preceeds an Allegro con brio ofmanic fury, one ofBeethoven’s most

vigorous pieces of music. Its powerful dynamic drive and energetic dance rhythm inspired Richard Wagner to confer upon it

the title, “The Apotheosis of the Dance.”

-Program notes by Karin Kolb, with notes

on Ah! Perfido by Elmer Booze

Concerts at the National Gallery ofArt

1998-1999

Under the Direction of George Manos

November 1998

8 Mark Rush, violinist

Tannis Gibson, pianist

15 Kirill Gliadkovsky,

pianist

22 National Gallery

Orchestra

George Manos, conductor

Claudia Chudacoff,

violinist

Marcio Botelho, cellist

Beethoven: Sonata in G Major,

Op. 3013

Nicholas Sonatafor Solo

Maw: Violin

Prokofiev: Sonata, Op. 94a

Clementi: Sonata in B-flat

Major, Op. 2412

Beethoven: “Moonlight” Sonata

Prokofiev: Sonata No. 3

Schumann: Bunte Blatter

Symphonic Etudes

Mozart: “Don Giovanni ’

Overture

Symphony No. 35

Brahms: Concertofor

Violin, Cello,

and Orchestra

The use ofcameras orrecording equipment

during theperformance is not allowed.

Forthe convenience ofconcertgoers

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

The Fifty-seventh Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2283d Concert

NATIONAL GALLERY ORCHESTRA

GEORGE MANOS, conductor

KATHRYN HEARDEN, soprano, guest artist

Sunday Evening, November 1, 1998 

Seven O’clock

West Building, West Garden Court

Admissionfree
PROGRAM

Music by Ludwig van Beethoven (1770-1827)

“Coriolan” Overture

Opus 62 (1807)

Scene: “Ah! Perfido”

Opus 65 (1796)

INTERMISSION

Symphony No. 7 in A Major

Opus 92 (1811-1812)

Poco sostenuto; vivace

Allegretto

Presto; presto meno assai

Finale: Allegro con brio

Lyric soprano Kathryn Hearden completed the doctor ofmusical arts degree at the Eastman School ofMusic, where she was

a winner of the Concerto Competition. While at Eastman, she

was a student of the late Jan De Gaetani. She has also studied

with Chloe Owen, William Sharp, Carmen Pelton, and Masako

Toribara, and has performed in master classes of H&kan

Hageg&ard, Elly Ameling, Paul Sperry, and Gerard Souzay.

Kathryn Hearden was a finalist in the 1992 Washington International Competition for Voice. Her repertoire spans seven centuries and reflects her love of chamber music as well as art song,

oratorio, and operatic literature. She was a member of the music faculty at Shippensburg University in Pennsylvania and has

recently accepted an appointment to the faculty of George Mason University in Fairfax, Virginia.

Beethoven dedicated his “Coriolan” Overture to the author of the

play that inspired the music, Heinrich Joseph von Collin, aViennese

dramatic poet whose work the composer admired. Collin’s tragedy, 

Coriolan, is based on Shakespeare’s embellishment ofan account by 

Plutarch ofthe Roman general Coriolanus’ career. A drama in miniature, Beethoven’s overture centers on psychological conflict. The

main theme describes the heroism and restlessness of Coriolanus,

while the second theme portrays his softer and gentler qualities.

The inner turmoil and struggle in the development section lead

into a majestic coda. The overture ends with a restatement of the

main theme, which fades away, suggesting the death ofthe hero.

Ah!perfido was written when Beethoven was in Prague in 1796. It

was first performed byJosepha Duschek, the wife ofFranz Duschek,

one ofBeethoven’s newly acquired friends. The Duscheks had also

known and befriended Mozart, and it is possible that Beethoven, in

writing this work, was attempting to succeed the recently deceased

Mozart as their favorite composer. Shin Augustinus Kojima, in his

notes for Ludwig van Beethoven’s BicentennialEdition 1110-1910, maintains: “He put into this work all the abilities and knowledge he had

acquired during his studies with Salieri, and succeeded in producing a beautiful piece in the style of Mozart.” A favorite concert

selection forsopranos, Ah!perfido is a tour de force aria suited for the

most polished artists. The music shifts radically as it reflects the

moods of a jilted woman who first berates her unfaithful lover, then

forgives, and finally angrily implores him: “Does my bitter love not

move you at all?”

Although the Seventh Symphony was written in the winter of 1811—

1812, it was not until December 1813 that it was first performed in

Vienna. It was conducted by the composer as a benefit for the Austrian and Bavarian soldiers wounded in the terrible Napoleonicwars.

Beethoven’s personal situation was equally dispiriting. His deafness was far advanced, and he had fallen in love with a woman who

was already married. The symphony opens with a slow introduction leading into a thrilling Vivace, in which Beethoven juxtaposes

rhythms derived from Sicilian dance musicwith a syncopated theme.

The following movement, despite its tempo marling (Allegretto), is

anything but jolly. Its relentlessly repeated solemn motives, reminiscent ofa funeral march, may be a reflection ofthe overwhelming

circumstances in which the symphony was written. The Allegretto

was a particular favorite with the audience ofthe first performance,

who demanded a repeat, a compliment rarely bestowed upon a slow

movement. The Presto, with its explosive, dynamic contrasts,