The use of cameras or recording equipment during the

performance is not allowed. Please be sure that cell phones,

pagers, and other electronic devices are turned off.

Please note that late entry or reentry ofthe 

West Building after 6:30 pm is not permitted.

For the convenience of concertgoers, 

the Garden Cafe remains open for light refreshments

until 6:00 pm on Sundays.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

ivww.ngfl.gov

Concerts are made possible in part through the generosity of donors

to the National Gallery ofArt through The Circle. Reserved seating is

available in recognition oftheir support. Please contact the development

office at (202) 842-6450 or circle@nga.gov for more information.

COVER: Alexej von Jawlensky, Mumau, 1910,

National Gallery of Art, Washington, Gift of Mr. and Mrs. Ralph F. Colin

The Seventy-second Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,984th Concert

Irina Mozyleva, soprano

Magdalena Wor, mezzo-soprano

Vera Danchenko-Stem and Genadi Zagor, pianists

March 16, 2014

Sunday, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

(Performed without intermission)

Anton Arensky (1861-1906)

From Three. Duets, op. 29

Moments of Happiness

The Violettes

Piotr Ilyich Tchaikovsky (1840-1894)

From Six Duets, op. 46

Tears

Passion Has Fled

Sergei Rachmaninoff(1873-1943)

Suitefor Piano Four Hands, op. 11

Barcarolle

Scherzo

Waltz

Romance

Glory

Valery Gavrilin (1939-1999)

Five Songs from The Evening

My Darling Diary 

Margaret

Waltz

Bye-bye

My Darling Diary

Gavrilin

Sketchesfor Piano Four Hands

Riding the Troika

Imitation ofAntiquity

The Little Clock

Waltz

Tarantella

March
The Musicians

IRINA MOZYLEVA

A graduate ofJuilliard and the Curtis Institute of Music and a scholarship

recipient at the Tanglewood Music Festival, soprano Irina Mozyleva performs frequently in New York City, where she has appeared at Alice Tully

Hall, Merkin Concert Hall, the New York Public Library, Trinity Church,

the United Nations, and Weill Recital Hall. Known for her interpretations

ofmusic by Shostakovich and other Russian composers, she has sung with

ensembles from the Boston Philharmonic and New York Philharmonic

orchestras as well as the Philadelphia Piano Trio. Her operatic engagements

include Rosina in II Barbiere di Siviglia for the San Francisco Opera and Anna

in the world premiere ofthe Philadelphia Opera Company’s production of

Christopher Drobny’s Kissing and Horrid Strife.

MAGDALENA WOR

First-place winner ofthe Heinz Rehfuss Vocal Competition, Metropolitan

Opera Competition national finalist, and winner ofthe Mozart Society of

Atlanta Competition, Polish-born mezzo-soprano Magdalena Wor has lived 

in the United States since 1991. Her training includes participation in the

Chautauqua Music Institution’s Marlena Malas Voice Program, Saint Louis

Opera Theater’s Gerdine Young Artist Program, San Francisco Opera’s

Merola Summer Opera Program, and Washington National Opera’s DomingoCafritz Young Artist Program. Among the roles she has sung are Giovanna

in Rigoletto, Grimgerge in Die Walkure, the herdswoman in Jenufa, the third

maidservant in Elektra, the witch in Hansel and Gretel, and Zita in Gianni

Schicchi. In recent seasons, she has appeared as Enrichetta in I Puritani with

Washington Concert Opera and as the mezzo-soprano soloist for Mozart’s

Solemn Vespers ofthe Confessor with the Cathedral Choral Society.

4

VERA DANCHENKO-STERN

A graduate of Moscow’s prestigious Gnessin Institute of Music, pianist Vera

Danchenko-Stern has built a solid reputation as a solo performer, chamber

musician, and collaborative pianist. Emigrating from her native Russia to

Canada in 1979, she joined the faculty ofthe Royal Conservatory of Music in

Toronto. Since coming to the United States in 1990, she has been teaching

the “Singing in Russian” class at the Peabody Institute ofthe Johns Hopkins

University and the Catholic University ofAmerica. In addition to regular

on-stage collaboration with her brother, violinist Victor Danchenko, DanchenkoStern works with violinists Martin Beaver and Ilya Kaler, violist Ryvka Golani, 

sopranos Carmen Balthrop and Jennifer Casey-Cabot, mezzo-sopranos

Audrey Babcock and Susana Poretsky, baritone Sergei Leiferkus, and bass

Nikita Storojev.

