Next Week at the National Gallery ofArt

Gilles Vonsattel, pianist

Music by J.S. Bach, Dallapiccola, Liszt, Rorem, and Schubert

October 12, 2008

Sunday evening, 6:30 pm

West Building, West Garden Court

For the convenience of concertgoers 

the Garden Cafe remains open until 6:00 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

200ob South Club Drive

Landover, md 20785

wwurnga.gov

Francisco Antonio Gijon, Saint John ofthe Cross (San Juan de la Cruz),

c. 1675, polychromed and gilded wood with sgraffitto decoration (estofado), 

National Gallery of Art, Washington, Patrons’ Permanent Fund

The Sixty-seventh Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery of Art

2,684th Concert

)musica(aperta

Ignacio Alcover, artistic director, Robert Wight, executive director

Fermi Reixach and Scott Morgan, actors, James Stern and Joel Fuller, violin

Philippe Chao, viola, Ignacio Alcover, cello, Rosa Lamoreaux, soprano

Kathryn Brake and Haskell Small, piano, David Jones, saxophone

National Gallery Vocal Arts Ensemble

Presented in honor ofNational Hispanic Heritage Month

and in collaboration with the Embassy ofSpain

October 5, 2008

Sunday Evening, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Mystics

An original production of)musica(aperta

Based on texts by San Juan de la Cruz and Rosalia de Castro

Textual Treatment and English Synopsis: Juan Uriagereka 

Stage Direction: Pedro Boixeda

Script: Juan Uriagereka and Ignacio Alcover

Lighting: Gordon Anson, Juan Garedo, and Rob Johnson 

Sound: John Conway

The program includes music by the following composers: 

Magister Perotinus (fl. ca. 1200)

Cristobal de Morales (c. 1500-1553)

Federico Mompou (1893-1987)

Henryk Gorecki (b. 1933)

Arvo Part (b. 1935)

Osvaldo Golijov (b. i960)

The Participants

)musica(aperta

)musica(aperta is an interdisciplinary ensemble producing concerts in which

music is placed in context through other arts and media. Each concert, or

spettacolo, is a performance piece developed by a creative team around a

musically compelling topic: an idea, person, character, or place. Re: New, a

recent production ofthe ensemble at The Shakespeare Theatre, explored the

music ofwar and love, the culinary creations of chefJose Ramon Andres, and 

modern dance, as well as the artistic bond between maestro, diva, and chef.

In June 2006 The Shakespeare Theatre Company invited )musica(aperta to

present Six Degrees ofHamlet as part ofthe city-wide celebration Shakespeare

in Washington.

In addition to developing and staging its own works, )musica(aperta is

actively engaged with inner-city youth through educational programs that 

allow students to collaborate with professional musicians, composers, and 

directors, and to realize their own artistic dreams. The current season features

“The Struggles of Mr. M,” a collaboration with the education department of 

the John F. Kennedy Center for the Performing Arts. Staged as a performance 

workshop for school children, it offers the audience members an opportunity 

to create an eighteenth-century-style composition, which is then performed 

by the musicians.

)musica(aperta wishes to express its special appreciation to Javier Diez

for his literary research leading to this program.

IGNACIO ALCOVER

Founder and artistic director Ignacio Alcover heads the creative team for

each )musica(aperta production. A professional cellist who was born in

Barcelona, he has performed throughout the United States as well as in

Europe and the Far East. Alcover has collaborated in the theater as a performer and composer for the international production ofthe two-man show 

“Un home apassionat.” He was also a member ofthe Grup Instrumental

3
Catala, a contemporary music ensemble in residence at the Fundacion Miro

in Barcelona, responsible for more than one hundred world premieres.

Alcover was recently awarded La Cruz de Oficial de la Orden de Isabel la

Catolica by King Juan Carlos i of Spain.

JUAN URIAGEREKA

Juan Uriagereka, the writer for )musica(aperta, is a professor at the University of Maryland, College Park, who received his doctorate in linguistics 

from the University ofConnecticut. He is the author of Rhyme and Reason,

which was published by mit Press and received the American Association

of Publishers’ 1998 Best New Professional Book in Language and Literature 

award. He has seven other books to his credit, including the forthcoming

OfMinds and Language: A Conversation with Noam Chomsky, to be published

by Oxford University Press. A creative writer and director for radio, television, and the theater, Uriagereka has produced numerous articles, talks, and

interviews in Asia, Europe, Latin America, and the United States and has

received grants from the National Science Foundation.

