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The Seventy-Third Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

3,049th Concert

David Kaplan and Timo Andres, duo pianists

with the National Gallery ofArt Vocal Ensemble

April 26, 2015

Sunday, 6:30 pm

West Building, West Garden Court
Program

New Dances ofthe League ofDavid

All movements by Robert Schumann (1810-1856), unless otherwise indicated

Lebhaft

Innig

Morse Code Fantasy—Hommage to Robert Schumann

(Augusta Read Thomas, b. 1964)

Mit Humor

Mit gutem Humor, un poco lol ma con serioso vibes 

(Caroline Shaw, b. 1982)

Bundists (Robert, Gyorgy, and me) Etwas ungeduldig

(Martin Bresniclc, b. 1946)

Ungeduldig (Schumann/Michael Brown, b. 1987)

*** (Marcos Balter, b. 1974)

No. 6 Sehr rasch und in sich hinein

(Schumann/Gabriel Kahane, b. 1981)

Untitled (Schumann/Timo Andres, b. 1985)

Frisch

Vorspiel-Lebhaft (Schumann/Andrew Norman, b. 1979)

Sehr rasch: for David Kaplan (Schumann/Mark Carlson, b. 1952)

Mirrors and Sidesteps (Michael James Gandolfi, b. 1956)

Tanze—with a sense ofurgency (Ted Hearne, b. 1982)

Quietly (Samuel Carl Adams, b. 1985)

Leid mit Mut: Molto rubato (Caleb Burhans, b. 1980)

Mit Humor

Wild und lustig

Zart und singend

Frisch

Mit gutem Humor

Quietly, from Afar (Schumann/Adams)

Nicht schnell

INTERMISSION

Timo Andres

Retro Music

How can I live in your world ofideas?

Johannes Brahms (1833-1897)

Liebeslieder Walzer, op. 52 (1869)

1. Rede, Madchen

v. Die grime Hopfenranke

vi. Ein kleiner, hiibscher Vogel

ix. Am Donaustrande

Neue Liebeslieder, op. 65 (1869-1874)

I. Verzicht, o Herz, aufRettung

II. Finstere Schatten der Nacht

xii. Schwarzer Wald, dein Schatten

xiii. Nein, Geliebter, setze dich

xv. Zum Schluss (“Nun, ihr Musen, genug”)
The Musicians

DAVID KAPLAN

David Kaplan has been called “excellent and adventurous” by The New York

Times, and praised by the Boston Globe for “grace and fire” at the keyboard. He

has appeared at London’s Barbican Centre, worked with the Orpheus Chamber

Orchestra, and performed at Miami's Arsht Center with Itzhak Perlman.

Kaplan’s activities have always balanced solo performances with meaningful collaborations. This season includes programs with the Enso String

Quartet and actor Sherman Howard, and a new violin sonata by Christopher

Cerrone. As a core member of Decoda, the affiliate ensemble ofCarnegie

Hall, Kaplan performs frequently throughout New York, from the Metropolitan Museum ofArt to Subculture, and appears internationally as part ofthe

group’s groundbreaking residency work, which has taken him this season to

Abu Dhabi and Mexico. He appears widely as a guest ofthe New York

Chamber Soloists.

Kaplan has appeared at Barge Music, Chamber Music Northwest, the

Chamber Music Society of Lincoln Center, the Seattle Chamber Music

Festival, Seattle Town Hall, and the Canadian festivals of Banff and Orford.

In addition, he has been a guest at Bard, Mostly Mozart, Ravinia (rsmi), and

Tanglewood Music festivals.

The recipient of a dma from Yale University, Kaplan’s distinguished mentors over the years include the late Claude Frank, Alfred Brendel, Richard

Goode, Emanuel Ax, and Lutz Kohler. David is proud to be a Yamaha Artist.

TIMO ANDRES

Timo Andres is a composer and pianist from rural Connecticut living in

Brooklyn, New York. His debut album, Shy and Mighty, featuring ten

interrelated pieces for two pianos, was released by Nonesuch Records in

May 2010.

