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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

The Sixty-fourth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery of Art 

Mid-day Concerts in May 2006

Presented in honor of

Master Drawingsfrom the Woodner Collections

and

The Poetry ofLight: Venetian Drawings

from the National Gallery ofArt

Wednesdays at 12:10 pm

May 3, 17, 24, and 31, 2006

West Building Lecture Hall

May 10, 2006

East Building Small Auditorium

Admissionfree
2,571st Concert

May 3, 2006, 12:10 pm

Barbara Hollinshead, mezzo-soprano

Howard Bass, lutenist

Bartolomeo Tromboncino (c. 1470-c. 1535)

Che debo far che mei consigli amore

Ostinato vo’ seguire

A la guerra a la guerra

Benedetto Cariteo (c. 1450-c. 1500)

Amando e desiando

Marco Cara (flourished c. 1500-1525)

Non e tempo

Hans Neusiedler (1508-1563)

Preambel

Lute solo

Ludwig Senfl (c. 1490-c. 1543)

Im Maien

Ach, Elslein

Neusiedler

Ein welscher Tanz

Lute solo

Heinrich Isaac (c. 1450-1517)

Innsbruck, ich muf> dich lassen

Greiner, zancker, schnopfftzer
Gregorius Huwet (1550-1617)

Fantasie

Lute solo

Constantijn Huygens (1596-1687)

Domine, spes mea

Memorfui dierum

Huygens

Prelude

Lute solo

Nicolas Vallet (c. 1583-c. 1642)

Pavanne en form de complainte

Courante de complainte

Carillon

Lute solo

Huygens

Morte dolce

Riposta dalla finestra

Pietro Francesco Cavalli (1602-1676)

Sospiri difoco

Tremulo spirito

Simone Molinaro (c. 1565-1615)

Ballo detto il Conte Orlando

Saltarello del predetto ballo

Lute solo

Giulio Caccini (c. 1548-1618)

Amarilli mia bella

Belle rose porporine

4

The Musicians

Mezzo-soprano Barbara Hollinshead is acknowledged as one ofWashington’s

finest early-music singers. A member ofthe National Gallery Vocal Arts 

Ensemble, she is frequently called upon to perform with other ensembles

throughout the mid-Atlantic region. Outside the region she has performed

in Indiana, New York, and Toronto, as well as in Germany, Italy, and Scotland.

Her repertoire ranges from medieval Byzantine chant to twentieth-century

song cycles. Actively involved in music education, she is a professor of voice

at American University and a cast member ofthe Washington Bach Consort’s

“Bach to School” program.

Hollinshead has collaborated with lutenist Howard Bass for more than

a decade, and she likens the musical pairing to figure skating. She says:

“Like the athletes, the musicians practice together for long hours, learn

each other’s timing, master their own routines and flourishes, and then

trust the partner enough to take flying leaps in performance, confident that

the pair will land together and no one will crash onto the ice.”

Howard Bass has been featured as a soloist throughout the United

States and has been a guest accompanist with renowned ensembles and

singers, including the Masterworks Chorale, The Santa Fe Opera, the

Washington Bach Consort, the Washington Chamber Symphony, and

soloists Peter Becker, James Bowman, Barbara Hollinshead, Custer LaRue,

and Derek Lee Ragin. Bass was a founding member ofthe early- and traditional-music ensemble La Rondinella and has recorded and performed with

the Baltimore Consort, The Choral Arts Society ofWashington, Ensemble

Galilei, the Folger Consort, Hesperus, the New England Viol Consort, and

the Smithsonian Chamber Players. In a recent broadening of his activities, 

he has worked extensively with Sephardic singer and composer Flory

Jagoda. Howard Bass is manager ofthe cultural arts division in the public

programs department ofthe National Museum ofthe American Indian.

5
2,573rd Concert

May io, 2006, 12:10 pm

Arco Voce

Elizabeth Field, baroque violin

Nina Falk, baroque violin

Rosa Lamoreaux, soprano

Douglas McNames, baroque cello

Steven Silverman, harpsichord

Alessandro Scarlatti (1660-1725)

Cantata: Correa nel seno amato

Sinfonia and Balletto

Recitative: Correa nel seno amato

Aria: Ombre 0 pache

Recitative: Curilla, anima mia

Aria: Fresche brine che pietose

Recitative: Piante insensate e fide

Aria: Idolo amato

Recitative: Ma voi occhi dolenti

Aria: Onde belle

Recitative: Curilla, anima mia

Accompanied recitative: Volea piu dir Daliso

Johann Jakob Froberger (1616-1667)

Lamentation fiaite sur la mort tres doulerouse [sic] de Sa Majeste Imperiale,

Ferdinand le troisieme

Harpsichord solo

6

Isabella Leonarda (1620-1704)

