CONCERTS

78TH SEASON OF

national gallery of art | september 15, 2019
PROGRAM

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THE ENSEMBLE

The U.S. Army Band “Pershing’s Own”

The U.S. Army Band “Pershing’s Own” has been the premier musical organization of 

the U.S. Army since 1922 when Army Chief of Staff General of the Armies John J. 

“Black Jack” Pershing directed that the band be organized, built on the tradition of 

the European military bands he had heard during the First World War.* “Pershing’s 

Own” provides music support for the leadership of the United States, to include all 

branches of government, and to a wide spectrum of national and international events 

in support of soldiers and their families, public diplomacy, memorial affairs, community and international relations, and recruiting initiatives. Its mission is to help connect 

the Army with the American people. Its soldiers represent all of the heroic men and 

women who stand around the world in defense of our freedom. Through their musical 

education, continual training, and masterful performance these outstanding soldiers 

truly embody the excellence that is found across America’s Army.

The U.S. Army Band became widely known during its early years for radio broadcasts featured on several national networks. During World War II, the band was 

ordered overseas and performed concerts throughout North Africa and Europe, 

becoming the only Washington-based band to participate in a theater of war, and 

earning the musicians the right to display a campaign streamer on their flag. Over 

the years the band has expanded in scope and diversity, today consisting of over 

260 enlisted musicians and support staff and ten official ensembles: The U.S. Army 

Concert Band, The U.S. Army Ceremonial Band, The U.S. Army Strings (24-piece string 

ensemble + accordion), The U.S. Army Blues (big band / jazz), The U.S. Army Chorus 

(men’s chorus), The U.S. Army Band Downrange (pop / rock), The U.S. Army Herald 

Trumpets, The U.S. Army Brass Quintet, The U.S. Army Voices (mixed voice), and 

The U.S. Army Woodwind Quintet. Personnel from several elements are combined to 

create The U.S. Army Orchestra and myriad small chamber ensembles and combos.

Today the musicians of this prestigious unit render musical honors on a regular 

basis for our nation’s leaders, foreign dignitaries and heads of state, diplomats, and 

of course, our veterans. The band’s most important duties are performed in honoring 

our nation’s heroes at Arlington National Cemetery. Elements of the band have been 

visible in support of every presidential inauguration and have been part of the official 

escort to the president in each inaugural parade since 1925. Also, The U.S. Army Band 

plays a vital role in music education, often serving as the featured group at prominent 

music conferences and conventions throughout the nation and abroad.

United States Army Band “Pershing’s Own” 

Moonstruck: Celebrating a New Century of 

American Music for Pierrot Lunaire Ensemble

September 15, 2019 | 3:30

West Building, West Garden Court

Celebrating By the Light of the Silvery Moon: A Century of Lunar Photographs

David Clay Mettens (b. 1990)

Without Air (2017)

Sebastian Currier (b. 1959)

Flow (2013)

Shulamit Ran (b. 1949)

Under the Sun’s Gaze: Concerto da Camera III (2004)

Jennifer Higdon (b. 1962)

Zaka (2003)

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“Pershing’s Own” performs free public concerts throughout the year, including 

performances during the summer months on the West Steps of the U.S. Capitol and 

in area parks throughout the region. During the cooler months, concerts and recitals 

are performed around the area and at their Fort Myer headquarters, Brucker Hall. The 

band regularly joins with the 3rd U.S. Infantry, “The Old Guard,” to present patriotic 

spectacles, such as the weekly summertime Twilight Tattoos and annual performances 

of the Spirit of America pageant.

Performing Today

SSG Judith Cho, viola 

SSG James Collins, piano

SSG Sonia Dell’Omo, flute, piccolo

SSG Evan Geiger, French horn

MSG Eli Gonzalez, soprano saxophone

SSG Jake Harpster, percussion

SSG Carol Joe, flute, piccolo, alto flute

SSG J. J. Milakovich, Bb clarinet, bass clarinet

SSG Doug O’Connor, conductor

SFC Nadia Pessoa, harp

SSG Derek Powell, violin

SSG Sergey Prokofyev, violin

MSG Mario Ramsey, percussion

SSG Chaz Sonoda, Bb and A clarinets, bass clarinet

SSG Pete Soroka, percussion

SSG Nick Starr, piano

SFC Ben Wensel, cello

SSG Staff Sergeant

SFC Sergeant First Class

MSG Master Sergeant

SGM Sergeant Major

THE COMPOSERS

David Clay Mettens

David Clay Mettens has been praised by the Chicago Tribune for composing music “of 

remarkable beauty,” displaying a “sensitive ear for instrumental color.” His recent work 

seeks to distill the strange and sublime from the familiar. He reflects upon the experience of wonder in music that ranges from rich and sonorous to bright and crystalline, 

seeking expressive immediacy in lucid forms and dramatic shapes.