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Andres’s new works include a piano quintet for Jonathan Biss and the

Elias String Quartet, a solo piano work for Kirill Gerstein commissioned by

the Gilmore Foundation, a new string quartet for the Library ofCongress

premiered by the Attacca Quartet, and a new piece for yMusic. Upcoming

commissions include a major work for Third Coast Percussion, as well as an

ensemble song cycle to be premiered at the Ecstatic Music Festival and presented by the St. Paul Chamber Orchestra’s Liquid Music series.

Recent performance highlights include solo recitals at Lincoln Center,

(le) Poisson Rouge, San Francisco Performances, Wigmore Hall; a weekend

of performances in Los Angeles featuring a new work for the Los Angeles

Chamber Orchestra; and performances of Crashing Through Fences by eighth

blackbird. Collaborative projects ofthe past season include a duo program

with Gabriel Kahane at the Library of Congress and a world premiere performance ofselected Philip Glass Etudes, alongside the composer.

Andres has received awards from the American Academy ofArts and Letters,

ascap, and bmi, as well as grants from the Copland Fund and New Music USA.

Timo earned both his bachelor’s and master’s degrees from Yale University.

NATIONAL GALLERY OF ART VOCAL ENSEMBLE

Now in its eleventh season under the leadership ofits artistic director, Rosa

Lamoreaux, the National Gallery ofArt Vocal Ensemble has presented numerous special programs in conjunction with Gallery exhibitions, including a

concert ofmusic by nineteenth-century French composers in honor ofthe

gala reopening ofthe Nineteenth-century French Galleries (2011) and Degas/

Cassatt (2014); and music by Arthur Sullivan and other nineteenth-century

British composers in honor of Pre-Raphaelites: Victorian Art and Design, 1848-

1900 (2013). Most recently, members ofthe ensemble appeared in a concert

celebrating the looth birth anniversary of Richard Bales, the Gallery’s first

music director. Members ofthe National Gallery ofArt Vocal Ensemble singing in tonight’s concert are Rebecca Kellerman Petretta and Rachel Barham,

sopranos, Barbara Hollinshead, mezzo-soprano, Roger Isaacs, countertenor,

Matthew Heil, tenor, and Brandon Straub and James Rogers, baritone.

5
Program Notes

New Dances ofthe League ofDavid is a piano suite that weaves newly commissioned miniatures by leading American composers into Schumann’s

Davidsbiindlertanze, a set ofshort interconnected works dedicated to his

fiancee, Clara Wieck. The result is a whirlwind celebration of contemporary

style that reveals new facets of a familiar masterwork. Each ofthe sixteen

composers’ pieces offers a unique statement ofstyle, beauty, and wit—yet

they are unified by their engagement with the spirit of Schumann. The composers indulge in rapid shifts of character, multilayered rhythmic texture,

and poignant eloquence.

The original Davidsbiindlertanze pays tribute to a half-imaginary band of

characters that stood in opposition to musical philistinism—championing

humility and poetry in the face of empty virtuosic display and grandeur. The

principal characters were the introverted Eusebius and the impetuous Florestan, 

whose initials alternate in marking the ends of each dance in the set. The composers ofthe New Dances were asked to identify with either ofthese two 

imaginary characters in assembling their own ideals, with the original

Schumann always present as the moderator. The variety is wondrous, all

the more because each composer focused on a different movement.

About Retro Music, the composer writes:

I’ve loved playing piano four-hands music since I was a child—

the charming awkwardness ofthe physical fact ofit adding to the 

joy and camaraderie ofspur-of-the-moment music making. Much

ofthe four-hand literature consists of “popular” style nineteenthcentury dance pieces, with a particular fondness for the waltz.

Retro Music is an alternately valiant and pathetic attempt at waltzing

a la Brahms, Schubert, or Ravel—except that horrible, dissonant

roadblocks continually rout it. My friend Rod McDaniel commissioned Retro Music for David Kaplan and me to play at a Metropolis

Ensemble house concert.