Sonata decima from Sonatas, op. 16

Johan Helmich Roman (1694-1758)

Trio Sonata in G Minor

Adagio

Allegro

Andante 

Presto assai

Georg Friederich Handel (1685-1759)

Cantata: O qualis de coelo sonus

Sonata

Recitative: O qualis de coelo sonus

Aria: Ad plausus, adjubila

Recitative: Eja ergo, mortalis

Aria: Gaude, tellus benigna, decora

Aria: Alleluja
The Musicians

The Arco Voce chamber ensemble, now in its tenth year, offers a unique

approach to music, with some ofthe East Coast’s finest performers specializing in both period and modern instruments and the regular inclusion of vocal

music in its concerts. The ensemble is noted for augmenting its already large 

repertoire of early music by rediscovering and presenting the modem premiere performance of works by the seventeenth-century Dutch composer

Cornelius Padbme and the eighteenth-century German J.C. Graun. Open

as well to the performance of new music, Arco Voce was the first to perform

some ofthe works of Lori Leitman. Among the notable guest musicians

who have appeared with Arco Voce are Phoebe Carrai, the principal cellist

of Musica Antiqua Koln, Franklin Cohen, the principal clarinetist ofthe

Cleveland Orchestra, and Elisabeth Wallfisch, the celebrated baroque violinist.

Violinist Elizabeth Field is much in demand for performances of early 

chamber music, having performed and recorded extensively with the

American Ballet Theater, the Brooklyn Philharmonic, the Classical Band,

the Haydn and Handel Society of New York, the New York Chamber

Orchestra, the New York City Opera, the Orpheus Chamber Orchestra, and

the Philharmonia Virtuosi. She holds a doctorate in historical performance

practice from Cornell University. From 1993 to 1998 she was a professor

of violin at California State University in Sacramento. She was the first

violinist of Cal State’s resident string quartet, the Sun Quartet, and first

violinist ofthe acclaimed Van Swieten Quartet. She is currently a member

of the Washington String Quartet (in residence at George Washington

University) and Brandywine Baroque. She serves as concertmaster of the

Bethlehem Bach Choir Orchestra and the Violins of Lafayette and has

served as guest concertmaster for the Washington Bach Consort and the

Washington Chamber Symphony.

8

Nina Falk has received praise from the Washington Post as “one of

Washington’s finest [violinists],” noting her “warmth oftone and expressive

phrasing.” Bom in New York City, she attended the Juilliard Preparatory

Division, where she studied with the late Christine Dethier. After completing

bachelor and master ofmusic degrees at the Oberlin College Conservatory

of Music and the University of Iowa, respectively, she received a Fulbright

scholarship to study in London and Italy, where she earned the diploma

with honor from the Accademia Musicale Chigiana in Siena. A participant

in the Aspen, Marlboro, and Tanglewood Festivals, Falk performs, tours,

and records with Apollo’s Fire, Brandywine Baroque, the Folger Consort,

the Four Nations Ensemble, Boston’s Handel and Haydn Society, the

Smithsonian Chamber Players, and the Violins of Lafayette, among others.

Soprano Rosa Lamoreaux is known for her “wonderfully rich timbre

and an amazingly flexible voice” (Washington Post), versatile musicianship,

diversity of repertoire, and many fine recordings. An award-winning

vocalist with a busy international career, her beautifully styled readings of

repertoire from Hildegard von Bingen (1098-1179) to Dmitri Shostakovich

(1906-1975) have earned her recognition. Lamoreaux has sung in such

prestigious venues as Carnegie Hall, the Chautauqua Institution, the

Dorothy Chandler Pavilion, the Library of Congress, and the Kennedy

Center. She has been soloist with the Atlanta Symphony Orchestra and the

Cincinnati Symphony Orchestra with Robert Shaw in performances of

Bach’s Mass in B Minor and Mozart’s Mass in C Minor and has won critical

acclaim for her performances at Bach festivals in both the United States

and Europe. A popular chamber music performer, she also sings with

Arco Voce, the Folger Consort, Hesperus, and the Vocal Arts Quartet,

and has toured with Musicians from Marlboro. In 2004 Lamoreaux was 

appointed artistic director ofthe National Gallery Vocal Arts Ensemble.

9
Cellist Douglas McNames is a member ofthe award-winning Delos 

Quartet, with which he appears regularly throughout the United States and

abroad. His solo recital credits include performing Beethoven’s complete

works for cello and piano with pianist Michael Steinberg. A regular substitute player for The Philadelphia Orchestra, McNames is also the principal

cellist ofthe Carmel Bach Festival. In addition to his work with Arco Voce,

he plays with Brandywine Baroque, the Concerto Soloists of Philadelphia,

Melanomie, the Mid-Atlantic Chamber Music Society, the Opera Company

of Philadelphia, Pro Musica Rara, and the Rider String Quartet. In 1995

McNames was awarded the Delaware State Arts Council Individual

Artist Fellowship.

