, no bird, no being in nature, produces any other concord than the

unison, no other music than melody.... It is very difficult not to suspect that

all our harmony is but a Gothic and barbarous invention, which we should

never have followed if we had been more sensible ofthe true beauties of

art and of music truly natural” (Dictionnaire de musique, 1768). No late 

eighteenth-century composer went so far as to give up harmony entirely, 

but all strove to recapture in music the formal simplicity, unity, and clarity 

of purpose they encountered in classical Greek literature and sculpture.

3
2,531st Concert

April 10, 2005

Christ Church Cathedral Choir

Stephen Darlington, director

Clive Driskill-Smith and Elizabeth Burgess, organists

George Frideric Handel (1685-1759)

Zadok the Priest

Thomas Attwood (1765-1838)

Teach Me, O Lord

William Billings (1746-1800)

Salvation! Oh, the Joyful Sound (1794)

Lament over Boston

William Boyce (1711-1779)

Voluntary in D

Maurice Greene (1696-1755)

Lord, Let Me Know Mine End

William Crotch (1755-1847)

Lo, Star-led Chiefs

4

INTERMISSION

Handel

Fugue in B Minor

Joseph Haydn (1732-1809)

The Heavens Are Telling

Benjamin Carr (1768-1831)

Hymn to the Virgin

Carr

Sonata No. 6

Handel

Two movements from Foundling Hospital Anthem (1749)

O God, Who from the Suckling’s Mouth

Comfort Them, O Lord

Anonymous (Tune: 1757)

God Save Great Washington
The Musicians

CHRIST CHURCH CATHEDRAL CHOIR

Unique in the world as the choir of both a cathedral and a college and now

nearly five hundred years old, Christ Church Cathedral Choir is justly famous

for the youthfulness ofits sound and its daring and adventurous musical

programming. The intimate acoustics ofits musical home, Oxford’s twelfthcentury cathedral, have allowed the choir to form a special relationship with

both early sacred music and the rhythm and vigor of contemporary idioms.

There has been a choir at Christ Church, Oxford, since 1526, when

John Taverner became organist and master ofthe choristers at a college 

newly founded by Cardinal Wolsey. A few years later, Henry vm united the

See of Oxford with the college, named it Christ Church, and made it the

cathedral church ofthe diocese. Ever since the appointment ofJohn

Taverner, a succession offine musicians has been associated with Christ

Church, among them William Crotch and Frederick Gore Ouseley in the

nineteenth century and Roy Harris and William Walton in the twentieth.

The present choir consists ofsixteen boy choristers and thirteen men, of

whom seven are professional lay clerks and the remainder are undergraduates

(academical clerks) at Christ Church, reading for degrees in a wide variety of

subjects. Under its present director, Stephen Darlington, the choir has maintained a position as one ofthe top cathedral choirs in the United Kingdom, 

achieving particular recognition for music ofthe sixteenth and twentieth

centuries. Apart from cathedral services, the choir has a busy program of

concerts and recordings, both in the United Kingdom and abroad. It has

often performed in London, appearing at the Proms, Queen Elizabeth Hall,

Royal Festival Hall, and Saint John’s, Smith Square, as well as the London 

Palladium. Extensive tours have taken the choir to continental Europe, North

and South America, and Australia. The choir has a strong history ofrecording, involving collaboration with such orchestras as the English Chamber

Orchestra, the London Sinfonietta, the Hanover Band, the English Concert, 

the Academy of Ancient Music, and London Musici. The choir’s CD Vaughan

6

Williams: An Oxford Elegy was nominated for a Grammy Award, and its

recordings of Missa dum complerentur, as set by Palestrina and Victoria, have

also won prestigious awards. The choir broadcasts regularly on television and

can be heard singing the theme tunes for the popular British programs Mr.

Bean and The Vicar ofDibley. The Christ Church Cathedral Choir appears at

the National Gallery by arrangement with Phillip Truckenbrod Concert Artists

ofWest Hartford, Connecticut.

