For the convenience of concertgoers 

the Garden Cafe remains open until 6:oo pm.

The use of cameras or recording equipment during the 

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

pagers, and other electronic devices are turned off.

Please note that late entry or reentry of

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

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

Mailing address

2000b South Club Drive

Landover, md 20785

ivww.nga.gov

The Sixty-eighth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,738th Concert

The Choral Arts Society ofWashington

Norman Scribner, conductor

with

Douglas Riva, pianist

and

Stephen Aclcert, organist

Presented in honor of Hispanic Heritage Month and

The Art ofPower: Royal Armor and Portraitsfrom Imperial Spain

October 11, 2009

Sunday Evening, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Isaac Albeniz (1860-1909)

From Sonata No. 5

Minuetto del gallo (Rooster Minuet)

From Iberia

Evocacion (Evocation)

Federico Mompou (1893-1987)

Preludios (Preludes)

No. 1: Dans le style romance

No. 2: Energiquement

No. 6: Moderate; cantabile espressivo (for the left hand)

Manuel de Falla (1876-1946)

From Piezas espaholas (Spanish Pieces)

Andaluza

Joaquin Turina (1882-1949)

From Por las calles de Sevilla (On the Streets of Seville), op. 96

Refejos en la tone (Reflections on the Tower)

Ante la virgen de la Merced (Prayer to the Virgin of Mercy)

La calle de las sierpes (On Sierpes Street)

INTERMISSION

Tomas Luis de Victoria (1548-1611)

O quarn suavis est

Ave Maria

O magnum mysterium

Enrique Granados (1867-1916)

Cant de les estrelles (Song ofthe Stars)

Poem for piano, organ, and chorus inspired by a poem by Heine

This concert is made possible in part by supportfrom the Embassy of Spain

The Musicians

THE CHORAL ARTS SOCIETY OF WASHINGTON

The Choral Arts Society ofWashington, under the leadership ofits artistic 

director and founder, Norman Scribner, is one ofthe preeminent symphonic

choruses in the country. Consisting of nearly two hundred experienced 

choral singers, Choral Arts has performed with the world’s leading conductors and symphony orchestras, produced acclaimed recordings, and toured

internationally. The Choral Arts Society presents a broad spectrum of

selections from established choral repertoire as well as local and world premieres in its own subscription series at the John F. Kennedy Center for the 

Performing Arts.

Choral Arts performs annually for the nationally televised Kennedy

Center Honors and Capitol Fourth Celebrations as well as the annual Choral

Tribute to Dr. Martin Luther King Jr. These performances have been broadcast nationally on National Public Radio’s “Celebrating the Choral Arts” with 

Martin Goldsmith and Norman Scribner.

The chorus has also performed for the funeral of Senator Robert F.

Kennedy, the inaugurations of Presidents Carter and Reagan, Maestro

Mstislav Rostropovich’s 60th Birthday Gala Celebration, and at the bicentennial celebration ofthe United States constitution. Among their more unusual

assignments, Society members were invited to test the acoustics ofWashington’s subway system as it was being built. Donning hardhats, the choristers

performed the famous “echo chorus” from Handel’s Alexanders Feast, that

included the phrase “the vaulted roofs rebound.”

NORMAN SCRIBNER

Considered an institution among his conducting colleagues, Norman Scribner

is one of Washington’s most versatile and respected musical figures. As

artistic director of one ofthe major symphonic choruses in the United States

for more than forty years, he has led and prepared The Choral Arts Society

for numerous national television appearances, performances with the 

world’s leading orchestras, and several recordings and international tours

3
performing the standard repertoire, world premieres, and new works

commissioned by the Society.

In 1971 Scribner assembled a professional choir to perform in the world

premiere of Leonard Bernstein’s Mass for the opening ofThe Kennedy

Center, at the request ofthe composer. Two years later Scribner prepared

the choir for a performance and recording of Haydn’s Mass in Time of War

under Bernstein’s direction. An accomplished pianist, Scribner was the staff

keyboardist for the National Symphony Orchestra from 1963 to 1967. He has 

also served as guest conductor ofthe Symphony on several occasions.

Scribner is the composer of a choral symphony, Love Divine, commissioned

by the United Methodist Church and premiered at the church’s General

Conference in Baltimore, and a choral work, Songfor Saint Cecilia, performed

at the United States Supreme Court.

