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 of Art

Sixth Street and Constitution Avenue nw

Washington, DC

Mailing address

2000B South Club Drive

Landover, md 20785

www.nga.gov

The Sixty-eighth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,764th Concert

National Gallery ofArt Vocal Ensemble

with

National Gallery ofArt Orchestra

and

Great Noise Ensemble

Armando Bayolo, conductor

Tracy Cowart, mezzo-soprano

David Smoolce, speaker

January 31, 2010 

Sunday Evening, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

World Premiere Performances

Carlos Carrillo

Four Sacred Motets (2010)

Nigra sum

Pulchra es

Duo seraphim

Audi coelum

Armando Bayolo

Kaddish: Passio: Rothko (2009)

Part One: Kaddish

Tracy Cowart, mezzo-soprano

INTERMISSION

Kaddish: Passio: Rothko (continued)

Part Two: Deite epises

Part Three: Monsters

David Smooke, speaker
NATIONAL GALLERY OF ART ORCHESTRA

The National Gallery of Art Orchestra was founded in 1943 and initially

consisted of approximately twenty-five players drawn from the National 

Symphony Orchestra. Gradually growing in numbers, the Gallery orchestra

eventually reached the size and status of a large chamber orchestra. The

ensemble has undertaken the full range of chamber and symphonic repertoire and has frequently presented first performances ofworks by American

composers, most notably the 1953 premiere ofCharles Ives’ Symphony no. 1

under the direction of Richard Bales, the 1990 premiere of Daniel Pinkham’s

Symphony no. 4 under George Manos, and the 2007 premiere ofJohn Musto’s

Later the Same Evening: An opera inspired byfive paintings ofEdward Hopper,

under guest conductor Glen Cortese. In September 2008 the orchestra

completed a highly successful concert tour in North Carolina, under the

direction of guest conductor Vladimir Lande.

Members ofthe National Gallery of Art Orchestra participating in

this program are:

Violin I: Claudia Chudacoff, Jonathan Mott, William Tortalano

Violin II: Lisa Cridge, Bruno Nasta

Viola: Wayne Graham, Jennifer Ries

Cello: Robert Battey, Marcio Botelho

Flute: Sara Nichols

Oboe and English Horn: Fatma Daglar

Clarinet and Bass Clarinet: Marguerite Baker 

Bassoon: Dean Woods 

Trumpet: Dave Haglund

Horn: Theodore Peters

4

GREAT NOISE ENSEMBLE

With nineteen world premieres and counting, Great Noise Ensemble is a

working embodiment ofits mission to perform new works and to promote

emerging talent in contemporary music. Since its first concert in January 

2006, the ensemble has won the Washington Area Music Association’s 2007

“wammie” Award for Best Chamber Ensemble. In its short four-year history,

the ensemble has performed in the Hirshhorn Museum and Sculpture

Garden, the John F. Kennedy Center for the Performing Arts, the National 

Gallery ofArt, and the Patricia M. Sitar Arts Center.

In residency at The Catholic University ofAmerica since 2008, Great

Noise brings four of its regular season programs to the university’s Ward 

Hall and provides student composers with professional quality readings of

their works. In addition to the world premieres ofworks by Armando Bayolo

and Carlos Carrillo on this evening’s program, Great Noise Ensemble has

plans to present first-time performances ofmusic by Blair Goins, Geoffrey 

Gordon, Robert Paterson, and D. J. Sparr.

Members ofthe Great Noise Ensemble participating in this program are:

Violin I: Andrea Vercoe

Violin II: Annalisa Guries

Viola: Annalisa Guries, Rebecca Steele

Cello: Phillip Maltzahn

Bass: Jonathan Steele

Timpani and Percussion: Chris DeChiara

Piano: Molly Orlando

Flute: Sacha Place

Oboe: Janna Ryon

Clarinet and Bass Clarinet: Katherine Kellert

Bassoon: Alan Michels

Trumpet: Kevin McKee

Horn: Lauren McCarty

Harpsichord: Jennifer Jackson

5
ARMANDO BAYOLO

Born in 1973 in Santurce, Puerto Rico, to Cuban parents, composer Armando

Bayolo began musical studies at age twelve. At age sixteen he attended the

Interlochen Arts Academy, where he first began the serious study of composition. He holds degrees from the Eastman School of Music, where his

teachers were Samuel Adler, Christopher Rouse, and Joseph Schwantner;

Yale University, where he studied with Martin Bresnick, Jacob Druckman,

Ingram Marshall, and Roberto Sierra; and the University of Michigan, where

he studied with Michael Daugherty, Evan Chambers, and Bright Sheng.