His work has been recognized with Ithaca College’s 2018 Heckscher Foundation 

Composition Prize, first prize in the 2018 Salvatore Martirano Memorial Composition 

Competition, a 2016 American Society of Composers, Authors, and Publishers (ASCAP) 

Morton Gould Young Composer Award, and the 2015 SCI / ASCAP graduate-student 

commission. He received a commission from the American Opera Initiative for a 

one-act opera, which was premiered in December 2015 by the Washington National 

Opera at the Kennedy Center. His orchestra piece Sleeping I am carried . . . was selected 

for the 24th Annual Underwood New Music Readings with the American Composers 

Orchestra and the 2015 Young Composers Forum with the Brussels Philharmonic. 

Subsequently, the Brussels Philharmonic, led by Stéphane Denève, performed the 

piece in December 2016 at Flagey. The piece was also the winner of Eastman’s 2014 

Wayne Brewster Barlow Composition Prize and received a premiere with the Eastman 

School Symphony Orchestra in October 2014. Other orchestral performances include 

the Chicago Civic Orchestra, L’Orchestre philharmonique de Radio France at ManiFeste 2018, and the Austrian Tonkünstler Orchestra as part of the Grafenegg Festival’s 

Ink Still Wet workshop in 2017 and 2018.

Additionally, his works have been performed by Spektral Quartet, Yarn / Wire, 

the New York Virtuoso Singers, Ensemble Dal Niente, and Chicago’s Civitas Ensemble, 

among others. Saxophonists Chien-Kwan Lin, Timothy McAllister, and Otis Murphy 

performed Mettens’s trio Everything that rises at the American Saxophone Academy 

Faculty Recital in July 2016. At Eastman, his works were featured on OSSIA and at 

concerts of the Composer’s Forum, the Graduate Composers’ Sinfonetta, and the 

Computer Music Center.

Mettens currently is working on his doctorate in composition at the University 

of Chicago, studying with Anthony Cheung, Sam Pluta, and Augusta Read Thomas. 

He earned his master’s degree at the Eastman School of Music, where he studied 

composition with David Liptak, Robert Morris, Carlos Sanchez-Gutierrez, and Ricardo 

Zohn-Muldoon, and computer music with Allan Schindler. A native of Covington, 

Kentucky, he completed his undergraduate studies at the University of South Carolina 

*Upon his retirement in 1924, General Pershing was given 

the title General of the Armies.
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(USC) with a degree in music composition and a clarinet performance certificate. 

He was a recipient of the McNair Scholarship, the top award the university gives to 

out-of-state students, and the 2013 Arthur M. Fraser Award from the School of Music. 

There, his composition teachers were John Fitz Rogers and Fang Man.

Mettens has presented his research on the music of Thomas Adès at the 

Grawemeyer Award for Music Composition 30th Anniversary Conference, hosted 

by the University of Louisville, and the first annual THEMUS graduate-student music 

theory and musicology conference at Temple University. In 2012, he was awarded a 

USC Magellan Scholar Grant for a research project involving pipe organs, spectral 

music, and computer music, under the guidance of faculty mentor Reginald Bain.

Sebastian Currier

Sebastian Currier is the recipient of the prestigious Grawemeyer Award. Heralded as 

“music with a distinctive voice” by the New York Times and as “lyrical, colorful, firmly 

rooted in tradition, but absolutely new” by the Washington Post, his music has been 

performed at major venues worldwide by acclaimed artists and orchestras, including 

the Berlin Philharmonic, the New York Philharmonic, and the Kronos Quartet.

