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.

Music Department

National Gallery of Art

Sixth Street and Constitution Avenue nw

Washington, DC

www.nga.gov

The Sixty-ninth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,821st Concert

National Gallery ofArt Vocal Ensemble

Rosa Lamoreaux, soprano

William Sharp, baritone

Grant Herreid, lute, recorder, guiteme, percussion, vocals

Thomas Zajac, bagpipe, recorder,flute, pipe and tabor,

slide trumpet, percussion, vocals

February 2, 2011

Wednesday, 12:10 pm

West Building, West Garden Court

Admissionfree
Tino di Camaino, Madonna and Child with Queen Sancia, Saints,

and Angels (c. 1335), National Gallery ofArt, Washington, Samuel H.

Kress Collection

Program

“Celebrating 1,000 Years of Cultural Spirituality at the Badia di Cava”

Beneventan chants (Southern Italy, ninth to eleventh centuries)

Factus est repente de cello; Sanctus

Anonymous

San Domenico Beato

From Florentia Laudario (Florence, early fourteenth century)

Anonymous

Salterello ill (Southern Italy, fourteenth century)

Francesco Landini (c. 1325-1397)

Fa metter bando

Ser Lorenzo (d. 1373)

Da a chi avaregia

Ghirardellus de Florentia (c. 1320-c. 1362)

Fvo bene a chi vol

Anonymous

Istanpitta Belicha (Fourteenth century)

Landini

Angelica biltd

L’alma mia piange

Anonymous

Isanpitta Ghaetta (Fourteenth century)

Ser Lorenzo

L’antefana di Ser Lorenzo
Andrea Stefani (Late fourteenth century)

I’ senti matutino

Ser Lorenzo

Ita se n’era a star

Anonymous

Salterello iv

Ser Lorenzo

A Poste Messe

Anonymous

Salutiam divotamente

From Cortona Laudario (Cortona, thirteenth century)

Beneventan chants

Attende, caelum ; Pacem meam do vobis

The Musicians

ROSA LAMOREAUX

Soprano Rosa Lamoreaux is known for her flawless sense ofstyle, incandescent presence, and her “wonderfully rich timbre and an amazingly flexible

voice” (Washington Post). She has been hailed for her versatile musicianship,

her radiant, engaging, and effortless singing, and the diversity ofher repertoire. An award-winning vocalist with a busy international career, Lamoreaux is sought after for her interpretations ofrepertoire that ranges from

Hildegard von Bingen (1098-1179) to Dmitri Shostakovich (1906-1975).

After winning the Handel Aria Competition at the Aspen Music Festival

and placing as a finalist in the Oratorio Society Competition ofNew York,

Lamoreaux has gone on to sing at Carnegie Hall, the Dorothy Chandler

Pavilion, Royal Albert Hall in London, Usher Hall in Edinburgh, tire Gewandhaus in Leipzig, and the Kennedy Center. A soloist with the Atlanta Symphony

Orchestra, the Cincinnati Symphony Orchestra, the Dallas Symphony Orchestra, and the National Gallery ofArt Orchestra, she has won critical acclaim 

for her performances at Bach festivals in both the United States and Europe. 

Recent and upcoming performances include Handel’s Gloria at Grace Cathedral San Francisco, Acis and Galatea with Opera Lafayette at the Kennedy 

Center, Bach’s Saint John Passion at Washington National Cathedral, and

Barber’s Knoxville: Summer of1915 and Handel’s Messiah with the National

Philharmonic Orchestra in Maryland.

As artistic director ofthe National Gallery ofArt Vocal Ensemble, Lamoreaux designs and performs concerts for specific exhibitions at the Gallery.