Bayolo’s music, hailed by The Washington Post as “radiant and ethereal,

full oflush ideas and a kind offierce grandeur,” encompasses a wide variety 

of genres, including works for solo instruments, voices, music for chamber

orchestra, and music for full orchestra. He has received commissions from

the Aspen Music Festival, the Euclid and Degas Quartets, the National

Gallery of Art, the South Jutland Symphony Orchestra, the Syracuse Society

for New Music, and the Western Piedmont Symphony Orchestra, among

others. His works have been heard at the Aspen Music Festival, the John F.

Kennedy Center for the Performing Arts, the Library ofCongress, and the

National Gallery of Art.

Also active as a conductor, Bayolo is the founding artistic director and

conductor of Great Noise Ensemble. He has served on the faculties of Reed

College and Hamilton College and is currently on the music theory faculty 

ofthe Peabody Conservatory ofJohns Hopkins University.

CARLOS CARRILLO

Born in San Juan, Puerto Rico, Composer Carlos R. Carrillo holds degrees

from the Eastman School of Music, Yale University, and the University of

Pennsylvania. His teachers include Martin Bresnick, George Crumb, Jacob

Druckman, Tania Leon, Christopher Rouse, Joseph Schwantner, and Roberto 

Sierra. Carrillo is the recipient of numerous awards, including the Beams

Prize, the Charles Ives Scholarship from the American Academy ofArts and

Letters, and BMI and ASCAP awards. He has been commissioned by the

Concert Artists Guild, the New York Youth Symphony, and the Pennsylvania

6

Music Teachers Association. His music has been performed at the American

Composers Orchestra’s Sonido de las Americas Festival and Puerto Rico’s

Casals Festival. Carillo has worked with members ofthe New Jersey Symphony Orchestra, the New York Youth Symphony, the Young Musician

Foundation’s Debut Orchestra, and the Puerto Rico Symphony Orchestra.

In 1998 Carrillo received one ofthe first Aaron Copland Awards from

the Copland Heritage Association, and he was the 2001-2003 Van Lier

Emerging Composer Fellow. Carlos Carrillo is writing a new work for the

American Composers Orchestra, and in the fall of 2010 he joins the faculty 

of Indiana’s DePauw University as a Post-doctoral fellow. He lives in Indiana

with his wife Kirsten and their three children.

TRACY COWART

Mezzo-soprano Tracy Cowart performs in a wide range of vocal styles, from

twelfth-century polyphony to contemporary art music. Recently praised by

the New York Times as “the real attraction” with a voice that is “light and

lithe,” Cowart has performed with Apollo’s Fire, the Choir ofthe Church

ofthe Advent in Boston, La Donna Musicale, Opera Lafayette, the Trinity 

Cathedral Orchestra, and the Washington Bach Consort. Cowart has been

a guest artist and lecturer at Pennsylvania State University and Bucknell 

University. She received the master of music degree in early music at the

Longy School of Music and is currently working on a doctor of musical

arts degree in the same field at Case Western University.

DAVID SMOOKE

Composer David Smooke currently resides in Baltimore, Maryland, where

he teaches music theory and composition at the Peabody Conservatory of

Johns Hopkins University. His honors include those from the Maryland

State Arts Council, bmi, the MacDowell Colony, the Virginia Center for 

the Creative Arts, the National Association of Composers usa, the Atlantic 

Center for the Arts, sci/ascap (Regional Winner) and the Tampa Bay

Composers’ Forum. His music has been featured on festivals including

those hosted by Queens College, Rice University, Northwestern University,

7
the University of North Carolina at Greensboro, Louisiana State University, 

the University of Iowa, the State University of New York at Buffalo, Bowdoin

College, Bard College, and East Carolina University.

Smooke performs improvisations and original works on various instruments including toy piano. As a member ofthe trio plinkTHUNKsqwak 

he plays free improvisation on toy piano with bassist Michael Formanek

and clarinetist/bass clarinetist John Dierlcer. He has improvised as part of

pieces by interdisciplinary artist Mayumi Ishino at venues in New York City,

Philadelphia, and Virginia. He is currently building larger pieces utilizing

electronic processing oftoy piano, microtonally-tuned autoharp, and other

instruments. He received a master ofmusic degree from the Peabody

Conservatory, a bachelor of arts magna cum laude from the University of

Pennsylvania, and a Ph.D. from the University ofChicago, where he received 

the Century Fellowship, the highest fellowship offered by the Humanities

Division. His composition teachers have included Ronald Caltabiano, John

Eaton, Robert Hall Lewis, Marta Ptaszynska, David Rakowslci, Shulamit Ran,

and Richard Wernick.

