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 of

the West Building after 6:30 pm is not permitted.

Music Department

National Gallery ofArt

Sixth Street and Constitution Avenue nw

Washington, DC

unrw.nga.gov

The Sixty-ninth Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,807th Concert

Kate Egan, soprano

Marlene Bateman, mezzo-soprano

Juliana Osinchuk, piano

With visual projections by Petra Lisiecki

November 10, 2010 

Wednesday, 12:10 pm

West Building Lecture Hall

Admissionfree
Program

Ludwig van Beethoven (1770-1827)

Oh! Would I Were but That Sweet Linnet

From Irish Songs, WoO 154, no. 9

Sweet Power of Song

From Twenty-Jive Irish Songs, WoO 152, no.

Robert Schumann (1810-1856)

Spanisches Liederspiel, op. 74

No. 1: Erste Begegnung 

No. 3: Liebesgram 

No. 8: Botschaft

Das Gluck, op. 79, no. 16

Lawrence Moss (b. 1927)

Emily’s World

A Bird...

A Long, Long Sleep...

A Thought...

Racconto

George Belden (b. 1939)

Life at its best

Voodoojuju

Open as the ocean

Judy

Camille Saint-Saens (1835-1921)

El Desdichado

Gabriel Faure (1845-1924)

Pleurs d’or

La Tarentelle

The Musicians

KATE EGAN

A native of Appleton, Wisconsin, soprano Kate Egan holds degrees in vocal

performance from the University of Minnesota-Minneapolis and the Eastman School of Music in Rochester, New York. Since making her debut as

Micaela in Carmen with Sarasota Opera, Egan has performed leading roles

with the Chautauqua, Glimmerglass, Mobile, New York City, Sacramento, 

Skylight, Tampa Bay, Tulsa, and Utah opera companies as well as the New

England Lyric Operetta, the Rockford Symphony, and the New York Gilbert

& Sullivan Players. She made her European debut with Opera North in

England with an all-English cast in Cimarosa’s The Secret Marriage. She has

toured with the Philip Glass Ensemble in La Belle et la Bete and Monsters of

Grace to Barcelona, Mexico City, Tokyo, and Toronto. Egan has performed

Samuel Barber's Knoxville: Summer of1915 with the Anchorage Symphony 

Orchestra and has often appeared with the Alaska Chamber Singers, the 

Anchorage Concert Chorus, the Anchorage Festival of Music, and Anchorage 

Opera. In the current concert season, she was the soprano soloist for

Beethoven’s Ninth Symphony with the Hudson Valley Philharmonic and

portrayed the “queen of out-of-tune singing,” Florence Foster Jenkins, in

Souvenir with Cyrano’s Theater Company.

3
MARLENE BATEMAN

Mezzo-soprano Marlene Bateman has been lauded by critics as “superb”

and “stunning” in a wide range of operatic and concert repertoire. Garnering

praise for her mellifluous tone, vocal agility, and animated characterizations,

Bateman has enjoyed success in more than twenty operatic roles including

the mezzo-soprano title roles in Carmen and Dido and Aeneas, Ottavia in

The Coronation ofPoppea, Maddalena in Rigoletto, Cherubino in Le Nozze di

Figaro, and Siebel in Faust.

In addition to her operatic performances, Bateman has enjoyed critical 

acclaim as mezzo-soprano soloist in oratorios that include Bach’s St. John

Passion and St. Matthew Passion; Beethoven’s Ninth Symphony; Handel’s Israel

in Egypt and Messiah; Mozart’s Coronation Mass, Grand Mass in C Minor, and

Requiem; and Verdi’s Requiem. Bateman has been featured as guest soloist

with the Alaska Chamber Singers; Alaska Dance Theater; the Concert Chorus,

Opera, Opera Dark Night Series, Symphony Orchestra, and Youth Symphony

ofAnchorage; the Austin Symphony Orchestra; the Fairbanks Symphony

Orchestra; the Hudson Valley Philharmonic Orchestra, the Kenai Peninsula

Orchestra, and Opera Fairbanks.

A resident ofAnchorage, Alaska, Bateman holds a bachelor of arts degree

in liberal studies from Indiana University and master ofmusic and doctor

ofmusical arts degrees from the University ofTexas at Austin.

