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the Garden Cafe remains open until 6:oo pm.

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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

wunv.nga.gov

The Sixty-fifth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery of Art

2,615th Concert

David Hardy, cellist

Lisa Emenheiser, pianist

April 22, 2007

Sunday Evening, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Igor Stravinsky (1882-1971)

Suite Italienne (1932)

Introduzione

Serenata

Aria

Tarantella

Minuetto e finale

Ludwig van Beethoven (1770-1827)

Sonata in F Major, op. 5, no. 1 (1796)

Adagio sostenuto: Allegro 

Rondo: Allegro vivace

INTERMISSION

Beethoven

Seven variations on Bei Mannem, welche Liebe fuhlen (1802)

from Die Zauberfote by Wolfgang Amadeus Mozart (1756-1791)

Edvard Grieg (1843 -1907)

Sonata in A Minor, op. 36 (1883)

Allegro agitato

Andante molto tranquillo

Allegro

The Musicians

DAVID HARDY

David Hardy, principal cellist ofthe National Symphony Orchestra, achieved

international recognition in 1982 as the top American prizewinner at the

Seventh International Tchaikovsky Competition in Moscow. He was awarded

a special prize for his performance ofVictoria Yagling’s Suitefor Solo Cello,

which was commissioned for the competition, itar-tass News Agency 

praised Hardy’s performance ofthe Dvorak Cello Concerto, calling it “beautifully spontaneous and unpretentious. His performance gave the feeling of

improvisation through the varied use ofhis colorful and powerful sound.”

A native of Baltimore, Maryland, Hardy began his cello studies at age

eight. He was sixteen when he made his debut as soloist, with the Baltimore

Symphony Orchestra. In 1979, when he was twenty-one, Hardy won the

certificate in the prestigious Geneva International Cello Competition. In the

following year, he graduated from the Peabody Institute ofthe Johns Hopkins

University, where he studied with Stephen Kates, Laurence Lesser, and Berl

Senofsky. In 1981 the National Symphony Orchestra’s music director, Mstislav

Rostropovich, appointed Hardy associate principal cellist, and in 1994 he

was named principal cellist by music director Leonard Slatkin. Hardy made

his solo debut with the National Symphony Orchestra in 1986, under

Rostropovich, and has since been a regular soloist, premiering the Stephen

Jaffe Concertofor Cello and Orchestra under Slatkin in 2004, a piece commissioned by the Hechinger Foundation. The National Symphony Orchestra’s

recording ofJohn Corigliano’s Symphony no. 1 featuring Hardy’s solo cello

performance won the 1997 Grammy Award for best classical recording.

Hardy is a founding member ofOpus 3 Trio, with violinist Charles Wetherbee and pianist Lisa Emenheiser. The ensemble has performed to critical

acclaim across the country and has commissioned, premiered, and recorded

dozens of new works for piano trio. Hardy is a member ofthe 20th Century

Consort, which has premiered works by Stephen Albert, Nicholas Maw, and

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Joseph Schwantner. Hardy is also the cellist ofthe Kennedy Center Chamber

Players, which since 2003 has been the resident chamber ensemble for the

Kennedy Center.

David Hardy has recorded on the Centaur, Delos Educo, London, Melodiya, and RCA labels. The Washington Post has praised his “resplendent playing and virtuoso technique” and “deep musical sensitivity.” In addition to his

performance schedule, he is professor of cello at the Peabody Institute. His 

instruments were made by Carlo Giuseppe Testore in 1694 and Raymond 

Hardy in 2000.

LISA EMENHEISER

Lisa Emenheiser is widely recognized as a leading keyboard artist. A graduate ofThe Juilliard School, where she earned both bachelor and master of

music degrees, Emenheiser is a winner ofThe Young Artist in Recital and

The National Arts Club competitions. Additionally, she is a Helena Rubinstein Foundation grant winner, a Lilly Folles Fund winner, and a William 

Petschek Award winner.

Emenheiser has performed in New York City at Alice Tully Hall, Avery

Fisher Hall, and Weill Recital Hall; and in Washington at the Kennedy Center,

the National Gallery ofArt, The Phillips Collection, the Smithsonian Institute,

and the embassies ofAustria, Britain, France, Germany, and Spain. She has 

appeared as soloist with the Baltimore Symphony Orchestra, the Fairfax Symphony Orchestra, the Kennedy Center Opera House Orchestra, the National

Symphony Orchestra, the Richmond Symphony Orchestra, and the Virginia

Chamber Orchestra. She was also one ofthe featured soloists at the National

Symphony Orchestra’s Piano 2000 Festival and the Kennedy Center’s Journey 

to America Festival held in 2002. Recently, Emenheiser was a featured soloist 

and commentator for the National Symphony Orchestra’s Composer Portraits 

concert featuring Mozart.

An established chamber musician, Emenheiser has performed across

the globe, with Julius Baker, Jean-Pierre Rampal, Nadja Salerno-Sonnenberg,

Ransom Wilson, and Eugenia Zukerman, as well as with principal members

ofThe Cleveland Orchestra, the National Symphony Orchestra, and the New

4

York Philharmonic. Emenheiser has appeared in solo and chamber performances in virtually every major U.S. city as well as in Berne, Haifa, London, 

Manchester, Mexico City, and Nice. She has performed in numerous summer music festivals, including the Aspen Music Festival, MasterWorks, Penn

Alps Music Festival, Snake River Chamber Music Festival, and Strings in the

Mountains. Her orchestral performances are equally extensive, including

tours of Europe and American residencies in Alabama, Alaska, Maine, Montana, Nebraska, North Dakota, Oklahoma, Texas, Vermont, and Wyoming.

