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

www.nga.gov

Concerts are made possible in part through the generosity of donors 

to the National Gallery of Art through The Circle. Reserved seating is

available in recognition oftheir support. Please contact the development 

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

COVER: National Gallery ofArt Orchestra with Richard Bales conducting, undated phot

All images courtesy National Gallery Archives, National Gallery ofArt, Washington

The Seventy-Third Season of

The William Nelson Cromwell and F. Lammot Belin

Concerts

National Gallery ofArt

3,047th Concert

Voices of Canton, Inc.

Loren Veigel, artistic director

With members ofthe National Gallery Orchestra

and the National Gallery ofArt Vocal Ensemble

Celebrating the 100th Birth Anniversary of Richard Bales (1915-1998)

and the 150th Anniversary ofthe End ofthe Civil War

April 12, 2015

Sunday, 6:30 pm

West Building, West Garden Court
American 19th-Century, Leaving the Manor House,

c. 1850/1855, National Gallery ofArt, Washington,

Gift of Edgar William and Bernice Chrysler Garbisch

Program

Richard Bales (1915-1998)

The Confederacy (1952-1953)

General Lee’s Grand March

Orchestra

All Quiet Along the Potomac Tonight

Rosa Lamoreaux, soprano

The Bonnie Blue Flag

Chorus 

Lorena

Steven Combs, baritone

The Yellow Rose ofTexas

Chorus

Somebody’s Darling

Jody Mcjessy, soprano, Steven Combs, baritone

We All Went Down to New Orleansfor Bales

Chorus

General Robert E. Lee’s Farewell Order to the Army ofNorthern Virginia

Chris Pfendler, reader

The Conquered Banner

Chorus

Dixie’s Land with Quickstep and Interlude Year of Jublio

Chorus and Orchestra

3
Unknown photographer, Sojourner Truth (detail), 1864,

National Gallery ofArt, Washington, Pepita Milmore

Memorial Fund

Winslow Homer, Home, Sweet Home (detail), c. 1863,

National Gallery ofArt, Washington, Patrons’

Permanent Fund

INTERMISSION

Selections from speeches by

Frederick Douglass (1818-1895)

Joann Smith, Diane Morrison, and John Bragg, readers

Andre J. Thomas (b. 1952)

Keep Your Lamps (2005)

Chorus

Bales

The Union (1956)

The American Army, Military Quickstep

Orchestra

Tenting Tonight

Chorus

4

The Battle Cry ofFreedom

Chorus 

Aura Lee

Rosa Lamoreaux, soprano 

The Invalid Corps

John Pfendler, tenor

Just Before the Battle, Mother

David Everett, baritone

The Field at Gettysburg

Orchestra

The Gettysburg Address

M. J. Albacete, reader

The President’s Hymn

Chorus

The Vacant Chair

Rosa Lamoreaux, soprano 

Abraham Lincoln’s Funeral March

Orchestra

Hushed Be the Camps Tonight (Walt Whitman)

Judy Clegg, reader

Taps

Trumpet solo

The President’s Grave

Chorus

The Grand Review

Chorus and Orchestra
The Musicians

VOICES OF CANTON, INC.

Founded in 1939 as Canton Civic Opera, Voices ofCanton, Inc. (voci) celebrates its seventy-fifth year as a major contributor to the cultural life ofCanton

and the surrounding communities in northeast Ohio. Between 1977 and 2013,

voci has undertaken four concert tours in the United Kingdom as well as

tours in Ireland, Italy, and Switzerland. It has brought national celebrities to

Canton, including guest conductors Boris Goldovsky and Alberto Bimboni,

New York Yankees catcher Thurmon Munson (for a performance of Damn

Yankees in 1972), Bob Hope (for a hospital benefit concert in 1974), and organist

Hector Olivera (2010). From 1997 to 2009, the ensemble’s director was Samuel

Gordon, known to National Gallery concert audiences as the tenor soloist of

its resident Vocal Ensemble (1985-1997). He also conducted the Maryland

Camerata, which performed at the Gallery during those years. In 2003, the

ensemble’s trustees officially changed its name to Voices ofCanton, Inc., for

which the acronym voci means “many voices” in Italian.