Founder in 2005 ofthe Russian Chamber Art Society, which presents

Russian vocal music rarely heard in America, Danchenko-Stern frequently

serves as a jury member in international competitions. She conducts master

classes at Michigan State and Princeton universities as well as the music

conservatories of Moscow and Saint Petersburg and the Royal Conservatory

of Music in Toronto.

GENADIZAGOR

A native of Krasnodar, Russia, Genadi Zagor graduated from the RimskyKorsakov College of Music in Saint Petersburg and continued his studies at 

the Moscow State Conservatory. In 1991 he immigrated to Israel, where he

became an assistant to pianist Alexander Tamir at Jerusalem’s Rubin Academy 

of Music. In 2000, having moved to the United States, he studied piano at

Indiana University and Michigan State University. A first-prize winner at the

San Antonio International Piano Competition and the Di Angelo Young Artists 

Competition in Erie, Pennsylvania, he has performed in live National Public

Radio broadcasts at the Irving Gilmore International Keyboard Festival and

the Toradze Piano Studio Rachmaninoff Marathon. In 2011 he appeared at

Strathmore Hall with the Post-Classical Ensemble in its Stravinsky Festival.

5
Program Notes

Although interest in Russian opera has increased over the past decade in

the United States, Russian art songs, sometimes called romances, are virtually

absent from concert halls on this side ofthe Atlantic. This repertoire is unique

and prolific, joining music by the most famous Russian composers from the

nineteenth century to the present with lyrics by the most beloved Russian poets.

This highly expressive, lyrical, and passionate music offers a great variety of

emotions, making it deeply appealing to a wide variety of audiences.

Russian composer, pianist, and conductor Anton Arensky was bom in

Novgorod to a family of amateur musicians that encouraged his precocious

talent—by age nine, he had already composed a number ofsongs and piano

pieces. In 1879 his family moved to Saint Petersburg, where he entered its

famous conservatory ofmusic, studying under Nikolai Rimsky-Korsakov 

(1844-1908). After graduating in 1882, Arensky was hired by the Moscow 

Conservatory, becoming the youngest member ofits faculty. Among his

students were Rachmaninoff, Scriabin, and Gretchaninov. From 1888 to 1895,

Arensky conducted Moscow’s Russian Choral Society, and from 1895 to 1901

the musicians ofthe Imperial Chapel in Saint Petersburg, after which he

devoted the last years of his life to touring as a concert pianist and conductor.

His prolific output includes art songs, ballet, and operas, as well as choral,

orchestral, piano, and chamber music. His career cut short by tuberculosis

and death at age forty-eight, Arensky was pretty much forgotten until the 1980s,

when interest in his music revived and his works came into standard repertory.

Educated to be a civil servant, Piotr Ilyich Tchaikovsky pursued a musical

career against the wishes ofhis family, graduating in 1866 from the Saint

Petersburg Conservatory of Music and taking a position as harmony teacher

at the Moscow Conservatory. Much better known for his symphonies, operas,

and ballets than for his chamber music, Tchaikovsky nevertheless produced

memorable pieces for solo voice. As he turned to works ofAleksandr Pushkin

(1899-1937) for the stories for his operas Eugene Onegin and Pique Dame, he

also selected the great Russian poet’s verses for many ofhis songs.

6

Widely recognized as one ofthe last great representatives ofthe romantic

era and one ofthe finest pianists ofhis day, Sergei Rachmaninoff composed

important piano works that have become part ofthe classical canon. These

include his first two piano concertos, the Rhapsody on a Theme ofPaganini,

and the well-known Prelude in C-sharp Minor, which he was obliged to play as

an encore-in-demand at almost every concert he played after he introduced

it in 1892. Featuring a personal pianistic style modeled after the virtuoso technique and crystal-clear clarity ofAnton Rubinstein (1829-1894), his recitals

often included selections from his sonatas, Twenty-four Preludes, and EtudesTableaux. In 1940 he moved to Beverly Hills, but enjoyed only a brief period

ofhappiness in California. He fell ill in 1942 and died the following year,

just two weeks after having become an American citizen.