4

Making her third appearance at the National Gallery this afternoon, pianist

Juliana Osinchuk has performed internationally to great critical acclaim. Her

“superior technique, discipline, and talent” (Los Angeles Times) have dazzled

audiences and critics in solo and orchestral appearances. Musical America

selected her as a “Young Artist to Watch” after her solo debut recital at Lincoln

Center. The Washington Post called her playing “spectacular” and the New

York Times rated her a “skillful and scrupulous ensemble player.”

As a champion ofAmerican composers, Osinchuk has premiered

numerous works including the European premiere of Lowell Liebermann’s

Second Piano Concerto and the world premiere performance ofthe Piano

Concerto no. 1 by Alaskan composer Philip Munger. A recipient of a solo

recitalist grant from the National Endowment for the Arts, Osinchuk received 

her formal education from the Conservatoire de Musique in Paris and the

Juilliard School, where she graduated with bachelor’s, master’s, and doctoral

degrees in music. Her teachers included Nadia Boulanger, Alexander

Eydelman, Rosina Lhevinne, and Nadia Reisenberg.

As artistic director ofthe Anchorage Festival of Music and the Young

Alaskan Artist Award program, Osinchuk is active in developing and presenting music workshops for students, adults, and professional groups. She 

was honored as a ywca Woman ofAchievement for her community service.

Osinchuk’s recordings include Tchaikovsky’s piano music, The Sorcerer’s

Piano, Growing Babies Bright, and a new solo CD to benefit cancer projects

called Keys to Recovery. Her Happy Birthday, Wolfgang Variations was recently

published by Alfred Music Company.

In 2008 Osinchuk collaborated with Kate Egan and Marlene Batemen in

a program ofduets for soprano and mezzo-soprano—“Nothing but Singing

to Do.” The ensemble recorded the recital and performed it in Anchorage

and Homer, Alaska, and at the Ukrainian Institute in New York City.

JULIANA OSINCHUK

5
PETRA LISIECKI

Born in Hanover, Germany, Petra Lisiecki was raised with an early love for 

dance, theater, design, and travel. She studied dance and architectural design

in Germany, South Africa, and the United States. A resident ofAlaska since

1992, she became involved with the Last Frontier Theater Conference in

Valdez in 1993. She also worked with Toast Theatre in Anchorage for several 

years, serving as its board president until 1996, at which time she returned

to photography. Since then she has exhibited her photographs in many

juried group and solo exhibitions in Alaska, the “Lower Forty-eight,” and

London, England. She started photographing the Anchorage Opera in

2000 as an ongoing project, and published a book to commemorate the

company’s fortieth anniversary in 2002.

Photo portraiture and theater images are also major projects for Lisiecki.

Her current exhibition, “Theatre North,” was recently shown at the Valdez

Museum and will travel to the Carr Gottstein Gallery at Alaska Public University; Metropolitan Community College in Omaha, Nebraska; and to venues

in London.

6

Next Week at the National Gallery ofArt

National Gallery ofArt Orchestra

Sara Daneshpour, pianist

Stephen Simon, guest conductor

Music by Mozart and other composers

Presented in honor of

German Master Drawingsfrom the

Wolfgang Ratjen Collection: 1580-1900

November 14, 2010

Sunday Evening, 6:30 pm

West Building, West Garden Court

Quaver Viol Consort

Music by Dalla Casa, Lasso, Ligeti, and other composers

Presented in honor of

Arcimboldo (1526-1593)

November 17, 2010

Wednesday, 12:10 pm

East Building Auditorium
Kate Egan, soprano

Marlene Bateman, mezzo-soprano

Juliana Osinchuk, piano

Wednesday, Nov. 10, 2010

Texts and Translations

Oh! would I were but that sweet linnet!

William Smyth (1765-1849)

Oh! would I were but that sweet linnet!

That I had my apple-tree too!

Could sit all the sunny day in it,

With nothing but singing to do!

I'm weary with toiling and spinning;

And Dermot I never can see,

Nor sure am I Dermot of winning,

There's never good luck for poor me!

