2015-16 27th Season
George Bozarth, Artistic Director * Jillon Stoppels Dupree, Founding Director
Acclaimed violinist Elizabeth Blumenstock, concertmaster of the Philharmonia Baroque Orchestra (San Francisco), the American Bach Soloists, the Orchester der Händelfestspiele (Göttingen), and the Italian ensemble Il Complesso Barocco, joins with the Seattle’s own Opus 20 String Quartet in offering a program of Mozart’s revered String Quintets.
Seattle’s beloved violinist Ingrid Matthews, co-founder of the Seattle Baroque Orchestra, reveals the beauties of works for solo violin by Biber and others who inspired Bach’s masterful music, and joins award-winning lutenist John Lenti in improvisatory-style works from the early Baroque. By popular demand, Ingrid encores her 2014 performance of Bach’s A-minor Sonata for unaccompanied violin.
Experience a dazzling concert of Italian Baroque solo and chamber music when three of Seattle’s pre-eminent early-music artists are joined by celebrated Canadian violinist Marc Destrubé, founder of the Pacific Baroque Orchestra, artistic director of the Pacific Baroque Festival (Victoria), and first violinist with the Axelrod String Quartet at the Smithsonian Institution.
(All programs subject to change)
Prior concerts this season
An ensemble of Seattle’s leading Baroque music specialists performs the Trio Sonata and other selections from Bach's The Musical Offering, BWV 1079—“music fit for a King,” Frederick the Great, that is! The program also includes the Trio Sonata in G, BWV 1038, the Sonata in e for Flute and Continuo, BWV 1034, and the Sonata in E for Violin and Harpsichord, BWV 1016.
2015 Grammy Award winner Stephen Stubbs, lauded by Seattle audiences for his stunning productions with Pacific MusicWorks, makes a rare appearance as a soloist with esteemed early harpist Maxine Eilander. This dynamic duo will take you on a tour of 17th-century courts and countryside in England, Ireland, Scotland, and Spain with intimate, richly varied music by John Dowland, Thomas Morley, Nicola Matteis, Turlough O’Carolan, Francisco Guerau, Ferdinand and Lucas Ruiz de Ribayaz, Fernandez de Huete, and Santiago de Murcia, and Scottish, English, and Paraguayan folk music.
Cellist Nathan Whittaker enjoys a unique and diverse career as a concert soloist, chamber musician, recitalist, teacher, and historical cello specialist. He plays regularly with the Seattle Baroque Orchestra, Pacific Baroque Orchestra, Portland Baroque Orchestra, and is a founding member of the Op. 20 String Quartet. His 2012–13 concert season included appearances at the Indianapolis Early Music Festival, Vancouver Early Music Festival, and Pacific Baroque Festival (Victoria, BC), as well as other concert stops ranging from Seattle to New York to Dubai. He also composed and recorded an original score for the Emmy nominated documentary “When Seattle Invented the Future.” Nathan can be heard on recordings by ATMA Musique and Harmonia and broadcasts by NPR, CBC, and KING FM. An active pedagogue, he maintains a dynamic private studio and is a member of the faculty at the Academy of Music Northwest and Cornish College of the Arts. Along with his busy performance and teaching schedule, he completed a Doctorate of Musical Arts from the University of Washington in 2012. He also holds degrees from Indiana University.
Nathan's web site is http://www.nathanhwhittaker.com/
Page Smith is solo cellist of the Pacific Northwest Ballet and was principal cellist of the Northwest Chamber Orchestra for twenty-five years and the Auburn Symphony for ten years—ensembles with which she has frequently appeared as soloist. Page hasalso been principal cellist of the Aspen Chamber Symphony and the New Jersey Symphony, and currently plays upon invitation with the Seattle Symphony and the Seattle Opera. She is one of this region’s most beloved and trusted chamber musicians, performing with the Orcas Island Chamber Music Series, the Amadeus Chamber Music Festival, Music of Remembrance, Chamber Music Northwest, and theMostly Nordic and Second City chamber music series. Page especially enjoys playing the uniquely beautiful repertoire combining chorus and solo cello with the Tudor Choir, Opus 7, Choral Arts Northwest, the St. Mark’s Cathedral Choir, Seattle Pro Musica, and the St. James Cathedral Choir.
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.
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 vanEgmond, 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 modern piano, fortepiano, and clavichord on her collection of eighteenth- and nineteenth-century keyboard instruments. Her collection of historic clavichords, harpsichords, and pianos is on display at SEKM!—the new Seattle Early Keyboard Museum.
