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

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West Building after 6:30 pm is not permitted.

For the convenience of concertgoers, 

the Garden Cafe remains open for light refreshments

until 6:00 pm on Sundays.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, dc

www.nga.gov

Concerts are made possible in part through the generosity of donors

to the National Gallery ofArt through The Circle. Reserved seating is

available in recognition oftheir support. Please contact the development 

office at (202) 842-6450 or circle@nga.gov for more information.

The Seventy-second Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,985th Concert

Poulenc Trio

Irina Kaplan, piano

Vladimir Lande, oboe

Bryan Young, bassoon

with

Anton Lande, violinist

Rebecca Allan, artist, and John Feldman, filmmaker

March 23, 2014

Sunday, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Georg Frideric Handel (1685-1759)

Trio Sonata in F major, op. 2, no. 4 (c. 1700)

Adagio 

Allegro 

Largo

Allegro

Mikhail Glinka (1804-1857)

Trio Pathetique in D Minor (1832)

Allegro moderato

Scherzo

Largo

Allegro con spirito

Dmitri Shostakovich (1906-1975)

Arranged by Anatoliy Trofimov 

Romance, op. 97a

From the film score for The Gadfly (1955)

A Spin through Moscow

From Moscow Cheryomushki, op. 105 (1957)

INTERMISSION

Laura Kaminsky (b. 1956)

Selections from Horizon Lines (2013)

Manasota Key

Spuyten Duyvil, Ice Floes

Ebey’s Landing, Swallows

Alfred Schnittke (1934-1998)

Suite in the Old Style, op. 28 (1972)

Pastorale

Ballet

Minuet

Fugue

Pantomima

Kurt Weill (1900-1950)

Suite from The Threepenny Opera

Arranged by Stefan Frenkel

The Ballad of Mack the Knife

Call from the Grave

The Ballad ofthe Easy Life

Polly’s Song

Tango Ballad

Canon Song
The Musicians

POULENC TRIO

Consisting ofpianist Irina Kaplan, bassoonist Bryan Young, and oboist

Vladimir Lande, the Poulenc Trio is committed to expanding the repertoire

for wind trio through the rediscovery of old masterpieces and the commissioning of new works. Its concerts in the United States include four appearances at the National Gallery ofArt as well as concerts at the Kennedy Center

and Symphony Space in New York City. Overseas, the Trio has performed in

the Caribbean region as well as Italy, Mexico, and Russia (with violinist Hilary

Hahn). Since 2004 the Trio has directed Music at the Museum, a series of

entertaining and thought-provoking programs presented in great American

museums, including the Baltimore Art Museum, the National Gallery, and

the Zimmerli Art Museum at Rutgers University.

Featured in recent full-length profiles in Chamber Music magazine and

the Double Reed Journal, the group has been called “virtuosos of classical and

contemporary chamber music” in a profile on Russian television. Reviews

from across the United States have praised its “new and delicious sounds,”

calling the individual members ofthe ensemble, “three virtuosi in complete

command oftheir instruments” who “played with spirit and grace and brought

the near-capacity crowd to its feet.” The Poulenc Trio maintains a website at

www.poulenctrio.com.

VLADIMIR LANDE

Born in Saint Petersburg, Russia, where he graduated from the Conservatory

of Music with degrees in both oboe and piano, Vladimir Lande is currently

the principal oboist ofthe Baltimore Opera. As principal oboist in the 1980s

ofthe Saint Petersburg (Leningrad) Philharmonic Orchestra, he performed

under Claudio Abbado, Leonard Bernstein, Valery Gergiev, and Yuri Temirkanov.

Equally active as a conductor, Lande is associate conductor ofthe Saint Petersburg State Symphony Orchestra. His conducting career includes appearances

as guest conductor ofthe Baltimore and Tulsa symphony orchestras as well

as the National Gallery of Art Orchestra. In 2010 he served as guest music

director ofthe National Gallery’s sixty-fourth American Music Festival.

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BRYAN YOUNG

Praised for his “voluptuous sound” by the Double Reed Journal, Washington, DC

native Bryan Young was a prizewinner ofthe 2002 Gillet-Fox International

Bassoon Competition. He has appeared as soloist with the Baltimore and

National symphony orchestras as well as in recitals across the United States

and around the world. Reviewing a recent concert by the Poulenc Trio, the

Washington Post wrote, “Young’s music dances with a lightness and grace

uncommon for his instrument.” Principal bassoonist ofthe Baltimore Chamber

Orchestra and a member ofthe iris Chamber Orchestra in Memphis, Young

trained at the Peabody Conservatory in Baltimore and at Yale University.

IRINA KAPLAN

A graduate ofthe Saint Petersburg Conservatory of Music who currently

teaches piano at the Peabody Institute ofJohns Hopkins University, Russianborn pianist Irina Kaplan is a winner ofthe Baltimore Chamber Music Award 

and the Montpelier Recital Competition. She has appeared in the Bachanalia

Recital Series, New York Times Young Performers Series, and Yale Gordon

Concert Series. Performances in the Caribbean region as well as England,

Germany, Italy, and Russia have garnered critical praise ofher “beauty and

brilliance ofsound, astonishing flexibility, and penetrating interpretation.”

