| Artistic Directors | |||
|
Founding Director Jillon Stoppels Dupree, harpsichord Acclaimed as “one of the country’s top baroque
musicians” (Seattle Weekly),
harpsichordist Jillon Stoppels
Dupree has captivated audiences in |
||
|
Artistic Director George Bozarth, fortepiano Artistic Director George Bozarth is on the faculty of the University of Washington, where he was Ruth Sutton Waters Endowed Professor of Music, 2008–11. Internationally known as a Brahms scholar, he also specializes in the performance of Classical and Romantic music on period pianos. His article on Johannes Brahms, co-authored with Walter Frisch, appears in the New Grove Dictionary of Music and Musicians (2000) and Grove Online. His recent publications include a book on Brahms and the eminent 19th-century singer and conductor George Henschel, articles on the types of pianos Brahms liked to play and performance issues in his music, and a two-CD set of early performances of Brahms’s piano music (1905–25) preserved on Welte-Mignon piano rolls. His article “Piano Wars: The Legal Machinations of London Pianoforte Makers, 1795–1806,” co-authored with Margaret Debenham and published in the Royal Musical Associateion Research Chronicle, was the winner of the 2011 Frances Densmore Prize, awarded by the American Musical Instrument Society. |
||
| Guest Artist | |||
 |
Elizabeth Blumenstock, Violinist Violinist Elizabeth Blumenstock is widely admired as a performer of interpretive eloquence and technical sparkle. The Resident Artistic Director of the Musica Angelica Baroque Orchestra and a frequent soloist, concertmaster, and leader with the Philharmonia Baroque Orchestra, the American Bach Soloists, the Sante Fe Pro Musica, and Il Complesso Barocco, she has pursued her love of chamber music as a founding member of several of California’s finest period-instrument ensembles, including Musica Pacifica, the Artaria Quartet, the Arcadian Academy, Trio Galatea, Trio Galanterie, and American Baroque. She teaches at the University of Southern California, and has taught at the Baroque Institute at the Longy School, Oberlin’s Baroque Performance Institute, and the Austrian Baroque Academy. Elizabeth has recorded for Harmonia Mundi, Deutsche Grammophon, Virgin Classics, Dorian, BMG, and Koch International. |
||
 |
Wilbert Hazelzet, baroque flauto traverso
Wilbert Hazelzet has dedicated himself since 1970 exclusively to the baroque flauto traverso. He studied the ancient instrumental techniques and the performance of the music from the 18th century according to contemporary treatises about flute playing and singing. Considered by many as the world’s leading baroque flute player, in 1978 he became a member of Musica Antiqua Köln, and with this world-famous ensemble he appeared in Japan, India, China, the USA, Canada, and all over Europe, from Finland to Portugal and from Ireland to Russia. He now forms permanent duos with harpsichordist Jacques Ogg and with lutenist Konrad Junghänel. He is the first flautist of Ton Koopman’s Amsterdam Baroque Orchestra, has appeared for numerous radio and TV stations across the world and has recorded for several companies such as DGG, Erato, Harmonia Mundi, and, in recent years, Glossa. Wilbert Hazelzet is a Professor at the Royal Conservatory in The Hague. |
||
 |
Jaap ter Linden, cellist