Violist 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. Laurel was a member of the Northwest Chamber Orchestra, holding the position of principal viola. She is currently a member of the Pacific Northwest Ballet orchestra and performs often with the Seattle Symphony and the Seattle Opera, and at the 5th Avenue Theater. In the early music world, besides performing with Opus 20, Laurel plays with the Seattle Baroque Orchestra and PacificMusicWorks, and has participated in the Whidbey Island Music Festival. She will be performing on theEMG's Early Music Fridays series this season.
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.
Widely admired as a Baroque violinist of expressive eloquence and technical sparkle, Elizabeth Blumenstock is a long-time concertmaster, soloist, and leader with the Bay Area's Philharmonia Baroque Orchestra and American Bach Soloists, and is concertmaster of the International Handel Festival in Goettingen, Germany. In Southern California, Ms. Blumenstock is Music Director of the Corona del Mar Baroque Music Festival. Her love of chamber music has involved her in several accomplished and interesting smaller ensembles including Musica Pacifica, Galax Quartet, Ensemble Mirable, Live Oak Baroque, the Arcadian Academy, and Trio Galanterie. An enthusiastic teacher, Ms. Blumenstock teaches at the San Francisco Conservatory of Music, the American Bach Soloists summer Festival and Academy, and the International Baroque Institute at the Longy School of Music. Ms. Blumenstock plays a 1660 Andrea Guarneri violin built in Cremona, Italy, on generous loan to her from the Philharmonia Baroque Period Instrument Trust.
Canadian violinist Marc Destrubé enjoys a diverse international career on historical and modern violins, performing as soloist, chamber musician, concertmaster or director. He is co-concertmaster of Frans Brüggen’s Orchestra of the 18th Century (Amsterdam) and first violinist of the Axelrod String Quartet in residence at the Smithsonian Institution—where the quartet plays on the museum’s exceptional collection of Stradivari and Amati instruments—and of the recently formed Vancouver quartet Microcosmos. He is also a member of the Turning Point Ensemble, and appears regularly as guest director and soloist with the Australian Brandenburg Orchestra, Lyra Baroque Orchestra, and other orchestras in Canada and the US. Marc serves as artistic director of the Pacific Baroque Festival (Victoria), artistic advisor to the New York ensemble Dorian Baroque, and appears regularly in chamber music performances for Early Music Vancouver. A highly respected teacher, Marc has been a visiting artist at the Paris, Utrecht and Moscow Conservatories, the Banff Centre, University of Indiana, and Case Western University. He is on the faculty of the Baroque Performance Institute at Oberlin College and co-director (with Jacques Ogg) of Early Music Vancouver’s Baroque Instrumental Program. For more about Marc, see http://marcdestrube.com.
Marc’s violin is of the Rogeri school (Brescia, 1685) and his bow is a Transitional-style bow made by Daniel Latour, ca. 1980. Giovanni Battista Rogeri (ca. 1642–ca. 1710) served his apprenticeship under Nicolo Amati in Cemona. By 1675 he moved to Brecia, where he “fused the neatness of construction that he had learned from Amati with the slightly elongated f-holes and C-bouts of his Brescian predecessors, and was able to combine the best elements of the Cremonese and Brescian schools” (Tim Ingles, Four Centuries of Violin Making).
Lutenist Stephen Stubbs spent a thirty-year career in Europe, based in Bremen, Germany, where he was Professor at the Hochschule für Künste. In 2006 he returned to his native Seattle as one of the world's most respected lutenists, conductors, and baroque opera specialists. The following year he established a new production company, Pacific MusicWorks, reflecting his lifelong interest in both early music and contemporary performance. The company’s inaugural presentation was a production of South African artist William Kentridge’s acclaimed multimedia staging of Claudio Monteverdi’s opera The Return of Ulysses in a co-production with the San Francisco Museum of Modern Art. PMW’s performances of the Monteverdi Vespers were described in the press as “utterly thrilling” and “of a quality you are unlikely to encounter anywhere else in the world.” Stephen is also the Boston Early Music Festival’s permanent artistic co-director along with his long-time colleague Paul O’Dette. Stephen and Paul have been the musical directors of all of BEMF operas, recordings of which were nominated for three GRAMMY awards. In 2015 Stephen won the GRAMMY Award as conductor for Best Opera Recording. In 2013, Stephen was appointed Senior Artist in Residence at the University of Washington School of Music. His first major production there was Handel’s Semele in May 2014 followed by Mozart’s Magic Flute in 2015. In 2014 he was awarded the Mayor’s Arts Award for “Raising the Bar” in Seattle.
