For the convenience of concertgoers

the Garden Cafe remains open until 6:oo 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

2000b South Club Drive

Landover, md 20785

iuunu.nga.gov

The Sixty-fourth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery of Art 

2,582nd Concert

Drew Minter, countertenor

with Gwyn Roberts, recorders

Rosamund Morley, violas da gamba

Richard Stone, lutes

Presented in honor of Bellini, Giorgione, Titian,

and the Renaissance of Venetian Painting and

in connection with the Washington Early Music Festival

June 25, 2006

Sunday Evening, 6:30 pm

West Building, West Garden Court

Admission free
Program

Venetian Virtuosity in the Sixteenth and Seventeenth Centuries

Marchetto Cara (c. 1470 -c. 1525)

Non e tempo d’aspettare

Marchetto Cara

Se non hai perseveranza

From Ottaviano Petrucci, Frottole, Libro primo (1504)

Anonymous

Aime sospiri

From Petrucci, Libro sesto (1506)

Giovanni Bassano (c. 1560-1617)

Divisions on Ancor che col partire

From Motetti, madrigali, e canzonifrancese (1591)

Anonymous

Se mai per maraveglia

From Tenori e contrabassi intabulati col sopran in canto figurato (1511)

Francesco da Milano (1497-1543)

Fantasia “de mon triste,” no. 36

From Des chansons... reduictz en tablature de lut...livre cinquiesme (1547)

Don Nicolo (fl. 1500-1550)

Ben sera crudel e ingrate

Attributed to Don Nicolo

Vengo a te, madre Maria

From Petrucci, Laude, Libro primo (1508)

Girolamo Dalla Casa (c. 1543-1601)

Divisions on Ancor che col partire

From II vero modo di diminuir, Libro secundo (1584)

Francesco da Milano

Ricercare, no. 28

Marchetto Cara

Se de fede vengo a meno

From Petrucci, Frottole, Libro primo (1504)

INTERMISSION

Giulio Caccini (c. 1545-1618)

Amarilli, mia bella

From Le nuove musiche (1602)

Giulio Caccini

Io che dal del cader

From Intermedio per La Pellegrina (1589)

Giulio Caccini

Aria di Romanesca: Toma, deh toma

From Nuove musiche e nuova maniera di scriverle (1614)

Gwyn Roberts

Divisions on Amarilli, mia bella

Diego Ortiz (c. 1510-1570)

Recercada segunda

From Tratado de glosas sobre clausulas (1553)

Giovanni Girolamo Kapsberger (c. 1580-1651)

Toccata prima

From Libro primo d’intavolatura di Chitanone (1604)

Sigismondo d’India (c. 1582-1629)

Odi quel rossignuolo

Francesco Cavalli (1602-1676)

Lucidissima face, aria di Endimione

From La Calisto (1651)

Francesco Cavalli

Delizie contente, aria di Giasone

From II Giasone (1649)
The Musicians

Regarded for more than two decades as one of the world’s finest countertenors, Drew Minter was a boy treble in the Washington National Cathedral

Choir of Men and Boys. His subsequent studies earned him a bachelor of 

science degree in music and languages from Indiana University and a

diploma in lieder and oratorio from the Academy of Music in Vienna. A

respected expert in the field of early music, Minter has taught since 1989

at the Amherst Early Music Institute. He has sung leading roles with the 

opera companies of Boston, Brussels, Glimmerglass (New York), Nice,

Santa Fe, Toulouse, and Washington, DC, among others. A specialist in

the works of Handel, he has performed regularly and directed operas at

the Handel festivals of Maryland and Gottingen, Halle, and Karlsruhe, 

Germany. Minter has appeared at the Boston Early Music Festival, the 

Brooklyn Academy of Music’s Next Wave Festival, and the festivals of

Edinburgh, Regensburg, and Spoleto, with such outstanding baroque 

ensembles as the Handel and Haydn Society, Les Arts Florissants, and 

the Philharmonia Baroque Orchestra. He is a founding member ofthe 

Newberry Consort and performs regularly with artek, the Folger Consort,

and My Lord Chamberlain’s Consort. In addition to his own recitals, in

which he sometimes accompanies himself on the harp, Minter has undertaken recital tours with mezzo-soprano Lorraine Hunt Lieberson and

pianist Peter Serkin. His more than fifty recordings include disks produced 

by Decca London, Harmonia Mundi, Hungaroton, and Newport Classics.