The choir and its artistic director Loren Veigel note with special pride that

this performance of Richard Bales’s cantatas marks the composer’s 100th

birth anniversary, as well as the 150th anniversary of Gen. Robert E. Lee’s surrender at Appomattox on April 9,1865. It also honors the death ofAbraham

Lincoln on April 14,1865. Members ofvoci serving as soloists in tonight’s concert are soprano Jody Mcjessy, tenor John Pfendler, and baritone David Everett.

LOREN VEIGEL

Appointed artistic director ofvoci in 2009, Loren Veigel was bom and educated

in Northeast Ohio and taught music in schools in that region for many years. 

His choirs became known throughout the state by virtue oftheir consistent

success at adjudicated events, compiling a record ofmore than twenty-five 

aa state superior ratings. He also taught for nine years at the University of

Akron and serves as clinician and adjudicator for numerous high school music

events in Ohio. President-elect ofthe Ohio Choral Directors Association, he

is also a former all-state choir chair ofthe Ohio Music Education Association

and a member ofthe American Guild of Organists.

6

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 eventually

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 1990 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 byfive paintings ofEdward Hopper, under guest

conductor Glen Cortese.

NATIONAL GALLERY OF ART VOCAL ENSEMBLE

Now in its eleventh season under the leadership ofits artistic director, Rosa

Lamoreaux, the National Gallery ofArt Vocal Ensemble has presented numerous special programs in conjunction with Gallery exhibitions, including a

concert ofmusic by nineteenth-century French composers in honor ofthe

gala reopening ofthe Nineteenth-Century French Galleries (2011) and Degas/

Cassatt (2014); and music by Arthur Sullivan and other nineteenth-century

British composers in honor of Pre-Raphaelites: Victorian Art and Design, 1848-

1900 (2013). In 2010 members ofthe Vocal Ensemble joined forces with the

early music ensemble artek to perform Claudio Monteverdi’s Vespers ofthe

Blessed Virgin (1610) on the occasion ofthe composition’s 400th anniversary.

Members ofthe ensemble serving as soloists in tonight’s concert are Rosa

Lamoreaux, soprano, and Steven Combs, baritone.

7
Program Notes

Richard Horner Bales was born

February 3,1915, in Alexandria,

Virginia. He attended Alexandria

public schools and the Episcopal

High School, from which he

graduated in 1932. After completing

a bachelor ofmusic degree at the

Eastman School of Music, he

earned conducting fellowships at the

Juilliard School of Music and the

Tanglewood Music Center, where he

studied with Serge Koussevitsky.

Upon returning to Washington, dc, in 1941, Bales was drawn quickly 

into the war effort, serving on the staffthat decoded cables for the British

Embassy. That same year, he became one ofthe youngest composers ever to

have a composition premiered by the National Symphony Orchestra. One of

the audience members at that concert, Dorothy Godfrey, was a close friend

ofthe director ofthe newly opened National Gallery ofArt, David E. Finley.

She recommended that Finley engage Bales to compose the score for the

Gallery’s first publicity film, Your National Gallery (1942). Impressed with the

results, in 1943 Finley appointed Bales to administer the Sunday concerts at

the Gallery, which were proving popular and rapidly developing into a major

project for the Gallery staff and volunteers. In the course ofhis tenure as

head ofmusic at the Gallery, Bales organized 1,760 performances, some of

which contained his own compositions, and many ofwhich were orchestra

concerts that he conducted.

