The Sixty-first Season of

THE WILLIAM NELSON CROMWELL and

L. LAMMOT BELIN CONCERTS

National Gallery of Art

2446th Concert

CHRISTOPHER PARKENING, guitarist,

and

JUBILANT SYKES, baritone

Sunday Evening, 9 February 2003

Seven O’clock

West Building, West Garden Court

Admission free
Program

“Braziliana”

Music of Brazil and the Americas

I. Selections for Guitar Solo

Jorge Gomez Crespo Nortena

(1900-1971) (1970)

Antonio Lauro

(1880-1922)

Natalia, from “Quatro valses venezolanos”

Heitor Villa-Lobos Two Preludes, from “Five Preludes”

(1887-1922) (1940)

Astor Piazzolla La muerte del angel

(1921-1992) (1962)

Leo Brouwer Ballada de la doncella enamorada

(b. 1939)

Afro-Cuban Lullaby

Marco Pereira 

(b. 1949)

Bate-coxa

The audience is asked to remain seated during a briefpause.

II. Selections for Voice and Guitar

Carlos Guastavino

(1914-2001)

La Rosa y el Sauce

(1994)

Three Brazilian Folk Songs

Laurindo Almeida (1917-1995) O ca^ador

Jayme Ovalle

Valdemar Henrique

Azulao

Boi-Bumba

Traditional Granadinas

Intermission

Villa-Lobos

III.

Etude, from “Twelve Etudes”

(1929)

Gavote-choro, from “Suite popular brasileira”

(1908)

Manuel Ponce

(1882-1948)

Four Preludes, from “Six Preludes”

Andrew York

(b. 1958)

Jubilation

Briefpause

Villa-Lobos

IV.

Modinha, from “Seresta No. 5”

Rique Pantoja Lamento (Vocalise), from “Suite brasileira”

Briefpause

Two American Spirituals

Arranged by Clayton Erb and Mark Rice City Called Heaven

Were You There
Musicians

A master at his art, American guitarist Christopher Parkening is

celebrated as one of the world’s preeminent virtuosos of the classical

guitar. Possessing a rare combination of dramatic virtuosity and eloquent

musicianship, Parkening has captivated audiences from New York to

Tokyo. The Washington Post enthusiastically claimed, “[Parkening’s]

stature [reflects his place as] the leading guitar virtuoso of our day,

combining profound musical insight with complete mastery of his

instrument.” Heir apparent to the legacy of the inimitable Spanish

superstar Andres Segovia, Parkening was the recipient of most eloquent

praise when Segovia proclaimed: “Parkening is a great artist..., one of

the most brilliant guitarists in the world.”

Parkening has played at the White House, participated in

Carnegie Hall’s 100th Anniversary Celebration, and performed twice on

the internationally televised Grammy Awards. After having been voted

“Best Classical Guitarist” for a number of successive years in a

nationwide readers’ poll of Guitar Player Magazine, Parkening was

placed in its Gallery of Greats, along with Andres Segovia, John

Williams, and Julian Bream.

Parkening has been a frequent soloist with the finest orchestras in

the United States, including the Philadelphia, Cleveland, and Minnesota 

Orchestras. His extensive recital schedule takes him throughout the

country, with regular appearances in New York, Boston, Chicago, 

Philadelphia, Washington, DC, Houston, and Los Angeles.

Reflecting a commitment to music that extends beyond his

demanding performance schedule, Parkening teaches master classes at

the Master’s College in Southern California and a summer master class

at Montana State University in Bozeman. He has authored The

Christopher Parkening Guitar Method. Parkening has received

commendations honoring his dedication and artistry, including an

honorary doctorate of music from Montana State University and the

Outstanding Alumnus award from the University of Southern California.

Christopher Parkening and his wife, Theresa, reside in Southern

California. At the heart of his dedication to performance, recording, and

teaching is a deep commitment to the Christian faith. He is also a worldclass fly-fishing champion and a winner of the International Gold Cup

Tarpon Tournament (the Wimbledon of fly-fishing) held in Islamorada,

Florida. Christopher Parkening records for Sony Classical.

Lauded by the Wall Street Journal as one of the “next major

stars,” baritone Jubilant Sykes brings a new dimension to the traditional

career of the classically trained baritone by drawing on gospel and jazz

influences. The Los Angeles Times praised his talents by stating that he

“brings mesmerizing conviction and remarkable agility of both character 

and technique to a wide-ranging repertoire,” and the Atlantic Journal

commented: “Jubilant Sykes’ voice is extraordinary. He isn’t merely an

outstanding singer, his voice is art at its highest expression.” Sykes has

won the attention and respect of the world’s finest conductors,

symphonies, and opera companies, among them the New York

Philharmonic, the Chicago Symphony, the Metropolitan Opera, and the

Philadelphia Orchestra. Sykes’ repertoire spans Copland’s Old American

Songs, Mendelssohn’s Elijah, Beethoven’s Symphony No. 9, Brahms' A

German Requiem, and Mozart’s Requiem. He has performed the role of

Escamillo in concert versions of Bizet’s Carmen with the Kansas City

Symphony Orchestra and Cavalli’s Calisto with the St. Paul Chamber 

Orchestra. He was the featured soloist for the premiere of Michael

Torke’s Four Seasons with the New York Philharmonic and for the

premiere of Libby Larson’s Coming Forth into Day for baritone and

orchestra that was set to a text by Jehen El Sadat, widow of the late

Egyptian leader Anwar Sadat.