STEPHEN DARLINGTON

One ofthe United Kingdom’s leading choral conductors, Stephen Darlington

was first linked with Christ Church in the early 1970s, when he served as an

organ scholar under Simon Preston. After four years as assistant organist at

Canterbury Cathedral, he was appointed master ofthe music at Saint Alban’s

Abbey and a year later became artistic director ofthe world-famous Saint

Alban’s International Organ Festival. In 1985 Darlington returned to Christ

Church as organist and tutor in music. Since then he has divided his time

between establishing the college as an acknowledged center of academic musical excellence and maintaining the highest choral traditions ofthe Church of

England in Christ Church Cathedral. His recordings with the choir of Haydn’s

Stabat Mater, masses and motets of Philippe de Monte, and Janacek’s The

Lord’s Prayer have received recommendations from Gramophone Magazine.

Under Darlington’s direction, the Christ Church Choir has collaborated 

with many great artists, including Placido Domingo, Jose Carreras, James 

Bowman, Paul Whelan, and John-Mark Ainsley, as well as such distinguished

contemporary composers as Judith Weir, John Tavener, Robert Saxton, and

Howard Goodall.

7
CLIVE DRISKILL-SMITH

Born in 1978, Clive Driskill-Smith was a music scholar at Eton College, an

organ scholar at Winchester Cathedral, and assistant organist at Winchester

College for a year. In 2001 he graduated from Christ Church, Oxford, where

he was an organ scholar, with a first class honors degree in music and

the master of philosophy degree. A pupil of David Sanger and Hans Fagius,

Driskill-Smith became a fellow ofthe Royal College of Organists in 1998. 

Among the prizes and awards he has won are the Limpus, Shinn, and

Durrant prizes and the W. T. Best Scholarship from the Worshipful Company

of Musicians. Winner ofthe Royal College of Organists’ Performer ofthe

Year Competition and the Calgary, Alberta, International Organ Competition,

Driskill-Smith is represented in North America by Phillip Truckenbrod

Concert Artists and is currently the sub-organist at Christ Church Cathedral

in Oxford.

ELIZABETH BURGESS

Elizabeth Burgess, born in 1983, was educated at Uppingham School, where

she was a music and academic scholar. She spent her gap year as assistant

organist at Winchester College, also teaching at the Pilgrims’ School. She

is currently a senior organ scholar at Christ Church, Oxford, where she is

studying the organ with David Sanger and reading for a degree in music.

Burgess has given recitals in cathedrals and colleges across the United

Kingdom, and in July 2000 she gained the associate ofthe Royal College of

Organists diploma with the Lord Saint Audries prize. She also studies the

piano with Raymond Fischer and has recently performed Rachmaninoff’s

Rhapsody on a Thome ofPaganini, but her area of particular interest is chamber music, and she is in frequent demand as an accompanist in Oxford.

8

The Instrument

The Behring Center ofthe Smithsonian Institution’s National Museum of

American History has generously loaned an eighteenth-century organ to the

Gallery for the concerts in honor of Gilbert Stuart. The three-stop chamber

organ, built in 1761 in London by John Snetzler (1720-1805), adds a special 

dimension to the experience ofmusic from Stuart’s time. It was imported in 

1763 to the New York Colony by Dr. Samuel Bard (1742-1821), who was later

appointed surgeon to George Washington during the latter’s terms as president. Snetzler’s work was renowned in his time, and he built organs for many

churches and private homes in England and the American colonies. Gilbert 

Stuart, whose activity as an organist is described on page 2, would have been

well acquainted with organs ofthis type. The organ may be heard again in 

concert at the Gallery on April 17 and 24, at 6:30 pm, and in demonstrations

during the Gilbert Stuart Family Weekend on May 21 and 22.

9
2,532c! Concert

April 17, 2005

National Gallery Orchestra

Stephen Simon, guest conductor

Dean Shostak, glass armonicist

Stephen Ackert, organist

Carl Philipp Emanuel Bach (1714-1788)

Symphony in D Major \Vq183

Allegro di molto

Largo

Presto

Joseph Haydn (1732-1809)

Concerto No. 2 in C Major, Hoboken xvill:8, for organ and orchestra

Moderato

Adagio

Finale: Allegro 

Stephen Ackert, organist

William Boyce (1711-1779)

Symphony No. 5 in D Major

Allegro ma non troppo; allegro assai

Tempo di gavotta: Grazioso

Menuetto: Allegretto

10

INTERMISSION

Richard Bales (1915-1998)