As one of the first early music specialists, Jaap ter Linden witnessed the very beginnings of many of the oldest and finest baroque ensembles as co-founder of Musica da Camera and principal cellist of Musica Antiqua Köln, The English Concert, and the Amsterdam Baroque Orchestra. From these auspicious beginnings, he moved further into the spotlight, either playing solo concerts and intimate ensemble repertoire with the world’s finest interpreters or at the helm of an orchestra as conductor. He founded and directs the Mozart Akademie (with which he has recorded the complete Mozart symphonies) and is a regular guest director and soloist with the Arion Ensemble (Canada). He has led many period instrument orchestras such as the San Francisco Philharmonia Baroque, Portland Baroque and Amsterdam Bach soloists and has lent his expertise to modern ensembles such as the Amsterdam Sinfonietta and the Deutsche Kammerphilharmonie. His extensive discography as player and conductor boasts many award-winning recordings for labels such as Harmonia Mundi, Archiv, ECM, Deutsche Grammophon, and more recently Brilliant Classics. In 2006, Jaap released his second recording of the Bach Cello Suites. Most recently, Jaap has dived into the world of opera, conducting Purcell's King Arthur with the Städtische Bühne Münster and Gluck's Iphigénie en Aulide with the Royal Conservatory of the Hague. |
||
 |
Jacques Ogg, harpsichord and fortepiano
Jacques Ogg performs on both harpsichord and fortepiano. He teaches at the Royal Conservatory in The Hague. Born in Maastricht (the Netherlands), he studied harpsichord in the city of his birth with Anneke Uittenbosch. In 1970 he went to study with Gustav Leonhardt at the Amsterdam Conservatory from which he graduated in 1974. Jacques Ogg’s current activities include solo concerts on harpsichord or on fortepiano, and concerts with flautist Wilbert Hazelzet as a duo as well as a trio-formation with Jaap ter Linden. He has been a member of the Orchestra of the 18th Century and has performed regularly with Concerto Palatino. He is frequently invited for master classes, for instance in Curitiba (Brazil), Vancouver (Canada), Buenos Aires (Argentina), in Mateus (Portugal), Salamanca (Spain) as well as in Cracow (Poland), Prague, and Budapest. Jacques Ogg is artistic director of the Lyra Baroque Orchestra in Minneapolis/Saint Paul (Minnesota, VS). |
||
| Our Ensembles | |||
 |
Seattle-based Ensemble Electra performs with energy and passion the exciting dazzling and expressive 17th- and 18th-century repertoire for recorder, harpsichord, and other Baroque instruments. The players’ many years of experience, both as individual soloists and chamber musicians, have given them the perspective and authority to experiment with unique programming, resulting in highly innovative and dynamic performances. Their improvisatory, spontaneous performance style creates playful and engaging concerts that appeal to audiences of all ages. Their music-making have been characterized in the press as “a personal approach to the listener” and praised as “brilliant and engaging,” “exuberant with an authoritative flair.”
|
||
 |
Op. 20 String Quartet The Op. 20 String Quartet—violinists Adam LaMotte and Cecilia Archuleta, violist Laurel Wells, and cellist Nathan Whittaker—made its debut in 2009 on Gallery Concerts. Founded on the occasion of the 200th anniversary of the death of Joseph Haydn, the inventor of the genre of string quartet, the ensemble is named after Haydn’s first opus of true string quartets. The Op. 20 String Quartet performs intellectually engaging, profound, and witty quartets by Haydn, Mozart, and Beethoven using period bows and gut-strung instruments |
||
 |
Trio Paradies Trio Paradies—violinist Cecilia Archuleta, cellist Page Smith, and pianist Tamara Friedman—takes its name from the late 18th-century composer and pianist Maria Teresa von Paradies, a friend of Mozart in Vienna and the subject of Dr. Messmer’s experiments to cure her blindness. The ensemble, which made its debut in 2008 on Gallery Concerts, specializes in the piano trios and string/piano duos of the Viennese Classical and early Romantic periods, performed on historical fortepianos and with period strings. |
