For the convenience of concertgoers 

the Garden Cafe remains open until 6:oo pm.

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 of Art

Sixth Street and Constitution Avenue nw

Washington, DC

Mailing address

2000b South Club Drive

Landover, md 20785

www.nga.gov

cover: Card Fabritius, View in Delft, 1652,

The National Gallery', London, Presented by The Art Fund, 1922

< ■>' ... < » 3.* -vv

The Sixty-seventh Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

2,713th Concert

Harmonious Blacksmith

Presented in honor of

Pride ofPlace: Dutch Cityscapes of the Golden Age

March 15, 2009

Sunday Evening, 6:30 pm

West Building, West Garden Court

Admissionfree
Program

Performed without intermission

Anonymous (16th-century English)

When Daphne Did Flie

Arranged by Jacob van Eyck (c. 1589-1657)

Nicolas Vallet (1583-1642)

Onder de Lindegrone

Anonymous (17th-century French)

Lanterlu-Lanture

Arranged by van Eyck

Jan Pieterszoon Sweelinck (1562-1621)

Mein Junges Leben hat ein End

Johannes Schenck (1660 -c. 1710)

Largo

Constantijn Huygens (1596-1687)

Amor Secreto

Schenck

Aria Largo

Settings of Batali (musical battles)

Arranged by Harmonious Blacksmith

Van Eyck

John Bull (c. 1562-1628)

William Byrd (c. 1540-1623)

Orazio Vecchi (1550-1605)

Pierre Gaultier (1599-1681)
Three Laments

Toccata Aeolian (Sweelinck)

Flow My Tears (John Dowland)

Pavane Lachrymae (Van Eyck/Sweelinck)

Settings of More Palatino

Arranged by Harmonious Blacksmith

Van Eyck

Sweelinck

Bull

Girolamo Frescobaldi (c. 1583-1643)

Giovanni Battista Buonamente (c. 1595-1642)

Three Characteristic Pieces

Now, O Now (Dowland)

OfHarte Diejje (van Eyck)

Buffons (Improvisation on van Eyck)

Sweelinck/Byrd

Onder een Unde groen

Arranged by Harmonious Blacksmith

4

The Musicians

HARMONIOUS BLACKSMITH

The early music ensemble Harmonious Blacksmith is uniquely focused on

the connection between performance and improvisation in Renaissance and

baroque music. The musicians in the ensemble look back to the practices

ofimprovising dance music and ornamenting songs that prevailed in those

periods. Founded in 2006 by harpsichordist Joseph Gascho and recorder 

player Justin Godoy, Harmonious Blacksmith has quickly earned critical

acclaim. Soprano Ah Hong arid cellist Nika Zlataric are frequent collaborators, and other recent guests include baroque violinist Ingrid Matthews and

bass-baritone Francois Loup. The ensemble holds residencies at George

Washington University in Washington, DC, and at An Die Musik live! in 

Baltimore, Maryland.

LINDA TSATSANIS

Canadian-born soprano Linda Tsatsanis enjoys an active and diverse career 

as an early music specialist performing in concerts and operas as well is in

television and film. She has appeared as soloist with the Auburn Symphony,

Concerto Baroque, the Early Music Guild, Seatde Baroque Orchestra, the

Seattle Choral Company, and the Seattle Trumpet Consort. Described by the

New York Times as “ravishing” for her performance in the Boston Early Music

Festival, she has also made appearances at the Indianapolis and Bloomington

Early Music Festivals. Tsatsanis holds degrees from the University ofToronto

and Indiana University. In addition to recordings by the Canadian Broadcasting Corporation and Naxos, she can be heard on a new solo album with

Origin Classical, And I Believe: Three Love Stories, featuring lutenist John Lenti.
JUSTIN GODOY

Recorder player and composer Justin Godoy performs regularly with leading 

period ensembles, including the Boston Early Music Festival Orchestra, 

Hesperus, La Donna Musicale, Ignoti dei Opera, and Tempesta di Mare.

As a winner ofthe Frank Huntington Beebe Grant, Godoy spent two years

performing, teaching, and studying in Holland. While there, he immersed

himselfin the study of Italian diminutions, eventually teaching the topic at

the Utrecht Conservatory. He studied recorder with Saskia Coolen, Gwyn

Roberts, and Heiko ter Schegget and composition with Nicholas Maw. He is

the president of the Boston Recorder Society.

JOHN LENTI

John Lenti has performed on lute and theorbo at early music festivals in

Boston, Indianapolis, and Bloomington, as well as at the Festival GuldenerHerbst in Sondershausen, Germany, and the Magnolia Baroque Festival in

North Carolina. He is assistant director and continuo player for the Seattle

Baroque Orchestra and has performed with the Pittsburgh Opera and the

Seattle Opera. In addition, he is often heard with Ensemble Amarelli, Stolen

Bread, and La Monica. His recordings include And I Remain: Three Love

Stories (with soprano Linda Tsatsanis), The Amorous Lyre, and The Courtesan's

Arts (with Ellen Hargis). A native of South Carolina, Lenti studied guitar at

the North Carolina School of the Arts before going to London to study lute

with Jacob Heringman and Elizabeth Kenny. He furthered his lute studies

at the University ofIndiana under Nigel North.