Three movements from Music ofthe American Revolution

Arranged for full orchestra and glass armonica by Stephen Simon

General Burgoyne’s March

Beneath a Weeping Willow’s Shade (Tune: Francis Hopkinson)

Yankee Doodle with Quicksteps

Dean Shostak, glass armonicist

Haydn

Symphony No. 98 in B-flat Major (1792)

Adagio; allegro 

Adagio cantabile

Menuetto: Allegro

Finale: Presto
The Musicians

STEPHEN SIMON

Conductor Stephen Simon is renowned as a specialist in the music of George 

Frideric Handel. As the music director ofthe Handel Society of New York at

Carnegie Hall and the Handel Festival at the Kennedy Center, Maestro Simon

spearheaded the Handel revival ofthe 1970s and 1980s. His editions and performances oflittle-known Handel operas and oratorios introduced the music

ofthat composer to many American audiences. He was also a regular guest

conductor at the Handel Festival in Halle, Germany, Handel’s birthplace.

During his twenty-five years as music director ofthe Washington

Chamber Symphony, Simon was known for his creative programming,

which included premieres ofworks by nationally known composers to soldout audiences at the Kennedy Center’s Terrace Theater. Together with his

wife, Bonnie Ward Simon, he introduced thousands of children and their

parents to the joys of classical music through the Concerts for Young People 

Series and the Family Series, also presented at the Kennedy Center.

Simon’s discography includes the complete piano concertos of Mozart 

with the legendary pianist Lili Kraus and the complete piano concertos of

Beethoven with fortepianist Anthony Newman. Simon’s recording of Handel’s

oratorio Solomon for rca Red Seal won a Grammy nomination for best choral 

recording. He is currently the music director ofthe Simon Sinfonietta in

Falmouth, Massachusetts. He continues his outreach to children through

a series ofrecordings with the London Philharmonic Orchestra entitled

Stories in Music. Among the stories recently released on CD are Casey at the

Bat and Mike Mulligan and His Steam Shovel.

12

STEPHEN ACKERT

A graduate of Oberlin College, Northwestern University, and the University

ofWisconsin, Stephen Aclcert studied organ and harpsichord as a Fulbright

scholar in Frankfurt, Germany, where his teachers were Helmut Walcha and

Maria Jaeger-Jung. From 1974 to 1978 he served as a specialist in Western

music for the National Iranian Radio and Television Network in Tehran. He 

also served as manager and musical director ofthe network’s resident chamber orchestra. Aclcert joined the staff ofthe National Gallery in 1986 as its

music program specialist and was named head ofits music department

in January 2004. In addition to administering the Gallery’s weekly concerts,

he presents lectures and lecture-recitals on subjects that bring together

the visual arts and music. He is a member ofthe adjunct music faculty of

the Northern Virginia Community College in Alexandria, Virginia.

DEAN SHOSTAK

Dean Shostak began his musical career at age fourteen, performing on

the violin in the Music Teacher’s Shop in Colonial Williamsburg. As he

matured, his musical responsibilities expanded to performing in evening

concerts throughout the historic area. He earned a bachelor of arts degree

in music from the University ofVirginia and went on to establish a career

as a nationally acclaimed touring artist, performing in theaters, schools,

universities, and festivals throughout the country. His music has been featured on Voice of America, the Weather Channel, the Discovery Channel,

National Public Radio’s All Things Considered, the BBC’s Good Morning Television,

Home and Garden Television’s Christmas of Yestetyear, nbc’s Nightside, pbs’s

The Victory Garden, and Mister Rogers’ Neighborhood.
In 1991 Shostak became involved in the revival ofthe rare and beautiful

glass armonica, invented by Benjamin Franklin in 1761. One of only eight

glass armonica players in the world, he is credited with bringing the instrument back to Williamsburg, where it was frequently heard in colonial times.

In keeping with Franklin’s original design, Shostak uses a flywheel and foot 

treadle to spin the glasses. He has a regular show in Williamsburg that features new and antique glass instruments, including the armonica, the glass

violin, and crystal handbells.