Currier’s music has been enthusiastically embraced by violinist Anne-Sophie 

Mutter, for whom he wrote Time Machines, a piece she premiered with the New York 

Philharmonic in June 2011 and subsequently performed with various orchestras in 

the United States, Europe, and Asia. He also wrote Aftersong for Mutter, which she 

performed extensively in the United States and Europe, including at Carnegie Hall 

in New York, the Barbican in London, and the Grosses Festspielhaus in Salzburg. A 

critic from the London Times wrote, “If all his pieces are as emotionally charged and 

ingenious in their use of rethought tonality as this, give me more.”

Currier has also had an extended association with members of the Berlin Philharmonic, as well as with the orchestra itself. In 2009, his harp concerto Traces, commissioned by the Berlin Philharmonic, was premiered by harpist Marie-Pierre Langlamet 

under the baton of Donald Runnicles. Currier has written numerous pieces for Langlamet, which she has premiered with members of the Berlin Philharmonic. He recently 

wrote Spark for the Berlin Philharmonic’s twelve cellos, which premiered in Rotterdam. 

Currier’s orchestra piece, Divisions, was recently premiered by the Seattle Symphony, 

conducted by Ludovic Morlot, and will be performed by the Boston Symphony Orchestra both in Boston and New York, conducted by Andris Nelsons. Currier’s Microsymph, 

referred to by the composer as a large-scale symphony squeezed into only ten minutes, 

was commissioned by the American Composers Orchestra and premiered at Carnegie 

Hall. It has also been performed by the San Francisco Symphony, the Gewandhaus 

Orchestra, the BBC Wales Orchestra, and the National Symphony Orchestra, and has 

been recorded by the Frankfurt Radio Orchestra with Hugh Wolff conducting.

Currier has also written works that involve electronic media and video. Nightmaze, 

a multimedia piece based on a text by Thomas Bolt, in which the protagonist dreams 

he is rushing along a dark, enormous highway, where strange road signs loom up only 

to disappear into the night, has been performed by Network for New Music and the 

Mosaic Ensemble. The Philadelphia Inquirer wrote, “every turn is breathtaking,” and 

the New York Times echoed the praise, “Currier’s rich and imaginative music sets the 

right tone, with its fractured and dissonant baroque-like gestures leading off like 

highway exits into the void and hinting at distant reservoirs of emotion and yearning.” 

Currier’s recordings include his Time Machines, with Anne-Sophie Mutter and the 

New York Philharmonic for Deutsche Grammophon, Next Atlantis with the Ying 

Quartet on Naxos, and On the Verge from Music from Copland House, featuring his 

Grawemeyer Award–winning Static, and other chamber works. Currier’s Quartetset /

Quiet Time album, recorded by the Cassatt Quartet, “distances the present from the 

past, causing the listener to think about music itself” (New York Times).

Currier has received many prestigious awards including the Berlin Prize, the Rome 

Prize, Guggenheim and National Endowment for the Arts fellowships, and an American 

Academy of Arts and Letters award. He has held residencies at the MacDowell and 

Yaddo colonies and received his doctoral degree from the Juilliard School. From 1999 

to 2007, he taught at Columbia University and currently is artist-in-residence at the 

Institute for Advanced Study, in Princeton, New Jersey.

Shulamit Ran

Shulamit Ran, a native of Israel, began setting Hebrew poetry to music at the age of 

seven. By age nine, she was studying composition and piano with some of Israel’s most 

noted musicians, including composers Alexander Boskovich and Paul Ben-Haim, and 

within a few years her works were being performed by professional musicians and 

orchestras. As the recipient of scholarships from both the Mannes College of Music in 

New York and the America Israel Cultural Foundation, Ran continued her composition 

studies in the United States with Norman Dello Joio. In 1973, she joined the faculty of 

University of Chicago, where she is now the Andrew MacLeish Distinguished Service 

Professor in the Department of Music. Her late colleague and friend Ralph Shapey, 

with whom she also studied in 1977, was an important mentor.

In addition to receiving the Pulitzer Prize in 1991, Ran has been awarded most major 

honors given to composers in the United States, including two fellowships from the 

Guggenheim Foundation, grants and commissions from the Koussevitzky Foundation, 

the National Endowment for the Arts, the Fromm Music Foundation, Chamber Music 

America, and the American Academy and Institute for Arts and Letters, as well as first 

prize in the Kennedy Center-Friedheim Awards competition for orchestral music.

