cadenza, The Fifty-ninth Season of it is an ensemble cadenza in which there is close imitation 

among the instruments and a heightened display of piano virtuosity. A

bewitchingly ethereal coda concludes the work.

Beethoven’s Piano Quintet in E-flat Major, Op. 16, was apparently 

modeled after Mozart’s work on this program. It also has a threemovement format with a first movement preamble. The Beethoven 

quintet is a youthful work, from the period during which, according to

Beethoven biographer Wilhelm von Lenz (1809-1883), “The lion [had]

not yet shaken the bars of his cage.” At the first performance, held on 6

April 1797 at the home of a friend who was caterer to the imperial court 

in Vienna, Beethoven played the piano part. He probably knew from the

outset that he would do so, as the part is lavishly conceived and tailormade for his unique abilities and temperament.

The concertante style is amply demonstrated in this quintet, as it is in

the Mozart model. Contrast is achieved in the first movement (.Allegro

ma non troppo) as the piano entrance is followed by the winds on new

musical ground, creating an intermittent conflict of musical styles. The

second movement {Andante cantabile) exhibits an elongated melody and

delightful counterpoint. Understood as a musical canvas, it becomes an

extraordinary work of art. The finale {Rondo: Allegro ma non troppo)

maintains a high energy level with its flavored hint of a Mozartian 

hunting motive, but sheds this naivete with colorful dynamics that are a

harbinger of Beethoven’s later works. Music critic James Lyons had this

work and others of Beethoven in mind when he stated: “The supremely

confident young composer, who earned the sarcastic title of ‘great 

mogul,’ emits a leonine roar for recognition in the pantheon of

immortals.”

Program notes by Elmer Booze

The use ofcameras or recording equipment during

the performance is not allowed.

For the convenience ofconcertgoers

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

Concerts in April and May 2001

Sundays at 7:00 p.m. in the West Building, West Garden Court

April

8 The Parisii String Quartet

15 No concert

22 Barbara Moser, pianist

29 Karen Johnson,flutist

Brian Ganz, pianist

May/Fifty-eighth American Music

6 Diane Schuur

13 National Men’s Chorus

Thomas Beveridge, conductor

20 Jeffrey Chappell, pianist

27 Marilyn Taylor, soprano

Robert Brewer, pianist

Milhaud: String Quartet No. 6,

String Quartet No. 4

Durey: String Quartet

Tailleferre: String Quartet

Honegger: String Quartet No. 6

Mozart: Fantasy in C Minor

Beethoven: “Eroica” Variations

Liszt arrangements of works by

Schubert and Bellini

Vaughan Williams: Ballet Suite

Gieseking: Variations on a

Theme by Grieg

Works by Poulenc, Anne Boyd,

and Sotireos Vlahopoulos

Jazz concert

Music by Thomas Beveridge 

and other American composers

Music by Charles Griffes, James

Grant, Jeffrey Chappell, Sotireos 

Vlahopoulos, and other composers

Music by Charles Vardell, Robert

Ward, and Ken Frazelle

THE WILLIAM NELSON CROMWELL and

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2379th Concert

NATIONAL GALLERY CHAMBER PLAYERS

WIND QUINTET

GEORGE MANOS, artistic director

RONALD L. SIPES, oboe JAMES BRYLA, clarinet

PHILIP C. MUNDS, French horn DANNY K. PHIPPS, bassoon

With JOSEPH HOLT, piano

Sunday Evening, 1 April 2001

Seven O'clock

West Building, West Garden Court 

Admission free
PROGRAM

Wolfgang Amadeus Mozart Quintet for Piano and Winds

(1756-1791) in E-flat Major

KV. 452 (1784)

Largo; allegretto moderato

Larghetto

Rondo: Allegretto

INTERMISSION

Ludwig van Beethoven Quintet for Piano and Winds in E-flat Major 

(1770-1827) Op. 16 (1796-1797)

Grave; allegro ma non troppo

Andante cantabile

Rondo: Allegro ma non troppo

Since the enthusiastic public reception of its first concert in 1995, the

National Gallery Chamber Players Wind Quintet has become a

regular feature of the Gallery’s popular Sunday evening concerts. Under 

the guidance of Gallery music director George Manos, the ensemble 

explores and presents masterpieces of chamber music that are not often

heard, as well as the standard classics for wind quintet. In the temporary 

absence of flutist Sarah Stern, the quintet is joined for this performance 

by pianist Joseph Holt for an exploration of the repertoire for piano 

quintet.

