Join Gallery Concerts for its 26th Season of
Six Chamber Music Concerts,
performed with Original Instruments of
the 17th, 18th, and Early 19th Centuries.
All concerts are performed in the intimate, acoustically superb
Queen Anne Christian Church, 3rd Avenue West and West Lee Street,
on the top of Queen Anne Hill (near Trader Joe’s).
Saturdays at 7:30 p.m. and Sundays at 3 p.m.
Order single tickets @ 206.726.6088 or online (click on “Buy Single Tickets Here” for each one of the concerts).
Order Full and Mini Subscriptions and Discounted Group Tickets only @ 206.726.6088.
Remaining Tickets available are at the door.
Experience all six of J. S. Bach’s masterful Unaccompanied Sonatas and Partitas—three on Saturday, the other three on Sunday— performed by Ingrid Matthews (founder and former leader of the Seattle Baroque Orchestra), Tekla Cunningham (concertmaster of the Pacific Musicworks orchestra), and Emma McGrath (Assistant Concertmaster, Seattle Symphony Orchestra). Note our special two-concert discount.
Treat yourself to a feast of Classical chamber music for solo, duo, and trio forces performed on historic instruments in the lively 18th-century style. Works by Haydn, Mozart, sand Beethoven will be performed with a replica of an Anton Walter grand fortepiano (Vienna, 1795).
Dispel the Winter Blues with dulcet tone of oboe and recorder, strings and harpsichord, all on historic period instruments. Virtuosic music by Vivaldi and other Late Baroque masters will fill this concert.
Celebrate Valentine’s Day with emotional Romantic duos and solos by Beethoven, Schubert, Schumann, and Chopin offered up with dramatic flare with a magnificent, rich 1830s Viennese “Grafendorfer“ grand piano.
Explore the “fantastic style“ in the exquisite chamber music of Dietrich Buxtehude—whose music Bach walked 250 miles to hear! — and other celebrated 17th-century North German composers.
Celebrate the arrival of spring with enticing Iberian music—including Boccherini’s popular Fandango Quintet—as well as one of Mozart’s Spring String Quartet.
(All programs subject to change)
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.
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.
Harpsichordist Jillon Stoppels Dupree’s performances have been described as “lively and colorful” (Chicago Tribune) and “superb” (N.Y. Times). She has recorded for the Meridian, Decca, and Delos labels and has been featured at early music festivals in York (England), Boston, Bloomington, and Berkeley. She collaborates with such artists as Stanley Ritchie, Ellen Hargis, Julianne Baird, and Marion Verbruggen. Jillon’s world premiere recording of Philip Glass’Concerto for Harpsichord was released to high acclaim in 2006, and her solo Bach recording is forthcoming. A recipient of both Fulbright and NEA grants, she has taught at the Oberlin Conservatory, the University of Washington, and the University of Michigan. She is a member of the early music faculty at Cornish College of the Arts and performs with the Portland Baroque Orchestra and the Magnificat Ensemble (San Francisco area).
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 coachingswith 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.
Meg Brennand is known for her work on both modern and baroque cello. She is cellist with the critically acclaimed Onyx Chamber Players, based in Seattle and Chicago, and a member of the Pacific Northwest Ballet Orchestra, and she has performed with Baroque orchestras in Seattle, Portland, and Vancouver. Meg was a founding musician of Gallery Concerts, specializing in 18th-century chamber music on period instruments. An avid chamber music performer, she hasappeared throughout the Northwest on series including Bloedel, Jacobsen, Second City, Mostly Nordic, Belle Arte, Camerata, First Sundays, and La Conner. Meg is a graduate of the Eastman School of Music and an adjunct professor of cello at Seattle Pacific University. She has recorded with the SeattleBaroque Orchestra for NPR, Wild Boar, and Centaur.
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.