Ran’s music has been played by leading performing organizations, including the 

Chicago Symphony under both Daniel Barenboim and Pierre Boulez, the Cleveland 

Orchestra under Christoph Von Dohnanyi in two U.S. tours, the Philadelphia Orchestra 
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Blackbird, and the “President’s Own” U.S. Marine Band. She has also written works 

for such artists as baritone Thomas Hampson, pianists Yuja Wang and Gary Graffman, 

and violinists Nadja Salerno-Sonnenberg, Jennifer Koh, and Hilary Hahn. Her first 

opera, Cold Mountain, won the prestigious International Opera Award for Best World 

Premiere in 2016 — the first American opera to win in the award’s history. 

Higdon’s upcoming commissions include a chamber opera for Opera Philadelphia, 

a string quartet for the Apollo Chamber Players, a double percussion concerto for the 

Houston Symphony, an orchestral suite for the Made in America project, and a flute 

concerto for the National Flute Association’s 50th anniversary.

Higdon received the 2010 Pulitzer Prize in Music for her Violin Concerto, with 

the committee citing the work as “a deeply engaging piece that combines flowing 

lyricism with dazzling virtuosity.” She has also received awards from the Guggenheim 

Foundation, the American Academy of Arts and Letters, the Koussevitzky Music 

Foundation, the Pew Fellowship in the Arts, the Independence Foundation, the 

National Endowment for the Arts, and the American Society of Composers, Authors, 

and Publishers. As winner of the Van Cliburn Piano Competition’s American Composers 

Invitational, Higdon’s Secret & Glass Gardens was performed by the semifinalists 

during the competition.

Higdon has been a featured composer at many festivals including Aspen, Tanglewood, Vail, Norfolk, Grand Teton, and Cabrillo. She has been composer-in-residence 

with several orchestras and was honored to serve as the creative director of the 

Boundless Series for the Cincinnati Symphony’s 2012 – 2013 season. During the 2016 – 

2017 and 2017 – 2018 academic years, Higdon served as the prestigious Barr Laureate 

Scholar at the University of Missouri, Kansas City.

Most recently, Higdon received the Nemmers Prize from Northwestern University, 

which is awarded to contemporary classical composers of exceptional achievement 

who have significantly influenced the field of composition. In 2018, Higdon undertook 

two residencies at the Bienen School of Music as the Nemmers Prize recipient. In 

the 2018 – 2019 season, she was in residence at University of Texas, Austin, as part of 

the Eddie Medora King Award. Higdon enjoys more than two hundred performances 

a year of her works. Her orchestral work, blue cathedral, is one of the most performed 

contemporary orchestral works in the repertoire, with more than six hundred performances since its premiere in 2000.

Higdon received a bachelor’s degree in music from Bowling Green State University, 

an artist diploma from the Curtis Institute of Music, and her master’s and doctorate 

degrees from the University of Pennsylvania. She also has been awarded honorary 

doctorates from the Hartt School and Bowling Green State University. Higdon currently 

holds the Rock Chair in Composition at the Curtis Institute of Music in Philadelphia. 

Her music is published exclusively by Lawdon Press. Her works have been recorded on 

over sixty CDs, and she has twice won the Grammy for Best Contemporary Classical 

Composition — Percussion Concerto in 2010 and Viola Concerto in 2018.

under Gary Bertini, the Israel Philharmonic under Zubin Mehta and Gustavo Dudamel, 

the New York Philharmonic, the American Composers Orchestra, the Orchestra of 

St. Luke’s under Yehudi Menuhin, the Baltimore Symphony, the National Symphony 

(Washington DC), Contempo at the University of Chicago under both Ralph Shapey and 

Cliff Colnot, the Orchestre de la Suisse Romande, the Jerusalem Orchestra, the vocal 

ensemble Chanticleer, and various others. Ran’s chamber and solo works are regularly 

performed by leading ensembles in the United States and elsewhere, and recent vocal 

and choral ensemble works have been receiving performances internationally.

Between 1990 and 1997, Ran was composer-in-residence with the Chicago Symphony Orchestra. Between 1994 and 1997, she was the fifth Brena and Lee Freeman Sr. 

composer-in-residence with the Lyric Opera of Chicago, where her residency culminated in the performance of her first opera, Between Two Worlds (The Dybbuk). She 

was the Paul Fromm composer-in-residence at the American Academy in Rome, 

September – December 2011.