Fanfare magazine took note ofher as “a strong pianist who doesn’t settle for

an accompanying role.”

ANTON LANDE

Performing as guest violinist in tonight’s concert, Anton Lande is a graduate

ofthe Johns Hopkins University and the Peabody Conservatory, where he

majored in both violin performance and economics. An alumnus ofthe

Tanglewood Institute Quartet Program, he has performed at the Baltimore

Museum ofArt, Kennedy Center, Smithsonian Institution, and Walters Art

Museum as well as in the Flagler Museum Series in Palm Beach, Florida,

and the Saint Croix Candlelight Music Series in the Virgin Islands.

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Program Notes

Dependent upon income from the sale ofhis music, Handel was skilled in

the art ofmarketing his publications. He saw to it that the title page of his

Trio Sonatas, op. 2, included the language: “for two German [transverse] 

Flutes or Violins, with the further option oftwo Haubois.” Baroque oboe

players would have discovered, upon opening their newly acquired Handel

scores, that the second part included low notes that their instrument could

not play. Undaunted, they would simply have played those passages up an

octave, as was the custom in such cases. The opus 2 sonatas use the sonata

da chiesa (church sonata) form that had been established in the seventeenth

century by Arcangelo Corelli (1653-1715), consisting offour movements in

alternating slow and fast tempos.

Mikhail Glinka was the first Russian composer to combine the musical

idiom of his day with a personal and strongly original voice. Born in the

village of Novospasskoye, five-hundred miles southeast of Moscow, Glinka

studied composition and instrumentation in Saint Petersburg with the Irish

pianist John Field. Glinka also mastered the techniques ofItalian and French

opera, which he applied to Russian history and legends in his operas A Life

for the Tsar and Ruslan and Lyudmila. Subsequently dubbed “the Russian

classics” by Russian music teachers and critics, these works served as models

for later nineteenth-century Russian composers.

Genuinely interested in film as an art form, Dmitri Shostakovich wrote

music for thirty-four films, but only a few ofthem had his respect and admiration. At several points in his career (notably after his public denunciations in

1936 and 1948), music for cinema was the only work offered to him, and those

periods saw him churning out accompaniments to patriotic battles and heroic

posturings from all periods of Russian history. It was this music that caught

the ears ofthe Communist leadership, commended him to Stalin, and possibly even kept him alive when others who roused the dictator’s ire were assassinated. His score for The Gadfly, a film by Aleksandr Fajntsimmer (1906-1982)

based on the eponymous novel by Ethel Lilian Voynich (1864-1960), contains

some ofhis most accessible music, including “Romance,” op. 97a, which was

subsequently used as theme music for the television series Reilly, Ace ofSpies.

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Commissioned by the Seattle Chamber Music Society in tribute to its

founding artistic director Toby Saks, Laura Kaminsky’s Horizon Lines is a

multimedia work for oboe, bassoon, and piano that incorporates paintings

by artist Rebecca Allan within a digital film by John Feldman. It is the first

official collaboration between the composer and painter, who live and work

together in New York City. Often working side-by-side in a selected landscape, Allan and Feldman allow the water, weather, geology, and ecology

oftheir surroundings to influence their art and music. The movements of

Horizon Lines correspond to paintings ofsites from across England and the

United States.

New York City-based painter Rebecca Allan works from a studio that

overlooks the Harlem and Hudson Rivers in New York City. Her most recent

exhibition, Tributary, was presented at the Cary Institute of Ecosystem Studies

in Millbrook, New York. Born in Baltimore in 1954, John Feldman won first

prize at the 1990 San Sebastian International Film Festival with his first

feature film, Alligator Eyes. His works cover a wide range of genres, including independent dramatic feature films, documentaries, educational films,

and films for business.

Like Igor Stravinsky, Arnold Schoenberg, and a number of other iconoclastic composers ofthe twentieth century, Alfred Schnittke turned toward

the end ofhis career to writing music in a much older style. His Suite in the

Old Style for violin and piano is a transcription of certain movements from

his film scores. The first two movements are taken from a film detailing the

adventures of a dentist—apparently a practitioner of painless dentistry,

judging from the cheeriness ofthe music. In the slow, melancholy Minuet—

extracted from the score of an animated film for children—the piano imitates

traditional baroque ornaments, while the violin takes the subordinate role it 

sometimes had in baroque works for violin and keyboard. Taken from a film

about a sportsman, the Fugue is resolute and accomplished, driving quickly 

to its emphatic coda. The most daring piece ofthe set, the final Pantomima

(Pantomime) was also written for a children’s animated film.

Program notes by Stephen Ackert, head, music department, National Gallery ofArt

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