Outside the United States, she has sung recitals at the Amalfi Coast, Rheingau. La Fenice Chamber, and Scandinavian music festivals, as well as at the

Louvre Museum and Vienna’s Schloss Belvedere. Her recordings include

Vivaldi’s Gloria and Bach’s Magnificat with the Bethlehem Bach Festival;

chants of Hildegard von Bingen; Berlioz’ Messe solennelle; and I Love Lucette:

Chansons ofthe French Renaissance theater on the Koch International

Label. Since the Washington Area Music Association’s Award (Wammie) was 

established in 1985, Rosa Lamoreaux has won it five times as Best Classical 

Vocalist. More information may be found at wuw.rosasings.com.

5
WILLIAM SHARP

Baritone William Sharp has earned a reputation as a singer of great versatility 

and continues to gamer critical acclaim for his work in concerts, recitals, 

operas, and recordings. He has appeared in recent seasons with the National

Symphony Orchestra, New York Philharmonic, Opera Lafayette, and with the

symphony orchestras of New Jersey, Saint Louis, and San Francisco, as well as

the Saint Paul Chamber Orchestra. A specialist in baroque and prebaroque

music, he performs with the Bach Aria Group, the Handel and Haydn Society,

the Maryland Handel Festival, and the choirs ofWashington National Cathedral, and is a frequent guest ofthe Folger Consort. Sharp’s opera credits

include John Adams’ Nixon in China, Henry Purcell’s Dido and Aeneas, and

David del Tredici’s Gay Life. Winner ofthe 1987 Carnegie Hall International

American Music Competition, he was nominated for a 1989 Grammy award 

for best classical vocal performance for his recording featuring the works

ofAmerican composers Lee Hoiby, John Musto, and Virgil Thomson. He 

can also be heard on the 1990 Grammy- winning world premiere recording

of Leonard Bernstein’s Arias and Barcarolles. Sharp has also recorded for 

Vox-Turnabout, Newport Classics, Columbia Records, Nonesuch and cri.

GRANT HERREID

A nationally recognized virtuoso on Renaissance and baroque reeds, brass,

and strings, Grant Herreid also performs as a vocalist wdth Hespems,

My Lord Chamberlain’s Consort, the New York Consort ofViols, and the

Philadelphia-based Renaissance wand band Piffaro. He also plays theorbo

and lute with the baroque ensembles artek and SinfoniaNY. He has been

a guest artist with Apollo’s Fire, Brandywine Baroque, the Folger Consort,

the King’s Noyse, the Newberry Consort, and Quicksilver, and has played 

continuo with baroque opera companies at the Aspen Music Festival and

the Curtis and Juilliard music schools as wrell as with Chicago Opera

Theater, New York City Opera, and Portland Opera. Now on the faculty of

Yale University, he also teaches classes in Renaissance and baroque music

6

at the Mannes College of Music and the Amherst and Madison early music

festivals. As a stage director and musical coach, he has worked with the

Seattle Academy of Opera and has created and directed several original

theatrical early music show's. With the ensembles Ex Umbris and Ensemble

Viscera, Herreid explores the esoteric unwritten traditions of early music.

THOMAS ZAJAC

A multi-instrumentalist widely praised for his versatility and stylish playing, 

Thomas Zajac is a long-standing member of Piffaro, a founding member

ofthe musical and theatrical group Ex Umbris, and a regular guest artist

with the Folger Consort. He has also appeared with the Concert Royal, New

York’s Ensemble for Early Music, King’s Noyse, Newberry Consort, Violins 

of Lafayette, and Waverly Consort. He can be heard on over thirty recordings,

ranging from medieval dances and baroque opera to contemporary folk-rock.

