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

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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

www.nga.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 cirde@nga.gov for more information.

The Seventy-Third Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

3,033rd Concert

National Gallery Orchestra

Saint Petersburg State Academic Symphony Orchestra

Vladimir Lande, guest conductor

with Marcolivia, violin and viola duo

January 11, 2015

Sunday, 6:30 pm

West Building, West Garden Court
Program

Leonard Bernstein (1918-1990)

Overture to Candide (1956)

Wolfgang Amadeus Mozart (1756-1791)

Sinfonia Concertantefor Violin, Viola, and Orchestra in

E-flat Major, K. 364 (1779)

Allegro maestoso

Andante

Presto

INTERMISSION

Nikolai Rimsky-Korsakov (1844-1908)

Scheherazade, op. 35 (1888)

The Sea and Sinbad’s Ship

The Kalendar Prince

The Young Prince and the Young Princess 

Festival at Baghdad

The Sea

The Ship Breaks Against a Cliff Surmounted by a Bronze Horseman

The Musicians

NATIONAL GALLERY OF ART ORCHESTRA

The National Gallery ofArt Orchestra was founded in 1943 and initially

consisted of approximately twenty-five players drawn from the National

Symphony Orchestra. Gradually growing in numbers, the Gallery orchestra

reached the size and status of a large chamber orchestra. The ensemble has

undertaken the full range of chamber and symphonic repertoire and has

frequently presented first performances ofworks by American composers, 

most notably the 1953 premiere ofCharles Ives’s Symphony no. 1, under the 

direction of Richard Bales; the 199° premiere of Daniel Pinkham’s Symphony no. 4, under George Manos; and the 2007 premiere ofJohn Musto’s

Later the Same Evening: An Opera Inspired by Five Paintings ofEdward Hopper,

under guest conductor Glen Cortese. Other guest conductors who have

appeared with the orchestra in recent years include Bjarte Engeset, Philippe 

Entremont, Chosei Komatsu, Jose Serebrier, and Markand Thakar.

SAINT PETERSBURG STATE ACADEMIC SYMPHONY ORCHESTRA

Founded in 1967 by three masters ofthe Leningrad conducting school, the 

Saint Petersburg State Academic Symphony Orchestra was dubbed early in

its history the “Orchestra ofAncient and Modern Music.” The founders —

Karl Eliasberg, Edward Grikurov, and Nikolai Rabinovich—departed from 

the established practice of other Soviet orchestras by specializing in performing seldom-played works, music from various musical styles and 

nations besides Russia, and music by living composers. In the 1970s, under

the baton of conductor Edward Serov, the orchestra traveled to hundreds of

cities ofthe Soviet Union, made dozens ofrecordings for the Melodiya label,

participated in prestigious festivals, and established its place as Leningrad’s

third orchestra, after the city’s two famous orchestras, the Saint Petersburg 

Philharmonic and the Mariinsky orchestras.

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VLADIMIR LANDE

Russian-born Vladimir Lande has guest-conducted the National Gallery 

Orchestra on four occasions, most recently in a program featuring music by

Glinka, Rachmaninoff, and Tchaikovsky, in January 2014. He is also music

director of cosmic (Chamber Orchestra of Southern Maryland in Concert),

the Hopkins Symphony Chamber Orchestra, the Maryland Conservatory

Orchestra, and the Washington Soloists Chamber Orchestra. In the

2012-2013 season, Lande led Russia’s Saint Petersburg State Academic

Symphony Orchestra on its tour of South Korea. Two years before, he took

the orchestra on a twenty-four-stop “Tour ofthe Americas” that included

concerts in Latin America’s and the United States’ most prestigious concert

halls, such as Alice Tully Hall in New York, Kimmel Hall in Philadelphia,

Meyerhoff Hall in Baltimore, Symphony Hall in Boston, and the National

Gallery ofArt.

In addition to his duties as principal guest conductor ofthe Saint

Petersburg orchestra, Lande regularly conducts the Donetsk Ballet Company

in Europe and the United States. He has conducted at the Ravello Festival in

Italy and since 1996 has been principal guest conductor ofthe Bachanalia

Festival Orchestra in New York. In 2004 he was invited to conduct the

opening concert ofthe internationally renowned White Nights Festival in

Saint Petersburg.

Recent recordings made under Lande’s direction include Schubert’s

Unfinished and Great symphonies, music by the American composer James

Aikman, and a seventeen-disk cycle ofthe complete symphonic works ofthe

little-known Russian composer Mieczyslaw Weinberg (1919-1996). In 2011

Lande launched a series of video recordings for Naxos titled, Concertsfrom

the Palaces ofiSaint Petersburg. An oboist as well as a conductor, Lande was the

youngest person to occupy the principal oboe chair in the Baltimore Opera

Orchestra. He continues his playing career as oboist ofthe Poulenc Trio.

MARCOLIVIA DUO

Marcolivia is an award-winning violin and violin and viola duo performing

music ofmany styles and periods, including folk, jazz, and salon/virtuoso

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works. The duo appears frequently on npr’s Performance Today and Front

Row Washington programs. They are regular guest artists at the Tokyo College

of Music, Japan, and have performed for the Federal Reserve Board in

Washington, DC, the Cleveland Museum ofArt, the Cosmos Club, and the

Phillips Collection. Other venues include the Kennedy Center, Strathmore,

Merkin Hall, and Symphony Space in New York. Marcolivia regularly adjudicates, performs, and gives master classes for events organized by Washington

Performing Arts and has performed double concertos with many ofthe

Washington-area regional orchestras, including Alexandria and Fairfax

symphonies. On the rosters ofthe Millenium Stage at the Kennedy Center

and the Virginia Commission for the Arts, in 2011 Marcolivia was invited to 

be among the founding members ofthe Phillips Camerata, based at the

Phillips Collection. It has also taken part in the Garth Newel, Blue Mountain,

Las Vegas, and Shenandoah Performs music festivals.