Currently, Emenheiser is adjunct pianist ofthe National Symphony

Orchestra, under Leonard Slatkin, as well as pianist ofthe 21st Century Consort and Opus 3 Trio. She was featured on national television as an expert

artist commentator and performer in the pbs documentary titled Exploring

Your Brain, in which she performed Alberto Ginastera’s Piano Sonata no. 1

and discussed the topic ofmemory. She recently returned from Slovenia and

Croatia, having performed in recital with cellist David Hardy. Emenheiser

has recorded on the Arabesque, aur, Cascades, Centaur, Delos, Pro-Arte, 

and vai Audio labels.

Program Notes

Before Igor Stravinsky’s Suite Italienne was arranged for cello and piano, the

music was first heard at the Paris Opera in the Ballet Russes’s performance of

Pulcinella, under ballet impresario Serge Diaghilev (1872-1929), with set and

costume design by Pablo Picasso (1881-1973). Italienne, which belongs

to Stravinsky’s neoclassical period, developed out ofthe composer’s introduction to the music ofItalian master Giovanni Battista Pergolesi (1710-1736) 

by Diaghilev. In Stravinsky’s own words, “Pulcinella was my discovery ofthe

past.... It wras a backward look, of course—the first ofmany love affairs in

that direction.” Stravinsky later arranged the suite for cello and piano at the

request of cellist Gregor Piatigorsky (1903-1976).

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Ludwig van Beethoven’s output for the cello consists offive sonatas and

three sets ofvariations—two on themes from Mozart’s Die Zauberflote, and

one on music from Handel’s oratorio Judas Maccabaeus. Beethoven’s interest

in the cello can be linked to the brothers Jean-Pierre (1741-1818) and JeanLouis (1749-1819) Duport and Josef Linke (1783-1837), cellists with whom

he became acquainted early in his life. The five cello sonatas were written over

a span of almost twenty years—1796-1815; the two op. 5 works belong to the

early years. Op. 5, no. 1, was composed in 1796 and performed by Beethoven 

and one ofthe Duport brothers, probably Jean-Louis, in the palace in Berlin.

King Frederick Wilhelm 11 was so pleased with the music that before the

composer’s departure from Berlin, he was given a gold snuffbox with a louis

d’or, which was the most valuable coin in circulation at the time (worth about

twenty francs, or two months’ rent for Beethoven’s apartment). In this sonata, 

like its companion, op. 5, no. 2, Beethoven dispensed with the customary

slow middle movement and the usual scherzo or minuet. A fairly long adagio 

opens the work with the two instruments playing in unison. This leads with

a cadenzalike passage into the allegro, in which the instruments reach a warm

partnership. The thematic material in the concluding allegro is stated by

the piano.

Beethoven considered Die Zauberflote to be Mozart’s greatest opera. Of

Don Giovanni and Le Nozze di Figaro, Beethoven is reported to have said, “I

hold them both in aversion. I could not have chosen such subjects....” The

seven variations on Bei Mannem, welche LiebeJuhlen, the act 1 duet between

Papageno and Pamina, were written at the suggestion of Emanuel Schikaneder (1751-1812), who played Papageno in the 1791 premiere ofthe opera at the

Theater aufder Wieden, where he was the manager. The variations develop in

musical intensity as the work progresses, and the fifth variation, a scherzo, is

particularly interesting. A contemporary reviewer wrote, “Anybody wanting to

perform these cello parts must be a consummate master ofthe instrument.”

The work is dedicated to Count von Browne.

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While Edvard Grieg wrote three sonatas for the violin, his op. 36 is the

only one to include the cello, having been written for the composer’s cellist 

brother. Grieg, like Bela Bartok, Frederick Delius, Antonin Dvorak, Bedrich 

Smetana, and Ralph Vaughan Williams, belongs to a group of composers

who sought inspiration in the music oftheir homelands. Grieg blended the

colors of Norwegian music in a very personal, poetic way, marked by a sensitivity to romantic harmony and an air offreshness. He wrote, “My aim in

my music is exactly what Ibsen says about his plays: I want to build homes

for the people in which they can be happy and contented.” The stormy

beginning ofthe opening Allegro agitato seems to blow over as the mood

changes and the cello sings the theme over a richly textured harmonic pattern. The stormy element reappears in its full fury in the closing bars ofthe

movement. In the second movement, Grieg displays his endless harmonic

resources. An excellent pianist himself, he makes great demands on the

pianist. A delicate and sentimental coda ends the movement. The composer’s love ofthe music ofhis homeland comes to the fore in the concluding

Allegro, whose opening is dominated by a folksy, dancelike theme that plays

a major part in the development ofthe movement. The recapitulation is

topped off by a brilliant coda that ends the work.

Program notes by Sorab Modi

Next Week at the National Gallery of Art

Academy ofAncient Music

Richard Egarr, harpsichordist and music director

Pavlo Beznosiuk, leader

Music by Handel, Telemann, and J.S. Bach

April 29, 2007

Sunday Evening, 6:30 pm

West Building, West Garden Court