Savage’s (1866-1941) Gamin (Rosenwald Foundation, Chicago). The

suite was written for Louis and Annette Kaufman, a violin and piano

team who were close friends of Still. They played its world premiere in

Boston’s Jordan Hall on 14 March 1944. Eugenia Zukerman has

arranged the second movement, Mother and Child, for flute and piano.

Sir Richard Rodney Bennett is one of Britain’s most successful and

productive contemporary composer-pianists. At home in both the

classical and jazz worlds, he has written works for such well-known 

artists as percussionist Evelyn Glennie {Percussion Concerto), guitarist 

Julian Bream {Guitar Concerto), and tenor saxophonist Stan Getz

{Second Saxophone Concerto). First performed by Susan Milan in

August 1981, Six Tunesfor the Instruction ofSinging Birds is written for 

solo flute and places special emphasis on the art and technique of flutter 

tonguing. Bennett highlights the sounds articulated by the avian

creatures referred to in the movement titles.

Dvorak dedicated his Sonatina for Violin and Piano in G Major, Op.

100, to his children, Tonik and Otiha, who were ten and fifteen years old

at the time. It was written during the composer's extended stay in the

United States and incorporates echoes of American spirituals and

Dvorak's concept of Native American music. Though not technically 

challenging, the work maintains an enchantment that even the eminent 

violinist Fritz Kreisler found irresistible. He adapted and arranged the

second movement (jLarghetto), giving it the name Indian Lament. The

entire sonata was transcribed for flute and piano by Yoav Talmi.

Programs notes by Elmer Booze

The use ofcameras or recording equipment during

the performance is not allowed.

For the convenience ofconcert goers

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

During the months ofJanuary and February,

recent performances by the National Gallery Orchestra

can be heard Wednesday evenings at 9:00 p.m. on WETA, 90.9 FM.

The Sixtieth Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2406th Concert

EUGENIA ZUKERMAN,flutist

RACHELLE JONCK, pianist

Sunday Evening, 20 January 2002

Seven O'clock

West Building, East Garden Court

Admission free
A Musical Tribute to Dr. Martin Luther King

“When [the dream of equality] is realized, the

jangling discords of our nation will be

transformed into a beautiful symphony of

brotherhood, and men everywhere will know that

America is truly the land of the free and the home

of the brave.”

Martin Luther King, Washington, DC

19 July 1962

Symphony means “a consonance of sounds.” We

offer a consonance of international sounds with

many echoes of American folk music in honor of

the birthday tomorrow of Dr. King.

Eugenia Zukerman and Rachelle Jonck

PROGRAM

Arr. Eugenia Zukerman Two Arias for Flute and Piano

Ombra mai fu, from Serse (Handel)

O zittre nicht, from Die Zauberflote (Mozart)

Francis Poulenc Sonata for Flute and Piano

(1899-1963) (1956)

Allegro malinconico

Cantilena

Presto giocoso

Tan Mi Zi

(b. 1936)

Flute and Drum under the Setting Sun

(1981)

Bela Bartok, arr. Paul Arma Suite paysanne hongroise

(1881-1945) Sz. 71 (1914-1918)

INTERMISSION

William Grant Still Mother and Child

(1895-1978) arranged from the Suite for Violin and Piano

(1943)

Richard Rodney Bennett Six Tunes for the Instruction of

(b. 1936) Singing Birds (1981)

For the Starling For the Garden Bullfinch

For the Woodlark For the East India Nightingale

For the Canary Bird For the Starling

Antonin Dvorak, arr. Yoav Talmi Sonatina in G Major

(1841-1904) Op. 100(1893)

Allegro risoluto 

Larghetto

Scherzo: Molto vivace 

Finale: Allegro

Eugenia Zukerman was acclaimed by the Boston Globe as “one of the

finest flutists of our time” and is renowned worldwide for her elegant 

sound, lyrical phrasing, extraordinary agility, and graceful stage

presence. She studied at the Juilliard School of Music with the

distinguished flutist Julius Baker and won the Young Concert Artists
Award early in her career. A popular performer and recording artist for

more than twenty-five years, Zukerman appears as orchestral soloist,

performs solo and duo recitals, and collaborates with chamber music

ensembles in North America, Europe, Asia, and the Middle East. A 

versatile musician who is respected for her innovative programming as

well as her compelling performances, she is also artistic director of the

International Vail Valley Music Festival in Colorado, the arts

correspondent on CBS News Sunday Morning, and the author of two

novels and one nonfiction book. Eugenia Zukerman appears at the

National Gallery by arrangement with ICM Artists, Ltd., of New York City.