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About How can I live in your world ofideas? the composer writes:

This work takes its unwieldy name from the caption of a cartoon I

drew in college, which depicts a young penguin and his parents in

a museum, looking at a painting of a naked woman. This piece

starts out as a passacaglia, or theme and variations, but is then

gradually overtaken by extraneous material from somewhere else

entirely. Originally written for two pianos as part of Shy and Mighty,

I transcribed it for a solo pianist (myself) because I needed something to play at short notice. In its solo version, however, the pianist

must work much more strenuously to denote the mercurial

transitions (“needle-drops”) which characterize the piece.

Johannes Brahms’s Liebeslieder Waltzes are a collection oflove songs for

voices and piano four-hands. Brahms set these short works in Landler style,

a popular German country-dance resembling the waltz. He extracted the

lyrics ofhis waltzes from Polydora, a collection offolk songs and love poems

by German poet and philosopher, Georg Friedrich Daumer (1800-1875).

In this collection, Daumer had compiled and translated songs from all over 

Europe, including folk tunes from Latvia, Poland, Sicily, and Turkey. The

final movement of op. 65, however, comes from a text by Johann Wolfgang

von Goethe (1749-1832). Brahms gave no exact source for his inspiration in

composing these two sets ofwaltzes, but it is widely speculated that they grew 

out of his frustrated love for pianist Clara Schumann (1819-1896), Brahms’s

close friend and Robert Schumann’s (1810-1856) widow.

Program Notes on New Dances ofthe League ofDavid provided by Timo Andres.

Program notes on Brahms are by Michael Jacko, Music Program Assistant, National

Gallery ofArt.

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Johannes Brahms (1833-1897)

Liebeslieder Walzer, op. 52 (1869)

I. Rede, Madchen

Rede, Madchen, allzu liebes,

das mir in die Brust, die kiihle,

hat geschleudert mit dem Blicke

diese wilden Glutgefuhle!

Willst du nicht dein Herz erweichen,

willst du, eine Uberfromme, 

rasten ohne traute Wonne,

oder willst du, daB ich komme?

Rasten ohne traute Wonne,

nicht so bitter will ich biiBen.

Komme nur, du schwarzes Auge.

Komme, wenn die Sterne gruBen.

V. Die grime Hopfenranke

Die grime Hopfenranke, 

sie schlangelt auf der Erde hin.

Die junge, schone Dime, 

so traurig ist ihr Sinn!

Du hore, grime Ranke!

Was hebst du dich nicht himmelwarts?

Du hore, schone Dime!

Was ist so schwer dein Herz?

Wie hobe sich die Ranke,

der keine Stutze Kraft verleiht?

Wie ware die Dime frohlich,

wenn ihr das Liebste weit?

I. Speak, Maiden

Speak, maiden, whom I love all too much,

who hurled into my once aloofheart,

with only a glance,

these wild, ardent feelings!

Will you not soften your heart?

Do you wish to be chaste

and remain without sweet bliss,

or do you want me to come to you?

To remain without sweet bliss -

I would never make such a bitter penance.

So come, dark-eyes, 

come when the stars greet you.

V. The Green Hops Vine

The green hops vine,

it winds along the ground.

The young, fair maiden -

so mournful are her thoughts!

You - listen, green vine!

Why do you not raise yourself

heavenwards?

You - listen, fair maiden!

Why is your heart so heavy?

How can the vine raise itself

when no support lends it strength?

How can the maiden be merry

when her sweetheart is far away?
VI. Ein kleiner, hiibscher Vogel

Ein kleiner, hiibscher Vogel

nahm den Flug

zum Garten hin,

da gab es Obst genug.

Wenn ich ein hiibscher,

kleiner Vogel war,

ich saumte nicht,

ich tate so wie der.

Leimruten-Arglist 

lauert an dem Ort;

der arme Vogel

konnte nicht mehr fort.

Wenn ich ein hiibscher,

kleiner Vogel war,

ich saumte doch,

ich tate nicht wie der.

Der Vogel kam

in eine schone Hand,

da tat es ihm,

dem Gliicklichen, nicht and.