Well-known in the theaters and concert halls of Russia and often heard

in Russian films and radio and television programs, the music of Valery

Gavrilin is not yet famous outside his own country. Mixing classical and

modern idioms, Gavrilin channels the music ofhis predecessors in a clear

and serious manner, with an occasional touch ofhumor. The Evening is one

ofseveral song cycles he wrote for soprano or mezzo-soprano, using his own

poetry and that ofAnna Akhmatova (1889-1966), Ivan Bunin (1870-1953), 

Heinrich Heine (1797-1856), and Nina Shulgina (active 1960-1990).

Program notes by Vera Danchenko-Stem

7
Texts and Translations

An Evening of Russian Song

National Gallery of Art

March 16, 2014

MIIHYTbl CHACTbfl (1)

C/ioBa A/ieKcaHflpa AnyxmHa

He TaM oTpaflHO cnacTbe BeeT,

r,qe LuyM m qapcTBO cyeTbi:

TaM cepflue CKopo xo/io,qeeT 

M 6/ieKHyT apKMe MeHTbi.

Ho Benep tmxmm, o6pa3 He>KHbiM

M penH po6xne b tmlum

0 BceM, mto 6y,qMT yM MflTe>KHbm

M CTpyHbi cnaiuMe flywM,

0, BOT OHM, MMHyTbl CHaCTbfl,

Kor,qa, «ai< 3opbKa b He6ecax,

B/iecHeT BHe3anH0 /iyn yMacrba

B Hy>KMX BHMMaTe/IbHbIX onax,

Konqa aio6bm ropaneM c/iobo

PacTeT Ha cepflue xax HaneB,

M c ycT c/ieTeTb totobo,

V\ 3aMMpaeT, He c/ieTeB...

OilA/1 KA (2)

C/ioea reHpuxa reiiHe

HoMHafl cfiMa/ixa 6jiecmmero co/iHqa

6omtca, SoMTCfl na/isunMx ziyneM,

CTblfl/IMBO CBOKD OnyCTMBUJM TO/lOBKy,

OHa o>KMAaeT CBeTM/io HoneM.

Ho BenepoM, TO/ibKO hto Mecau

3acBeTMT, OHa, BCTpeneHyBiiiMCb,

noAH^BiuM ro/ioBKy, rnaflMT,

xax oh tmxo rmbiBeT M3-3a Tyn...

M BApyr, pacnycTMBLUMCb, CBepKaeT m

AblLUMT,

m /ibeT apoMaT, m B3flbixaeT, apo>kmt..

3aAyMHMBO CMOTpMT Ha He6o HOHHOe,

m B3op ee CBeT/ibiM /lfoboBbfo ropMT.

MOMENTS OF HAPPINESS (1)

Happiness is not over there,

In the noisy kingdom of futility.

In this kingdom, only the heart calls.

Our dreams failed.

In the quiet evening, tenderness and timid

conversation,

Everything that can awaken the soul's 

stirringsThese moments of happiness shine,

As when the sun rises in the sky.

Unexpected, the light of happiness again

shines

In different but attentive eyes,

Words of love begotten in the heart,

Unlike songs on the mouth, are never 

spoken.

VIOLET (2)

The night violet hides from the shining 

sun.

In the burning light, the violet shyly bows

her head,

Waiting for the night's sun.

But in the evening, as soon as the moon

starts to shine,

The violet raises her head and watches

how the moonlight

Streams down from the shadows.

Suddenly she opens her petals, and

scented drops of dew

Sparkle like stars in the moonlight.

She breathes and hesitates, and looks up

thoughtfully to the night sky

That reflects back her love.
C/iOBa OeAopa TioTMeBa

Cne3bi /iKJflCKne, o c/ie3bi /itOACKne,

/IbeTecb Bbi paHHePi n no3AHePi nopon...

/IbeTecb 6e3BecTHbie, AbeTecb He3pnMbie,

HekicroLUHMbie, HencHHc/iMMbie, —

/IbeTecb, xax jibfOTCfl CTpyn flOK,qeBbie

B oceHb r/iyxyfo nopora hohhom.