Under Bales’s direction, the National Gallery ofArt Orchestra grew from

a self-described “National Gallery Sinfonietta” oftwenty players to an orchestra

that could undertake the full range ofsymphonic repertoire. It has frequently

presented first performances ofworks by American composers, among them

Esther Williamson Ballou (1915-1973), Charles Ives (1874-1954), and George

8

Richard Bales, undated photo

Frederick McKay (1899-1970). The concerts were broadcast live on radio

station wgms from 1950 to 1992, and each broadcast between 1950 and

Bales’s retirement in 1985 included an intermission feature ofhis recorded

commentary on the music.

Bales’s cantatas based upon music from the American Civil War—The

Confederacy and The Union—are his best-known works, having gained national

recognition when they were recorded and distributed by Columbia Masterworks 

in the early 1960s. The composer maintained a lifelong interest in Civil War history, and the cantatas contain lyrics and tunes that he loved and knew by heart.

Having had the privilege and pleasure of extensive personal contact with

Richard Bales between 1985 and 1998,1 can recount that two ofthe tunes in

The Confederacy had a special personal connection for him. He took great delight

in the fact that the phrase “for bales” recurs repeatedly in the song “We All

Went Down to New Orleans for Bales.” In the vernacular ofthe time, the word

bales referred not only to bales of cotton, which were embargoed and therefore

valuable war booty, but metaphorically it signified winnings from gambling

and other forbidden fruits available in that city. Bales told me that it was when

he first came across that song that he felt called to write a Civil War cantata.

“The Yellow Rose ofTexas” was also special for him, since his wife, Betty

Starr, was a Texas native, and he often referred to her as “my Yellow Rose.”

Bales created The Union—his most extensive and fully worked-out cantata— 

as a foil and balance for The Confederacy, reflecting his patriotism as an American citizen and his sense offairness and justice for all. During his tenure as 

assistant to the director for music, he was a pioneer in providing equal opportunity for minority performers and composers at the Gallery. In the 1945 —

1946 concert season, he included William Grant Still’s Suitefor Violin and

Piano, as well as the first Washington performance of Still’s Pagesfrom Negro

History; a solo recital by African American opera singer Lillian Evanti (1890-

1967); and several choral performances ofspirituals, which were rarely heard

in concert at the time. Performers and composers of color continued to appear

regularly in concerts at the Gallery throughout Bales’s tenure.

Noting how awareness ofand sensitivity to equal opportunity has deepened

in America since the mid-1950s, when the cantatas were composed, and

9
remembering Richard Bales’s own sensitivity and sense offairness, Voices

ofCanton, Inc. adds an entr’acte to its performances of The Confederacy and

The Union. This addition presents African American voices from the time of

the Civil War, in the prose of Frederick Douglass (1818-1895) and in a musical

setting by Andre J. Thomas ofthe spiritual Keep Your Lamps, which for African

Americans ofthe pre-Civil War era symbolized their readiness for the freedom that they hoped was soon to come.

Program Notes by Stephen Ackert, Senior Music Program Advisor,

National Gallery ofArt

10

Upcoming Concerts at the National Gallery ofArt

National Gallery ofArt String Quartet

Music by Ravel and Shostakovich

April 19, 2015

Sunday, 3:30 pm

West Building, West Garden Court

David Kaplan and Timo Andres, pianists

with National Gallery ofArt Vocal Ensemble

Music by Andres, Brahms,

and Schumann

April 26, 2015

Sunday, 6:30 pm

West Building, West Garden Court

United States Army Band

Music by Sousa

and other composers

May 3, 2015

Sunday, 3:30 pm

West Building, Mall Steps
Voices of Canton, Inc.

National Gallery of Art Orchestra

April 12, 2015

Cantatas by Richard Bales

Texts of the Cantatas

The Confederacy

All Quiet Along the Potomac Tonight

(Soprano)

All quiet along the Potomac tonight,

Except here and there a stray picket 

Is shot as he walks on his beat to and fro

By a rifleman hid in the thicket.

‘Tis nothing—a private or two now and then

Will not count in the news ofthe battle;

Not an officer lost, only one ofthe men,

Moaning out all alone the death rattle.