Harpsichordist Steven Silverman has performed at the Amherst Baroque

Academy, the Boston Early Music Festival, the Corcoran Gallery of Art, the

Grace Church Bach Festival (Georgetown), and The Phillips Collection.

Active as well as a pianist, he has been featured in recitals, chamber music

concerts, and concertos throughout the Unites States. The New York Times

called Silverman’s New York debut recital “a splendid affair.... His playing

had dimension, atmosphere, energy, and discipline.” He holds bachelor and

master ofmusic degrees from the University of Michigan, and his former

teachers include Eugene Bossart, Charles Crowder, Arthur Haas, Ann

Schein, and Andrzej Wasowski.

10

2,575th Concert

May 17, 2006, 12:10 pm

Stephen Ackert, harpsichordist

Joanambrosio Dalza (fl. 1508)

Tastar de corde

Pavana alia venetiana

From a lute tabulature of 1508

Anonymous

Passamezzi antichi nos. 2 and j

From Intabulatura nova di balli (1551)

Francesco Bendusi (fl. c. 1553)

Desiderata (1553)

Andrea Gabrieli (c. 1510-1586)

Canzona: Pour ung plaisir (1571)

Girolamo Frescobaldi (1583-1643)

Toccata and Canzona in D (1637)

Alessandro Scarlatti (1660-1725)

Toccata settima (Theme and Variations)

Domenico Scarlatti (1685-1757)

Sonata in C Major, Kirkpatrick 461
The Musician

Stephen Ackert has been the head of the music department at the National

Gallery since 2003. A member ofthe Gallery music staffsince 1986, he has 

presented lecture-recitals on subjects related to music and the visual arts

since the early 1990s, at the Gallery as well as at the San Antonio Museum

of Art, the Walters Art Museum in Baltimore, and the embassies of Austria

and Germany. A graduate of Oberlin College, Northwestern University,

and the University of Wisconsin, he studied organ and harpsichord as a

Fulbright scholar in Frankfurt, Germany, where his teachers were Maria

Jaeger-Jung and Helmut Walcha. From 1974 to 1978 he served as a specialist in Western music for the National Iranian Radio and Television Network

in Tehran and as manager and musical director ofthe network’s resident

chamber orchestra.

Ackert has served three churches in the Washington area as organist

and choir director: St. Margaret’s Episcopal Church (1979-1986), The 

Falls Church Episcopal (1988-1990), and The United Church (1990-

2003), where he founded and presented a series of Bach concerts. In 2004

he completed his seventh recital tour of historic churches and concert 

halls in Germany. A member ofthe adjunct music faculty at the Northern

Virginia Community College, Alexandria campus, Ackert has served on

the boards of directors ofthe Arlington Symphony and the Washington 

International Bach Competition and is a member ofthe advisory board 

ofthe Amalfi Coast Festival (Italy).

Images shown in connection with the music:

Giovanni Bellini and Titian, The Feast ofthe Gods, 1514/1529, National Gallery of Art, Washington; Titian, Venus and the

Organ Player, c. 1550, Staatliche Museen, Berlin; Orazio Gentileschi and Giovanni Lanfranco, Saint Cecilia and an Angel,

c. 1617/1618 and c. 1621/1627, National Gallery of Art, Washington; Giovanni Paolo Panini, Interior of Saint Peter's, Rome,

c. 1754, National Gallery of Art, Washington; Canaletto, The Square ofSaint Mark's, Venice, 1742/1744, National Gallery of

Art, Washington; Canaletto, Interior of Saint Mark's Basilica, 1742/1744, Windsor Castle

12

2,577th Concert

May 24, 2006, 12:10 pm

Piffaro

Rotem Gilbert, recorders

Grant Herried, lute

Greg Ingles, sackbut

Joan Kimball, tenor shawm and bagpipe

Christa Patton, alto shawm

Bob Wiemken, bassoon

Tom Zajac, sackbut

The musicians will announce their programfrom the stage.
The Musicians

World-renowned for its highly polished, energetic, and richly varied performances, the Philadelphia-based Renaissance band Piffaro has delighted

audiences throughout the United States, Europe, Canada, and South

America. The ensemble recreates the elegant sounds ofthe official professional wind bands ofthe late medieval and Renaissance periods as well

as the rustic entertainments ofthe peasantry. Audiences from Seattle to

Spoleto, Italy, have marveled at the virtuosity ofthis ensemble, its precision

and impeccable intonation, and above all its vitality and enthusiasm. A

review in the Mittelhayerische Zeitung (Regensburg, Germany) attested to 

Piffaro’s “colorful and secure instrumental style, and a technical perfection

delivered with verve.”