Ran served as music director of Tempus Fugit, the International Biennial for 

Contemporary Music in Israel in 1996, 1998, and 2000. Since 2002, she has been artistic 

director of Contempo (Contemporary Chamber Players of the University of Chicago). 

In 2010, she was the Howard Hanson Visiting Professor of Composition at Eastman 

School of Music. She is also an elected member of the American Academy of Arts and 

Letters, where she was vice president for music for a three-year term, and of the 

American Academy of Arts and Sciences. The recipient of five honorary doctorates, her 

works are published by both the Theodore Presser Co. and the Israeli Music Institute 

and are recorded on more than a dozen different labels. Ran’s Glitter, Doom, Shards, 

Memory, String Quartet no. 3, was commissioned by Music Accord, a consortium of 

concert presenters in the United States and abroad, for Pacifica Quartet, and received 

its first performance in 2014 in Tokyo.

Jennifer Higdon

Jennifer Higdon is a two-time Grammy Award winner. Born in Brooklyn, New York, she 

taught herself to play flute at age fifteen, undertook formal musical studies at eighteen, 

and began composing at twenty-one. Despite her relatively late start, she has become 

a major figure in contemporary classical music. Her works represent a wide range 

of genres, from orchestral to chamber to wind ensemble, as well as to vocal, choral, 

and opera. Her music has been hailed by Fanfare Magazine as having “the distinction 

of being at once complex, sophisticated, but readily accessible emotionally,” and 

the Times of London cited it as “traditionally rooted, yet imbued with integrity and 

freshness.” The League of American Orchestras writes that she is one of America’s 

most frequently performed composers.

Higdon’s list of commissioners includes the Philadelphia, Cleveland, Minnesota, 

and St. Paul Chamber Orchestras; the Chicago, Atlanta, and Pittsburgh Symphony 

Orchestras; and such groups as the Lark and the Tokyo String Quartets, Eighth 
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PROGRAM NOTES

Over one hundred years ago, Austrian composer Arnold Schoenberg produced a wildly 

creative work for a small, mixed instrumental ensemble and vocalist titled Pierrot 

Lunaire (Moonstruck Pierrot). The piece became one of Schoenberg’s most frequently 

performed works, and the instrumentation became a standard setting for future 

composers to explore texture, tonality, and musical drama. Here, the Pershing’s Own 

Chamber Players present a twenty-first-century take on this unique instrumentation 

with music by living American composers.

Without Air

Without Air is based on a short story from Italo Calvino’s Cosmicomics. In this collection, each story takes as its premise a scientific conceit, ranging from astronomy 

and physics to geologic time. My favorite story is set on Earth before the atmosphere 

had formed. Calvino describes this theoretical landscape as an undifferentiated gray 

expanse (much like our Earth’s moon), occasionally transfigured by bursts of color 

resulting from the contrail of a meteorite filtering the sun’s light as it passes by. I love 

Calvino’s fanciful contrast of grayness and color and have sought to render that 

opposition in music with dryness and resonance. The piece begins with short, brittle 

sounds: pizzicato strings, high harp, and a consort of wooden non-pitched percussion 

instruments. Over the course of the piece, small bursts of resonance accumulate into 

increasingly sustained music, culminating in a sonorous climax and coda. These final 

sections cast each of the musical ideas from the beginning in a new, resonant light.

Program note by the composer, David Clay Mettens

Flow

In evolutionary biology, it was originally assumed that species evolve very gradually, 

similar to the physical landscape’s evolution. Just as mountains gradually formed 

over eons, or continents drifted apart imperceptibly, so species also formed slowly. 

But further discoveries pointed to a different pattern: long stretches of stasis were 

followed by concentrated periods of intense, active change. This pattern is known 

as punctuated equilibrium. Since music unfolds in time and, in a more general sense, 

ideas within a piece “evolve,” this notion caught my attention as a way to put together 

music in time. It also engaged with one of the primary dialogues in music of the 

past half-decade: minimalism versus, if you will, maximalism. The idea of punctuated 

equilibrium seemed to me like an invitation to combine these two points of view, 

which are often perceived as somehow antithetical. In my piece, stable, repetitive 

patterns are abruptly interrupted, leading to other stable patterns, and so on. This 

process defines the entire opening section. As the piece unfolds, however, this structure itself becomes looser. In the final section, the materials from the opening return, 

but this time, instead of abrupt interruptions ushering in each successive pattern, one 

pattern dovetails with the next, each idea dissembled as the next gradually forms, 

hence the name of the piece, Flow. 

