patterns in an awesome display of strength and vivacity. A contrasting 

key change to F-sharp minor ushers in the development section, using

cello tremolos to support widely spaced chords in the piano. Colorful

harmonic changes mark the development, and the movement concludes

with a recapitulation.

The second movement {Adagio affettuoso) has a charismatic and

reverberating cello pizzicato in its opening theme. This revelation

presages a deep emotional excitement that intensifies as the cello

explores its lower register and both instruments display their unique

colors. While boasting an extraordinary ambience of musical depth, the

two instruments readily unveil one of Brahms’ most sensuous and lovely

melodies.

The third movement {Allegro passionato) is marked by imposing

agitation and concentrated syncopation, enhanced by an irresolute

harmonic fabric. A more stabilized and restful musical structure is

provided by the Trio section, a melodically graceful and harmonically 

sumptuous contrast.

The finale {Allegro molto) is a sprightly rondo based on a comely

folklike melody. There are episodic shifts from major to minor keys, but

these do not dampen the blithe and infectious spirit of the recurring 

theme.

Programs notes by Elmer Booze

The use ofcameras or recording equipment during

the performance is not allowed. Please be sure that all

electronic devices are turned off

For the convenience ofconcertgoers

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

The Sixtieth Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2425th Concert

GLENN GARLICK, cellist

KATHRYN BRAKE, pianist

Sunday Evening, 16 June 2002

Seven O'clock

West Building, West Garden Court

Admissionfree
PROGRAM

Ludwig van Beethoven Sonata in A Major for Cello and Piano

(1770-1827) Op. 69 (1807-1808)

Allegro ma non tanto

Scherzo: Allegro molto

Adagio cantabile; allegro vivace

Samuel Barber

(1910-1981)

Sonata for Cello and Piano in C Minor

Op. 6(1932)

Allegro ma non troppo 

Adagio; presto

Allegro appassionato

INTERMISSION

Johannes Brahms

(1833-1897)

Sonata No. 2 in F Major for Cello and Piano

(1886)

Allegro vivace

Adagio affettuoso 

Allegro passionato

Allegro molto

Glenn Garlick’s career as one of the Washington area’s prime cellists

spans more than twenty years. In 1980 Mstislav Rostropovich brought

Garlick to the cello section of the National Symphony Orchestra, and in

1995 Leonard Slatkin appointed him assistant principal cellist. He has

appeared as concerto soloist with the Arlington Symphony, the Catholic

University Orchestra, the McLean Symphony Orchestra, Colorado’s

Greeley Philharmonic and Golden Symphony, and the

Eastman/Rochester Philharmonic.

A founding member in 1981 ofthe Manchester String Quartet, Garlick

has played chamber concerts with the Twentieth Century Consort, the

American Camerata, and the Contemporary Music Forum. In addition,

he has given master classes in chamber music at the Congress of Strings

and for eight summers has coached the cello section of the Maryland

Summer Institute’s National Orchestral Seminar. From 1990 to 1993

Garlick was Mstislav Rostropovich’s teaching assistant at the Curtis

Institute of Music.

Garlick first studied the cello under Eugene Hilligoss at Colorado

University in Boulder. He received the bachelor of music degree in

performance under the tutelage of Ronald Leonard at the Eastman

School of Music in Rochester, New York. Further studies at the Catholic

University of America under Robert Newkirk earned him the master of

music degree in performance. His chamber music mentors were John

Celentano at the Eastman School of Music and Joseph Gingold at the

Meadowmount Camp for Violinists (formally known as the Ivan

Galamian Violin Camp) in the Adirondack Mountains of New York. In

addition to his busy schedule with the National Symphony and the

Manchester String Quartet, Garlick serves as president of the Kindler

Cello Society and teaches at the University of Maryland, College Park.