Jubilant Sykes currently lives in California with his wife and

three young sons. He records for Angel/EMI and Sony Classical. 

Christopher Parkening and Jubilant Sykes appear at the National Gallery

by arrangement with IMG Artists of New York City.
Program Notes

I

Jorge Gomez Crespo’s Nortena is based on an Inca folk melody from

Argentina. While living in Argentina, he became acquainted with

Andres Segovia, who adapted Crespo’s work for the guitar. Among

guitarists, the name Antonio Lauro is synonymous with the Venezuelan

waltz, with its rich harmonies and flowing rhythm. Based on a native

folk song, Natalia is a light and graceful Venezuelan dance. In 1924 the

Brazilian composer and guitarist Heitor Villa-Lobos met Andres Segovia

in Paris, where they became lifelong friends. Segovia’s encouragement

led Villa-Lobos to continue writing for the guitar, to which Villa-Lobos

responded by writing Five Preludes, from which the two preludes on 

tonight’s program are extracted. They are rich with the colors and

textures of Brazil. From a broad musical spectrum of his experiences, the

Argentinian-born composer Astor Piazzolla has synthesized many

musical influences and created the tango nuevo sound. La muerte del

angel (Death of the Angel) was written in 1962 as a part of his angel

cycle.

Cuban-born composer Leo Brouwer’s Ballada de la doncella

enamorada contains one of his most lyrical melodies. It is based on an 

African folk tale about a great warrior who conquers every foe and

returns to the mountains with his love. Brouwer's Afro-Cuban Lullaby is

based on a popular Cuban folk theme. The bate-coxa is indigenous to the

Northeast region of Brazil, where couples dance to the forra. Marco

Pereira’s Bate-coxa was inspired by this dance and strives to represent,

from an instrumental viewpoint, the rhythms and basic elements usually

given to the hurdy-gurdy, drums, and triangle. The guitar is the perfect

instrument to convey the lively and joyful exuberance of the music.

II

Carlos Guastavino was born in Santa Fe, Argentina, and studied in

Buenos Aires. La rosa y el sauce tells the story of a willow tree and its

deep and tender love for a rose.

The rose opened, entwined with the willow.

How in love the tree was with her!

But she was stolen by a vain girl

And the disconsolate willow weeps for her there.

The folk song tradition of Brazil is represented by the settings for

voice and guitar by Laurindo Almeida, Jayme Ovalle, and Valdemar

Henrique. O cagador is a ritual dance set to the Brazilian jongo rhythm.

Where are you going, young hunter, that you take not your defense?

There are so many dangers; why are you not thinking?

You are brave and do not fear the lion or the jaguar.

But you will fall when you become entangled in the flower of

passion.

Azuldo is the Portuguese name for the bluebird, and the song

addresses the bird as a companion and messenger. Brazilian-born

composer Jayme Ovalle is the author of special studies of Afro-Cuban

melodies, and Azuldo strongly reflects that tradition.

Fly, bluebird, companion of mine, fly!

Go see my faithless love.

Tell her that without her the hinterland is no longer hinterland!

Oh! Fly, bluebird, go tell her, companion of mine, fly!

Arranged by Patrick Russ, Boi-Bumba (My Good Ox) is sung in

connection with the Reisados, a celebration of the pilgrimage of the Magi

to Bethlehem.
He doesn’t know that today is the day. The sky, a velvety

blue, allowed one to see where the Boi was going to dance.

He asked, so as not to make a noise, that the saint would go

to sleep without remembering.

And from afar, the deafening echo of the Bumba dancing the

samba the whole night long, corralled, beating time. Bumba

meu “Pai do campo,” o-o, Bumba meu Boi Bumba.

He doesn’t know that today is the day. The morning star that

is now ascending reminded those sleeping that the cock will

soon crow. On my street remain the ashes of the bonfire that

lighted the entire night and filled the air with its sparks.

Another arrangement by Patrick Russ, Granadinas laments not

only the death of a loved one but also the fact that the singer must leave

Granada.

Ill

Etude by Heitor Villa-Lobos is from his set of Twelve Etudes that were

dedicated to Andres Segovia in 1929 but not published until 1953.