PEDRO BOIXEDA

Pedro Boixeda, the stage director for this production, is an art historian and

a media professional who studied scenography at the Barcelona Institute of

Theatre and direction with Lluis Pasqual. Boixeda’s works range from experimental theater to the stage direction of operas at the renowned Liceo and

Palau de la Musica in Barcelona and the Teatro de La Zarzuela in Madrid,

also known as the Zarzuela Opera House. In addition to his theatrical works,

Boixeda taught opera workshops at Barcelona’s Conservatory of Music and

worked in the production and direction ofseveral films. He has won several

prizes for his work as a creative director in multimedia publishing, recognizing his use ofstate-of-the-art tools for communication and publicity.

4

NATIONAL GALLERY VOCAL ARTS ENSEMBLE

With this concert, the National Gallery Vocal Arts Ensemble begins its fourth

season as a chamber choir under the leadership ofits artistic director, Rosa

Lamoreaux. In January 2009 the ensemble will be in residence at the Music

Festival of Sonora, Mexico. Members of the National Gallery Vocal Arts

Ensemble participating in this concert are:

Rosa Lamoreaux, soprano

Gisele Becker, soprano

Barbara Hollinshead, mezzo-soprano

Roger Isaacs, countertenor

Tony Boutte, tenor

Stephen W’hite, tenor

Steven Combs, baritone

Peter Becker, bass

5
Program Notes

When the first Spanish explorers and settlers came to America in the early 

sixteenth century, Europe was enjoying a flourishing musical environment

that subsequent music historians dubbed the “early Renaissance.” During

the ensuing 500 years, each successive musical period and style had its

representation in the performers and composers who emigrated from Spain

and circulated throughout the Americas. From the haunting mysticism of

Spanish Renaissance choral music to the vibrant flamenco rhythms ofthe

sixteenth century, the seguidillas and villancicos ofthe eighteenth century,

and the zarzuelas ofthe nineteenth century, Spanish and Hispanic songs

and dances were known and loved by people of all ethnic backgrounds.

Twentieth-century composers Enrique Granados, Frederic Mompou, and

Heitor Villa-Lobos occupy an important place in the canon. Because ofthe

frequent recurrence ofmysticism in Spanish and Hispanic music and

literature, it is the source from which many ofthe elements ofthis program

are drawn. It is therefore fitting that the concert is presented in recognition

of National Hispanic Heritage Month (September 15 to October 15).

6

Texts and translations

The author ofthe English synopsis of Cantico espiritual, Juan Uriagereka,

writes: “San Juan de la Cruz wrote this poem in 1577, during his imprisonment in Toledo. Several English translations were consulted for this production, but in my view none ofthem could do justice to the original poem. What

is offered here is a ‘guide to the stanzas,’ essentially an invitation to readers to

seek meaning for themselves.” Full translations are provided for de la Cruz’s

Cantar de alma and Lua descolorida by Rosalia de Castro (1837-1883).

CANTICO ESPIRITUAL

Esposa

c’Ad6nde te escondiste,

amado, y me dejaste con gemido?

Como el ciervo huiste,

habiendome herido;

sail tras ti, clamando, y eras ido.

Pastores, los que fuerdes

alia, por las majadas, al otero,

si por ventura vierdes

aquel que yo mas quiero,

decidle que adolezco, peno y muero.

Buscando mis amores,

ire por esos montes y riberas;

ni cogere las flores,

ni temere las fieras,

y pasare los fuertes y fronteras.

SPIRITUAL CANTICLE

The Bride

Where have you gone, love?

You left me behind, I followed— 

you were gone.

People: if you see him, tell him that

I’m dying.

I’d go anywhere to find him, I

couldn't think of anything else to do,

or anything to fear.

7
Pregunta a las Criaturas

jOh bosques y espesuras,

plantadas por la mano del amado!

jOh prado de verduras,

de flores esmaltado,

decid si por vosotros ha pasado!

Respuesta de las Criaturas

Mil gracias derramando,

paso por estos sotos con presura,

y yendolos mirando,

con sola su figura

vestidos los dejo de hermosura.

Esposa

jAy, quien podra sanarme!

Acaba de entregarte ya de vero;

no quieras enviarme

de hoy mas ya mensajero,

que no saben decirme lo que quiero.