Other recent appearances have included Handel’s Giulio Cesare and Gluck’s Orfeo in Bilbao, Mozart’s Magic Flute and Cosi fan Tutte for the Hawaii Performing Arts Festival, and Handel’s Agrippina for Opera Omaha. In recent years he has conducted Handel’s Messiah with the Seattle, Edmonton and Birmingham Symphony orchestras. His extensive discography as conductor and solo lutenist runs to well over 100 CDs, which can be viewed at stephenstubbs.com, many of which have received international acclaim and awards.
Maxine Eilander was born in Deventer, Holland, and grew up in South Africa, where she earned her Bachelor of Music on the classical harp at the University of the Witwatersrand, Johannesburg in 1992. Her special interest in early music led her to further study at the Hochschule für Kunste in Bremen, where she completed her post graduate diploma in early harps and continuo practice in 1997. Since she has appeared as a continuo player and soloist with Teatro Lirico, Tragicomedia, Les Talens Lyriques, Tafelmusik, The Toronto Consort, Les Voix humaines, The Sixteen, Seattle Baroque, La Stagione Franfurt, and Mala Punica. She has appeared around the world in productions of Monteverdi’s three operas (L’Orfeo, L’Incoronazione di Poppea and Il Ritorno d’Ulisse). Maxine plays on a range of specialized early harps: the Italian arpa doppia, the Spanish cross-strung harp, the German Davidsharfe, the Welsh triple harp for which Handel wrote his harp concerto, and the classical single action pedal harp. Her recordings as soloist include Handel’s harp concerto with Tafelmusik (‘A Baroque Feast’ Analekta, 2002), Ay que si, Spanish 17th-century music with Les Voix humaines (ATMA, 2002), Sonata al Pizzico, and a new recording of Italian music for harp and baroque guitar with duo partner Stephen Stubbs (ATMA, 2004). She has also been the harpist in recordings of Scarlatti’s oratorio Hagar and Ishmael with Seattle Baroque (Centaur, 2003) and Monteverdi’s Vespro della Beata Vergine with Tragicomedia (ATMA, 2002). Maxine teaches baroque harp at the Hochschule für Künste in Bremen, Germany.
Janet See is one of today’s outstanding performers on baroque and classical flute. For over 35 years she has performed as a soloist, in chamber music, and in orchestras throughout North America and Europe. In London, where Janet lived for 12 years, she played principal flute for John Eliot Gardiner’s two orchestras, and with those groups recorded the complete Mozart Operas and Beethoven Symphonies as well as numerous other discs. While in London she also played principal flute for The Taverner Players, conducted by Andrew Parrott. In North America Janet plays principal flute with Philharmonia Baroque under Nicholas McGegan. She is principal flutist with the Portland Baroque Orchestra and a guest soloist with chamber music ensembles throughout the US and Canada. Ms. See has recorded on the DG Archive, EMI, Erato, Hyperion, and Harmonia Mundi labels. Janet is on the Early Music Faculty at Cornish College of the Arts in Seattle and is an active and enthusiastic teacher of early flutes and also of interpreting the nuance and language of baroque and classical music on modern flute.
Raised among the rich musical traditions of Appalachia, cellist Juliana Soltis has performed throughout North America as both soloist and chamber musician. An active recitalist, she has been a featured performer during the annual Bach Month festivities at National City Christian Church in Washington, DC and was a headlining artist for the 2013 Zuckermann Harpsichords Music Festival in Stonington, CT. In her recent European debut, Ms. Soltis presented a program of 17th century Italian works in Venice, Italy, to critical acclaim. She has appeared as soloist with the Oberlin Baroque Orchestra and the Harvard Baroque Orchestra, and with the latter ensemble was a recipient of the Erwin A. Bodky Award for Early Music.
As a chamber musician, Juliana has performed at the historic Brick Church in New York and the Early Music America Young Performers Festival at the Boston Early Music Festival, and has concertized with the members of the Venice Baroque Orchestra. With her ensemble Die Liebhaberin (“The Enthusiasts”), she has appeared on the Millennium Stage Concert Series at the John F. Kennedy Center for the Performing Arts in Washington, DC, receiving praise for her “thought-provoking” and “beautifully articulated” interpretation.
Ms. Soltis has participated in masterclasses with Jaap ter Linden, Bart Kuijken, Giuseppe Barutti, and Yo-Yo Ma, and holds degrees from the New England Conservatory, Ball State University, the Longy School of Music, and Oberlin Conservatory, where she was a student of Catharina Meints Caldwell.
Newly arrived on the West Coast, Juliana is thrilled to be joining Seattle’s vibrant Early Music community. She is privileged to play on an antique instrument, dated Salzburg 1677, by Andreas Ferdinand Mayr, restored by Warren Ellison of Jericho, VT, and Curtis Bryant of Watertown, MA.