June

8 Ilya Gringolts, violinist Partitas and sonatas for

unaccompanied violin by J. S. Bach

15 National Gallery Chamber Griffes: Indian Sketches

Players String Quartet Janacek: Quartet No. 1

Beethoven: Quartet, Op. 130

22 Pedja Muzijevic, pianist Scarlatti: Four Sonatas

Granados: Coloquio en la Reja

from Goyescas

Cage: In a Landscape

Schumann: Kreisleriana, Op. 16

29 National Gallery Chamber Franz Danzi: Quintet in E Minor

Players Wind Quintet Anton Reicha: Quintet in G Major

Giulio Briccialdi: Quintet

Concerts resume on 5 October 2003

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.

For the convenience of concertgoers

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

The Sixty-first Season of

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2458th Concert

THE AULOS ENSEMBLE

CHRISTOPHER KRUEGER,flauto traverso

MARC SCHACHMAN, baroque oboe

LINDA QUAN, baroque violin MYRON LUTZKE, baroque cello

ARTHUR HAAS, harpsichord

Sunday Evening, 11 May 2003

Seven O’clock

West Building, West Garden Court

Admission free
Program

French Music from the Age of the Enlightenment

Presented in honor of the exhibition

Jean-Antoine Houdon (1741-1828):

Sculptor ofthe Enlightenment

Antonio Vivaldi (1678-1741) Allegro from Le printemps

Arr. Jean-Jacques Rousseau (1712-1778)

Jean-Philippe Rameau Suite from Lesfetes d’Hebe

(1683-1764)

Menuets

Air gracieux pour Zephire et les Graces

Air tendre, Air pour le Genie de Mars, La Victoire

Jacques Duphly La Felix

(1715-1789) La de Drummond

Rameau Suite from Lesfetes d’Hebe

Musettes

Rigaudons

L’ Hymen, Chaconne

Contredance

Intermission

Rameau

Ouverture

Menuets

Musette

Air vif pour Zephire et

la rose

Air pour les guerriers

Air tendre pour la rose

Suite from Les Indes galantes

Air pour Boree et la rose

Adoration du soleil

Air grave pour les Incas du Perou

Air pour les esclaves africains

Les sauvages

Chaconne

Tambourins

The Musicians

Founded in 1973 by five graduates of the Juilliard School of Music, The

Aulos Ensemble was at the forefront of a movement that has captured

the imagination of the American listening public. The musicians’

artistic intelligence, based on informed scholarly insight and an 

uncompromising standard of excellence, has resulted in invitations from

virtually all of America’s major chamber music presenters. The Aulos

Ensemble’s performances have created a new awareness for the rich

rewards of performance on “original” instruments and have generated

rave reviews with such phrases as “scintillating,” “virtuosic,” and

“authentic baroque performance at its best.”

In addition to its extensive touring schedule, the Aulos Ensemble

created its own concert series in New York City featuring collaborations

with leading artists in authentic performance practices from the United

States and Europe. The Aulos Ensemble has performed with

harpsichordists Trevor Pinnock and Albert Fuller, violinists Jaap

Schroeder and Stanley Ritchie, cellist Anner Byslma, oboist Michel

Piguet, and vocalists Jan de Gaetani, Bethany Beardslee, Charles

Bressler, Julianne Baird, and Dawn Upshaw.
Now an essential part of New York’s holiday celebrations, the

Aulos Ensemble performs a special Christmas concert annually in the

magical setting of the Medieval Sculpture Court at the Metropolitan

Museum of Art. As the New York Times says: “If it has to be just one

Christmas concert, this is it!” The popularity of the ensemble’s holiday

performances has resulted in seasonal tours throughout the country and

in the recording Baroque Christmas on the MHS/Musicmasters label,

which is now offered globally through the Metropolitan Museum’s

catalogue. The Aulos Ensemble can also be heard frequently on National

Public Radio.

The Aulos Ensemble’s first recording, released on the Musical

Heritage Society label in 1981, was heralded as one of the most 

accomplished and significant observances of the Telemann tercentenary,

receiving the Critic’s Choice award from High Fidelity/Musical America

magazine. Since then, the ensemble has released more than a dozen CDs

on the MHS label, including double CD sets of Bach, Handel, and

Vivaldi, as well as the complete Essercizii musici of Telemann on tive

discs. The Aulos Ensemble appears at the National Gallery ot Art by

arrangement with Melvin Kaplan, Inc., of Burlington, Vermont.

Program Notes

In collaboration with the J. Paul Getty Museum in Los Angeles and the

Musee national du chateau de Versailles/Reunion des musees nationaux

in France, the National Gallery has organized an exhibition of the work

of the great French sculptor Jean-Antoine Houdon (1741-1828), to be

shown in Washington through 7 September 2003. The exhibition, drawn

from private and museum collections in the United States and Europe, is

the first major international monographic show devoted to Houdon’s

work. It spans his entire career and brings together nearly seventy ot his

finest sculptures in terracotta, marble, bronze, and plaster. Houdon

portrayed not only the most prominent figures of the Enlightenment in

France, such as Diderot, Voltaire, d’Alembert, and Rousseau, but also

the composer Christoph Willibald Gluck (1714-1787) and the heroes ot

the new American republic, Franklin, Jefferson, Washington, and John

Paul Jones. In the first years of the nineteenth century Houdon portrayed

both Napoleon and Josephine, as well as military figures and members of

the bourgeoisie. As testimony to his continued vigor even in old age,

Houdon carved a life-size statue of Voltaire for the Pantheon when he

was seventy-one years old.