Program Notes

This concert marks the conclusion of a five-concert series at The National

Gallery ofArt featuring masterworks from the years 1610,1710,1810, 1910,

and 2010. Because Claudio Monteverdis Vespro della Beata Vergine is commonly identified as his “Vespers of 1610,” it made the ideal starting point for

the project and was performed at the Gallery on January 17. On January 20,

organist and Gallery music department head Stephen Aclcert joined mezzosoprano Anne-Marieke Evers and members ofthe National Gallery ofArt 

Chamber Players to perform music that would have been heard in 1710

in the ducal chapel in Weimar, Germany, where Johann Sebastian Bach

was the organist and court composer. On January 24, three ofthe National

Gallery’s resident ensembles took the stage to present masterworks that

Beethoven produced or published in 1810, and on January 27, the Auryn 

String Quartet played Alban Berg’s String Quartet, op. 3, one ofthe great

chamber works written in 1910.

The National Gallery invited two composers, Armando Bayolo and Carlos

Carrillo, to write new music for the final concert in the series, which celebrates 

music in 2010. About his Four Sacred Motets, Carlos Carrillo writes:

How can one define the concept ofthe masterpiece? As a

composer, I like to think that a musical masterpiece is a work

that other composers hold as a model ofwhat they believe to be

technically and aesthetically perfect. The year 2010 marks the

400th anniversary of Monteverdi’s Vespro della Beata Vergine, a

work that for many is an example ofthis perfection.

To celebrate this occasion I set to music the text ofthe four

motets contained in Monteverdi’s Vespers. The publication ofthe

Vespers by Monterverdi served as a vehicle for the composer to show

his compositional technique at the time. Scholars have questioned 

the inclusion ofthese motets in a Marian service, as it is possible

that the composer included other works at hand as part of his

compositional “portfolio.” This opens the possibility ofseparating 

the motets from the rest ofthe work. My setting ofthe motets

serves as an homage. Composing new music for these texts after

9
in Rothko’s case, to the Christian passion stories but going back to

the ancient Egyptian myth of Osiris. Part three, Monsters, deals

more directly with the facts of Rothko’s life and aesthetics and sets

a poem and a funeral oration that was a recollection ofthe artist by

his friend, the poet Stanley Kunitz. Where the first two parts can be

heard as somewhat detached cultural artifacts, part three is more 

emotional in its intended impact and represents a rumination, not 

just on Rothko’s emotional state at the end of his life, but also on

his place within the pantheon oftwentieth-century artists. The

oration is also a reflection on the motivations and driving forces

behind human artistic endeavor.

Kaddish: Passio: Rothko is dedicated to Stephen Ackert, head ofthe music

department at the National Gallery ofArt, who worked diligently with me to

bring it to life.

A special selection of paintings by Mark Rothko from the National

Gallery’s permanent collection will be on view in the East Building Tower

from February 21, 2010, to January 2, 2011.

Next Week at the National Gallery ofArt

New York Opera Society

Music by Gershwin

Presented in honor of From Impressionism

to Modernism: The Chester Dale Collection

February 3, 2010

Wednesday, 12:10 pm

West Building Lecture Hall
Texts and Translations

Sunday, January 31, 2010

Nigra sum

Nigra sum, sed formosa, filiae

Jerusalem.

Ideo dilexit me rex et introduxit 

me in cubiculum suum et dixit mihi:

Surge, arnica mea, et veni.

Iam hiems transiit, imber abiit, et recessit. 

Flores apparuerunt in terra nostra,

Tempus putationis advenit

Pulchra es

Pulchra es, arnica mea

suavis et decora filia Ierusalem.

Pulchra es, arnica mea, suavis

et decora sicut Ierusalem,

terribilis sicut castrorum acies ordinate

Averte oculos tuos a me,

quia ipsi me avolare fecerunt.

Duo Seraphim

Duo Seraphim clamabant alter ad alterum: 

Sanctus, sanctus, sanctus

Dominus Deus Sabaoth:

plena est omnis terra gloria eius.

Tres sunt qui testimonium dant in coelo:

Pater, Verbum et Spiritus Sanctus:

et hi tres unum sunt.

Sanctus . . .

I am a black and also beautiful daughter of

Jerusalem.

So the King loved me, and led

me into his chamber and said to me:

Arise, my love, and come away.

Now winter has passed, the rain has gone,

and flowers have appeared in

our land: the time of pruning has come

You are beautiful, my love,

a sweet and comely daughter ofJerusalem.