Y todos cuantos vagan,

de ti me van mil gracias refiriendo.

Y todos mas me llagan,

y dejame muriendo

un no se que que quedan

balbuciendo.

Mas ^como perseveras,

oh vida, no viviendo donde vives,

y haciendo, porque mueras,

las flechas que recibes,

de lo que del amado en ti concibes?

A question to the creatures

He planted you, trees, bushes....

Have you seen him go by?

Their reply

He did go by our side;

His mere sight dressed us in beauty.

The Bride

How will I survive! Please don’t

send any more messengers—they

are not you.

Everyone sings your praises, and

they hurt me more by that.

How can my life go on, not living

where it lives and turning longing

into death?

<Por que, pues has llagado 

aqueste corazon, no le sanaste?

Y pues me le has robado,

dpor que asi le dejaste,

y no tomas el robo que robaste?

Apaga mis enojos,

pues que ninguno basta a

deshacellos,

y veante mis ojos,

pues eres lumbre dellos,

y solo para ti quiero tenellos.

jOh cristalina fuente,

si en esos tus semblantes plateados,

formases de repente

los ojos deseados,

que tengo en mis entranas

dibujados!

jApartalos, amado, que voy de vuelo!

Esposo

Vuelvete, paloma,

que el ciervo vulnerado

por el otero asoma,

al aire de tu vuelo, y fresco toma.

Why didn’t you fix the heart you 

broke? Since you stole it, why didn’t

you take it with you?

Turn offmy complaints, let my

eyes see you—for I want them only 

for you.

Dear fountain: if only you could

mirror those eyes I carry inside

my soul...

Close your eyes, love: I’m flying!

[She attempts suicide on the well]

The Bridegroom

Stay, dove: Here’s your wounded

deer, watching you fly over.

9
Esposa

jMi amado, las montanas,

los valles solitarios nemorosos,

las Insulas extranas,

los nos sonorosos,

el silbo de los aires amorosos;

la noche sosegada,

en par de los levantes de la aurora,

la musica callada,

la soledad sonora,

la cena que recrea y enamora;

nuestro lecho florido,

de cuevas de leones enlazado,

en purpura tendido,

de paz edificado,

de mil escudos de oro coronado!

A zaga de tu huella,

las jovenes discurran al camino;

al toque de centella,

al adobado vino,

emisiones de balsamo divino.

En la interior bodega

de mi amado bebi, y cuando salia,

por toda aquesta vega,

ya cosa no sabia

y el ganado perdi que antes seguia.

The Bride

My love: mountains, valleys, islands 

and rivers, the rustling ofthe air;

the quiet night, the silent music, the 

noisy solitude;

Maidens chase your every step, in

search of your ointment so divine....

1 drank in my lover’s cellar, and lost

track of anything outside.

our bed full offlowers, laid in

purple, built on peace!

10

Alii me dio su pecho,

alii me enseno ciencia muy sabrosa,

y yo le di de hecho

a mi, sin dejar cosa;

alii le prometi de ser su esposa.

He gave me his chest, he revealed to

me his most delectable knowledge,

and I kept nothing from him.

Mi alma se ha empleado,

y todo mi caudal, en su servicio;

ya no guardo ganado,

ni ya tengo otro oficio,

que ya solo en amar es mi ejercicio.

My soul is now at his service; I have

no other job than loving.

Pues ya si en el ejido

de hoy mas no fuere vista ni hallada,

direis que me he perdido;

que andando enamorada,

me hice perdidiza, y fui ganada.

As I won’t be seen anywhere else,

you are to tell people that I’m lost.

De flores y esmeraldas,

en las frescas mananas escogidas,

haremos las guirnaldas

en tu amor florecidas,

y en un cabello mio entretejidas:

In the mornings, we will thread the 

flowers of your love amidst my hair:

en solo aquel cabello

que en mi cuello volar consideraste;

mirastele en mi cuello,

y en el preso quedaste,

y en uno de mis ojos te llagaste.

That hair you saw flying on my neck,

which made you a prisoner ofmy

eyes.

n
Cuando tu me mirabas,

tu gracia en mi tus ojos imprimian;

por eso me adamabas,

y en eso mererian

los mios adorar lo que en ti vian.

No quieras despreciarme,

que si color moreno en mi hallaste,

ya bien puedes mirarme,

despues que me miraste,

que gracia y hermosura en mi

dejaste.