Wenn ich ein hiibscher,

kleiner Vogel war,

ich saumte nicht,

ich tate doch wie der.

IX. Am Donaustrande

Am Donaustrande,

da steht ein Haus,

da schaut ein rosiges

Madchen aus.

Das Madchen,

es ist wohl gut gehegt,

zehn eiseme Riegel

sind vor die Tiire gelegt.

Zehn eiseme Riegel

das ist ein SpaB;

die spreng ich

als waren sie nur von Glas.

VI. A Small, Pretty Bird

A small, pretty bird

took flight

into the garden -

there was fruit enough there.

IfI were a pretty, 

small bird,

I would not hesitate -

I would do just as he did.

Malicious lime-twigs 

lurked in that place;

the poor bird

could not escape.

IfI were a pretty, 

small bird,

I would have hesitated,

I would not have done that.

The bird came

into a pretty girl's hand,

and it caused him no pain,

the lucky thing.

If I were a pretty, 

small bird,

I would not hesitate —

I would do just as he did.

IX. On the Banks of the Danube

On the banks ofthe Danube, 

there stands a house,

and looking out ofit

is a pink-cheeked maiden.

The maiden

is very well-protected:

ten iron bolts

have been placed on the door.

But ten iron bolts 

are but a joke;

I will snap them

as ifthey were only glass.
Neue Liebeslieder, op. 65 (1869-1874)

I. Verzicht, o Herz, auf Rettung I. Relinquish, O Heart, the Hope of

Rescue

Verzicht, o Herz, aufRettung,

dich wagend in der Liebe Meer!

Denn tausend Nachen schwimmen 

zertruminert am Gestad umher!

Relinquish, o heart, the hope ofrescue 

as you venture out into the sea oflove!

For a thousand boats float

wrecked about its shores!

II. Finstere Schatten der Nacht II. Dark Shades of Night

Finstere Schatten der Nacht,

Wogen- und Wirbelgefahr!

Sind wohl, die da gelind

rasten aufsicherem Lande,

euch zu begreifen im Stande?

Das ist der nur allein,

welcher aufwilder See

sturmischer Ode treibt,

Meilen entfemt vom Strande.

Dark shades of night, 

dangers ofwaves and whirlpools!

Are those who rest there so mildly 

on firm ground

capable of comprehending you?

No: only one who

is tossed about on the wild sea's

stormy desolation, 

miles from the shore.

XII. Schwarzer Wald, dein Schatten ist so

Duster

XII. Dark Forest, Your Shade is So

Gloomy

Schwarzer Wald, dein Schatten ist so duster!

Armes Herz, dein Leiden ist so druckend!

Was dir einzig wert, es steht vor Augen;

Dark forest, your shade is so gloomy!

Poor heart, your sorrow presses so heavily!

The only thing valuable to you is standing 

before your eyes;

ewig untersagt ist Huldvereinung. eternally forbidden is that union with love.

XIII. Nein, Geliebter, setze dich XIII. No, My Love, Don’t Sit

Nein, Geliebter, setze dich

mir so nahe nicht!

Starre nicht so briinstiglich 

mir ins Angesicht!

No, my love, don't sit

so near to me!

Do not stare so ardently 

at my face!

Wie es auch im Busen brennt, 

dampfe deinen Trieb,

daB es nicht die Welt erkennt,

wie wir uns so lieb.

However much your heart may bum, 

suppress your urges, 

so that the world will not see

how much we love each other.
XV. Zum Schluss (“Nun, ihr Musen,

genug”)

Nun, ihr Musen, genug!

Vergebens strebt ihr zu schildem,

Wie sicb Jammer und Gluck wechseln in

liebender Brust.

Heilen konnet die Wunden ihr nicht,

die Amor geschlagen;

Aber Linderung kommt einzig,

ihr Guten, von euch.

XV. The End (“Now, You Muses,

Enough”)

Now, you Muses, enough!

In vain you strive to describe

how misery and happiness alternate in a

loving breast.

You cannot heal the wound 

that Amor has caused,

but solace, Kindly Ones,

can come only from you.