All quiet along the Potomac tonight,

Where the soldiers lie peacefully dreaming,

And their tents in the rays ofthe clear autumn moon,

And the light ofthe campfires is gleaming.

A tremendous sigh as the gentle night wind 

Through the forest leaves slowly is creeping,

While the stars up above, with their glittering eyes,

Keep guard over the army while sleeping.
The Bonnie Blue Flag

(Choir)

Verse: We are a band ofbrothers and native to the soil,

Fighting for our liberty, with treasure, blood, and toil.

And when our rights were threatened, the cry rose near and far:

“Hurrah for the bonnie blue flag that bears a single star!”

Refrain: Hurrah! Hurrah! For Southern rights, Hurrah!

Hurrah for the bonnie blue flag that bears a single star!

Verse: And here’s to brave Virginia—the Old Dominion state

With the young Confed’racy at length has linked her fate.

Impelled by her example, now other states prefar 

To hoist high the bonnie blue flag that bears a single star!

Refrain

Verse: Then here’s to our Confed’racy, strong we are and brave;

Like patriots of old we’ll fight our heritage to save,

And rather than submit to shame, to die we would prefar,

So cheer for the bonnie blue flag that bears a single star!

Refrain

Lorena

(Baritone)

The years creep slowly by, Lorena; the snow is on the grass again;

The sun’s low down the sky, Lorena; the frost gleams where the flow’rs have been.

But the heart throbs on as warmly now as when the summer days were nigh.

Oh, the sun can never dip so low a-down affection s cloudless sky.

A hundred months have passed, Lorena, since last I held your hand in mine,

And felt the pulse beat fast, Lorena, though mine beat faster far than thine!

A hundred months, ‘twas flow’ry May when up the hilly slope we climbed 

To watch the dying ofthe day and hear the distant church bells chime.
The Yellow Rose of Texas

(Choir)

Verse: There’s a yellow rose in Texas that I am going to see;

No other soldier knows her, no soldier, only me;

She cried so when I left her, it like to broke my heart,

And ifI ever find her, we never more will part.

Refrain: She’s the sweetest little rosebud that Texas ever knew;

Her eyes are bright as diamonds; they sparkle like the dew.

You may talk about your Clementine and sing ofRosa Lee,

But the yellow rose of Texas is the only one for me!

Verse: Where the Rio Grande is flowing, and starry skies are bright, 

She walks along the river in the quiet summer night;

She thinks ifI remember, when we parted long ago,

That I promised to return and not to leave her so.

Refrain

Verse: Oh, now I’m going to find her, for my heart is full ofwoe;

We’ll sing that song together we sang so long ago;

We’ll play the banjo gaily, we’ll sing the songs of yore,

And the yellow rose ofTexas shall be mine for evermore!

Refrain

Somebody’s Darling

(Soprano and Baritone)

Verse: In the ward ofthe clean whitewashed walls,

Where the dead slept and the dying lay,

Wounded by bayonets, sabres, and balls,

Somebody’s darling was borne one day.

Somebody’s darling, so young and so brave,

Wearing still on his sweet yet pale face—

Soon to be hid in the dust ofthe grave—

The lingering light of his boyhood’s grace.

Refrain: Somebody’s darling, somebody’s pride—

Who’ll tell his mother where her boy died?

Verse: Give him a kiss but for somebody’s sake;

Murmur a prayer for him, soft and low;

One little curl from his golden locks take;

Somebody’s pride they were once, you know.

Somebody’s warm hand has oft rested there;

Was it a mother’s, so soft and so white?

Or have the lips of a sister so fair

Ever been bathed in their waves of light?

Refrain
We All Went Down to New Orleans for Bales

(Choir)

We all went down to New Orleans for bales, for bales;

We all went down to New Orleans for bales, says I;

We all went down to New Orleans to get a peep behind the scenes,

And we’ll all drink stone blind—Johnny, fill up the bowl!