You are beautiful, my love, sweet

and comely as Jerusalem,

terrible as the sharp lines of a military camp.

Turn your eyes from me,

because they have put me to flight.

Two Seraphim were calling one to the other:

Holy, holy, holy

Lord God of Hosts:

the whole earth is full of his glory.

There are three who give testimony in heaven 

the Father, the Word, and the Holy Spirit:

and these three are one.

Holy...
Audi coelum

Audi coelum verba mea,

plena desiderio

et perfusa gaudio.

Audio.

Die, quaeso, mihi:

Quae est ista quae consurgens ut

aurora rutilat, ut benedicam? 

Dicam.

Die, nam ista pulchra ut luna,

electa ut sol replet laetitia 

terras, coelos, maria.

Maria.

Maria Virgo ilia dulcis,

praedicata de prophetis Ezechielis

porta orientalis,

Tabs.

Ilia sacra et felix porta,

per quam mors tuit expulsa,

introducta autem vita,

Ita.

Quae semper tutum est medium 

inter homines et Deum,

pro culpis remedium.

Medium.

Omnes hanc ergo sequamur,

quae cum gratia mereamur

vitam aetemam. Consequamur.

Sequamur.

Praestet nobis Deus Pater 

hoc et Filius et Mater,

cuius nomen invocamus, 

dulce miseris solamen.

Amen.

Benedicta es, Virgo Maria,

in seculorum secula

Hear,O heaven, my words,

full of desire

and suffused with joy. I hear.

Tell me,I pray: who is she

who, rising like the dawn,

shines, thatI may bless her?

I shall tell you.

Tell, for she is beautiful as the moon,

exquisite as the sun which fills with 

joy the earth, the heavens and the seas.

Mary.

Mary, that sweet Virgin

foretold by the prophet Ezekiel, 

gate ofthe rising sun,

Such is she!

That holy and happy gate

through which death was driven out,

but life brought in,

Even so!

Who is alwaysa sure mediator 

between man and God, a remedy for our sins. A mediator.

So let us all follow her 

by whose grace we gain

Eternal life. Let us seek after her.

Let us follow.

May God the Father grant us this,

and the Son and the Mother,

on whose name we call,

sweet solace for the unhappy.

Amen.

Blessed art thou, Virgin Mary,

world without end
Kaddish:Passio:Rothko

Texts

Part One: Kaddish

Mourner’s Kaddish

Yeetgadal v’yeetkadash sh’mey rabbah b’almah dee v’rach kheer’utey

May His great Name grow exalted and magnified, in the world that He created as He willed.

v’yamleekh malkhutei, b’chayeykhohn, uv’ yohmeykhon,

May He give reign to His kingship in your lifetimes and in your days,

uv’chahyei d’chohl beyt Yisrael, ba’agalah u’veez’man kareev.

and in the lifetimes ofthe entirefamily ofIsrael, swiftly and soon.

Y’hey sh’met rabbah m’varach I’alam uTalmey almahyah.

May His great name be blessedforever and ever.

Yeet’barakh, v’yeesh’tabach, v’yeetpa’ar, v’yeetrohmam, v’yeet’nasei,

Blessed, praised, exalted, extolled

v’yeet’hadar, v’yeet’aleh, v’yeet’halal sh’mey d’kudshah b’reekh hoo.

mighty, upraised, and lauded be the Name ofthe Holy One, Blessed is He.

L’eylah meen kohl beerkhatah v’sheeratah,

beyond any blessing and song,

toosh’b’chatah v’nechematah, da’ameeran b’al’mah.

praise and consolation that are uttered in the world.

Y’hei shlamah rabbah meen sh’mahyah, v’chayeem aleynu v’al kohl Yisrael

May there be abundant peacefrom Heaven and life upon us and upon all Israel

Oseh shalom beem’roh’mahv, hoo ya’aseh shalom, aleynu v’al kohl Yisrael, amein.

He Who makes peace in His heights, may He make peace, upon us and upon all Israel. Amen.
Part Two: Deite Epises

Gospel of Mark, chapter 15

Via crucis in 14 variations

Ho de Peilatos paredokenton lesoun phragelosas hina staurothei.

So Pilate delivered Jesus, after he had scourged him, to be crucified (v. 15)

En de hora trite kai estaurosan auton. Kai en he epigraphe tes aitias autou epigegrammene

Now it was the third hour, and they crucified him. And the inscription of his accusation was

written above

O BASILEUS TON IOUDAION.

The King ofthe Jews (vv.25-26)

Kai sun autoi staurousin duo leistas.