Scribner’s musical presence in Washington began immediately after 

graduating with honors from Baltimore’s Peabody Conservatory, when he 

became conductor ofthe American University Chorale, assistant organist

ofWashington National Cathedral, and organist-choirmaster of St. Alban’s

Episcopal Church. During his expansive career, he has held teaching positions at American University, George Washington University, and the

College ofChurch Musicians ofWashington National Cathedral.

As a testament to Norman Scribner’s influence on the quality of musical

life in the nation’s capital, Washingtonian Magazine named Scribner “Washingtonian ofthe Year” in 1984.

DOUGLAS RIVA

Described by Spanish composer Xavier Montsalvatge as “an exceptional

pianist,” Douglas Riva has gained international recognition for his “profound knowledge of Spanish music” (La Vanguardia, Barcelona). His interpretations ofthe works of Enrique Granados, in particular, have earned Riva

a reputation as this generation’s leading exponent ofthe composer’s piano 

music. Natalia Granados, the composer’s daughter, attests: “Mr. Riva knows

everything relating to my father to perfection.” After a highly acclaimed 

recital at Madrid’s historic Residencia de Estudiantes, Mundoclasico.com

4

hailed Riva as “the successor of Granados,” commenting that his performance “captivated the audience to such a point that one was perfectly able

to forget the pianist and listen only to the distinguished and pure serenity of

the music.”

In the realm of contemporary music, Riva gave the world premiere performances of Gazebo Dances by John Corigliano and two works written for

him by Catalan composer Xavier Turull. In 1987 he gave the first United 

States performance of a newly discovered sonata by Domenico Scarlatti at

the National Gallery of Art. He has recorded numerous programs for television and radio in Brazil, Holland, Portugal, Spain, and the United States.

Riva has lectured at Harvard University, New York University, the University

ofCalifornia, Riverside, and for the Sociedad Espanola de Musicologia in

Madrid. He is the assistant editor ofthe eighteen-volume critical edition 

of the complete works for piano of Enrique Granados, edited by Alicia de

Larrocha and published by Editorial Boileau, Barcelona.

Riva began his musical education at age nine, studying both the piano 

and the flute. His professional career began at the age ofsixteen as the 

principal flutist ofthe El Paso (Texas) Symphony Orchestra. Later, devoting

himself exclusively to the piano, he continued his studies at the Juilliard

School, New York University, and in Barcelona at the Academia GranadosMarshall, founded by Granados.

5
Program Notes

The exhibition The Art ofPower: Royal Armor and Portraitsfrom Imperial

Spain, on view in the West Building ofthe National Gallery until November 1,

2009, is a rich demonstration ofthe visual symbols used by Spanish monarchs from the fifteenth to the eighteenth centuries to establish and reinforce

their power. The same monarchs were also active patrons ofmusic, who

either commissioned or kept as court musicians some of Europe’s most

influencial composers, including Josquin des Prez (c. 1450-1521), Antonio

de Cabezon (1510-1556), Tomas Luis de Victoria (1548-1611), and Domenico

Scarlatti (1685-1757). This evening’s program—which celebrates not only 

the exhibition but also the continuing contribution of Spanish and Hispanic

genius to the world ofmusic—contains music by Spanish composers from

the sixteenth, nineteenth, and twentieth centuries.

This year marks the centenary ofthe death of Isaac Albeniz, one ofthe

composers who best expressed the Spanish soul in music. Composed in 1887,

Minuetto del gallo is one ofthe finest movements of all ofAlbeniz’ sonatas,

and presages the innovations ofhis later works. Evocacion, the opening piece 

of Albeniz’ masterpiece Iberia, expresses with tenderness, nostalgia and

bitterness a profound love for his native Spain, viewed through the binoculars of a self-imposed exile.

Federico Mompou was born in Barcelona, but lived in Paris for many

years. Preludios nos. 1, 2, and 6 were composed there between 1927 and 1930.

Strikingly individualistic, they are highly varied and poetic.