Olivia Hajioff and Marc Ramirez enjoy successful individual solo and

chamber music careers, in addition to their work together as Marcolivia.

Hajioff, a Fulbright scholar, received a bbc Young Musician ofthe Year Award

and was also a prizewinner in the European Violin competition. In her native 

England, she has performed chamber music at the Dartington Festival with

David Owen Norris and Stephen Kovacevich. She has also performed with

Edgar Meyer, Awadagin Pratt, and Led Zeppelin. She has concertized throughout Europe and the United States, notably in London’s Wigmore Hall, the

South Bank, Cheltenham Festival, Paderewski Hall in Switzerland, and the

Kennedy Center.

Marc Ramirez has concertized throughout Europe and North America,

performing at such halls as the Tretyakov Gallery in Moscow, Carnegie Hall,

and the Kennedy Center Terrace Theater. His recitals have been broadcast on

many radio stations, including those in New York, Chicago, and Los Angeles.

Among his awards are first prizes in the Henryk Szeryng Competition, the

Parisot-Friedman International Competition, and the Cavallaro International

Competition for a two-year fellowship at Yale University. For the years 1983-

1986, he was invited by Henryk Szeryng to study and tour with him.

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Program Notes

Leonard Bernstein’s Candide is a comic operetta based on the eponymous

work by Voltaire. Intended as an opera and musical-theater hybrid, Candide

was a box-office failure on Broadway in 1956, closing after seventy-three

performances. In 1959 it made its London premiere, with a few adaptations, 

and ran for only sixty performances. The 1970s brought Broadway revivals

of Candide, which continued to be performed until 2006, when the Theatre

du Chatelet in Paris celebrated the operetta’s fiftieth anniversary, with

subsequent productions in London, Milan, Chicago, and Washington, dc.

Despite the operetta’s initial unfavorable response, its overture was immediately appreciated and frequently played on the concert stage. Bernstein 

reorchestrated it and premiered the new version with the New York Philharmonic Orchestra in 1957, after which it became a program staple. Beginning 

with feverish excitement and exuberant fanfare, the work proceeds at a quick

pace, requiring virtuosic playing from each member ofthe orchestra.

Wolfgang Amadeus Mozart composed his Sinfonia Concertante while on

a tour that included Mannheim and Paris. He had been experimenting

with the sinfonia concertante genre, seeking to combine a symphony and a

concerto for multiple soloists. It was a particularly popular genre in Paris,

and Mozart penned another sinfonia concertante for four wind players of

the outstanding Mannheim orchestra. This piece has survived only in a

specious edition. Mozart made the interesting choice in K. 364 to write the

viola part in D major, instead ofthe orchestra’s key of E-flat major, and to

ask the solo violist to play scordatura with strings tuned up a halfstep. This

tactic enables the violist to play with a brighter tone to match the solo

violinist. Another experimental feature ofthe orchestra is a divided viola

section, resulting in rich orchestral harmonies.

The year 1887 was filled with exotic ventures for Nikolai Rimsky-Korsakov.

Soon after completing his Spanish fantasy for orchestra, Capriccio Espagnol,

he began a work based on the legend of One Thousand and One Nights, as well

as separate, unconnected tales from Arabian and Persian lore. The result

was a symphonic suite offour movements linked by both musical themes

and extra musical subject matter. Rimsky-Korsakov’s initial movement titles

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were: Prelude, Ballade, Adagio, and Finale. He eventually substituted

thematic headings from the Arabian Nights, rather than assigning a specific

program to each movement. He insisted that the main title, Scheherazade,

would best conjure the fairy-tale wonder and mystique ofAsia.

As the story goes, a king, having been betrayed by his first wife, ensured

that it would never happen again by marrying a new virgin every night and

then having her beheaded in the morning. Knowing that the King had already

killed over a thousand women, the clever and beautiful Scheherazade volunteered to spend an evening with him. She captured his imagination with a

story, and when he insisted that she finish, she made the excuse that dawn 

was breaking. The king spared her life until the next night, when she was

able to buy another day with a second, more exciting story, left unfinished at

dawn. After one thousand and one nights and one thousand stories, Scheherazade ran out ofstories to tell, but by then the king had fallen in love with

her and made her his queen.

Musically, Scheherazade is a delightful journey filled with bright orchestral color, fresh melodies, and a distinct oriental sound. The work benefits 

from a flexibility ofstructure, unfolding without rigid symphonic constraints. 

Despite the absence of a specific narrative, Rimsky-Korsakov unified the 

work’s four movements with recognizable leitmotifs. The first movement’s

foreboding opening theme is meant to represent the domineering sultan, 

and the graceful violin solo is Scheherazade's theme—these two leitmotifs 

are separated by a beautiful sequence ofwoodwind chords reminiscent of

Mendelssohn’s overture to A Midsummer Night’s Dream. The second movement is a tour-de-force theme and variations, and the third movement is a

calmer love story. The finale ties in themes from the preceding movements

while also introducing new ideas. The work concludes appropriately with a

juxtaposition of Mendelssohnian woodwind chords to a lyrical violin solo.

Program Notes by Michael Jacko, Music Program Assistant,

National Gallery ofArt.

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