With Ex Umbris, he performed at the Fifth Millennium Council event at the

White House during the Clinton administration. He has also played serpent

in a work by P.D.Q. Bach (Peter Schickele) for the nationally broadcast

radio show A Prairie Home Companion; hurdy-gurdy for an American Ballet

Theater Company performance of Mozart’s Three German Dances, choreographed by Twyla Tharp; bagpipe for an internationally broadcast Gatorade

commercial; and percussion for a sixteenth-century equestrian ballet at the

Berkeley Early Music Festival in California. He made his Carnegie Hall 

debut playing shawm for the New York Gay Men’s Chorus, and the recorded

sound of his bagpipe woke the astronauts every morning on a 2001 space 

shuttle mission. Zajac directs the Medieval/Renaissance week ofthe San 

Francisco Early Music Society workshops in Sonoma, California, teaches at 

other workshops throughout the United States, and directs the early music

ensembles at Wellesley College near his home in Boston.

7
Program Notes

This concert is part of a celebration ofthe millennium ofthe Benedictine 

Abbey of Cava de’ Tirreni, near Salerno, Italy. Presented jointly by the Center 

for Musical Studies ofWashington, DC, the Embassy of Italy, the National

Gallery of Art, and the Province of Salerno, the three-day-long celebration 

in Washington is in turn part of a year-long international celebration ofthe

abbey and its thousand-year contribution to the culture ofthe region of

Campania, where the abbey is located. In addition to this concert, a Gregorian mass was celebrated yesterday at the Shrine ofthe Immaculate Conception, and a concert and round-table discussion will take place at the Embassy

ofItaly tomorrow, February 3, at 6:30 pm.

In the Middle Ages, the Benedictine Abbey ofthe Holy Trinity of Cava

de’ Tirreni, also known as Badia di Cava, was one ofthe most important

and powerful religious and cultural centers in southern Italy. The abbey was

founded in 1011 by a Lombard nobleman who located the source of his vision

ofthe Holy Trinity in the hills above the town ofCava de’ Tirreni, and went 

there to live in prayer and contemplation. Stories of his vision attracted a

large community of monies, which eventually formed a congregation under

the Order of Saint Benedict known as the Congregation ofthe Holy Trinity

of Cava. During the twelfth and thirteenth centuries, the Abbot ofthe Holy

Trinity ofCava ruled over 340 churches, more than 90 priories, and at least 

29 abbeys. Over the centuries, the abbey, housed in a magnificent complex

of buildings, has accumulated and preserved many frescoes, illuminated

manuscripts, mosaics, paintings, sarcophagi, sculptures, and other precious 

objects and furnishings. The abbey library has one ofthe most outstanding

monastic collections in Europe. One ofthe artists who completed many 

commissions for the abbey was the Italian sculptor Tino di Camaino (c. 1285-

1337). Members ofthe audience are encouraged to stop by Gallery 2 in the

West Building as they leave the concert, to see Tino’s Madonna and Child

with Queen Sancia, Saints, and Angels (c. 1335), which is in the Gallery’s

permanent collection.

Among the many acts of patronage ofmusic undertaken by the abbey,

one ofthe most recent was serving in 1995 as the first location ofthe Amalfi

Coast Music and Arts Festival. The festival, produced each summer by the

Center for Musical Studies, has since expanded to numerous other locations

in Campania, providing concerts, painting workshops for visiting artists,

and scholarly retreats. In observance ofthe anniversary ofthe abbey, the 2011

Amalfi Coast Music and Arts Festival will present a number ofspecial

programs at Badia di Cava.

It is not known whether Beneventan chant—a variation ofplainsong

that flourished in southern Italy in the Middle Ages—was ever heard at

Badia di Cava. Gregorian chant became the singing style of choice ofthe 

Catholic Church at large and the Benedictine order in particular during the

course ofthe eleventh century, and Beneventan chant was abolished by

Papal decree in 1058. The anniversary is appropriately marked by chant, 

however, since it has been practiced and perfected within the walls ofthe 

abbey without interruption for a thousand years. The secular songs in

today’s program would have been performed on the square in front ofthe

abbey and in the streets ofCava de’ Tirreni during the first three hundred

years ofits existence.