Quite set was my heart all the Sunday

on going to Killaloe fair,

so my father fell ill on the Monday,

and look ye—I could not be there.

And it was not the fair that I minded 

for there was I Dermot to see—

but I'm always before or behind it,

and there's never good luck for poor me!

I tried with my sweetest behavior

to tell our good priest my distress;

And ask'd him to speak in my favor,

When Dermot came next to confess.

But he said I was but a beginner,

And from love and temptation must flee!

So if love will but make me a sinner,

There's never good luck for poor me.

Ye Saints with the Virgin! Believe me,

I join with the priest in your praise!

Contrive but my Dermot to give me,

And I'll love you the length of my days.

In vain would they bid me be wiser,

And never my Dermot to see.

Bad luck to advice and adviser!

Good luck to dear Dermot and me!

Sweet power of Song!

Joanna Baillie (1762-1851)

Sweet power of song! thou canst impart,

To lowland swain or mountaineer,

A gladness thrilling through the heart,

A joy so tender and so dear:

Sweet Power! that on a foreign strand 

Can the rough soldier's bosom move,

With feelings of his native land,

As gentle as infant's love.

Sweet Power! Thou makest youthful heads

With thistle, leek, or shamrock crown'd,

Nod proudly as the carol sheds

Its spirit through the social round.

Sweet Power! Thou cheer'st the daily toil

Of cottage maid, or beldame poor,

The ploughman on the furrow'd soii,

Or herdboy on the lonely moor.

Or he, by bards the shepherd hight,

Who mourns his maiden's broken tye,

Till the sweet plaint, in woe's despite,

Hath made a bliss of agony.

Sweet power of song! Thanks flow to thee

From every kind and gentle breast!

Let Erin's, Cambria's minstrels be

With Burns's tuneful spirit blest!
Robert Schumann: Spanisches Liederspiel

Translated from the Spanish by Emanuel von

Geibel (1815 - 1884)

1. Erste Begegnung

Von dem Rosenbusch, o Mutter,

von den Rosen komm' ich.

An den Ufern jenes Wassers

sah ich Rosen steh'n und Knospen.

An den Ufern jenes Flusses,

sah ich Rosen steh'n in Blute;

von den Rosen komm' ich—

brach mit Seufzen mir die Rosen.

Von dem Rosenbusch, o Mutter,

von den Rosen komm' ich.

Und am Rosenbusch, o Mutter,

einen Jiingling sah ich,

an den Ufern jenes Wassers

einen schlanken Jiingling sah ich.

An den Ufern jenes Flusses

sucht' nach Rosen auch der Jiingling.

Viele Rosen pfliickt' er, viele Rosen,

und mit Lacheln brach die schonste er.

Gab mit Seufzen mir die Rose.

Von dem Rosenbusch, o Mutter,

von den Rosen komm' ich.

3. Liebesgram

Dereinst, o Gedanke mein,

wirst ruhig sein.

Lasst Liebesglut dich still nicht werden, 

in kiihler Erden,

da schlafst du gut und ohne Pein;

wirst ruhig sein.

Was du im Leben nicht hast gefunden,

wenn es entschwunden,

wird dir's gegeben;

dann ohne Wunden wirst ruhig sein,

dereinst, o Gedanke mein,

wirst ruhig sein.

First Meeting

From the rosebush, 0 mother,

from the roses I come.

On the bank of that water

I saw roses and buds;

On the bank of that river 

I saw roses in bloom;

with sighs I picked the roses.

And at the rosebush, 0 mother,

I saw a young man

on the bank of that river,

I saw a slim young man,

On the bank of that river

the young man was also looking for roses.

Many roses he plucked, many roses,

and with a smile he picked the most beautiful

one.

With a sigh he gave me the rose.

Love's Burden

One day, one day, o my soul,

You will be at peace.

Love's ardor will not leave you alone—

In the cool earth,

there you will sleep well and without pain; 

You will be at peace.

What you haven't found in life,

when it has vanished,

will be given to you;

then without wounds you will have peace.

One day, one day, o my soul,

you will be at peace.
Nelken wind' ich und Jasmin,

und es denkt mein Herz an ihn.