Many ofthe light-filled compositions by Joaquin Turina were inspired by

his native Seville. The suite Por las calles de Sevilla is a quintessential Turina

masterwork. Its first movement, Reflejos en la tone, was inspired by the light

and shadows thrown onto the Torre del Oro (Tower of Gold) by the Guadalquiver River. Ante la virgen de la Merced conveys the profound religious fervor 

of Seville. In La calle de las sierpes, Turina captures the joy oflife and animation found on this emblematic street in the center ofthe city.

Composed in 1909 and dedicated to Albeniz, the passionate and mysterious Andaluza was the first masterpiece by Manuel de Falla. It is one of

6

four dance pieces for piano published as Cuatro piezas espaholas: Aragonese,

Cubana, Montanesa and Andaluza. All four pieces are a blend of Spanish

nationalism and French impressionism, but Aragonese and Andaluza are

most closely related to the folk music ofthose regions.

On the night of March 11,1911, one ofthe most significant concerts in the

history of Spanish music took place at Barcelona’s Palau de la Musica Catalana, a program devoted entirely to the music of Enrique Granados, performed by the composer himself. The concert included the world premiere

of Cant de les estrelles. A virtuoso piano concerto scored for piano, organ, and

three choruses, it is one of Granados’ finest compositions. Subtitled “Poem

for piano, organ and chorus inspired by a poem by [Heinrich] Heine,” Cant

de les estrelles is not a translation of any specific Heine poem but rather a

response to Heine’s poetry written from the point of view ofthe stars themselves. The author’s name remains a mystery. Walter A. Clark comments

that “the preoccupation with death expressed in the final strophe is eerily

portentous of the fate soon to visit the possible author ofthese lines: Granados himself.”

In spite ofits success, Granados did not publish Cant de les estrelles, and

neither he nor any other pianist had occasion to perform it again in his

lifetime. Following Granados’ death the manuscript remained in the family

archive until 1938, when his son Victor brought it to New York and signed a

contract for its publication with Nathanial Shilkret. Due to the confusion

caused by the Spanish Civil War and World War 11, the Granados manuscript

remained unpublished for decades. After the Shilkret archive suffered a fire

in 1964, all the manuscripts were feared lost. In 1982 Granados’ daughter,

Natalia, appointed Douglas Riva as the family representative in the search

for this manuscript. After a long search, the document was found, and, on

March 22, 2007, Cant de les estrelles was performed for the second time in

New York by Riva and the Voices ofAscension, under the direction of Norman

Keene. The concert was recorded live by Naxos and released as a CD, Song of

the Stars, making Granados’ glorious music again available to the world.

7
Cant de les estrelles (Song ofthe Stars)

Author unknown

Oh, Immensitat eternal dels espais!

Follia i febre d’amor, deliri no hem conegut mai! Mai!

Per aixo es nostra vida eterna serena i pura nostra Hum.

Quan en la nit calmada, guaitant del fons de la blavor llunyana,

veiern com cerqueu repos debades pels vostres cors

assedegats per la febre inestroncable del desig.

Per aixo (per’xo) es nostra vida eterna i pura nostra Hum.

quan, en la calma nit, de vosaltres ens compadim!

Som filles de la nit, ulls d’esguard brillant,

que a traves dels espais vers vosaltres compassives girem!

Som victimes de l’amor! No havern conhort!

L’eterna serenitat, que augusta plana en el cel,

enfondeix nostra pietat vers vostra esteril anhel.

Ah!, eterna serenitat del cel.

Lliures voldriem volar! Ah!

Som presoners de l’amor!

Com ens podrem desilliurar?

Feblesa porteu al cor!

Debades repos cerqueu!

Volem coneixer nous mons!

Encisos d’amor trenqueu!

No podem rompre els grillons!

Immensitat!

Eternitat!

Eternitat! Ah!

Song ofthe Stars

Translation by Colin Whiteley

Oh, infinite vastness and stillness ofspace!

Oh, wild delirium oflove, whose fever we never can know! No!

And so we live for ever shining down with pure serene starlight.

When in the still ofthe night, we wait and watch 

from out ofthe deep blue distance,

Overwhelmed by the insatiable fever of desire.

And so we live on for ever, shining with pure light

When in the still ofthe night, with compassion to you we turn!

We daughters ofthe night, shining brightly down,

Across the vastness ofspace we turn with compassion to you!