Program notes by Stephen Ackert, head ofthe music department,

National Gallery ofArt

9
Upcoming concerts at the National Gallery ofArt

Ariel String Quartet

Music by Ludwig van Beethoven

February 6, 2011

Sunday Evening, 6:30 pm

West Building, West Garden Court

Janice Martin, violinist

Michael Ricchiuti, pianist

John Wohlstetter, guest lecturer

Music by George Gershwin

February 9, 2011

Wednesday, 12:10 pm

West Building Lecture Hall

10
Texts and Translations

February 2, 2011

National Gallery of Art Vocal Ensemble

Factus est repente

Factus est repente de coelo sonus,

ad venientis spiritus vehementis ubi erant sedentes,

alleluia;

et repleti sunt omnes Spiritu Sancto,

loquentes magnalia Dei,

alleluia, alleluia.

Suddenly there came a sound from heaven,

as of a mighty wind coming where they were sitting,

alleluia;

and they were all filled with the Holy Spirit,

speaking the great works ofGod,

alleluia, alleluia.

Sanctus

Sanctus, sanctus, sanctus Dominus Deus Sabaoth.

Pleni sunt caeli et terra Gloria tua.

Hosanna in excelsis.

Benedictus que venit in nomine Domini.

Hosanna in excelsis.

Holy, holy, holy Lord God of hosts.

Heaven and earth are full ofthy glory,

Hosanna in the highest.

Blessed is he who comes in the name ofthe Lord.

Hosanna in the highest.

San Domenico beato

Homo di Dio fosfin tucte manere, 

c’ordinasti per lo mondo la schiere 

de li predicator, che son lumera

d’ogn’omo intenebrato, 

e ffanno star tacente 

ogni gente ch’e di resia laidita.

San Domenico beato...

Blessed Saint Dominic

You were a man of God in all ways;

you organized the troops ofpreachers 

throughout the world; they are the light

of every man in darkness;

and reduce to silence

every person corrupted by heresy.

Blessed Saint Dominic...

Santificato fosti da fantino,

per che fosti pien del saver divino;

voile Cristo che’l su’ vangelio fino

fosse ben predicato

per te ad ogne gente,

accio che la Scriptura sia compiuta.

You were sanctified since childhood

and therefore you were full of divine knowledge;

Christ wanted you to preach

his fine gospel well

to every person

in order to fulfill the Scriptures.

San Domenico beato... Blessed Saint Dominic...
Fa metter bando

Fa metter bando comandar’amore

A, ciasche dun’amanga over’amante

Celato tengha in fatt’e in sembiante.

Et che ni un si rimanga d’amare

Perch’al lui non paia esser canbiato

C’amor vuol che chi ama si amato.

Sappiendo chi fara contral la legge

Sara privato se non si corregge.

Let It Be Proclaimed

Let it be proclaimed and decreed by love

that every lover and sweetheart

Should hide his true feeling in his being.

And no one should cease to love

just because he is not reciprocated

For Love desires that those who love will be loved.

Let it be known that whoever breaks this law

Will be deprived oflove if he does not mend his ways.

Da a chi avaregia

Da a chi avaregia pur per se

Give, Even to the Selfish Hoarder

Give, even to the selfish hoarder,

Se’l tempo gli si volge a scherzo d’orsa when times turn against one’s fortunes,

Che non si trov’ amico fiior di borsa. for without a purse one finds not a friend.

Tu che ha stato ascolta me:

Quegli a il destro a fare a se amico

Ch’ha il pie nell’aqua, il panico.

You who have status, hear me:

He has the chance to make a friend

who has one foot in the water and one in the millet.

De, pensa che tardi si rincocca

Chi scende risalir, “zara a chi tocca”.

Think: he who falls later re-strings his bow

and rises— play the game at your own risk.

I’ vo’ bene a chi vol

F vo’ bene a chi vol

E non amo chi ama proprio se.

Non suo colui che per pigliar la luna

Consuma '1 tempo suo e nulla n'a

I Love Anyone Who Loves Me

I love anyone who loves me.

and I love not anyone who loves only herself.