Shostak has written numerous original music scores for award-winning

films, and his solo recordings— Crystal Carols, Glass Angels, Revolutions, and

Celtic Crystal—have received critical acclaim in such publications as American

Music Teacher, the Washington Post, and Audio Magazine. His children’s recording, Colonial Fair, was named Notable Children’s Recording ofthe Year by

the American Library Association. His latest cd/dvd, The Glass Armonica,

features classical works for the glass armonica by Mozart, Beethoven, SaintSaens, Schultz, and other composers.

The Instruments

CHAMBER ORGAN

For a description ofthe organ, please see page 9.

GLASS ARMONICA

Invented by Benjamin Franklin in 1761 and popularized in Europe during his

lengthy tenure as the United States’ first ambassador to France, the glass

armonica inspired original scores from the likes of Mozart, Beethoven, and

Padre Giuseppe Martini (1706-1784). Franklin chose the word “armonica”

as the name for his instrument, acknowledging the predominance of Italian

music and musicians in his generation. Franklin discovered that mounting

the glass bowls on a horizontal rod and spinning them allowed for subtleties

in performance that were not possible when playing on stationary glass bowls,

a practice that was already well established before his time. By varying the

thickness ofthe bowls, the speed ofthe spin, and the amount offinger pressure applied to the bowls, he could create many ofthe effects that a violinist 

creates with a bow.

In the 1830s the glass armonica fell into disfavor, having earned a reputation for driving musicians out oftheir minds. Scholars suspect that the

leaded glass ofthe eighteenth- and early nineteenth-century bowls, repeatedly rubbed by the players’ fingers, may indeed have induced lead poisoning

in those who played the instrument with any frequency. Modern replicas of

the instrument are equipped with unleaded quartz glass, but the sound

ofthe instrument still has a mesmerizing effect, both on the player and on

the audience.
Program Notes by Edward Gates

Carl Philipp Emanuel Bach was the second surviving son ofJohann

Sebastian Bach. As a young man he studied law and philosophy, but his

passion for music led him to accept a position as court keyboard musician

for King Frederick n (“the Great”) of Prussia. The king, who preferred

flute music, had no great respect for Bach’s talents as a composer or theorist. Bach tried diligently to gain employment elsewhere, and after several 

unsuccessful attempts, he was finally able in 1767 to succeed his godfather, Georg Philipp Telemann, as music director ofthe principal church

in Hamburg.

Bach composed four orchestral symphonies (catalogued as \Vq183) in

1775 and 1776. The first of these, in D major, begins with a movement that

has all ofthe energy ofJohann Sebastian Bach’s liveliest orchestral pieces

without any hint of polyphonic treatment. The wind instruments enjoy

considerable independence, instead ofjust supporting the strings. The lyrical but economical slow movement is a brief example of Empfindsamkeit,

the expressive mood found in many of Carl Philipp Emanuel Bach’s keyboard works. The symphony concludes with a whirlwind finale in the spirit

ofthe opening movement.

The extant manuscripts of Haydn’s keyboard concertos and his own catalogue of his works contain conflicting evidence as to whether some ofthem

might have been intended for the organ. In the case of Concerto No. 2 in C

Major, Hoboken xviii:8, the writing is idiomatic for the organ, although all

ofthe extant manuscripts label it as a concerto for harpsichord. It is likely

that Haydn and other performers played the same concerto at different times

on the organ, the harpsichord, and the fortepiano, depending upon which

instrument was the best available in a particular situation.

The music ofWilliam Boyce represents the last flowering ofthe English

baroque tradition. His eight symphonies, published in 1760, were mainly

taken from instrumental parts of his own earlier odes and theatrical works.

As Master ofthe King’s Musiclc, he had the responsibility of composing

16

annually a New Year’s ode and an ode for his majesty’s birthday, which provided a great deal of material. The Symphony No. 5 in D Major was originally

an overture for Saint Cecilia’s Day.

The first movement of the symphony, Allegro ma non troppo; allegro

assai, opens with a fanfare of Handelian grandeur. A short adagio ad libitum

leads to a sprightly fugal section punctuated by bursts from the timpani.