||
| Our Northwest Artists | |||
 |
Cecilia Archuleta, violin Violinist Cecilia Archuleta Cecilia is one of the most sought-after violinists for chamber music. She participated in twelve seasons at the Olympic Music Festival. Cecilia has appeared with the Seattle Baroque Orchestra, Early Music Guild, Gallery Concerts, and the Northwest Puppet Center. Cecilia has performed in both the Seattle Symphony and the Pacific Northwest Ballet. She is Concertmaster of Philharmonia Northwest and a member of the Northwest Sinfonietta. |
||
 |
Vicki Boeckman, recorder
Vicki Boeckman has performed as soloist and chamber musician throughout the United States, Scandinavia, England, Scotland, Germany, and Canada. She taught at the Royal Danish Academy of Music for twelve years and at the Ishøj Municipal School of Music for twenty-three years. Settling in Seattle in 2004, Vicki has been soloist with Seattle Baroque, the Skagit Symphony, and the Philharmonia Northwest Orchestra. She is a returning guest with the Medieval Women’s Choir. She is the artistic director of the Port Townsend Early Music Workshop and the Portland Recorder Society. Vicki is on the faculty of the Cornish College of the Arts and the Music Center of the Northwest. Her recordings can be heard on the Kontra Punkt, Classico, Da Capo, Horizon, Musical Heritage America, Paula, Kadanza, and Primavera labels. |
||
 |
Tekla Cunningham, violin
Tekla Cunningham, baroque violin, viola, and viola d'amore, enjoys a varied and active musical life. At home in Seattle, she is concertmaster of Stephen Stubbs' Pacific MusicWorks and principal second violin with the Seattle Baroque Orchestra & Soloists, and plays regularly as a principal player with the American Bach Soloists in California. She directs the Whidbey Island Music Festival, a summer concert series presenting vibrant period-instrument performances of repertoire ranging from Monteverdi to Beethoven. An avid chamber musician, Tekla enjoys exploring the string quartet repertoire of the 18th and early 19th centuries with the period-instrument Novello Quartet, whose abiding interest is the music of Haydn. She is also a member of La Monica, an ensemble dedicated to music of the 17th century, whose concerts have been reviewed as “sizzling”, and praised for their “irrepressible energy and pitch-perfect timing.” Tekla is a member of the Early Music Faculty of the Cornish College for the Arts. |
||
 |
Tamara Friedman, piano Pianist Tamara Friedman, praised for the depth, wit, and humor of her performances (Seattle Times), attended the Oberlin Conservatory and received her master’s degree from the Mannes College of Music (NYC), where she studied with Mozart specialist Lilian Kallir. Her fortepiano studies include coachings with Malcolm Bilson and Stephen Lubin. She has collaborated with such artists as Stanley Ritchie, Jaap Schröder, and Max van Egmond, and appears with violinist Elizabeth Blumenstock as Duo Amadeus. In the Northwest she has performed on the Seattle Camerata, Allegro Baroque and Beyond, Belle Arte, Early Music Guild, and Mostly Nordic series and for the Governor’s Chamber Music Festival. She has been the featured performer in early piano workshops for Pacific Lutheran University and the Western Early Keyboard Association, and maintains a private studio, where she teaches piano, fortepiano, and clavichord on her collection of 18th- and 19th-century pianos. |
||
 |
Adam LaMotte, violin
Adam LaMotte is becoming well known to audiences throughout the country as a leader
of both period and modern ensembles.