Cogednos las raposas,

que esta ya florecida nuestra vina,

en tanto que de rosas

hacemos una pina,

y no parezca nadie en la montina.

Detente, cierzo muerto;

ven, austro, que recuerdas los

amores,

aspira por mi huerto,

y corran sus olores,

y pacera el amado entre las flores.

Esposo

Entrado se ha la esposa

en el ameno huerto deseado,

y a su sabor reposa,

el cuello reclinado

sobre los dulces brazos del amado.

When you looked, your eyes imprinted grace upon me, and 1 adored 

you back.

Please, do not despise me: If I had 

any darkness, you took it away after

you saw me.

Take away the intruders, for our 

vineyards have now flourished.

Take the cold winds away, bring

those that recall love and smells and

flowers.

The Bridegroom

She is now in the orchard of desire,

her neck resting on the sweet arms

of her lover.

12

Debajo del manzano,

alii conmigo fuiste desposada,

alii te di la mano,

y fuiste reparada

donde tu madre fuera violada.

O vos, aves ligeras,

leones, ciervos, gamos saltadores,

montes, valles, riberas, 

aguas, aires, ardores

y miedos de las noches veladores,

por las amenas liras

y canto de serenas os conjuro 

que cesen vuestras iras

y no toqueis al muro,

porque la esposa duerma mas

seguro.

Esposa

Oh ninfas de Judea,

en tanto que en las flores y rosales

el ambar perfumea,

mora en los arrabales,

y no querais tocar nuestros

umbrales.

Under the apple tree, with me you

became one, I mended you where 

your mother had been raped.

O birds, lions, game, mountains,

valleys, waters, air and fear who

guard nights,

1 summon you by the songs of

mermaids and the pleasant lyres: do

not even touch the wall, so that she 

sleeps tighter!

The Bride

O girls ofJudea: so long as you smell 

the scent of amber, do not attempt to

touch our doors.

!3
Cantar de alma

(San Juan de la Cruz)

Aquella eterna fuente esta escondida

Que bien se yo do tiene su manida

Aunque es de noche

Su origen no lo se pues no lo tiene

Mas se que todo origen de ella viene

Aunque es de noche

Se que no puede ser cosa tan bella 

Y que cielos y tierra beben de ella

Aunque es de noche

Se ser tan caudalosas sus corrientes

Que infiernos cielos riegan y a las

gentes

Aunque es de noche

El corriente que nace de esta fuente

Bien se que es tan capaz y tan potente

Aunque es de noche

Aquesta viva fuente que yo deseo

En este pan de vida ya lo veolnside

Aunque es de noche

Song of the Soul

And that eternal fountain, so concealed

It is... that very few can break its seal

Although it is night

Its source I know not, I cannot, no...

But every source will spring from it,

I know

Although it is night

I know such beauty simply cannot be

That earth and heavens both from it

will drink

Although it is night

Even ifits currents are not ample

What hells, people, and heavens do

they dampen

Although it is night

I know the flow transpiring from

this fountain

is so powerful it could displace

a mountain

Although it is night

This lively fountain that I always see 

Is the bread oflife that lives in me

Although it is night

14

Lua descolorida

(Rosalia de Castro)

Lua descolorida

como cor de ouro palido,

vesme i eu non quixera

me vises de tan alto.

6 espazo que recorres

levame, caladina, nun teu raio.

Astro das almas orfas,

lua descolorida,

eu ben sei que n’alumas

tristeza cal a mina.

Vai contallo 6 teu dono

e dille que me leve a donde habita.

Mais non lie contes nada,

descolorida lua,

pois nin neste nin noutros

mundos terei fertuna.

Se sabes onde a morte

ten a morada escura,

dille que corpo e alma xuntamente

me leve a donde non recorden nunca,

nin no mundo en que estou nin

nas alturas.

Colorless Moon

Colorless moon,

Likeness ofpale gold,

You see: I’d want

To be carried along

On your rays, to the space

You’ve walked in silence for so Ion

Star ofthe orphan souls,

Colorless moon,

I know you’ll never light

sadness like my own.

Go tell it to your Lord:

I should be sent to his old home.

Although you’d better not,

Colorless moon,

For my fate will remain

Unchanged; I don’t know why.

Ifyou know where Death

Lives in the dark and hides,

Tell her to take my body and soul

Where they won’t be kept in mind

Either in this earth or in the sky.