Em not one ofthose who in order to catch the moon

waste all the time and achieve naught.

Ma, se m’avien, com' or,

M’ncontri ad una

Che mi si tolga, i’ dico: E tutti sta!

Se mi fa: Lima, lima!

Et io a lei: Da, da!

E cosi vivo in questa pura fe’.

But should it happen, as is now the case,

that I meet

a cruel creature, Til say to her "Stay then!"

Ifshe says to me, "Come on!"

I’ll say "Give!"

So it is that I love in such convictions.

Angelica bilta

Angelica bilta venut’e in terra:

Dunque ciascun c’ama veder bellezza

Virtu atti ve^osi e legiadria.

Vengha veder costei che sol vagheqa,

Ara di lei si com’a Talma mia

Ma non credo con pace tanta guerra.

Angelica bilta venut’e in terra.

Angelic Beauty

Angelic beauty has arrived on earth.

Therefore, anyone who loves to look upon 

beauty, virtue, charming and graceful gestures,

should come to see her, for he will have from her

only loveliness, just as my own soul has.

But I do not believe warfare will bring peace.

Angelic beauty has arrived on earth.

L’alma mia piange

L’alma mia piange, non puo a ver pace,

Da poi che tolto m’ai,

Donna ‘1 vago mirar di che m’infiammai.

Fu di tanto piacer la dolce vista

Ch’innamorai nel tuo primo guardare.

Sperando aver la gratia che s’aquista 

Ispesse volte per virtu d’amare.

Pur veggio la speran^a mia manchare

Che’l viso non mi fai

Che tu solevi ond’io sto’n pen’e’n guai.

My Soul Weeps

My soul weeps and finds no peace,

since you have deprived me, Lady,

the lovely vision which enflamed me.

The sweet vision was ofsuch delight 

that I fell in love at first glance,

hoping to obtain that blessing 

which derives so often from loving.

Yet I see my hopes fading,

for you will not raise your face to me;

And here I am in woe and pain.

L’antefana di Ser Lorenzo (The Antiphon of Master Lorenzo)

Diligenter advertant cantores ori soni ne inanis presumptio ignoranter absorbeat mentem cor et

pectora. Sed me cantent ter et quarter cum timore tritoni; et si modus non excedat regulae quae

lateat, plane cantus coetui iungantur per secula. Amen

Let singers be careful lest the empty boast ofthe mouth through ignorance involve the mind,

heart and breast. Rather, ifthey sing me repeatedly, fearful oftritone, and the interval not

exceeding the underlying rule, soon they will join the sodality (brotherhood) ofsinging forever.

Amen

I’ senti matutino

I’ senti matutino sonar dopo le squille,

Et po’ ben piu di mille galli

cantar matino.

Po’ dopo questi tanti can abaiare 

in frotta

Et poco stant’allotta udi

un trombettino.

Io ascoltando questo,

Senti gli altri stormenti,

Che piu di cento venti parien 

col tamburino.

Et poco stant’ancora udi si ben cantare,

E drieto po’ sonare

Trombett’e’l naccarino.

At Dawn I Heard

At dawn I heard the peal ofthe bells,

and then at least a thousand roosters sing

out the morning call;

And after all these, the hounds baying 

in anticipation,

and a little ways offI heard the sound of a

little trumpet

Hearing this, I then heard

the other instruments,

which seemed more than one hundred and

twenty, along with the little drum.

And a little further offI heard singing,

and then the sounds of

the trumpets and kettle drums.

Ita se n’era a star

Ita se n’era a star nel paradiso.

Cogliendo fior, Proserpina cantava 

Quando per l’amor so’

Pluto cercava.

When She Went on

When she went on to live in paradise 

collecting flowers, Proserpina sang,

when for love Pluto came

seeking her.

Cosi m’apparve ond’io m’innamora 

La donna che paro le mani al viso 

Per far che mai da llei foss’i’ diviso.