Hailed by critics as an “especially compelling” and “superb
violinist” with “exceptional talent,” whose performances are “energetic
and exquisite,” he has appeared as soloist, concertmaster, and conductor
of numerous orchestras, including the Northwest Sinfonietta in |
||
 |
John Lenti, lute John Lenti has appeared as a soloist and chamber musician on lute and theorbo across the United States and abroad, and his performances have been broadcast on “Performance Today” and “Harmonia.” His playing has been hailed as “a joy to behold” (Seattle Times) and praised for its “nuanced beauty and character” (Gramophone). His recording credits include And I remain..., an album of lute songs and lute solos with soprano Linda Tsatsanis, Division with Ostraka, and The Amorous Lyre with La Monica. John plays continuo for the Seattle Baroque Orchestra and is a founding member of the ensembles Plaine & Easie and the I-90 Collective, besides maintaining a busy freelance career performing frequently on both coasts. He studied lute with Nigel North, Jacob Heringman, and Elizabeth Kenny, and holds degrees from the North Carolina School of the Arts and Indiana University. |
||
 |
Ingrid Matthews, violin
Violinist Ingrid Matthews is the Music Director of Seattle Baroque Orchestra and one of today’s most respected baroque violinists. First prize-winner in the 1989 Erwin Bodky International Competition for Early Music, she has performed extensively around the world as soloist, guest director or concertmaster with many leading period-instrument ensembles, including the New York Collegium, the Australian Brandenburg Orchestra, the Boston Early Music Festival Orchestra, and Tafelmusik. She founded the Seattle Baroque Orchestra in 1994 with harpsichordist Byron Schenkman. Among the most-recorded baroque violinists of her generation, Ingrid has won international critical acclaim for a discography that ranges from the earliest solo violin repertoire through the Sonatas and Partitas of J. S. Bach. Of the latter recording the critic for American Record Guide wrote “this superb recording is my top recommendation for this music… on either modern or period instruments.” Ingrid has served on the faculties of the University of Toronto, the University of Washington, Indiana University, the University of Southern California in Los Angeles, the International Baroque Institute at Longy, and Amherst Early Music, and is currently on the faculty of Cornish College of the Arts in Seattle. Matthews is a graduate of Indiana University, where she studied with Josef Gingold and Stanley Ritchie. |
||
 |
Linda Melsted, violin The passionate artistry of violinist Linda Melsted has won the hearts of audiences across North America, Europe, and Japan. She has appeared as soloist, chamber musician, member and leader of such outstanding ensembles as Tafelmusik, the Freiburg, Portland, Seattle Baroque Orchestras, Concerto Köln, and the New York Baroque Ensemble. Linda is the featured soloist in Tafelmusik’s TV documentary, DVD and CD “Le Mozart Noir,” where she musically incarnates the remarkable 18th-century virtuoso and adventurer, the Chevalier de Saint-Georges. She was music director of the Nota Bene Period Orchestra (2005–09), was a regular guest leader and soloist of the Kitchener-Waterloo Symphony Orchestra’s “Baroque and Beyond” series, serves as co-artistic director of the chamber ensemble Folia (2006-present), and has taught violin at the University of Waterloo and directed the baroque ensemble at Wilfrid Laurier University. Linda has recently returned to her hometown of Seattle and is enjoying getting to know the area again. |
||
 |
Page Smith, cello
Page Smith is
solo cellist of the Pacific Northwest Ballet and the Auburn Symphony and
was principal cellist of the Northwest Chamber Orchestra for 25 years. She has been principal cellist of the Aspen Chamber Symphony and
the New Jersey Symphony, and currently plays frequently with the Seattle
Symphony and Seattle Opera.
As a chamber musician she has performed regularly on the Showcase,
Pilchuck, Mostly Nordic, and |
||
 |
Margriet Tindemans, viola a gamba
Margriet Tindemans
has performed, recorded, and taught early music on four continents. A
2005 Grammy Nominee, she was named “Best Asset to |
||
 |