Selectionsfrom concerts at the Gallery

can be heard on the second Sunday of each month

at 9:00 p.m. on WGMS, 103.5 FM.

Oboist Ronald Sipes studied with Marc Lifschey and received the

bachelor and master of music degrees from the San Francisco 

Conservatory of Music. He has played principal oboe in the Orquesta 

Sinfonica de Castille y Leon in Valladolid, Spain, the New World 

Symphony, and the Orquesta del Estado de Mexico. Since moving to

Northern Virginia in 1994, he has played with numerous orchestras and

ensembles, including the National Gallery Orchestra, the Washington 

Opera, and the Theater Chamber Players.

Clarinetist James Bryla was a pupil of Sidney Forrest and earned the

bachelor and master of music degrees from The Catholic University of

America, where he also served on the faculty. He made his solo debut 

with the National Symphony Orchestra at age twenty-one, as the winner 

of the 1987 Young Soloist Competition. He has won numerous other 

awards, including the Milton W. King Memorial Certificate, the Presser 

Scholar Award, and the International Clarinetist Competitions of 1986

and 1987. In addition to his membership in the National Gallery 

Orchestra, he is principal clarinetist of the Alexandria Symphony and the

East Wind Consort.

French Hornist Philip C. Munds occupies the chair of assistant 

principal French horn of the Baltimore Symphony. A native of Napa,

California, and a graduate of the San Francisco Conservatory of Music, 

he performed with the San Francisco Symphony and as principal hornist 

of the Santa Cruz, Modesto, and Berkeley Symphony Orchestras. From 

1989 to 1997 he was associate principal hornist of the United States Air 

Force Band. He has also played with the National Gallery Orchestra, the

Richmond Symphony, and the Alexandria Symphony. He resides in

Towson, Maryland.

Senior Master Sergeant Danny K. Phipps is the principal bassoonist 

with the United States Air Force Concert Band at Bolling Air Force 

Base. He is also principal bassoonist of the Air Force Symphony 

Orchestra, the Air Force Wind Quintet, and the Air Force Chamber 

Players, of which he is the officer-in-charge. A graduate of the Curtis 

Institute of Music in Philadelphia, he earned master of music and doctor 

of musical arts degrees from The Catholic University of America.

Pianist Joseph Holt enjoys a wide-ranging musical career as a chamber 

music performer, educator, conductor, and arranger. He has collaborated

with many artists, among them Jessye Norman, Denyce Graves, Roberta 

Peters, and Richard Tucker. A prizewinner in the Wolf Trap Brahms

Competition, the Washington International Competition for Pianists, and

the William C. Byrd Young Artists Competition, he was also selected to

participate in the La Gesse Piano Festival in France. He holds the

bachelor of music degree with distinction and the performer’s certificate 

from the Eastman school of Music; a master of music degree from the

Shenandoah Conservatory in Winchester, Virginia; and a doctor of

musical arts degree in chamber music from The Catholic University of

America. Holt is the pianist of the United States Army Chorus and the

pianist and associate conductor of the Choral Arts Society of

Washington.

Mozart’s only quintet for winds and piano was a personal favorite,

judging from a letter of 10 April 1784 in which he wrote to his

father: “I consider it the best thing I have ever yet written....” He

was extremely productive on the piano in that year (1784),

composing, in addition to this quintet, the six concertos for piano and

orchestra that have the Koechel Catalog numbers 499 through 456. Of

extraordinary clarity and penetrating beauty, the quintet, KV. 452, shows

the influence of the orchestral concertos that were written in tandem with

it and exhibits a remarkable balance between the instruments. A single

instrument is allowed to stand out only when it takes on melodic

leadership and ascendance.

Following a prefatory Largo, the bucolic opening theme is announced

by the piano. Working within the sonata-allegro format, Mozart takes the

work in two directions at once, giving it the fullness and energy typical

of the concertante (concerto) style while retaining the clarity and

intimacy of chamber music. The second movement (Larghetto) radiates

with the particular tonal colors that can be elicited from each instrument,

creating a ravishing, quasi-romantic effect. The finale {Rondo: Allegretto)

has an unusual implantation in the form of a cadenza in tempo.

Positioned near the end, in the expected place for a solo