have heard during a stay in Hungary. The fourth movement

(Finale: Allegro), in sonata form, is the epitome of happiness. Rapid

scale passages succeed one another, “careening off almost without

check” (Hans Christoph Worbs).

The Piano Trio No. 1 in B-flat Major, Op. 99, recognized early as a

masterwork by Robert Schumann, remains one of Schubert’s most

enduring chamber compositions. The first movement (Allegro

moderato) is sunny and spirited, expressing the state of selfconfidence, albeit ephemeral, that Schubert experienced during

the last two years of his life. After the initial announcement of

the opening theme, several key changes occur before the entrance

of the second theme, with a number of other key changes to

come before the end of the movement. Each key change can

be seen to bring about an elevated degree of happiness. The

German-American musicologist Alfred Einstein (1880-1952), not

to be confused with his cousin, Albert Einstein, declared that

he heard in the first movement of the trio Schubert’s song, Des

Sdngers Habe, D. 832. In it the poet cries out, “Take from me all

my worldly wealth and shatter all my happiness, yet leave me

my zither and still I shall be happy and rich.” After a two-bar

piano introduction, the second movement (.Andante unpoco mosso)

is ushered in by a lyrical theme played on the cello, followed a

few bars later by the violin over a counter theme by the cello.

Schumann likened this movement to “a happy dream, a throbbing

flow of exquisitely human emotion.” The third movement (Scherzo:

allegro) relates to but does not overtly imitate a contra dance

indigenous to Austria, Schubert’s homeland. The fourth movement

(Rondo: Allegro vivace) paraphrases another song of Schubert,

according to Einstein. The song is entitled Skolie (1815). Its words

urge the listener to enjoy the short life of a flower before its sweet

fragrance vanishes. The coda (Presto) presages the style of Rossini

and evokes a joyful conclusion.

Program notes by Elmer Booze

The use ofcameras orrecording equipment

during theperformance is not allowed.

Forthe convenience of concertgoers

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

The Fifty-eighth Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2349th Concert

PERLMAN/NIKKANEN/BAILEY PIANO TRIO

KURT NIKKANEN, violin ZUILL BAILEY, cello

NAYAH PERLMAN, piano

Sunday Evening, 21 May 2000

Seven O’clock

West Building, West Garden Court

Admissionfree
PROGRAM

Ludwig van Beethoven Trio in E-flat Major

(1770-1827) Op. 70, No. 2

(1808)

Poco sostenuto; allegro ma non troppo

Allegretto

Allegretto ma non troppo

Finale: Allegro

INTERMISSION

Franz Schubert Trio in B-flat Major

(1797-1828) Op. 99, D. 898 (1828?)

Allegro moderato

Andante un poco mosso

Scherzo: Allegro

Rondo: Allegro vivace

Selectionsfrom concerts at the Gallery

can be heard on the second Sunday ofeach month

at 9:00p.m. on WGMS-FM, 103.5.

The three scintillating American soloists who make up the

Perlman/Nikkanen/Bailey Piano Trio formed their ensemble at

a chamber music festival in 1997. Their chemistry was instantly 

apparent, and they enjoyed an extremely successful debut season

in 1998-1999. That season included concerts at the Metropolitan 

Museum of Art, the Kennedy Center, and the Ravinia Festival

in Chicago.

Pianist Navah Perlman began her piano studies at age six

with Ronit Amir Lowenthal and continued at the Juilliard

School of Music with Herbert Stessin. While at Juilliard, she 

studied chamber music with Robert Mann, Felix Galimir, and

Dorothy DeLay. She received a degree with honors in art history

from Brown University and has performed to critical acclaim in

major concert venues throughout North America. She appears 

at the National Gallery by arrangement with IMG Artists of

New York City.

Violinist Kurt Nikkanen, also a graduate of the Juilliard School

of Music, made his Carnegie Hall debut at the age of twelve,

performing Saint-Saens’ Introduction and Rondo Capriccioso with 

the New York Youth Symphony. Two years later he was invited

by Zubin Mehta to perform Paganini’s Violin Concerto No. 1 with

the New York Philharmonic. In May 1995 he appeared as soloist

with the Moscow Chamber Orchestra in San Francisco as part of

the fiftieth anniversary of the formation of the United Nations.

He appears by arrangement with Harrison/Parrott, Ltd., of 

London.

Cellist Zuill Bailey, a graduate of both the Peabody Conservatory

of Music and the Juilliard School of Music, was a top prizewinner 

in a number of musical competitions. They include the National 

Federation of Music Clubs Young Artists Competition, the

National Society of Arts and Letters Cello Competition, and

the Peabody Conservatory’s Peggy and Yale Gordon Concerto

Competition. He appears by arrangement with Colbert Artists 

Management, Inc., of New York City.

Among those present at the first performance in 1808 of

Beethoven’s Piano Trio in E-flat Major was the former court

kapellmeister to Frederick the Great, Friedrich Reichardt.

Speaking of the third movement {Allegretto ma non troppo), he

said: “There was a heavenly cantabile movement, in three-four

time and in A-flat major, such as I have never heard from him,

and the loveliest, most graceful thing I have ever heard. My spirit

seems to soar and glow whenever I think of it.” The opening

movement {Poco sostenuto; allegro ma non troppo) begins with a slow

canonic introduction that is heard again when the recapitulation 

appears. The second movement {Allegretto) presents two themes

with variations that echo Croatian folk melodies Beethoven may