With him they also crucified two robbers (v. 27)

Kai hoi paraporeuomenoi eblasphemoun auton kiountes tas kephalas auton kai legontes.

And those who passed by blasphemed him, wagging their heads and saying

Oua ho kataluon ton naon kai oikodomon en trisin hemerais,

You who destroy the temple and build it in three days

soson seauton katabas apo tou staurou.

save yourselfand come downfrom the cross! (vv.29-30)

Kai genomenes horas hektes skotos egeneto eph’holen ten gen.

When the sixth hour had come, there was darkness over the whole land (v. 33)

Kai tei enatei horai eboesen ho lesous phonei megalen.

And at the ninth hour Jesus cried out with a loud voice, saying,

Eloi, eloi lama sbachtanei

“Eloi, Eloi, lama sabachtani?” (v.34)

Dramon de tis gemisas spongon oxous peritheis kalamoi epotizen auton

Then someone ran andfilled a spongefull ofsour wine, put it on a reed, and offered it to him (v.

36)

ho de lesous apheis phonen megalen exepneusen.

And Jesus cried out with a loud voice, and breathed his last. (v. 37)

Kai ede opsias genomenes, epei en paraskeue, ho estin prosabbaton,

Now when evening had come, being the day before the Sabbath

elthon loseph apo Harimathaias euschemon bouleutes, hos kai autos en prosdechomenos ten

basileian tou

theou,

Joseph ofArimathea, a priment council member, who was himselfwaitingfor the kingdom of

God

tolmesas eiselthen pros ton Peilaton kai eitesato to soma tou lesou.

coming and taking courage, went in to Pilate and askedfor the body ofJesus, (vv. 42-43)

Kai agorasas sindona kathelon auton eneilesen tei sindoni kai etheken auton en mnemati ho

en lelatomenon ek petras, kai prosekulisen lithon epi ten thurantou mnemeiou.
Then he boughtfine linen, took him down, and wrapped him in the linen. And he laid

him in a tomb which had been hewn out ofthe rock, and rolled a stone against the door

ofthe tomb, fv.46)

Skotos egeneto eph’holen ten gen

there was darkness over the whole land, (v.33)

Part Three; Monsters

Text by Stanley Kunitz

“The Artist” (mezzo-soprano and chorus)

His paintings grew darker every year.

They filled the walls, they filled the room; 

eventually they filled his world—

all but the ravishment.

When voices faded, he would rush to hear

the scratched soul of Mozart 

endlessly in gyre.

Back and forth, back and forth,

he paced the paint-smeared floor,

diminishing in size each time he turned,

trapped in his monumental void,

raving against his adversaries.

At last he took a knife in his hand 

and slashed an exit for himself

between the frames of his tall scenery.

Through the holes of his tattered universe

the first innocence and the light

came pouring in.

from Stanley Kunitz’ memorial to Mark Rothko (male speaker):

He is wearing his battered black fedora, perched high on the glistening

dome of his forehead; somehow an emblematic hat, for things were 

never quite the same after the wind blew it out of reach one winter evening.

His nearsighted eyes behind the thick glasses are liquid with patriarchal affection

and solicitude. His mouth is sensuous, quick to tremble with feeling.

“Tovarich!" he cries, with a huge embrace that locks me in, snug against his baronial frame,

as if to protect us both against everything fretful, anxious, invidious, the adversaries from 

whom he would flee at last in search of peace.
Once I told him that he was the last rabbi of Western art. And that made him

smile, which was a relief, since one could never quite be certain when his face

would darken.

In an after-dinner conversation one evening I referred to Piccasso—not without

admiration—as a kind of monster. And then, for good measure, I added Joyce’s

name. Mark was troubled by the epithet. I argued that in the modern arts the

terms “genius” and “monster” may be interchangeable. His face darkened.

“You don’t mean me, do you?” he asked. A few months later he was dead, by his

own hand.

I think of him as a poet among the painters, a lyric imagination in the dominion

of the abstract. The scale of his work is more than a matter of dimension.

They are the breath of a vision, scarcely more than a breath, an existential stain...

a glimpse, a memory, perhaps, of an archetypal simplicity and grandeur: “Shapes of

things interior to Time, hewn out of chaos when the Pure was plain.” That transcendental

quality, his effect of a pulsing spiritual life, of an imminent epiphany, was a secret he did

not share with others and maybe only partly understood himself.

The composer thanks Gretchen Kunitz, executor of The Estate ofStanley Kunitz, and Darhansoff,

Verrill, Feldman, Literary^ Agents, for permission to use lyricsfrom the poem '‘The Artist” (Collected

Poems of Stanley Kunitz, © 2000).