A native of South Africa, pianist Rachelle Jonck started her piano

studies at the age of four. While still in high school, she made her debut

with the Cape Town Orchestra playing Prokofiev’s First Piano

Concerto. She continued her studies at the University of Stellenbosch

under the guidance of John Antoniadis. There she discovered the joy of

working with other musicians, especially singers, and took on the

specialty of vocal accompaniment and ensemble work. In 1993 she

joined the State Theatre Opera in Pretoria as chorus master, at the age of

twenty-five the youngest person ever to hold this senior position in

South Africa. In 1997 Jonck was awarded a special FNB/Vita award for

her contribution to opera in South Africa, with reference to her work

with the State Theatre Chorus. In 1998 she received the Nederburg

Opera Prize—South Africa’s prime opera award. In September 2000,

Jonck joined the faculty of the Manhattan School of Music as head vocal

coach. In October of the same year, she appeared in the Dame Myra

Hess Concert series in Chicago with soprano Arianna Zukerman.

Eugenia Zukerman’s transcription for flute and piano of the arioso,

Ombra maifu (There Has Never Been a Shadow> That Is More Pleasant)

is otherwise known as the famous Largo from Handel’s opera Serse.

The opera is based on a fictitious episode from the life of the Persian

emperor, Xerxes (c. 519^-65 BCE). The melody is of doubtful origin,

possibly from the Italian composer, Giovanni Bononcini (1670-1747),

rather than Handel. O zittre nicht, mein lieber Sohn, transcribed for flute

and piano by Zukerman, is the Queen of the Night’s first-act aria from

Mozart’s opera Die Zauberflote, in which the queen is pleading to the

hero, Tamino, to rescue her daughter, Pamina.

Poulenc’s Sonata for Flute and Piano, dedicated to the memory of the

American benefactress of music, Elizabeth Sprague Coolidge, was given

its premiere at the Strasbourg Festival on 18 June 1957 by flutist JeanPierre Rampal (1922-2000), with the composer at the piano. Begun in

1956 and completed the following year, the sonata has taken its place as

a flute classic and is one of Poulenc’s most often performed chamber

works. The opening movement {Allegro malinconico) follows

superficially the classical outline of the sonata form. The degree of

freedom with which the form is handled makes a comparison with

Debussy’s last sonatas inevitable. The spirit of Poulenc’s opera, Les

dialogues des Carmelites, lingers in the second movement {Cantilena),

which is the sonata’s focal point. The fast-paced last movement {Presto

giocoso), with its pulsating drive, rollicks joyously with Poulenc’s

typical music-hall humor. Several dulcet episodes are interjected, and the

sonata concludes by recalling two fragmented themes from the first

movement.

Tan Mi Zi’s Flute and Drum under the Setting Sun is based on an old

Chinese folk song from the eleventh century and is in a pentatonic mode

derived from a scale consisting of five pitches. The work attempts to

imitate the bamboo flute and expresses the fighting spirit of a military

band and the lyrical poetry of that time. The composer was born in China

and served as a professor at the University of Shanghai. He currently

resides in Toronto, Ontario.

Bartok’s Suite paysanne hongroise, Sz. 71, is a set of fifteen Hungarian

peasant songs for piano. Bartok’s love for his native land led him to

undertake strenuous research trips through the countryside of Hungary

and Romania, recording and notating the folk melodies and dance tunes

of the people. Anna’s anangement takes excerpts from the suite,

embroidering the musical concept contrapuntally without destroying the

basic integrity of the music.

Each movement of William Grant Still’s Suite for Violin and Piano has

references to a work by a Black artist of Still’s time: sculptor Richmond

Barthe’s (1901-1989) African Dancer (Whitney Museum of American

Art, New York); painter Sargent Johnson’s (1887-1967) Mother and

Child (San Francisco Museum of Modem Art); and painter Augusta