Program note by the composer, Sebastian Currier

Under the Sun’s Gaze, Concerto da Camera III

As a title for a musical composition, Under the Sun’s Gaze conjures up many possibilities. It is, in fact, an imagined line from an unwritten poem, invented with the idea of 

capturing something of the visual aura the sounds and energy of this work invoke in its 

composer’s mind. An omnipotent presence in all of nature, a source of life that’s also 

capable of its destruction, the sun affects the light and dark in our physical existence 

as it defines daily and seasonal life. The music of this work, in three interlocking parts, 

takes turns being exuberant, caressing, scorching, receding, hazy, lazy, blazing, dissolving into darkness, and blinding in its intensity. Subtitled Concerto da Camera III, this 

work is written for what has become known as the standard Pierrot instrumentation 

of flute, clarinet, violin, cello, and piano, plus percussion. The difference here is that the 

winds are doubled — the two flutists alternating with piccolo and alto flute, and both 

clarinetists also doubling on bass clarinets. The ninth member of the ensemble, a 

soprano saxophone, appears well into the piece, its lyrical, plaintively expressive quality 

dominating the musical terrain for a while. While occasionally joining the others for 

some “tutti” outbursts, it maintains its position as something of a guest throughout. 

Of the various thematic ideas that populate this work, a six-note descending line 

played by the clarinet appearing right at the work’s opening and then arching back up, 

reveals itself as the music unfolds, to become the principal melodic building block of 

the piece. Its various transformations include the plaintive soprano-saxophone melody 

appearing in the middle section. Just under twenty minutes in length, the work in its 

totality can be heard as being in a loose arch form, its ending receding into a distant, 

darkening horizon, which carries in it the seed of the new dawn that lies beyond.

Program note by the composer, Shulamit Ran 

Zaka

As a dictionary might say: Zaka, pronounced “za!-ka,” verb: to do the following almost 

simultaneously and with great speed: zap, sock, race, turn, drop, sprint. Zaka was 

commissioned as part of the national series of works from Meet the Composer 

Commissioning Music / USA, which is made possible by generous support from the 

National Endowment for the Arts, the Helen F. Whitaker Fund, the Target Foundation, 

and through fiscal sponsorship of the Concert Artists Guild. 

Program note by the composer, Jennifer Higdon
Upcoming Events of the SeventyEighth Season of The William Nelson 

Cromwell and F. Lammot Belin Concerts

Unless otherwise noted, concerts 

are held in the West Building, West 

Garden Court.

Mau Quiros, piano

Presented in honor of Hispanic Heritage 

Month

East Building Auditorium

September 19, 12:10

Wild Up

A Portrait: Julius Eastman

Featuring the works of composer,

conductor, singer, pianist, and

choreographer Julius Eastman.

September 22, 3:30

Sound Sketch

New York Opera Society

Challenging Convention: Spanish

Modernism in Art and Music in the 1930s 

Music by Rodrigo, Llorca, and others 

whose music intertwines with Spanish 

art from the Gallery’s collection.

September 27, 12:10

Victory Hall Opera

Heartstrings: Music of the Victorian Parlor

Celebrating Eye of the Sun: Nineteenth-Century Photographs from 

the National Gallery of Art

Music by Amy Beach, Brahms, Chopin, 

Stephen Foster, Carrie Jacobs-Bond, 

George F. Root, and Schumann.

September 29, 3:30

General Information

Admission to the National Gallery of Art 

and all of its programs is free of charge, 

except as noted.

The use of cameras or recording 

equipment during the performance 

is not allowed.

Please be sure that all portable electronic 

devices are turned off.

—

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 

of their support. Please contact the 

development office at (202) 842-6450 or 

circle@nga.gov for more information.

—

The department of music produced 

these program notes. Copyright © 2019 

Board of Trustees, National Gallery of Art, 

Washington

cover Lewis M. Rutherfurd, Photographie 

de la lune a son 1er Quartier (detail), 

1865, National Gallery of Art, Washington, 

Gift of Mary and Dan Solomon and 

Patrons’ Permanent Fund

NGA.GOV/MUSIC