A native of Washington, DC, pianist Kathryn Brake attended the

Juilliard School of Music in New York and the Peabody Conservatory of

Music in Baltimore, from which she received the master of music

degree. Her teachers included Julian Martin, Gyorgy Sebok, and Leon

Fleisher. Characterized as a “compelling and imaginative performer” by

the Washington Post, Brake has performed solo recitals throughout the
United States and Canada as well as in Italy, France, and Switzerland,

and at the Teatro Real in Madrid. A winner of several competitions, 

including the national Young Chopin Competition, the Beethoven

Competition, and the Kosciusko Foundation Award, she has performed 

as soloist with the Baltimore Symphony Orchestra, the National

Symphony, and the National Gallery Orchestra. A much sought-after 

chamber music player and recitalist, Brake has been engaged recently to

perform at the Kennedy Center, the Phillips Collection, and the United

States Holocaust Museum, to name a few. Equally at ease with a wide

range of musical styles, she has worked with contemporary composers to

help expose new music to a wider audience.

Beethoven’s Sonata A Majorfor Cello and Piano, Op. 69, which came

into being at the same time as his great Fifth Symphony, exhibits hints of

his Seventh Symphony. The first movement {Allegro ma non tanto) starts

with the unaccompanied cello playing the opening bars of the first

theme, which the piano finishes. The theme is then repeated with the two

roles reversed. A forceful transitional passage leads to the second theme.

This is stated twice in much the same way as the first. A short

concluding passage ends the exposition. The development takes up only

the first theme, but the recapitulation introduces variety with such

melodic devices as rearrangements, diminutions, and expansions. The

second movement {Scherzo: Allegro molto), in A minor, is swift, with

slender and syncopated melodies. The third movement {Adagio

cantabile) is a short and amicable prelude to the fourth movement 

{Allegro vivace), which, like the first, is in sonata-allegro form.

Samuel Barber’s Sonata in F Major, Op. 6, had its inception in the

summer of 1932 during a nine-day walking tour that Barber and his

friend Gian-Carlo Menotti undertook in Austria. Barber’s only work in

this genre, the sonata gives an example of the melodic sensitivity and

skill in counterpoint of the young composer, both encouraged and

developed by his teacher and mentor at the Curtis Institute, Rosario

Scalero. The three movements exhibit a sectionalism of structure,

reminiscent of through-composed art songs in which there are dramatic

and sometimes sudden changes of mood and color. In the second

movement, for example, Barber has combined a plaintive cantabile and a

scherzo in a single movement (The Adagio is interrupted by a fast

Presto). But in the sonata as a whole, the composer has achieved the

unity of a consistent, original, and readily recognizable style.

Written when Brahms was fifty-three years old and vacationing at his

favorite retreat on Switzerland’s Lake Thun, the Sonata No. 2 in F Major

for Cello and Piano, Op. 99, did not initially receive high praise. This

must have come as a shock to Brahms, since his first cello sonata (Op.

38) had a champion in Clara Schumann, who pronounced it to be

revelatory after playing it with the renowned German cellist Robert

Hausmann (1852-1909). When the Second Sonata premiered in 1886, it

met with denunciation from at least one significant critic. In an article

published in the Vienna Salonblatt, the celebrated Austrian composer 

Hugo Wolf (1860-1903) wrote: “What is music, harmony, melody,

rhythm, meaning, and form nowadays when this rigmarole seriously

pretends to be regarded as music? If Herr Dr. Johannes Brahms intends

to mystify his admirers with this newest work, if he wants to make fun of

their brainless veneration, then...we marvel at Herr Brahms as the

greatest bluffer of this century and all future millennia.” Wolfs

prophecy proved false, as the sonata is widely admired and ranks as one

of the outstanding works in its genre. Writer Willibald Gotze states:

“The sonata appears almost rhapsodic in its many changes of mood, its

emotional outbursts side by side with moments of reverie, spectral

fantasy, and the sheer, carefree joy of music making. Only a mature

master of his art could shape four such different movements so

faultlessly and balance their respective weights in such a way that the

reality of [an] actual performance merely confirms the certainty of the

conception.”

In the first movement {Allegro vivace), the piano has the dominant

role. With the use of tremolos and arpeggiated chords, the instrument

takes on an almost orchestral sonority. The cello introduces the theme,

the wide leaps of which exploit the cello’s expansive range. The two

instruments later become equal partners, with choice moments of

oscillating lyricism giving way to dramatic and imposing rhythmic