Thus, she appeared to me, and I fell in love

with the woman that covered her face with her hands

so that I would never be separated from her.

Benche meglio di me fece Plutone 

Che la rapi; ma i’ stetti ‘n prigione.

Although Pluto did better than I,

abducting her, he was confined to prison.
A poste messe

A poste messe veltri E gran mastini,

Te’,te’, Villan!

Te’,te’, Baril!

Chiamando, ciof, ciof

Qui, qui, ciof

Bracchie segugi

Per bosch’aizando

Eccola, eccola!

Guarda, guarda qua!

Lassa, lassa, lassa! O tu, o tu, o tu!

Passa, passa, passa!

La cervia usci al grido

Edal’abaio,

Bianca lattata, col collar

Di vaio

A ricolta, bu, bu, bu

Sanza como

Tatin, tin, tin,

Sonava per iscomo, no, no.

Placed in Position

The greyhounds

and the great mastiffs are in position.

You, you villan,

You, you Baril,

calling, “woof, woof,”

here, here,“woof’

Hounds and bloodhounds 

are starting through the woods “There it is, there,

Look, look, here!

Leave it, leave it!

Oh you, Oh you!

Go on, go on!”

The stag came out at the tumult

ofshouting and barking,

white as milk witha collar

of blue-grey.

To the chase, bu, bu,

the horn proclaims,

ta tin, tin, tin

he played, crestfallen, no, no.

Salutiam divotamente

Salutiam divotamente l’alta vergene beata

et diciamo: ave, Maria,

sempre sia da nui laudata.

Devoutly We Hail

Devoutly we hail

the high and blessed virgin

and say:“Hail Mary”

may we always be praising you.

Salutialla ducemente

Et cum gram solennitate,

Ki spem veracemente ke

Per la sua umilitade

Le divina maiestade

Fo di lei inamorata.

Let us praise sweetly

and with great solemnity

the one with whom we know truly,

on account of her humility,

the divine majesty

fell in love.

L’angel disse, Ave, Maria,

Sete plena de vertute,

Domins con teco sia

Da cui vengono le salute;

Tucte gratie aempiute in te

Vergene salutata.”

The angel said,“Hail Mary,

you are full ofvirtues 

may the Lord be with you

from whom come saving graces

all graces are fulfilled in you,

praised virgin.”

La vergene paurosa

Quandol’angelo udio

Parlare, che’era honesta

E vergognosa,

Incomenco tucta

a tremare,

Vergognavase collui

De stare che con homo

Non era usata.

The fearful virgin

when she heard the angel speak,

for she was honest

and ashamed,

began to tremble greatly;

She was ashamed to be with him 

for she was not to men

accustomed.

La polcella con amore

Humlemente respondea 

Ancilla so

’del mio signor,

Cio che piacea lue si sia.

Alora la vergene Maria 

Di Jesu fo ingravidata.

The girl, with love,

humbly replied, “I am the handmaiden of my Lord,

Be it as it pleaseth Him.

”

then the Virgin Mary 

Became pregnant with Jesus.

Canticle (Deuteronomy 32: 1-4)

Attende, caelum, et loquar: et audiat terra verba ex ore meo.V Exspectetur sicut pluvia eloquium

meum: et descendant sicut ros verba mea, sicut imber super gramina. V. Et sicut nix super fenum:

quia nomen Domini invocabo.

Hear,O ye heavens, the thingsI speak; let the earth give ear to the words ofmy mouth. V. Let my

doctrine gather as the rain, let my speech distill as the dew, asa shower upon the herb. V. And as

drops upon the grass: becauseI will invoke the name ofthe Lord.

Hymn at Communion (John 14: 27)

Pacem meam do vobis, pacem relinquo. Non turbetur cor vestrum, veniam ad vos. Alleluia.

My peaceI give you; peaceI leave with you. Do not let your hearts be troubled. I will come to

you.