The second movement, Tempo di gavotta, is a sturdy and strongly accented

country dance, with extensive use oftriplets. The last movement, Menuetto:

Allegretto, is a light-spirited courtly dance. Several passages carry a piquant

oboe melody line, and the work concludes with a flourish.

In the search for American music that would be an appropriate salute to

Gilbert Stuart, Stephen Simon recalled two suites of Revolutionary War tunes

arranged in 1953 for string orchestra by Richard Bales, the first music director

ofthe National Gallery. Taking advantage ofthe availability for this concert of

a glass armonica, Simon rearranged three ofthe tunes for that instmment

and orchestra. Bales entitled the collection Music ofthe American Revolution

and provided background information in his score for each ofthe tunes he

used. General Burgoyne’s March was presumably taken by the Americans from

the repertoire of a British band, since it is more majestic and formal than the

other tunes. Francis Hopkinson, the composer of Beneath a Weeping Willow's

Shade, not only signed the Declaration ofIndependence but also designed

the first American flag. Yankee Doodle was first sung and played during the

French and Indian War by British troops in derision ofthe colonists. Some of

the same British soldiers heard the tune again, to their chagrin, in 1775, when

they marched away in defeat from the Battle of Lexington and Concord. On

that occasion and many thereafter, the performers were the victorious Yankees.

Joseph Haydn has been called the “father ofthe symphony,” not

because he invented the form, but because he refined it and gave it the

structure and musical importance it has had since his time. He was invited

by the impresario Johann Peter Salomon to visit England, where he was 

commissioned to compose a set ofsix symphonies for Salomon’s concerts.

17
He had just begun working on the last of these, the Symphony No. 98 in

B-Jlat Major, when he received the tragic news that Mozart had died at the 

age ofthirty-five. As the most appropriate place to express his affection and

admiration for his late friend, Haydn chose the slow movement of what 

he thought might be his own farewell to the symphonic form. (He had no

inkling in 1792 that he would return to England less than two years later

for one last burst ofsymphonic creativity.)

The first movement of Symphony No. 98, marked Adagio; allegro, begins 

with a majestic slow introduction in B-flat minor, based on the first four 

notes ofthe principal theme that is presented in its entirety at the allegro.

This theme is lively and vigorous, with a prominent role for the timpani and 

several fugato passages. The second movement, Adagio cantabile, bears a

strong resemblance to the Andante cantabile movement of Mozart’s “Jupiter”

Symphony. The poignant first half of Haydn’s Adagio expresses primarily his

grief over the loss of a great friend, but after a brief energetic interruption,

the sorrow seems to be tempered by fond memories oftheir long, mutually 

beneficial relationship. The third movement, Menuetto, is a step in the direction of a scherzo, featuring intricately displaced accents and a lilting trio. In

the Finale Haydn reminds us that we should never take him for granted. The

breakneck pace ofthe main section ofthe movement, with continual shifts

in mood and a few more fugato passages, subsides abruptly into a slower

version ofthe principal theme, with greatly reduced dynamics. The next

passage is even slower and features an obbligato solo for the harpsichord, 

an instrument that was largely left out of orchestral ensembles by 1792. The

noted Haydn scholar H.C. Robbins Landon says, “This passage sounds, 

at first, like a lunatic slow-motion copy ofitself.” Once he has surprised us,

Haydn returns to a typical grand conclusion, allowing us to retain our high 

opinion ofthe “father ofthe symphony.”

18

2,533d Concert

April 24, 2005

Penelope Crawford, fortepianist and harpsichordist

Stephen Aclcert, organist

Johann Christian Bach (1735-1782)

Sonata No. j in F Major for piano four hands

Allegro

Rondo: Allegro

Joseph Haydn (1732-1809)

Sonata in E-flat Major, Hoboken XVI128

Allegro moderato

Menuet and Trio

Finale: Presto

Anonymous

Lesson by Signor Pescatore

From The Harpsichord or Spinet Miscellany (1765)

Haydn

II maestro e lo scolare for piano four hands

Theme and Variations: Andante 

Tempo di minuetto

!9
Benjamin Carr (1768-1831) 

Flute Voluntary

Muzio Clementi (1752-1832)

Sonata in F Minor; op. 13, no. 6

Allegro agitato

Largo e sostenuto 

Presto

Ludwig van Beethoven (1770-1827)