Linda Tsatsanis, soprano Canadian-born soprano Linda Tsatsanis enjoys an active and diverse career. Hailed as “ravishing” (New York Times) for her performance at the Boston Early Music Festival and blessed with “crystalline purity” (Seattle Times), Linda divides her time between early opera and concerts. Her concert performances range from oratorio to Renaissance song to world-premiere performances such as a stunning arrangement for soprano, cello, and orchestra of the Prelude’s of Bach's Cello Suites. She has appeared as soloist with groups such as the Seattle and Pacific Baroque Orchestras, the Seattle Choral Company, Concerto Baroque, the Seattle Trumpet Consort, the Tudor Choir, and Cappella Romana, as well as on the Seattle Early Music Guild’s series. Her recent appearances have included the Indianapolis, Boston, and Bloomington Early Music Festivals. She can be heard on recordings by the Canadian Broadcasting Corporation, Naxos, and on the new Norton Anthology recording. Her solo recording with lutenist John Lenti, And I Remain: Three Love Stories, was released February 2009 on the Origin Classical label. Linda received her undergraduate degree from the University of Toronto and earned a Master’s degree at Indiana University in the studio of Alan Bennett, working with such Early Music Institute faculty as Nigel North, Elisabeth Wright, Paul Elliott, and Wendy Gillespie. |
||
 |
Catherine Webster, soprano Lyric soprano Catherine Webster is engaged regularly with many leading early music and chamber ensembles in North America. She has appeared as a soloist with Tafelmusik, Tragicomedia, Theatre of Voices, Netherlands Bach Society, Apollo’s Fire, American Baroque Orchestra, Musica Angelica, El Mundo, Four Nations Ensemble, Studio de Musique Ancienne de Montreal, Ensemble Masques, Les Voix Baroques, Early Music Vancouver, and in the Berkeley, Montreal and Boston Early Music Festivals. Active also in contemporary music, Catherine has appeared with The Kronos Quartet in Terry Riley’s Sun Rings and with Theatre of Voices and the Los Angeles Philharmonic in John Adam’s Grand Pianola Music. Catherine is a frequent collaborator with baroque opera directors Stephen Stubbs and Paul O’Dette, appearing under their direction in Festival Vancouver’s production of Monteverdi’s L’Incoronazione di Poppea and the premiere of Mattheson’s Boris Goudenov for the Boston Early Music Festival. She has recorded for Harmonia Mundi, Naxos, Musica Omnia, Analekta and Atma, with a Juno nomination for Buxtehude’s Membra Jesu Nostri (Atma). |
||
 |
Laurel Wells, violin Violist and violinist Laurel Wells has enjoyed an extensive and eclectic musical life, performing in Hong Kong, Norway, Canada, and throughout the United States. For twenty years she played violin with the Lyric Opera of Chicago, between seasons earning Master’s degrees in violin and viola from Indiana University. She studied chamber music at the Banff Centre in Canada, and performed extensively under the guidance of the Vermeer Quartet. She is a member of the Pacific Northwest Ballet orchestra, and performs often with the Seattle Symphony, the Seattle Opera, and at the 5th Avenue Theater. Laurel also was a member of the Northwest Chamber Orchestra, holding the position of principal viola. In the early music world, besides performing with Opus 20, Laurel plays with the Seattle Baroque Orchestra and Pacific Musicworks. |
||
 |
Courtney Westcott, flute
Courtney Westcott has performed as a soloist or principal flute with many of |
||
 |
Nathan Whittaker, cello Nathan Whittaker, baroque cello, has been described as “a soloist that was not merely good but rather extraordinary”, with “musicianship of the highest order.” (SSJT) As a member of Plaine & Easie, he won the Grand “Unicorn” Prize in the 2009 EMA Medieval and Renaissance Competition. Mr. Whittaker has served on the faculty at the Indiana University String academy, the principle cellist of the Columbus Indiana Philharmonic and associate principle cellist with the Terre Haute Symphony Orchestra and has performed in early music festivals in Bloomington and Vancouver, as well as the American Institute of Musical Studies in Graz, Austria. Currently, Mr. Whittaker is a member of the Seattle Baroque Orchestra and Pacific Baroque Orchestra, and teaches at Cornish College of the Arts and the Academy of Music Northwest. He can be heard on CBC broadcasts, and has recorded with the NPR and ATMA Classique labels. Having graduating Cum Laude from Indiana University with a Bachelor and Masters of Music Degree in Cello Performance, Mr. Whittaker is currently a DMA candidate in cello performance with Toby Saks at the University of Washington. His private instructors have included Helga Winold, Tsuyoshi Tsutsumi, Stanley Ritchie, and Peter Wiley.
|
||
|
 |
Gallery ConcertsMUSIC IN INTIMATE SETTINGS |
|