We victims oflove’s cruel spell! Never find repose!

Infinite stillness ofspace, bearing relentlessly down,

Deepens our pity for you. Longing in vain to find peace.

Infinite stillness ofspace.

Oh for the freedom to fly! Ah!

No more the prisoners oflove!

How can we break offthe bonds?

Love in man’s heart makes him weak!

Vainly he hopes for release!

We want to visit new worlds!

Break the enchantment oflove!

There’s no escape from its bonds!

Infinite space!

Endlessly still!

Endlessly still! Ah!
Upcoming Concerts at the National Gallery ofArt

Presented in honor of

The Darker Side ofLight: Arts ofPrivacy, 1850-1900

Chiara String Quartet

Quartets by Debussy, Prokofiev, and Webern

October 14, 2009

Wednesday, 12:10 pm

West Building Lecture Hall

National Gallery ofArt Piano Trio

Trios by Franck, Jongen, and Vieuxtemps

October 18, 2009

Sunday Evening, 6:30 pm

West Building, West Garden Court
The William Nelson Cromwell and F. Lammot Belin Concert Series

Sunday, October 11, 2009 | 6:30pm

National Gallery of Art West Building, West Garden Court

The Choral Arts Society Chamber Choir

SOPRANO ALTO

Amy E. Ayre Jan McLin Bexhoeft

Dana Crepeau Judy Dodge

Alexandra Denby Karen Florini

Julie Smith Gilmore Elke Gordon

Adriana Gonzalez-Lozada Anne Hall

Heather MacDonald Anne B. Keiser

Elizabeth Romig Marcellino Anna Eva Maripuu

Theresa Severin Rebecca Nielsen

Lisa Joy Sommers Catherine Pfaffenroth

Bonnie Williams Cindy Speas

Yvonne Wise-Bailey

Patricia Yee

TENOR BASS

David Caleb David Bragunier

Steve Capanna Andrew James Broten

John Clewett Peter B. Cornell

Joseph S. Gordon Ron Davies

James B. Hutchinson, Jr. Larry Kolp

Matthew S. Schwartz George Krumbhaar

Dileep S. Srihari Douglas Lapp

Kevin Zarcone Douglas McAllister

Joe O’Leary

Ray Williams

Antiphonal Choir

Members ofthe Choral Arts Society Chamber Choir

David B. Lang, conductor

Artistic Director, The Reston Chorale

SOPRANO ALTO

Ashley B. Boam Pat Byram

Lisa Wickman Harter Elizabeth C. Horowitz

Barbara Esposito Ilacqua Ann Roddy

Morgan Deann Ortagus Katherine M. Thiele

Connie Rhodes Sharon Weinstein

Carolyn Wise Nancy Witherell
O magnum mysterium

From the Latin liturgy

O Great Mystery

0 magnum mysterium

et admirabile sacramentum,

ut animalia viderent Dominum

natum,

jacentein in praesepio.

0 great mystery

and wondrous sacrament,

that animals might see the

newborn Lord

lying in a manger.

0 beata virgo, cujus viscera 

meruerunt portare

Dominum Jesum Christum.

0 blessed virgin, whose womb

was destined to bear 

the Lord Jesus Christ.

Alleluja! Alleluia!

O quam gloriosum

From the Latin liturgy

O How Glorious

O quam gloriosum est regnum 

in quo cum Christo

gaudent omnes Sancti!

Amicti stolis albis,

sequuntur Agnum

quocunque ierit

0 how glorious that kingdom

wherein with Jesus

the blessed rejoice!

Arrayed in white apparel,

they follow the Lamb

wherever he leads.

Ave Maria

From the Latin liturgy

Hail, Mary

Ave Maria gratia plena

Dominus tecum;

benedictus tu in mulieribus, 

et benedictis fructus ventris tui

Jesus.

Hail Mary, full of grace,

the Lord is with thee;

Blessed art thou among women,

and blessed is the fruit ofthy

womb, Jesus.

Sancta Maria, Regina caeli,

dulcis et pia, 0 Mater Dei,

ora pro nobis peccatoribus, 

ut cum electis te videamus.

Holy Mary, Queen of Heaven,

sweet and holy! 0 Mother of

God, pray for us sinners, that,

with the chosen ones, we may

see thee.