March in D Major, op. 45, no. 3

20

The Musicians

PENELOPE CRAWFORD

Internationally acclaimed as one ofAmerica’s master performers on historical keyboard instruments, Penelope Crawford has appeared as soloist with

modern and period instrument orchestras and as a recitalist and chamber

musician at the Smithsonian Institution, the Library of Congress, Lincoln

Center, the 92nd Street Y, Merkin Hall, Orchestra Hall in Chicago, and

the Ordway Theater in Minneapolis, among other venues. From 1975 to

1990 she was harpsichordist and fortepianist with the Ars Musica Baroque 

Orchestra, one of the first period instrument ensembles in North America.

As a faculty member ofthe University of Michigan and the Oberlin Baroque 

Performance Institute, Crawford is frequently invited to give lectures and

master classes at colleges and universities across the country. She has served 

as artistic planner and performer for major conferences on the interpretation

of early music, including the 1989 Michigan Mozartfest, Schubert’s Piano

Music (1995), and Beyond Notation: The Performance and Pedagogy of

Improvisation in Mozart’s Music (2002).

Crawford received performance degrees from the Eastman School of

Music and the University of Michigan, and studied abroad at the Mozarteum

in Salzburg, Austria, and the Accademia di Santa Cecilia in Rome. Her teachers included Cecile Genhart, Rosina Lhevinne, Guido Agosti, Kurt Neumoller, 

and Gyorgy Sandor. An avid collector of keyboard instruments, Crawford 

owns several original eighteenth- and nineteenth-century pianos and harpsichords as well as the copy by Paul McNulty of an early nineteenth-century

fortepiano that is featured in this concert.

STEPHEN ACKERT

For Stephen Ackert’s biography, please see page 13.

21
The Instruments

CHAMBER ORGAN

For a description ofthe organ, please see page 9.

FORTEPI AN O

The fortepiano used in tonight’s program was built by Paul McNulty, an 

American piano maker who lives and works in the Czech Republic. It is

modeled after a five-and-a-half-octave instrument of 1805 by the Viennese 

builders Anton Walter & Son. The piano is lightly constructed of wood, with

no metal in its frame, and the small hammers are covered with multiple

layers ofleather. Instead of pedals, the piano has three knee levers: the first

raises the dampers; the second softens the sound by shifting the keyboard

so that the hammers strike only one string in the bass and two in the treble;

and the third places a strip of felt between the hammers and strings, producing an ethereal, whispery sound. Both Mozart and Beethoven owned 

pianos by Anton Walter.

HARPSICHORD

The harpsichord used in this concert is a copy by the preeminent American

builder William Dowd (b. 1922) of an instrument that was built in the 

1730s by Francois Etienne Blanchet (1695-1761). Blanchet’s harpsichords

were much in demand in his lifetime, and one of them was purchased by

Francois Couperin.

22

Program Notes by Penelope Crawford

Flaydn’s Sonata in E-flat Major, Floboken xvi:28, is one of a group of six

keyboard sonatas that he catalogued as the “Anno 1776 sonatas” and probably intended for the amateur market. Four ofthe sonatas in this group contain minuets in place of adagio movements, which would have required a

thorough knowledge of embellishment on the player’s part. The relatively

simple textures and minimal dynamic markings ofthe works also make 

them suitable for performance on the harpsichord and clavichord, which 

were more likely than the fortepiano to have been the house instruments

of amateurs.

The Harpsichord or Spinet Miscellany was compiled and published by

the Scottish music publisher Robert Bremner (1713-1789), and a copy

was brought to Williamsburg, Virginia, by an unknown colonist. The 

Williamsburg copy survived to modern times, and the collection has been

reprinted by the Colonial Williamsburg Foundation. No eighteenth-century

Italian composer by the name of Pescatore is known to exist; the title

Lesson by Signor Pescatore is probably a joking reference to a person whose

real name might have been Fisher {pescatore in Italian).