C/1E3bl (3)

MMHYJ1A CTPACTb (4)

C/iOBa A/ieKcen To/iCToro

MnHy/ia CTpacTb, m nbm ee TpeBo>xHbiM

y>Ke He MynMT cepAMa Moero,

HO pa3JlK)6MTb Te6fl MHe HeB03M0>KH0,

Bee, hto He Tbi,- Tax cyeTHO h jio>kho,

Bee, hto He Tbi,- 6ecuBeTHO m MepTBO.

5e3 noBO,qa h npaBa HeroAya,

y>K He KMIIHT 6yHTyK)Luafl KpOBb,

Ho C nOW/lOM >KH3HbK) CAMTbCfl He Mory 9\,

Moa /iK)6oBb, o flpyr, h He peBHya,

Ocra/iacb Ta >Ke npe>xHHH /ix)6oBb.

MnHy/ia CTpacTb, m nbm ee TpeBO>xHbm

y>Ke He MyHHT cepAUa Moero,

HO pa3^K)6MTb Te69\ MHe HeB03M0>XH0,

Bee, hto He Tbi,- Tax cyeTHO m /io>kho,

Bee, hto He Tbi,- 6eci4BeTH0 m MepTBO.

A/lbBOMHMK (5)

CnoBa A/ib6mfbi LLIy/ibrMHOM

Benep, Benep, BenepoK, ro/iy6bie CBenxM.

V\3 a/ib6oMHMKa jimctok BeTXMM, ,qa

BeHHblH.

Ax, Aa, HaBcerAa MM/ibiii, mh/imm, Mn/ibm!

Ax, Aa, limn roAa, BbiUBe/in nepHH/ia!

BbiuBeAM nepHH/ia...

Ax... Ax... Ax... Kax >khjih, /ix)6min,

Tpa/iH, /m, aa/iaa*,

UBeTbi xax AapM/in, TpaAH, /la/ia/is/ia...

HToPfla... HaBcerAa mm/ibim, mmamm,

MH/lblM.

HTO?fla... limn roAa, BbiuBe/in nepHH/ia!

BbiuBe/iM nepHH/ia...

BbiUBe/in nepHH/ia...

Bhm-6om-6om,

OTxpoeM Mbi a/ib6oM.

TEARS (3)

Tears, human tears flow morning and

night.

Unknown, uncountable, and unseen

You flow like rain in the deep autumn

light.

PASSION HAD FLED (4)

Passion had fled...

Although its sensitive heat 

Is not yet distant from my heart.

For me it is impossible not to love you.

Everything that is not you is boring and

false

Everything that is not you is colorless and

dead.

Without any pretext I say that

Already my rebellious blood has ceased to

boil.

With a trivial life

I cannot live, oh friend...

Just the same. I am jealous, my love.

For me it is impossible not to love you. 

Everything that is not you is boring and

false

MY DARLING DIARY (5)

Lyrics by Albina Shulgina

A night, welcome night, blue candles

alight

A leaf from my diary, eternal if slight;

Forever I think you're my charmer, my

charmer.

Years faded the ink ...

How we'd love, how we'd live - and the

flowers we'd give;

What? Forever I think you're my charmer,

charmer.

Years faded the ink ...

Bom, bom, bum, bee -

Opening the diary.
MAPrAPMTA (6)

C/iOBa Ba/iepMfl raBpM/im-ia

OflHa^flbi MaprapuTa cn,qe/ia y okoluio,

np^/ia np«>Ky.

Cn.qe.na MaprapuTa m necHK) HaneBa/ia,

TaK He>KHO, TaK 3BOHKO,

M nyqecHO TaK cboio neceHKy ne/ia

MaprapuTa...

Tup-TupJIM, TUp-Tkip/lM, JlfOp..

fle/ia...fle/ia...

"llpfl/iOHKa np5iqeT, HMTOHKa 6e>KMT,

npa/ioMKa noeT, Ko/ieco Kpy>KMTC5i.

Myp-Myp-Myp - kot, 3yM-3yM-3yM - >KyK,

KTO-TO y BOpOT HbIHHe nOCTyHMTCfl?