We thought we got into the “ring” for bales, for bales;

We thought we got into the “ring” for bales, says I;

We thought we got into the “ring,” greenbacks would be a dead-sure thing,

And we’ll all drink stone blind—Johnny, fill up the bowl!

Our “ring” came back and cursed and swore, for bales, for bales;

Our “ring” came back and cursed and swore, for bales, says I!

Our “ring” came back and cursed and swore, for we got no cotton at Grand Ecore,

So we’ll all drink stone blind—Johnny, fill up the bowl!

The Conquered Banner

(Choir)

Furl that banner, for ‘tis weary, round its staff ‘tis drooping dreary.

Furl it, fold it; it is best, for there’s not a man to wave it,

And there’s not a sword to save it in the blood that heroes gave it,

And its foes now scorn and brave it.

Furl it, hide it, let it rest.

Dixie’s Land

(Choir)

Verse: I wish I was in the land of cotton, old times there are not forgotten;

Look away, look away, look away, Dixieland.

In Dixieland where I was bom in, early on a frosty momin’

Look away....

Refrain: Then I wish I was in Dixie, hooray, hooray!

In Dixieland I’ll take my stand, to live and die in Dixie—

Away, away, away down south in Dixie!
The Union

Tenting Tonight

(Choir)

Verse: We’re tenting tonight on the old campground; give us a song to cheer 

Our weary hearts, a song of home and friends we love so dear.

Refrain: Many are the hearts that are weary tonight, wishing for the war to cease;

Many are the hearts that are looking for the right, to see the dawn of peace.

Tenting tonight, tenting tonight on the old campground.

Verse: We’re tired ofwar on the old campground; thinking ofthose now gone;

Ofthe brave and true who’ve left their homes, and others wounded long.

Refrain: Many are the hearts....

Dying tonight, dying tonight, dying on the old campground.

The Battle Cry of Freedom

(Choir)

Yes, we’ll rally round the flag, boys, we’ll rally once again,

Shouting the battle cry offreedom;

We will rally from the hillside, we’ll gather from the plain,

Shouting the battle cry offreedom.

The Union forever! Hurrah, boys, hurrah!

Down with the traitor, up with the star,

While we rally round the flag, boys, rally once again,

Shouting the battle cry offreedom!

Aura Lea

(Soprano and Choir)

Verse: When the blackbird in the spring, on the willow tree

Sat and rocked, I heard him sing, singing “Aura Lea.”

Aura Lea, Aura Lea, maid of golden hair!

Sunshine came along with thee, and swallows in the air.

Refrain: Aura Lea, Aura Lea, maid of golden hair!

Sunshine came along with thee, and swallows in the air.

Verse: When the mistletoe was green midst the winter’s snows,

Sunshine in thy face was seen, kissing lips ofrose.

Aura Lea, Aura Lea, take my golden ring!

Love and light return with thee, and swallows in the spring.

Refrain
The Invalid Corps

(Tenor and Choir)

1 wanted much to go to war, and went to be examined;

The surgeon looked me o’er and o’er, my back and chest he hammered. 

Said he, “You’re not the man for me, your lungs are much affected,

And likewise both your eyes are cocked, and otherwise defected.

So now I’m with the invalids, and cannot go and fight, sir!

The doctor told me so, you know, of course it must be right, sir!

While I was there, a host of chaps for reasons were exempted:

Old “Pursy,” he was laid aside, to pass he had attempted.

The doctor said, “I do not like your corporosity, sir!

You’ll breed a famine in the camp, wherever you may be, sir!

So now he’s with the invalids, and cannot go and fight, sir!

The doctor told me so, you know, of course it must be right, sir!

There came a fellow, mighty tall, a knock-kneed over-growner,

The doctor said, “I got no time to take and look you over.”

Next came along a little chap, who was "bout two-foot nothing,

The doctor said, “You’d better go and tell your mammy you’re coming.”

So now they’re with the invalids, and cannot go and fight, sir!

The doctor told them so, you know, of course it must be right, sir!