One of Muzio dementi’s finest works, Sonata in F Minor, op. 13, no. 6,

was probably composed in 1784, during his self-imposed exile in Vienna

following an ill-fated love affair with Marie-Victoire Imbert Colomes. The

unity of affects and design throughout the three movements ofthe sonata 

and its agitated and passionate character make it much more romantic

in concept than works that either Mozart or Haydn composed during this 

period. Clementi cultivated a legato style of playing that earned the respect 

of many ofthe leading musicians of his time, including Beethoven. He

also helped to develop the English pianoforte and was active as a music

publisher in London. He is considered the first of the great piano virtuosi 

and the founder ofthe modern school of piano playing.

23
2,534th Concert

May i, 2005

Dean Shostak, glass armonicist

Kelly Kennedy, soprano

Franz Schubert (1797-1828)

Ave Maria

Wolfgang Amadeus Mozart (1756-1791) 

Adagio for glass armonica

Mozart

Fantasia (unfinished) for glass armonica

Thomas Arne (1710-1778)

Water Partedfrom the Sea

Madame Brillon (1744-1824)

March ofthe Insurgents

24

INTERMISSION

Camille Saint-Saens (1835-1921)

Aquarium

Johann Schulz (1747-1800)

Largo for glass armonica

Ludwig van Beethoven (1770-1827)

Melodram

Ann Ford (1734-1824)

Minuetfor Musical Glasses

Francis Hopkinson (1737-1791)

Beneath a Weeping Willow’s Shade

Traditional

Such Merry as We Two Have Been

From James Johnston’s Scot’s Musical Museum

(Text: Robert Burns)

Traditional

Parting Glass

25
The Musicians

DEAN SHOSTAK

For Dean Shostak’s biography, please see page 13.

KELLY KENNEDY

Since 1995, singer, actress, dancer, and composer Kelly Kennedy has been

a regularly featured performer in Colonial Williamsburg, appearing in concerts at the Hennige and Kimball Auditoriums and in the historic area.

She tours and records with the Irish band 39 Fingers and directs her own

ensemble of early American vocalists, the Ad Hoc Choir. She has appeared

as soloist with Musica Antiqua in Washington, D.c., and the Richmond 

Symphony Chorus. Kennedy’s activity as an actress has taken her to Arena 

Stage, the Kennedy Center, and Theatre Virginia, and she recently received

critical acclaim for her portrayal of Gretta Conroy in the Barksdale Theatre's

production ofJames Joyce’s The Dead. Kennedy, who tours the country with

Dean Shostak, is a featured performer on two of his award-winning recordings, Colonial Faire and Eighteenth-Century Mother Goose Songs. Kennedy has 

twice been awarded a Partners in the Arts grant from the Richmond Arts

Council, has been a statewide touring artist with the Virginia Museum, and

has spent four years as a touring artist with the Virginia Commission for

the Arts. She has served as musical director, composer, and choreographer

for several productions at the Barksdale Theatre, and in 2003 she composed 

and arranged music for the world premiere of Moby Dick, presented at the

University of Richmond’s Jepson Theatre. Her solo albums, Springfield

Mountain (2000) and Sweet Prospect (2004), have garnered praise and airplay throughout the United States.

26

The Instruments

GLASS ARMONICA

For a description ofthe glass armonica, please see page 15.

GLASS VIOLIN

Inspired by his work with the glass armonica and crystal handbells, Dean

Shostak in 2004 commissioned an experimental glass violin from the 

Hario Glassworks in Japan. It conforms to the standard violin in size and 

details of construction, except that the body ofthe instrument is made of

tempered glass similar to that used in cookware. The special sonority the 

violin produces has fascinated both Shostak and his audiences. He uses it

frequently in performance and has dubbed it the “crystal violin.”

27
God Save Great Washington

(Anonymous)

God save America,

Free from despotic sway ‘Till time shall end;

Hushed be the din of arms,

And to fierce war’s alarms;

Show in all its charms

Heaven-bom peace.

God save great Washington, 

Fair freedom’s warlike son,

Long to command.

May every enemy 

Far from his presence flee,

And many grim tyrant

Fall by his hand.

Thy name Montgomery,

Still in each heart shall be

Prais’d in each breast.

Tho’ on the fatal plain

Thou most untimely slain,

Yet shall thy virtue’s gain

Rescue from death.

Last in our song shall be

Guardian of liberty,

Louis the king,

Terrible god of war,

Plac’d in victorious care

Of fame and of Navarre,

God save the king.