A member ofthe voice faculty at Vassar College and director of the Vassar

Opera Workshop, Minter looks forward to his first season as artistic director 

ofthe Boston Midsummer Opera.

Recorder specialist Gwyn Roberts has been called “a world-class virtuoso”

by American Record Guide. She studied recorder with Marion Verbruggen

and Leo Meilink and baroque flute with Marten Root at the Utrecht

Conservatory in The Netherlands. She has been a featured soloist at the 

Prague Spring Festival of New York and with the Chamber Orchestra of

4

Philadelphia, the Philadelphia Bach Festival Orchestra, the Philadelphia 

Classical Symphony, and Recitar Cantando of Tokyo. As a member ofthe

Philadelphia-based wind ensemble Piffaro, she has performed on many

early-music series, including Music Before 1800 and Tage alter Musik

Regensburg, and at the Chautauqua Festival. Recent engagements have

taken her to Baltimore, Boston, New Orleans, and Spokane. Her recording

Veracini: Recorder Sonatas earned a five-star rating from BBC Music

Magazine. Roberts is director of early music at the U niversity of

Pennsylvania and is on the faculty ofthe Peabody Conservatory of Music.

Early-music aficionados delight in the performances of Rosamund

Morley. She has toured worldwide as a member ofthe Waverly Consort,

playing viol, vielle, and violone, and has toured with Sequentia. As a former

member of the New York Consort of Viols she performed and recorded 

contemporary music for viola da gamba. Morley has performed as soloist

at the Brooklyn Academy of Music with Les Arts Florissants and works

regularly in Canada with Le Studio de musique ancienne de Montreal and

Les Voix Humaines. Much in demand as a teacher, Morley is the director 

ofthe VdGS-Viols West Workshop in San Luis Obispo, California, and 

teaches viol at Columbia University. She received a master of arts degree 

in musicology from the University of Toronto and studied for two years

at the Royal Conservatory of Music in The Hague. Morley has recorded for

Arabesque, CBS Masterworks, Classic Masters, EMI/Angel, and the Musical

Heritage Society.

The New York Times described lutenist Richard Stone’s playing as both

“beautiful” and “lustrously melancholy.” His performance of baroque lute 

repertoire won him a prize at the 1990 Festival of Flanders in Bruges. He

is one ofthe most highly regarded accompanists to baroque vocalists in

the United States and is in constant demand as a continuo player on lute,

archlute, and theorbo. His conducting credits include Monteverdi’s Poppea,

Steffani’s Stabat Mater, and Handel’s Judas Maccabeus, which he led while

performing on the archlute and theorbo. His broadcast credits include the

5
bbc, Czech Radio, and National Public Radio. The most recent among his

many recordings is Lute Works of Silvius Leopold Weiss, on the Titanic label.

Stone is director of the Swarthmore College Baroque Ensemble. He studied

lute with Nigel North as a Fulbright Lusk Fellow at the Guildhall School of

Music and Drama in London, and with Patrick O’Brien at the Mannes

College of Music in New York.

The Washington Early Music Festival

This concert brings to a close the third Washington Early Music Festival,

which began on June 2, 2006. Taking advantage ofthe festival’s overlap

with the National Gallery’s major exhibition Bellini, Giorgione, Titian, and

the Renaissance of Venetian Painting, open through September 17, twentyeight concerts of Italian music were presented under the title “La Musica

Antica d’ltalia.” Founded and staged by volunteers, the festival showcases 

early-music performers from the District of Columbia and around the

world. Its offerings include lectures, exhibits, and workshops in addition

to concerts. Washington Post reviewer Tim Page wrote: “The Washington

Early Music Festival, which has very quickly become one ofthe cultural

highlights ofsummer life in the capital area,... promises to offer a beautiful

and radiant exploration ofmusic that is heard too rarely.” The National

Gallery is pleased to have presented two ofthe concerts in this year’s

festival and looks forward to linking great art and early music on many

occasions in the future.

6