Some had the tikerdoleron, some what they call brown critters,

And some were lank and lazy too, and some too fond of bitters;

Some had cork legs, and some one eye, with backs deformed and crooked;

I’ll bet you laughed until you cried to see how cute they look-ed!

So now we’re with the invalids, and cannot go and fight, sir!

The doctor told us so, you know, of course it must be right, sir!

Just Before the Battle, Mother

(Baritone and choir)

Verse: Just before the battle, Mother, I am thinking most of you,

While upon the field we’re watching, with the enemy in view.

Comrades brave around me lying, filled with thoughts of home and God,

For well they know that on the morrow some will sleep beneath the sod.

Refrain: Farewell, Mother; you may never press me to your heart again;

But oh! You’ll not forget me, Mother, if I’m numbered with the slain.

Verse: Hark, I hear the bugle sounding, ‘tis the signal for the fight.

Now may God protect us, Mother, as he ever does the right.

Hear “The Battle Cry of Freedom,” how it swells upon the air;

Oh, yes, we’ll rally round the standard, or we’ll perish nobly there.

Refrain
The President’s Hymn

(Choir)

Give thanks, all ye people, give thanks to the Lord,

Alleluias of freedom with joyful accord.

Let the East and West, North and South roll along,

Sea, mountain, and prairie, one thanksgiving song.

Give thanks, all ye people, give thanks to the Lord,

Alleluias offreedom with joyful accord.

The Vacant Chair

(Soprano and Choir)

Verse: We shall meet, but we shall miss him,

There will be one vacant chair;

We shall linger to caress him while we breathe our evening prayer.

When a year ago we gathered, joy was in his mild blue eye,

But the golden cord is severed, and our hopes in ruins lie.

Refrain: We shall meet, but we shall miss him,

There will be one vacant chair;

We shall linger to caress him while we breathe our evening prayer.

Verse: At our fireside sad and lonely often will the bosom swell

At the membrance ofthe story, how our noble Willie fell;

How he strove to bear our banner, through the thickest ofthe fight,

And uphold our country’s honor in the strength ofmanhood’s might.

Refrain

The President’s Grave

(Choir)

Be silent! There cometh, on spirit wings sped,

The wail of a nation in grieffor the dead.

The strong and the mighty, from glory and light,

Hath waned in his brightness and left us in night.

The proud eagle banners all droopingly wave,

And the wild winds are hushed round the President’s grave.
Final Medley

(Choir)

When Johnny comes marching home again, hurrah, hurrah!

We’ll give him a hearty welcome then, hurrah, hurrah!

The men will cheer and the boys will shout,

The ladies, they will all turn out,

And we’ll all feel gay when Johnny comes marching home!

Get ready for the jubilee, hurrah, hurrah!

We’ll give the hero three time three, hurrah, hurrah!

The laurel wreath is ready now to place upon his loyal brow,

And we’ll all feel gay when Johnny comes marching home!

Mine eyes have seen the glory ofthe coming ofthe Lord;

He is trampling out the vintage where the grapes ofwrath are stored;

He hath loosed the fateful lightning of his terrible swift sword;

His truth is marching on.

Glory, glory, hallelujah!

He has sounded forth the trumpet that shall never sound retreat;

He is sifting out the hearts ofmen before his judgment seat;

O, be swift, my heart, to answer him, be jubilant, my feet!

Our God is marching on .

Glory, glory hallelujah!

We’re going down to Dixie to fight for the dear old flag,

And should we fall in Dixie, we’ll die for the dear old flag.

Hold on, Abraham, never say die to your Uncle Sam!

Uncle Sam’s boys are coming right along,

Six hundred thousand strong!

Bring the good old bugle, boys, we’ll sing another song—

Sing it with a spirit that will start the world along;

Sing it as we used to sing it, fifty thousand strong,

While we’re marching through Georgia.

Hurrah! Hurrah! The flag that makes you free!

So we sang the chorus from Atlanta to the sea,

While we were marching through Georgia.