tation of Scheherazade for piano, four hands. The work bursts

with melodic inspiration, ebullient rhythms, and “oriental”

color, so much so that it is easy to overlook the composer’s

superb craftsmanship.

-Program notes copyrighted by the Goldstone/Clemmow Duo 

Used by permission, adapted, and edited by Elmer Booze

Concerts at the National Gallery of Art

Under the Direction of George Manos

October 1998

18 Francine Kay,pianist

25 The Alcan String Quartet

Schumann:

Satie:

Debussy:

Debussy:

Kelly-Marie

Murphy:

Grieg:

Novelette

Fantasiestiicke

Trois valses

Preludes

Lislejoyeuse

String Quartet

This Is My

Voice

String Quartet

November

1 National Gallery Orchestra

George Manos, conductor

Kathryn Hearden, soprano

Beethoven: Coriolanus

Overture

Scene: “Ah,

perfido!”

Symphony No. 7

The use ofcameras or recording equipment

during theperformance is not allowed.

Forthe convenience ofconcertgoers

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

The Fifty-seventh Season of

THE WILLIAM NELSON CROMWELL and 

F. LAMMOT BELIN CONCERTS

National Gallery of Art

2280th Concert

ANTHONY GOLDSTONE and CAROLINE CLEMMOW

Piano Duo

Sunday Evening, October 11, 1998

Seven O’clock

West Building, West Garden Court

Admissionfree
PROGRAM

Wolfgang Amadeus Mozart 

(1756-1791)

Allegro

Andante

Allegro molto

Franz Schubert

(1797-1828)

Sonata in D Major, K. 381

(1772)

Fantasie in F Minor 

D. 940 (1828)

Allegro molto moderato

Largo

Allegro vivace

(Played without pauses between the movements)

INTERMISSION

Nikolay Rimsky-Korsakov Scheherazade

(1844-1908) (1888)

The Sea and Sinbad’s Ship 

The Story of the Calender Prince 

The Young Prince and the Young Princess 

Festival at Baghdad; The Sea; The Shipwreck

Described by Gramophone magazine as a “dazzling husband

and wife team,” Anthony Goldstone and Caroline Clemmow

formed their duo in 1984 and married in 1989. Anthony Goldstone has been cited by the New York Times as “a man whose

nature was designed with pianos in mind” and has played on six

continents and with many leading orchestras and conductors.

Caroline Clemmow, praised by the British Daily Telegraph as “the

ideal chamber music partner,” has traveled widely as soloist and

chamber musician, including an extensive tour of the former 

Soviet Union. In addition to their ever increasing number of 

duo recordings, the partners have recorded separately in other

fields. The duo’s recording of Rimsky-Korsakov’s Scheherazade

was praised by CD Review as “every bit as intoxicating as the

orchestral version.” After hearing their series of seven performances of piano duets by Schubert, the highly regarded Schubert

scholar Brian Newbould wrote in the British music magazine, 

The Musical Times: “It was an occasion, or rather seven occasions,

for adding immeasurably to one’s understanding of Schubert’s

craft as well as his art.”

Mozart was sixteen when he wrote the Sonata in D Major, K

381, but he was already a veteran composer of piano duets, having written his first sonata for piano, four hands (K. 19d) seven 

years earlier. At that time (1765), his father, Leopold, wrote to a

friend: “Little Wolfgang has composed his first sonata for piano, 

four hands; until now no piano four-hand sonata has been composed anywhere.” Although there were keyboard duets in existence at the time, about which Leopold Mozart had no information, the duets composed for performance by the young Mozart

and his sister Nannerl were the first to receive widespread public notice. The two children as a piano duo were a hit in all the

European courts to which the family traveled, and were deemed

a worthy subject for an oil portrait, painted in 1780 by Johann

Nepomuk de la Croce.

Schubert’s Fantasie in FMinor, D. 940 is one of the best loved

works in the piano duet repertoire and one of his greatest and

most widely played masterpieces. Written in April 1828, just a

few months before his tragically early death at the age of thirtyone, it was dedicated to the Countess Caroline Esterhazy, one of

the two young sisters to whom he had been music tutor. The

three movements, beginning with the Allegro molto moderato, are

spontaneously welded together, and the composition is unified

by three appearances of a theme that is immediately beautiful,

memorable, and haunting in its utterance. The Largo movement is a declamatory statement of grief and anguish, while the

final movement, Allegro vivace, evokes profound drama with its 

monumental display of contrapuntal writing.

Scheherazade belongs to the genre of musical travelogues by Russian composers, which arose in the middle and late nineteenth

century concurrently with the growth of the Russian national 

school of composition. Other examples include Glinka’s Spanish

Overtures (1845,1848), Balaikirev’s Islamey (1869), Tchaikovsky’s

Capriccio Italien (1879), Borodin’s In the Steppes of Central Asia

(1880), and Ippolitov-Ivanov’s Caucasian Sketches (1895). The

Goldstone-Clemmow Duo plays Rimsky-Korsakov’s own adap-