Texts

Christ Church Cathedral Choir

April 10, 2005

Zadok the Priest

(Text selected and adapted from the First Book ofKings)

Zadok the priest and Nathan the prophet anointed Solomon

King. And all the people rejoiced and said: “God save the

King! Long live the King! God save the King! May the King

live forever. Amen. Allelujah. Amen.”

Teach Me,O Lord

(Psalm cixi 33)

Teach me,O Lord, the way of thy statutes; andI shall keep it

unto the end.

Salvation! Oh, the Joyful Sound

(Anonymous)

Salvation! Oh the joyful sound,

‘tis pleasure to our ears.

A sov’reign balm for ev’ry word,a cordial for our fears.

Lament over Boston

(William Billings)

By the rivers of Watertown we sat down and wept, we wept,

When we remembered thee,O Boston.

As for our friends, Lord, God of Heaven,

Preserve them, defend them, deliver and restore them unto us;

IfI forget thee, yea, ifI do not remember thee,

Then let my numbers cease to flow,

Then be my Muse unkind,

Then let my tongue forget to move

And ever be confined;

Let horrid jargon split the air and rive my nerves asunder;

Let hateful discord greet my ear, as terrible as thunder;

Let harmony be banish

’d hence and consonance depart;

Let dissonance erect her throne and reign within my heart.
Lord, Let Me Know Mine End

(Psalm 39, Verses 5-8, 13, and 15)

Lord, let me know mine end, and the number of my days, that I

may be certified how long I have to live.

Behold, thou hast made my days as it were a span long: and

mine age is ev’n as nothing in respect of thee: and verily every 

man living is altogether vanity.

For man walketh in a vain shadow, and disquieteth himself in

vain; he heapeth up riches, and cannot tell who

shall gather them.

And now, Lord, what is my hope? Truly my hope

is even in thee.

Hear my prayer, O Lord, and with thine ears consider my

calling. Hold not thy peace at my tears.

O spare me a little, that I may recover my strength: before I go

hence, and be no more seen.

Lo! Star-led Chiefs

(Reginald Heber (1783-1826))

Lo! Star-led chiefs Assyrian odours bring,

And bending Magi seek their infant King!

Mark’d ye, where, hov’ring o’er His radiant Head,

The dove’s white wings celestial glory shed?

The Heavens Are Telling

(Lidley)

The heavens are telling the glory of God. The wonder of his

work displays the firmament. Today that is coming speaks it the

day, the night that is gone to following night. In all the lands

resounds the word, never unperceived, ever understood. The

heavens are telling the glory of God. The wonder of his work

displays the firmament.

Hymn to the Virgin

(Sir Walter Scott)

Ave Maria! Maiden mild!

Listen to a maiden’s pray’r!

Thou canst hear tho’ from the wild,

Thou canst save amid despair.

Safe may we sleep beneath thy care,

Tho’ banish’d outcast, and revil’d

Maiden! Maiden! Hear, oh hear a maiden’s pray’r!

Mother, Mother, hear, oh hear a suppliant child!

Ave Maria! Undefil’d!

The flinty couch we now must share

Shall seem with down of eider pil’d,

If thy protection over there.

The murky cavern’s hevey air

Shall breathe of balm if thou hast smil’d;

Then Maiden! Maiden! Hear, oh hear a maiden’s pray’r!

Mother, Mother, Hear, oh hear a suppliant child!

Ave Maria! Stainless styl’d!

Foul demons of the earth and air,

From this their wonted haunt exil’d,

Shall flee before thy presence fair.

We bow us to our lot of care,

Beneath thy guidance reconcil’d:

Maiden! Maiden! Hear for a maid a maiden’s pray’r,

Mother, Mother, and for a father hear a suppliant child!

O God, Who from the Suckling’s Mouth

(Anonymous)

O God, who from the suckling’s mouth ordaineth early praise:

Of such as worship Thee in truth, accept the humble lays.

Comfort Them, O Lord

(Anonymous)

Comfort them, O lord, when they are sick,

Make Thou their bed in sickness.

Keep them alive, let them be blessed upon the earth;

And not deliver them unto their foes.