Nelken all', ihr flammenroten,

die der Morgen mir beschert,

zu ihm send' ich euch als Boten

jener Glut, die mich verzehrt.

Und ihr weiBen Bluten wert,

sanft mit Duften gruBet ihn,

sagt ihm, daB ich bleich vor Sehnen,

daB ich auf ihn harr' in Tranen. 

Nelken wind' ich und Jasmin,

und es denkt mein Herz an ihn.

Tausend Blumen, tauumflossen, 

find' ich neu im Tal erwacht; 

alle sind erst heut' entsprossen,

aber hin ist ihre Pracht,

wenn der nachste Morgen lacht.

sprecht ihr flammenroten Nelken,

Ach es denkt mein Herz an ihn!

8. Botschaft

Das Gluck

Friedrich Hebbel (1813 - 1863)

Voglein vom Zweig...

...gaukelt hernieder;

Lustig sogleich...

...schwingt es sich wieder.

Jetzt dir so nah...

...jetzt sich versteckend,

Abermals da,...

...scherzend und neckend.

Tastest du zu,...

...bist du betrogen.

Spottend im nu...

...ist es entflogen.

Still! Bis zur Hand wird's dir noch hiipfen. Bist

du gewandt, kann's nicht entschlupfen.

Ist's denn so schwer, das zu erwarten?

Schau urn dich her! Bluhender Garten.

Ei, du veragst?

Lass es gewahren, bis du's erjagst,

Kannst du's entbehren.

Wird's doch auch dann

Wenig nur bringen. Aber es kann,

suBestes bringen.

Carnations and jasmine I am braiding 

And my heart thinks of him.

All you carnations,

You flaming red ones,

In the morning I will give to him.

I will send you as messengers 

Of a fire that devours me.

And you, dear white blossoms,

Softly with your scent greet him.

Tell him that I wait in tears

Pale from longing.

A thousand blossoms,

Covered with dew

I discover in the valley.

All of them

Just bloomed today,

But already

Their splendor is gone 

With the awakening

Of the next morning.

Tell me, sweet jasmine;

Tell me, you flaming red carnations,

Can love also wither so quickly?

Happiness

Message

A bird from the twig flies happily down;

Happily it sweeps again now.

Now so close, now it's hiding.

But again there, teasing and flirting.

Try to touch it—you are betrayed. 

It mocks you—now it is flown.

Quiet! Up to your hand it will hop.

If you are clever, it will not slip away.

Is it so difficult to wait for it?

Look around, flowering garden!

Do you give up? Let it be.

Until you catch it, You'll be without it.

Even then, it will bring only a little sweetness.
Emily's World

Emily Dickinson (1830-1886)

I.

A bird came down the walk;

He did not know I saw;

He bit an angle-worm in halves

And ate the fellow raw.

And then he drank a dew 

From a convenient grass,

And then hopped sidewise to the wall 

To let a beetle pass.

He glanced with rapid eyes

That hurried all abroad—

They looked like frightened beads, I thought;

He stirred his velvet head

Like one in danger; cautious,

I offered him a crumb,

And he unrolled his feathers

And rowed him softer home

Than oars divide the ocean,

Too silver for a seam,

Or butterflies, off banks of noon,

Leap, splashless, as they swim.

II.

A long, long sleep, a famous sleep

That makes no show for dawn

By stretch of limb or stir of lid—

An independent one.

Was ever idleness like this?

Within a hut of stone

To bask the centuries away 

Nor once look up for noon?

III.

A thought went up my mind today

That I have had before,

But did not finish—some way back,

I could not fix the year,

Nor where it went, nor why it came 

The second time to me,

Nor definitely what it was,

Have I the art to say.

But somewhere in my soul, I know 

I've met the thing before;

It just reminded me—'twas all—

And came my way no more.

Life at its best

Elizabeth L. Thompson b. 1976

Life is best hanging upside down from a rusty 

monkey bar,

daisy between your teeth, frisky feline nearby,

or maybe it's best lounging in a deteriorating tire

swing,

quadruple-scoop ice cream cone melting slowly

against your tongue,

mannerly, spirited canine close by.

it is even better with verdant forests to shade

eyes and lush ferns to tickle toes.