Hto >k oh He Mqet?

Hto >k He npM6e>KMT?

Hto >k He npn/ieTHT?

CTaHy a KpaCMBOM.

npHXOflki CKopen, npn6eraPi CKopen,

npki/ieTan CKopen - CTaHy a cnacr/iMBOM.

y-TM-TK)-TM-TK)T, Myp-Myp-Myp-My-Jieki,

Ecjim /ikd65it - wqyT, He rpycT5iT HanpacHO.

Myp-Myp-Myp-My-/ieM, 3yM-3yM-3yM-3ynefi,

y-TM-TK)-TM-TK)T, - 6yqeT Bee npeKpacHO.

Oh npHMfleT ko MHe, npn6e>KMT ko MHe,

npmieTMT ko MHe.

Ko/ieco Kpy>KMTC51/ HHTOHKa 6e>KMT,

np5i/iOHKa npnqeT, HHTOHKa noeT..."

KTO-TO B flBepb CTyHMTCfl...

MARGARET (6)

Lyrics by Valeri Gavrilin

Once Margaret sat by the window spinning

her yarn,

Spinning and singing and having so much

fun!

She was spinning and singing in a clear

dulcet tone,

'Twas a marvelous song, so she went on 

and on.

Teer-teerly, teer-teerly, turely -.

"My distaff is spinning, my thread just a

thrill,

And the spindle goes singing while turning

the wheel.

As my tomcat is purring, a beetle's

buzzing in flight...

I wonder who is coming to my gate

tonight?

So why isn't he coming?

Why isn't he running?

Why isn't he flying to my gate to-night??

Pray come sooner, fly faster - make me

feel well,

For tonight, of all nights, I'm going to look

swell.

U-tee-tiu-tee-tiut, purr, purr, purr, lei... 

Lovers anguish for a reason - so lovers

can wait.

My tomcat is purring - yes, it's going to

feel great

When my lover comes running, comes

flying apace...

The wheel's turning, thread's running,

distaff's singing songs of yore...

Ah, I hear someone knock on my door.
BA/lbC (7)

C/iOBa Ba/iepMfi raBpn/iMHa

Hm ,qa, hm HeT, hm HeT, hm aa He

roBopMTe, He roBopMTe, Tpa-/i51-/151.

3a Bam npMBeTAapio 6yKeT. Tpa-A5i...

l/l pa3, h ABa, 3aneM cHHTaTb?

51 He co6bK)Cb, He co6bJOCb...

Tpa-/151-/151-/151...

l/l HM B KOTO, nOMHMO Bac, HH pa3, HM ABa,

HM AeC51Tb pa3

9\ He BAK)6/lK)Cb, 51 He BAK)6/lK)Cb.

Tpa-/151-/151-/151...

9\ He BAK)6Aiocb! Tpa-A5i...

(lAblBeT no MOpK) /lOAKa,

A b /lOAOHKe 5i m Tbi. Xoponia5i

noroAKa...Tpa-/i5i...

3a HanieM /ioakom - Hy, nocMOTpMTe >k,

Tpa-A51-n51, TP3-/151-A51, -

He oneHb xoako, coBceM He xoako n/ibmeT

ce/ieAKa.

fla, f\a, ce/ieAKa. Tpa-/i5i.

Hm Aa, hm HeT, hm HeT, hm Aa He

roBopMTe, He roBopMTe, Tpa-/i5i-/i5i.

3a Bam npMBeTAapio 6yxeT. Tpa-A5i...

l/l pa3, m Aaa, 3aneM CHMTaTb?

9\ He co6bK)Cb, 5i He co6btocb...

Tpa-n5i-/i 51-/15i...

M HM B KOTO, nOMMMO Bac, HM pa3, HM ABa,

HM AeC51Tb pa3

9\ He B/lK)6/lK)Cb, 51 He B/lK)6AK)Cb.

Tpa “A 51 “A 51 “A 51...

9\ He B/iK)6/iK)Cb! Tpa-/i5i...

11/ibiBeT no Mopio /lOAKa,

A b /lOAOHKe 5i m Tbi. Xopoiua5i

noroAKa...Tpa-/i5i...

