kitten, turns out to be the nickname of Dolly’s brother, Raoul Bardac,

who later became a pupil of Faure and Debussy. L?jardm de Dolly has

the^atmosphere of an enchanted garden in an exotic dream. According 

to Emile Vuillermoz, Faure’s biographer, Kitty-valse is the wild antics of

a favorite dog. Tendresse is a picturesque view of a mother’s tender love

bestowed on her beloved child. Lepas espagnol “is the transposition in

music of the bronze equestrian statue of Fremet, Faure’s father-in-law, 

which stood on a mantelpiece in Madame Bardac’s house, and which was

much admired byyoung Dolly” (Vuillermoz). It is also ofspecial note that

Faure’s adventuresome spirit explores, for the first and only time in his

music, the flavor ofexotic Spanish rhythm, a favorite ofsuch composers as

Chabrier, Debussy, and Ravel.

SerenadeNo. 1 inDMajorwas composed duringBrahms’ stay in Gottingen

between the summers of 1857 and 1858. One of his earliest symphonic

efforts, it was initially conceived as a nonet in three movements for two

clarinets, horn, flute, bassoon, and strings. In the autumn of 1858, with

the advice ofClara Schumann and some assistance in the art oforchestral

writing from his friend, Joseph Joachim, Brahms added three additional

movements, greatlyexpandingthework. InMarch 1859, SerenadeNo. 1was

given its first performance, under the direction ofJoachim. Some defects

exposed in performance caused Brahms to rework it,with hissights set on

an orchestral transformation. With the addition ofwoodwind (doubled),

two trumpets, four horns, strings, and timpani to all movements except

Minuets landII, Brahms achieved his goal. The second performance of

the Serenade, on 14 March 1862 in Oldenburg, introduced Brahms to the

world as a bona fide symphonic composer.

Program notes by Elmer Booze

The Fifty-eighth Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery ofArt

232Zd Concert

NATIONAL GALLERY ORCHESTRA

GEORGE MANOS, conductor

Sunday Evening, 7 November 1999

Seven O’clock

West Building, West Garden Court

Admissionfree
PROGRAM

Mikhail Glinka Overture to “Russian and Ludmilla”

(1804-1857)

Gabriel Faure Dolly Suite, Op. 56

(1845-1924) (arr. 1906)

Berceuse

Mi-a-ou

Le jardin de Dolly

Kitty-valse

Tendresse

Le pas espagnol

INTERMISSION

Johannes Brahms Serenade in D Major, Op. 11

(1833-1897) (1857-1858)

Allegro molto

Scherzo: allegro non troppo; Trio: poco piu moto

Adagio non troppo

Menuetto I-II

Scherzo: Allegro

Rondo: Allegro

Forthe convenience ofconcertgoers

the Garden Cafe remains open until 6:30p.m.

The use ofcameras or recording equipment

during theperformance is not allowed.

Conductor, composer, and pianist George Manos has been director

of music at the National Gallery of Art and conductor of the National

Gallery Orchestra since 1985. He is also artistic director oftheAmerican

Music Festival and ofthe National Galleryvocal and chamber ensembles,

which he founded. Manos’ career as a performing pianist and teacher has 

included several years on the facultyofCatholic UniversityinWashington,

DC,where he taught piano, conducting, and chambermusic. In addition,

he held the directorship ofthe Wilmington, Delaware, School ofMusic,

where he presented an annual jazz festival and clinic. Maestro Manos

founded and directed for ten years the renowned Killamey Bach Festival

in the Republic of Ireland, and was the music director of the 1992 

Scandinavian Music Festival in Folding, Denmark.

Although less popular than his first opera, A Lifeforthe Czar, Mikhail

Glinka’ssecond opera, RussianandLudmila, earned a place ofdistinction in

the repertoire ofthe opera world with innovative materials that appeared

for the first time in Western operas. Russian and Ludmilla includes, in 

addition to the arias, choruses, and orchestral interludes from the classical

format of the Italian opera, oriental music and the whole-tone scale.

Glinka’s use of the whole-tone scale to personify a depraved magician

was innovative in its time and has not been replicated since in opera.

In addition, his brilliant orchestration influenced an entire generation

of Russian orchestral composers. So influential was this opera for other

composers that Glinka is hailed as “the father of Russian opera.” Tie

OverturetoRussianandLudmillaopenswith a dynamic introduction utilizing

two themes from the final scene that are nationalistic in color. These are

followed by leitmotivs (recurring themes with a specific meaning) lifted

from the opera itself, before the instrumental overture gives way to the

exquisite but melancholy chorus that beginsAct I.

DottySuite, Op. 56, a musical excursion into the fantasyworld ofthe child, is

a perfect example of Faure’s polished simplicity in the form ofminiature

tableaux, arranged in such a way as to resemble exquisite jewelry. The

inspiration for this collection of musical gems and for its title was Dolly

Bardac, the daughter ofFaure’s friend, Emma Bardac. His group ofsongs 

entitled Labonnechanson (Op. 61) was written for Emma. The first musical

offeringofreverence for a child since Robert Schumann’s LGnderszenen, the

suite was originally scored for piano, four-hands. It features specific titles

for the movements, a unique approach for Faure, who at othertimes used

only generic titles, such as nocturne, impromtu, or ballade. Henri Rabaud,

a distinguished French conductor, pedagogue, and composer, did the

orchestraltranscription. Tie opening piece, Berceuse, has a childlike charm

that suggests the rocking of a baby to sleep, or perhaps Dolly herself.

Mi-a-ou, atone time thoughtto be the nameofan energetic and fun-loving