Reflecting his great respect for the composer, Segovia wrote: “From the

fruits of his talent, Villa-Lobos has produced a gift to the history of the

guitar as great as those of Scarlatti to the harpsichord or Chopin to the

piano.” Villa-Lobos learned to play the guitar at age six and later made

use of the folk styles of the music he encountered in Brazil. The Gavotechoro is an example of Villa-Lobos’ use of the choros, a form of

Brazilian street music.

The Four Preludes of Manuel Ponce are from a group of six that

illustrate his great gift for capturing the essence of a musical idea with a

few phrases. Ponce was a pioneer of Mexican music, fusing local

folklore with European musical tradition. During a sojourn of several

years in Paris, Ponce studied with Paul Dukas and became closely

associated with Andres Segovia.

Quoting Andrew York, the composer of Jubilation: “Jubilation is

a new work based on my composition Sunburst (1986). The [introductory

measures] were written especially for Mr. Parkening, giving the piece a

unique presence in his hands. The [change of] title reflects the joy felt at

the birth of the Savior, which Christopher’s interpretation portrays.”

IV

A very difficult vocal work, Villa-Lobos’ Modinha places a heavy

demand on the singer. Written specifically for voice and guitar, this

lullaby uses extreme ranges to create unique vocal colors and moods.

Further contrast is provided by the interplay between the fast

accompaniment of the guitar and the slow, light, and transparent

choruses of the singer.

In the solitude of my life, I will die, my dear, from the lack of your

love.

Even though you despise me, I will love you constantly.

I long for you joyfully, but if this joy I have should turn to pain,

You will still hear the voice of my caress

And my sad confession of my love for you.

Drawing from his colorful background as a Brazilian pianist,

guitarist, and composer, Rique Pantoja uses rich contemporary

harmonies in his Suite brasileira. Its Lamento is permeated with a sense

of sadness and longing against the strong arpeggiated rhythmic pattern of

the guitar, a typical feature of music of the northeastern part of Brazil.

In a letter to a friend, Mark Twain wrote that the spiritual “is

entirely beautiful to me and moves me infinitely more than [any] other

music can.” A full range of emotions is cast by these pieces, from the

hardships of life and need for hope in City Called Heaven to the deep

personal reflection of Were You There. This uniquely Black American art

form conveys profound theological truths in simple expression.

Programs notes by John Nelson

Edited and adapted by Elmer Booze
Concerts at the National Gallery of Art

Under the direction of George Manos

February and March 2003

February

16 Ani Kavafian, violinist

Ida Kavafian, violinist

Jonathan Feldman, pianist

Martinu: Sonata for Two Violins

and Piano

Moszkowski: Suite, Op. 71

Mozart: Duo, K. 423

Augusta Reed Thomas: Rumi

Settings

Sarasate: Navarra, Op. 33

23 Julia Anne Wolf, mezzo- Songs and arias by Handel,

soprano Donizetti, Haydn, Bellini, and

Marie-France Lefebvre, Saint-Saens

pianist

Presented in honor of the exhibition

Thomas Gainsborough, 1727-1788

March

2 Garrick Ohlsson, pianist

9 Alexander Fiterstein,

clarinetist

Ken Noda, pianist

Bach/Busoni: Prelude and Fugue

in E-flat Major (“Saint Anne ")

Busoni: Two Sonatas and excerpts

from Elegies

Liszt/Busoni: La campanella

Chausson: Andante and Allegro

Schumann: Romances, Op. 94

Poulenc: Sonata for Clarinet and

Piano

Weber: Grand duo concertante

16 Dang Thai Son, pianist

23

30 Ralph Votapek, pianist

April

6 Louis Lortie, pianist

Presented in honor of the

exhibition Frederic

Remington: The Color of

Night

13 Valerie Tryon, pianist

Presented in honor of the

exhibition Frederic

Remington: The Color of

Night

Debussy: Five Preludes

Chopin: Nocturne in E Minor, Four

Waltzes, Scherzo No. 2

Liszt: Deux legends

Mompou: Canciones y danzas

Ravel: La valse

Debussy: Twenty-four Preludes

Schumann: Friihlingsnacht,

Phantasiestiicke, Op. Ill

Liszt: Transcendental Etudes

Nos. 5 and 6

Hungarian Rhapsody No. 9

Carnaval de Pest

Elliott Carter: Night Fantasies

Ravel: Gaspard de la nuit

Chopin: Two Nocturnes

Liszt: Harmonies du soir

Granados: The Lover and the

Nightingale

Poulenc: Three Nocturnes

Los Angeles Piano Quartet Beethoven: Piano Quartet, Op. 16

Stephen Hartke: King ofthe Sun

Brahms: Piano Quartet, Op. 25

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.