3a HaLuePi /ioakom - Hy, nocMOTpMTe >k,

Tpa-A51-A51, Tpa-A51-A51, -

WALTZ (7)

Lyrics by Valeri Gavrilin

Do not say vainly 'yes' or 'no' - do not 

say!

My gift to reward your sweet 'hallo' is this

lovely nosegay.

I've given it once, and then once more -

But why bother at all to keep the score?

Tra-la-la...

Still, I won't mess the count, overcome 

with elan:

Trust me, other than you I will love no

one.

Tra-la-la...

Dare me once, dare me twice, dare me

ten times or more -

I will love no one - so why keep the

score? Tra-la-la-la - No one but you

A fast-going boat far out at sea - we're 

sailing in the boat.

The day is fine, it's you and me, we're

happily afloat.

Herring is chasing us in a shoal - amazing, 

can't you see?

Not going fast, far from going fast,

Some playful herring - gee!

Do not say vainly 'yes' or 'no' - do not 

say!

My gift to reward your sweet 'hallo' is this

lovely nosegay.

I've given it once, and then once more -

But why bother at all to keep the score?

Tra-la-la-la

Still, I won't mess the count, overcome 

with elan

Trust me, other than you I will love no

one.

Tra-la-la-la...

Dare me once, dare me twice, dare me

ten times or more -

Still I'll love no one - so why keep the

score?

Tra-la-la-la...
AO CBMflAHbfl (8)

C/ioBa Ba/iepmi raBpM/nma

Ax Aa, aa, Aa, ao CBMAaHb5i...

Ax Aa, Aa, Aa, ao CBMAaHb5i...

Ax pa3 m Aaa, ao CBMAaHb5i, mm/imm Apyr.

Ax Aa, Aa, Aa, ao CBMAaHb5i...

Ax Aa, Aa, Aa, ao CBMAaHb5i...

Ax pa3 m ABa, ao CBMAaHbfl, a...

He>KHbm Apyr, ao CBHAaHbfl... ao

CBMAaHbfl...

J2,0 CBMAaHbfl.. AO CBMAaHbfl...

Ax, Tpa-/i5i-/i5i, ax, mom MM/ibm ABrycTMH,

Bee npoLu/io, npoLu/io, npoiu/io...

flO CBMAaHbfl...AO CBMAaHbfl...

A/lbEOMHMK (9)

C/iOBa A/ib6MHbi lily/ibrMHOM

Benep, Benep, BeMepox ro/iy6bie cBenKM.

V\3 a/1b60MHMKa /lMCTOK BeTXMM, Aa

BeMHbIM.

Ax, Aa, HaBcerAa MM/ibm, MM/ibm, MM/ibm!

Ax, Aa, llj/im roAa, BbiuBe/iM nepHM/ia!

BbiuBe/iM nepHM/ia...

Ax... Ax... Ax... Kax >km/im, juo6m/im,

Tpa/i5i, nn, /I5i/i5i/i5i,

UBeTbl K3K AapM/lM, Tpa/151, /151/151/151/151...

HTo?fla... HaBcerAa MM/ibm, MM/ibm,

MM/lbIM.

Hto? fla... llj/im roAa, BbiLLBe/iM nepHM/ia!

BbipBe/iM nepHM/ia...

BbiLtBe/iM nepHM/ia...

Bmm-6om-6om,

3axpoeM Mbi a/ib6oM.

BYE-BYE (8)

Lyrics by Valeri Gavrilin

Oh yes, yes, yes, farewell and good bye

My gentle friend, farewell and good bye

Farewell and good bye

Ah, la-la-la, my dear Augustine

All is gone, all is gone, past and gone

So farewell and good bye.

MY DARLING DIARY (9)

Lyric by Albina Shulgina

A night, welcome night, blue candles

alight

A leaf from my diary, eternal if slight

Forever, I think, you're my charmer,

charmer.

Years faded the ink...

How we'd love, how we'd live

How flowers we'd give

What? Forever I think you're my charmer,

charmer.

What? Years faded the ink - didn't make it

dumber

Years faded the ink...

Bom, bom, bum, bee -

Now shutting the diary.

Translations by Anatoly Rosenzweig

Russian diction coach - Vera Danchenko-Stern