Shawms, sackbuts, dulcians, recorders, krummhorns, bagpipes, lutes,

guitars, and percussion provide the fascinating aural dimensions to an

entertaining Piffaro performance. The band has recorded extensively and

can be heard on the Archiv Produktion, Dorian, Newport Classic, 

Passacaille, and Wyndham Hill recording labels.

14

2,578th Concert

May 31, 2006, 12:10 pm

Ars Lyrica Houston

Matthew Dirst, artistic director and harpsichord

Alan Austin, baroque violin

Melissa Givens, soprano

Claudio Monteverdi (1567-1643)

Exulta, filia Sion (Rejoice, daughter ofZion) (1629)

Isabella Leonarda (1620 -c. 1700)

Sonata duodecima, op. 16, no. 12 (1693)

Wilhelm Friedemann Bach (1710-1784)

Fantasia in E Minor, Falck Catalog no. 21

)ean-Joseph Cassanea de Mondonville (1711-1772)

Pieces de clavecin avec voix ou violon, op. 5 (1748)

Benefac, Domine

Protector meus

Johann Sebastian Bach (1685-1750)

Sonata no. 6 in G Majorfor Violin and Harpsichord, BWV 1019 (1723)

Allegro

Largo

Allegro

Adagio

Allegro

George Frideric Handel (1685-1759)

Figlio d’alte speranze, HWV 113 (c. 1710?)
The Musicians

ARS LYRICA HOUSTON

Recently named “the leader among Houston’s early music ensembles” by

the Houston Chronicle, Ars Lyrica Houston has become a driving force in

the period-instrument movement in Texas and the southwestern United

States. Founded in 1998 by Matthew Dirst, the ensemble specializes in

baroque chamber and dramatic works. It has appeared at national conventions ofthe American Bach Society, the American Guild of Organists, and

the American Musicological Society. Major works presented by Ars Lyrica

Houston include staged versions of J. S. Bach’s Coffee Cantata and Saint

John Passion; the American premiere of Handel’s first oratorio, II trionfo del

tempo e della verita; Monteverdi’s Combatimento di Tancredi e Clorinda and

Vespers of 1610; and Purcell’s Dido and Aeneas.

MATTHEW DIRST

Founder and artistic director of Ars Lyrica Houston, Matthew Dirst is the

first American to win major international prizes in both organ and harpsichord, including the American Guild of Organists National Young Artists 

Competition and the Warsaw Harpsichord Competition. A graduate ofthe

University of Illinois, Southern Methodist University, and Stanford University,

where he earned a PhD in musicology, Dirst is associate professor ofmusic

and director ofthe Collegium Musicum at the Moores School of Music at the

University of Houston. As a Fulbright scholar in France, he studied with 

Marie-Claire Alain and Huguette Dreyfus, winning the coveted Prix de virtuosity in both organ and harpsichord. An author as well as a recitalist, Dirst 

has written Bach as Idea: Strategies in the Reception ofthe Keyboard Works,

2750-2850, soon to be published by Cambridge University Press.

16

ALAN AUSTIN

Baroque violinist Alan Austin teaches at the University of Houston and the

University of St. Thomas, Houston. In addition to regular appearances with

Ars Lyrica Houston, he pursues an active career as a soloist and chamber

musician with the period-instrument ensembles Aquinas, Mercury Baroque,

and the Texas Baroque Ensemble. His teachers of baroque violin, Elizabeth

Blumenstock, Manfredo Kraemer, Andrew Manze, and Simon Standage,

rank among the world’s primary practitioners ofthat instrument. Austin is

concertmaster ofthe Texas Bach Collegium in San Antonio and the Bach

Society Orchestra in Houston.

MELISSA GIVENS

Soprano Melissa Givens has been featured in concert series throughout the

United States, including the Saint Cecilia Music Series in Austin, Texas. A

member ofthe Houston Grand Opera Chorus, she has recently sung solo

roles in Purcell’s Dido and Aeneas (Dido), Mozart’s Don Giovanni (Donna

Anna), and Alessandro Scarlatti’s La Giuditta (title role). Charles Ward ofthe

Houston Chronicle called Givens a singer who is “constantly rewarding and a

pleasure to hear,” and the Austin American-Statesman reported that her 2003

performance of the soprano solos in Brahms’s A German Requiem “sounded

like the angelic voice that Brahms probably imagined as he composed it.”

Givens is a member ofthe voice faculty of Houston Baptist University.

U