 |
Janet See’s boxwood and silver flute was
made by Rod Cameron of Mendocino, California, in 1996 and is a replica
of an instrument by Peter Bressan of London, ca. 1710. |
| |
|
|
|
Vicki Boeckman is playing
alto recorders by Frederick G. Morgan of Daylesford, Australia, after P.
I. Bressan and J. Denner; a soprano recorder by Guido Klemisch of Zwolle,
The Netherlands, after E. Terton; and a sopranino recorder by Friederich
von Huene of Boston, after J. Denner. |
| |
|
|
|
Neil Rynston’s Boehm system
clarinet follows in the tradition of the clarinet designed by Hyacinthe
Klosé of Paris in 1839. |
| |
|
|
|
Tekla Cunningham performs on
a violin by Johannes Ulricus Eberle of Prague made in 1807. |
| |
|
|
|
Laurel Wells’s violin is by an anonymous
early 19th-century German maker. |
| |
|
|
|
Page Smith’s cello was made by Ch. J. B.
Collin-Mezin in 1889. |
| |
|
|
|
John Dornenburg’s seven-string viola da
gamba was made by François Bodart, Beez-sur-Meuz, Belgium, after an
original by Michel Colichon, Paris, c.1690. |
| |
|
|
|
Margriet Tindemans is performing on two
violas da gamba by Ray Nurse of Vancouver (1994, after a viol by Barak
Norman, London, 18th century; 1991, after a viol by the Zanetti
family, Brescia, 16th century). |
| |
|
|
|
The fortepianos used by Tamara Friedman
and George Bozarth are a replica of a Nannette Streicher grand piano
(Vienna, ca. 1805) built by Kenneth Bakeman of Kirkland in 1980
and a concert grand piano by Nannette’s son, Johann Baptiste Streicher
(Vienna, 1848), restored by Marinus van Prattenburg and Michael
Reiter. |
| |
|
|
|
Jillon Stoppels Dupree’s
French double-manual harpsichord was built by Anderson H. Dupree of
Seattle in 1986, after harpsichords from the Blanchet workshop in early
18th-century Paris; her single-manual 17th-century Italian-style
instrument is by Zuckermann Harpsichords; and her Flemish double-manual
harpsichord, based on the 1624 “Colmar” Ruckers instrument, was built by
Kevin Fryer in 2002. |