6

ANDREW ARCECI

Viola da gambist Andrew Arced has performed with Carmina, the Handel

Choir ofBaltimore, Opera Vivente, Pro Musica Rara, the Vivaldi Project, the 

Washington Bach Consort, and the Washington Kantorei, and at the Baltimore Shakespeare Festival. He has performed the viola da gamba solos in 

J. S. Bach’s Saint John Passion with the Baltimore Baroque Band ofthe 

Peabody Conservatory, and the Saint Matthew Passion with the National

Philharmonic Orchestra. In May 2008 Arceci graduated from the Peabody

Conservatory ofthe Johns Hopkins University with bachelor of music

degrees in double bass and viola da gamba/violone and an academic concentration in art history;

JOSEPH GASCHO

Conductor and harpsichordist Joseph Gascho enjoys a varied career as a

baroque keyboardist, performing as a soloist and collaborative artist; conducting operas, orchestras, and choirs; editing and arranging scores; and 

teaching and lecturing. He has w-on numerous grants and prizes, including

first prize in the 2002 Jurow International Harpsichord Competition.

Gascho earned the master ofmusic degree from the Peabody Conservator)'

and will complete a doctorate from the University of Maryland later this year.

He conducts regularly for Opera Vivente and the Magnolia Baroque Festival.

He also teaches at George Washington University and directs the music

program at the Towson Unitarian Universalist Church. Outside the United

States, he has served as claveciniste repe'titeur and directed a chamber music

program at the Academic d’Art-Lyrique in Aix-en-Provence, France.

j
Program Notes

The recorder player Jacob van Eyck and the organist Jan Pieterszoon 

Sweelinck stand out among the musicians ofthe Dutch Golden Age. As

virtuoso performers and composers, they did not create a unique Dutch 

musical style, but worked in the prevailing Italian manner, composing rich 

sets ofvariations. Building on this foundation, the members of Harmonious

Blacksmith have combined their variations with those of other composers 

and with their own improvisations to create a program that honors the 

exhibition Pride ofPlace: Dutch Cityscapes ofthe Golden Age.

In contrast, the other composers on tonight’s program favored the instruments and style of France, composing dance suites and songs similar to the 

French air de cour. The prolific international trading and commerce ofthe 

Netherlands made it possible for different musical styles to coexist and flourish. It also brought songs and folk tunes from across Europe, which became 

the themes ofmany ofthe variations that Van Eyck and Sweelinck composed.

While songs and variations are the core of this program, other works provide

formal variety: two sonata movements, a loosely-structured toccata, free

improvisations on the ground bass ofthe Bujfons, and the overtly programmatic music ofthe batali (battles), which attracted dozens of composers.

Blind from birth, Jacob van Eyck played the recorder and worked as the

town carilloneur in Utrecht. He was the first to discover the acoustic properties of church bells and how to tune them, which led to work in churches all

over the northern Netherlands. His 150 recorder compositions—almost all

for solo recorder—were drawn from his strolling recorder improvisations in

the church gardens of Utrecht, where he was occasionally paid to entertain

guests in the evening. These works were printed in two volumes in Der

Fluyten Lust-hof(The Recorder’s Pleasure Garden) in 1646 and 1654, and

dedicated to Constantijn Huygens.

Huygens knew and corresponded with many of Europe’s artists and

thinkers. While he primarily worked as a poet and a diplomat, he considered

music an important pastime. Of his many compositions, only one volume 

ofsongs was published and now survives: Pathodia sacra et profana (Sacred

and Profane Songs of Pathos) (1647). It contains sacred works in Latin and 

secular songs in Italian and French.

Jan Pieterszoon Sweelinck shared Van Eyck’s love ofimprovisation, and

was known as the “Orpheus ofAmsterdam.” He came from a family of

musicians, and was appointed organist at the great Oude Kerk (Old Church) 

in Amsterdam when he was only fifteen years old. In addition to the toccatas, fantasias and variations he wrote for organ and harpsichord, he was a

prolific composer ofvocal works, including a monumental setting of the

entire Psalter in French. He was a devoted and influential teacher, attracting 

students from all over Europe.

Johannes Schenck and Nicolas Vallet were best known as performers,

but both composed idiomatic works for their instruments: the viola da

gamba and the lute, respectively. Schenck would leave his native Amsterdam

to build a career in northern Germany, publishing several volumes of gamba 

music, including Le nymphe de Rheno and L’echo du Danube. Vallet was born

in France, but moved to Amsterdam where he was active as a performer and 

teacher. Like Sweelinck, Vallet published a complete setting ofthe Psalter,

Regia pietas, in 1620.

Program notes by Justin Godoy

9
Next Week at the National Gallery ofArt

National Gallery String Quartet

With Jessica Krash, pianist

Music by Carter, Krash, and Patino

Presented in honor of

Looking In: Robert Frank’s “The Americans”

March 18, 2009

Wednesday, 12:10 pm

West Building Lecture Hall

C/3

Egidius Kwartet

Music by Byrd, Dowland, Gastoldi, arid other composer

Presented in honor of

Pride ofPlace: Dutch Cityscapes ofthe Golden Age

March 22, 2009

Sunday Evening, 6:30 pm

West Building, West Garden Court