section, the two themes are interwoven, creating a constant tension that 

could be described as pre-expressionistic. The contrasting second

movement opens in A major with a cantilena that is suddenly interrupted 

by a scherzando and ends with a return to the lyricism with which it

began. The final movement broadens into a series of ostinati and recalls

the theme from the first movement as it closes the sonata with a grand 

display of virtuosity.

Falla’s Siete canciones populares espaholas is a cycle of seven

Spanish songs written in celebration of his return to Spain. Violinist 

Paul Kochansky transcribed six of them for violin and piano under the

title Suite populaire espagnole. These folk songs show the dazzling 

variety of popular Spanish styles and genres that Falla had at his

disposal. In addition, his piano writing invokes different styles of guitar 

playing while interacting intimately with the soloist.

Like the Szymanowski sonata, Josef Suk’s Four Piecesfor Violin and

Piano is an early work. The first piece is narrative and variegated in

mood and color, encompassing a wide range of sounds from the violin.

The second is a splendid example of a fierce embrace of poetry and

passion in the Slavic manner. The slow tempo of the third piece projects

an expressive mood of restrained lugubriousness. The last is a tour-deforce that displays the unbridled bravura of which Suk, a virtuoso 

violinist, was capable.

Faure’s first sonata for violin and piano was premiered in 1877 by

Marie Tayay, with the composer at the piano. The first movement 

sustains broad lyrical warmth throughout, combining the two themes in

an ingenious sonata-allegro form. In the second movement the opening 

theme is accompanied by a gently rocking arpeggio in the piano. During 

the third movement, both instruments engage in a brilliant and spirited 

dialogue, often combining displaced accents or irregular groupings in

relentless imitation. The last movement begins in a quasi-bucolic mood.

The underlying syncopation of the first theme gives way to a feverish

second theme that projects a quasi-Brahmsian atmosphere.

Program notes on Faure, Falla, and Szymanowski

by Bernard Zinck, adapted and edited by Elmer Booze

Program note on Suk by Elmer Booze

The Fifty-ninth Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2360th Concert

BERNARD ZINCK, violinist

MAY PHANG,/7/«nAf

Presented in honor of the Exhibition

Art Nouveau, 1890-1914

Sunday Evening, 5 November 2000

Seven O'clock

West Building, West Garden Court

Admission free
PROGRAM

Karol Szymanowski Sonata for Violin and Piano in D Minor

(1882-1937) Op. 9(1904)

Allegro moderato; patetico 

Andantino tranquillo e dolce

Finale: Allegro molto, quasi presto

Manuel de Falla 

(1876-1946)

El pano moruno

Asturiana

Jota

Suite populaire espangnole 

(arr. P. Kochansky) (1914-1915)

Nana

Cancion

Polo

INTERMISSION

Josef Suk

(1874-1935)

Ballata

Appassionato

Four Pieces for Violin and Piano

Op. 17 (1900)

Un poco triste

Burlesca

Gabriel Faure Sonata No. 1 in A Major for Violin and Piano

(1845-1924) Op. 13 (1875-1876)

Allegro molto

Andante

Scherzo: Allegro vivo

Finale: Allegro quasi presto

The use ofcameras or recording equipment during

the performance is not allowed.

“Subtle, sensuous, shimmering, radiant...and glowingly recommended,”

wrote the recording critic of the music magazine Fanfare in a recent 

review of a CD featuring violinist Bernard Zinck. A native of France,

Zinck began his study of the violin at age five, and at age fifteen was

accepted as a student at the Paris Conservatory of Music. Upon receiving 

a Fulbright Scholarship, Zinck continued his studies at the Juilliard 

School of Music, where he earned the bachelor and master of music

degrees in 1990 and 1991. Currently he is completing the doctoral

degree in music performance at Temple University in Philadelphia, and

is artist-in-residence at the University of New Mexico.

After obtaining a performing diploma from London’s Trinity College

of Music, pianist May Phang continued her musical training at McGill

University in Canada, where she was granted a Clara Lichtenstein 

Fellowship. A native of Singapore, she has studied with such illustrious

teachers as Malcolm Bilson, Peter Frankl, Stephen Bishop-Kovacevich, 

and Peter Serkin. She is currently enrolled in the doctoral program at

Temple University in Philadelphia.

The period between 1890 and 1914 saw the advent in Europe of

iconoclastic composers, such as Debussy and Stravinsky, who

deliberately broke the established rules of harmony and form to develop 

new parameters for their music. The prevailing trend of the period,

however, was to look for new modes of expression while adhering to the

musical language that had been firmly established during the nineteenth 

century. While the composers represented on this program followed the

latter trend, they were nevertheless keen to distinguish themselves from

the one composer whose music still dominated Europe’s concert halls

and opera houses between 1890 and 1914, Richard Wagner (1813-1883). 

In this respect, they may be seen to have had something in common with

the Art nouveau movement, in which artists attempted to create a new

style in reaction to the academic historicism of much of nineteenthcentury art.

Szymanowski’s Sonata for Violin and Piano in D Minor, an early

work, is his only sonata for violin and piano. The first movement 

juxtaposes two themes, one based on a violent arpeggio chord on the

violin and the other a singing pianissimo. In the development