When bold blue butterflies pause to taste

shoulders surrounded by majestic mountains,

wondrous whims and creations, life is a soulful

sanctuary.

If solitude is commonplace, serenity is universal, 

and life is at its best.

Voodoo Juju

Thompson

What's a girl to do when you look her in the

eye?

How's a girl to know which soul is filled with

honey?

Where's a girl to go when you own seas and

galaxies?

Undo your voodoo juju

What's a girl to do when you unchain the

dragon?

How's a girl to know how long to defend love's

plight?

Where's a girl to go when you control the breeze

and trees?

Undo your voodoo juju

What's a girl to do when you crack her crystal 

heart?

How's a girl to know the road that will lead her

home?

Where's a girl to go when mojo crushed a

masterpiece?

Undo your voodoo juju

'Cause what's a girl to do when you look her in

the eye?
Open as the Ocean

Thompson

With sand as a sandal,

I've no need to hurry or worry,

Only to idle or amble.

Judy

Judy was a cutie

From San Diego County

A spirited soul with glittering goals

a petite poet with electric eyes

With sunshine as a shawl,

I need no further nourishment;

I am the sun.

She left Lakeside

To catch a new vibration

Searching for

A gold diggers dream

With ocean as a stepstone,

My path is a great blue realm; 

I am open as the ocean.

One way ticket

And a bran' new man

Do the minin'

While you can

Judy

You've got to stretch

Your new wings out

You've got to sing and dance and shout

You've got to let

Your blond hair down

You've got to take back the town

Settling into Lemhi county

In holy land west of the Rockies

Sage brush thick across the valley

She was a pony in a new meadow

Finding roots

On the River of No Return 

Doin' what fits

When in Rome

Shoshone desert

And a bag o' green 

Trippin' on life

Makin' a scene

[Refrain]

While every breath did passion bring 

Life and death still dueled unseen

Even with a bran' new baby 

Times weighed heavy on sweet Judy

She lit a stick of patchouli

And toasted the seventies

Dusk came quickly

On Independence Day

Angel wings

Did come to thee

It was time to fly

Time to be free

[Refrain]
El Desdichado

Jules Barbier (1825-1901)

The Unfortunate One

Que me importa que florezca,

El arbol de mi esperanza,

Si se marchitan las flores,

Y jamas el fruto cuaja.

Ha!

What does it matter

that the tree of my hope flowers

If the flowers wither

And the fruit never ripens?

Ha!

Dicen que el amor es gloria,

Y yo digo que es infierno.

Pues siempre estan los amantes

En un continuo tormento!

Ay!

They say that love is glory

And I say that it is hell,

Because lovers are

in continual torment.

Ay!

El feliz y el desdichado

Suspiran con diferencias:

Unos publican sus gustos,

Y otros publican sus penas.

The happy ones and the unfortunates

Sigh differently:

One expresses her pleasure

And the other her pain.

Pleurs d'or

Albert Samain (1858 - 1900)

Tears of gold

Larmes aux fleurs suspendues,

Larmes aux sources perdues

Aux mousses des rochers creux.

Larmes d'Automne epandues

Larmes de cor entendues

dans les grands bois, douloureux.

Larmes des cloches latines.

Carmelites, Feuillantines,

Voix de beffrois en ferveur.

Larmes des nuits etoilees,

Larmes des flutes voilees.

Au bleu du pare endormi.

Larmes aux grands cils perlees,

Larmes d'amantes coulees

jusqu'a I'ame de I'ami.

Larmes d'extase

eplorement delicieux

Tombez des nuits.

Tombez des fleurs,

Tombez des yeux!

Tears suspended from flowers,

Tears from springs lost in the moss of cavernous

craigs,

Tears of Autumn scattered—

Tears of sorrow from the heart, understood in

the vastness of the woods.

Tears of the Latin bells,

Carmelite, Feuillantine,

Voice of the belfries in fervor.

Tears of the starry nights,

Tears of the veiled flutes,

from the blue mist of the slumbering park.

Tears beaded on dark eyelashes,

Tears of lovers wept into the soul of the

beloved.

Tears of ecstasy,

exquisitely delicious,

Fall from the night,

Fall from the flowers,

Fall from the eyes.