The representation of nature and the pastoral have always been

important elements in music, but they took on special significance during

the Enlightenment. Vivaldi’s set of four concertos known as The

Seasons, with its extensive musical representation of natural phenomena,

was popular in mid-eighteenth-century Paris. It was performed at the

Concerts spirituels, used as the basis for other compositions, and

published in various arrangements, including one for musette and hurdygurdy. In 1775 Jean-Jacques Rousseau, a principal exponent of

Enlightenment philosophy, arranged Le printemps (Spring) from The

Seasons for unaccompanied flute. A contributor to the famous

Encyclopedic frangaise (1751) and author of the first Dictionnaire de

musique (1768), Rousseau wrote that “no animal, no bird, no being in

nature, produces any other concord than the unison, no other music than

melody....It is very difficult not to suspect that all our harmony is but a

gothic and barbarous invention, which we should never have followed if

we had been more sensible of the true beauties of art and of music truly

natural.” The tradition of the flute as the instrument of shepherds gives

this transcription added validity as an expression of the idea that truth

and beauty are found in rustic simplicity.

Jacques Duphly, born in Rouen, left a secure post as organist in

his home city at the age of twenty-seven to try his luck as a

harpsichordist in Paris. Within a few short years he became one of the

leading performers, composers, and teachers of harpsichord in the French

capital. His playing was noted for its lightness of touch and softness ot

ornamentation. His teaching was so distinguished that Jean-Jacques 

Rousseau quoted him extensively in the article on fingering in his famed

Dictionnaire de musique. Typical of late French baroque harpsichord

music, the two pieces played tonight are character pieces named in honor
of acquaintances of the composer. Felix was a theater owner and

musician, and De Drummond was a member of the Scottish military who

had business dealings with the composer. La Felix is a rondeau, noble in

character and typical of the kind of pieces that were written by French

keyboard composers throughout the eighteenth century. The piece is

mostly in the sonorous tenor range of the harpsichord and features the

texture known as style brise (broken chords in the manner of

seventeenth-century French lute music). La de Drummond, written 

twenty years later, reflects the passage of time and taste in France. A

two-voice piece, its simple yet gracious melody is accompanied by an

Alberti bass, a harbinger of the classical style. Although written

originally for solo harpsichord, the piece has been orchestrated by the

Aulos ensemble for flute and continuo. In so doing they follow the

example of such notables as Bach, Couperin, and Rameau, who often

arranged their music for different combinations of instruments.

Jean-Philippe Rameau, one of the musical giants of eighteenthcentury France, is today known primarily for his compositions for 

harpsichord. During his lifetime, however, his enormous reputation was

made in the field of opera. Many of his operas remain unknown, but a

favored few have been resurrected by adventurous opera companies or

brought to the attention of present-day audiences through orchestral

performances of the dazzling instrumental dances they contain.

Rameau’s oeuvre attracted no less a musician than Camille Saint-Saens,

who compiled the first and only complete edition of these great works.

Two original eighteenth-century sources that were not available

to Saint-Saens are manuscripts on “short scores” (reductions on two

staves as if written for solo keyboard) of Rameau’s Lesfetes d'Hebe and

Les Indes galantes. The sources were found, respectively, in the library at

the University of California at Berkeley and the Library of Congress, and

provided the inspiration for the two opera suites on this program. Les

fetes d'Hebe deals with the triumph of poetry, music, and dance, as its

subtitle, Les talents lyriques, suggests. The two suites selected for this

program from Lesfetes d'Hebe comprise some of the most evocative airs

and dances from the opera. Throughout the “short score” of Les Indes

galantes, Rameau included suggestions for instrumentation. He clearly

visualized the possibility of performing these pieces orchestrally, much

as Couperin had done earlier in his Concerts royaux. The suite performed

at the close of this program was chosen for maximum variety of

instrumental color, while at the same time providing a taste of the exotic

and humorous qualities of the music.

Program notes by The Aulos Ensemble,

edited and adapted by Elmer Booze

Concerts at the National Gallery of Art

Under the direction of George Manos

Concerts in May and June 2003

May

18 Livia Sohn, violinist

25 Klaus Hellwig, pianist

June

1 National Gallery

Orchestra

George Manos, conductor

J. S. Bach: Sonata, BWV 1016

Grieg: Sonata No. 3

Works by Jonathan Berger and

Jeno Hubay

Beethoven: Sonata, Op. 14/2

Schumann: Davidsbiindlertanze,

Op. 6

Mendelssohn: Symphony No. 3

Ravel: Le tombeau de Couperin

Ravel: Bolero