mer of 1883 at Wiesbaden when Brahms was fifty years old. British critic Neville Cardus, in reviewing a performance of the work

under the baton of the celebrated German-born American conductor Bruno Walter, stated: “...All the movements of the third

symphony end softly, and in the third movement the minor key

takes charge until the last bars of the finale. But the general

effect and coloring do not evoke consistent feelings ofsadness or 

softness; the music is often vibrant and happy, ranging through

many moods and humors. [It is] large ofstride in the first movement; intimate and charming in the second; lyrical with swinging, flowing rhythm in the third; and [the work comes to a close

with] a vigorous finale that melts in warmth of heart. The symphony is the musical epitome of a life well and wisely spent by a

lover of all things of beauty, whether the work of men or of nature, a man who loved life so deeply and variously that he was 

reluctant indeed to depart from it.”

-Program Notes by Elmer Booze

A National Gallery exhibition that has proven to be ofinterest for

concertgoers is A Collector's Cabinet, which continues through August 9 in the Dutch Cabinet Galleries near the West Building Rotunda. Fashioned after the collections of paintings, graphic arts,

sculpture, and decorative arts that were the pride ofseventeenthcentury Dutch burghers, the exhibition includes eight rare seventeenth-century musical instruments, each designed and decorated

to be an object ofvisual as well as musical delight. The exhibition

is open during the Gallery’s regular hours: Monday through Saturday, 10:00 am to 5:00 pm, and Sunday, 11:00 am to 6:00 pm.

The use ofcameras orrecording equipment

during theperformance is not allowed.

Forthe convenience ofconcertgoers

the Garden Cafe remains open until 6:30pm.

The Fifty-sixth Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2214th Concert

NATIONAL GALLERY ORCHESTRA

GEORGE MANOS, conductor

Sunday Evening, June 7, 1998 

at Seven O’Clock

West Building, West Garden Court

Admission Free
PROGRAM

Joseph Haydn Symphony No. 88 in G Major

(1732-1809) (ca. 1787)

Adagio; allegro

Largo

Minuetto: Allegretto

Finale: Allegro con spirito

INTERMISSION

Johannes Brahms Symphony No. 3 in F Major

(1833-1897) Opus 90 (1883)

Allegro con brio

Andante

Poco allegretto

Allegro

Conductor, composer, and pianist GEORGE MANOS has been

director ofmusic at the National Gallery ofArt and conductor of

the National Gallery Orchestra since 1985. He is also artistic

director of the American Music Festival and ofthe National Gallery Vocal Arts Ensemble and chamber ensembles, which he

founded. A native Washingtonian, George Manos was already

organizing and conducting orchestras and choirs in this city at

the age of seventeen. Among those were the Hellenic, Washington, and National Oratorio Societies and the American Composers and Conductors Chamber Orchestra, an ensemble

dedicated to the presentation of new works by American composers. His career as a teacher included several years on the

faculty of The Catholic University, where he taught piano, conducting, and chamber music, and directorship ofthe Wilmington,

Delaware, School of Music, where he presented an annual jazz

festival and clinic. Maestro Manos founded and directed for ten

years the renowned Killarney Bach Festival in the Republic of

Ireland and was the music director of the 1992 Scandinavian

Music Festival in Folding, Denmark.

As the section leader in the second violins of Haydn’s personal

orchestra at Esterhaza, Johann Tost was given the right to ownership of two of Haydn’s symphonies, nos. 88 and 89. On a trip to

Paris in 1788, Tost took along not only the two symphonies, but also

Haydn’s StringQuartets,Opp. 54and55. Being somewhat over- zealous, Tost sold to the French publisher Sieber a third “Haydn” symphony, which had actually been composed by Adalbert Gyrowetz

(1763-1850), a Bohemian composer and conductor who was wellknown at the time. In addition, Tost sold the rights to six ofHaydn’s

piano sonatas, ofwhich he had no ownership. “Papa” Haydn, upon

learning ofthe deception, proceeded to rectify the situation bywriting to Sieber: “Tost has swindled you; you can claim your damages

in Vienna.”

The preeminent Haydn scholar H.C. Robbins Landon sums up

the G Major Symphony as follows: “...rightly one of Haydn’s most

beloved symphonies,...an inspired work from beginning to end, containing every contrapuntal, melodic and instrumental device Haydn

knew. But this fantastic display ofcraftsmanship is only the vehicle

for Haydn’s inspiration: the canon in the last movement, in itself a

tour deforce, is the logical outcome of the foregoing material; the

idea of keeping the trumpets and drums silent in the first movement, in order to reserve their entrance for the first crashing tutti of

the Largo is in itself a stroke of genius, growing out pf the music

rather than being superimposed on it; the delightful drone bass in

the trio, with its strange dynamic effects (bassoons'forteassaiagainst

the other instruments’ piano) is inherent in the music, and not an

extraneous effect. Seldom did Haydn reach the pinnacle ofperfection achieved in No. 88....”

During the late 1850s, Brahms commenced his adventure into the

world of orchestral music, composing two serenades. His symphonies also reflect his propensity for writing things in pairs. Nos. 1

and 2 were both composed in 1876/1877 and Nos. 3 and 4 in 1883/

1884. The Symphony in FMajor, Opus 90 was completed in the sum-