2016-17 28th Season
George Bozarth, Artistic Director * Jillon Stoppels Dupree, Founding Director
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Saturdays at 7:30 p.m. and Sundays at 3 p.m. Pre-concert talks start 45 minutes before concert.
October 15 and 16, 2016
The Heavenly Voice: Handel and his Castrati
Guest Artist Andrew Rader, countertenor, Ingrid Matthews and Tekla Cunningham, violin, Jillon Stoppels Dupree, harpsichord
The toasts of the olde London town—George Fredric Handel and his flamboyant Italian castrati!
Experience the virtuosic art of Italian opera arias and chamber music by Handel, Porpora, Farinelli and Broschi.
December 3 and 4, 2016
Bach and Beethoven
Nathan Whittaker, violoncello, Tamara Friedman, Baroque Lautenwerk and copy of 1814 Johann Fritz Viennese fortepiano
Two of Seattle’s favorite chamber artists team up to bring you the music of J. S. Bach and Ludwig van Beethoven, with two unique keyboard instruments, both instruments making their Pacific Northwest debuts.
January 21 and 22, 2017
The Three Gambists
February 18 and 19, 2017
Guest Artist Elisabeth Marshall, lyric soprano, Adam LaMotte, Classical violin, Tamara Friedman, copy of 1820 Viennese pianoforte
The glorious American soprano makes her Seattle debut. German songs, piano solos, and piano-violin duos by Schubert.
March 11 and 12, 2017
La Guitarre Royalle
Stephen Stubbs, Baroque guitar in collaboration with Maxine Eilander, harp
Seattle's own Grammy-winning guitarist transports you to London, Paris, and Vienna, where the monarchs Charles II, Louis XIV,
and Leopold I commissioned music for their beloved guitars.
April 8 and 9, 2017
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Saturdays at 7:30 p.m. and Sundays at 3 p.m. Pre-concert talks start 45 minutes before concert.
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.
John Dornenburg is a San Francisco Bay Area performer, teacher, and recording artist. He performs on all sizes of viola da gamba and has been featured on more than 30 CD recordings. His two most recent CDs feature virtuoso music for unaccompanied viola da gamba by Schenck, Abel, Sainte-Colombe, Kühnel, Simpson, Hacquart, and Hume, and he has also recorded solo music by more familiar Baroque composers such as J.S. Bach, Telemann, Marais, and Handel. John has appeared as soloist at major festivals in the British Isles, Poland, Turkey, Lebanon, Australia, New Zealand, and Holland, and at both the Oregon and Carmel Bach Festivals in the U.S.A. He is director of the Sex Chordae Consort of Viols, co-director of the Archetti Baroque String Ensemble, and co-founder of the Baroque ensemble Music’s Re-creation. In the Bay Area he also performs regularly with Magnificat, and, on occasion, with Philharmonia Baroque Orchestra, American Bach Soloists, Jubilate Orchestra, and many others. He studied with Nikolaus Harnoncourt at the Mozarteum in Salzburg and with Wieland Kuijken in The Hague, where he was awarded the Soloist’s Diploma. John is Lecturer in viola da gamba at Stanford University, Instructor of violone at UC Berkeley, and Faculty Emeritus in music history at CSU, Sacramento.
Harpsichordist Jillon Stoppels Dupree has been described as “one of the most outstanding early musicians in North America” (IONARTS) and “a baroque star” (Seattle Times). She has recorded for the Meridian, Decca, Orange Mountain and Delos labels and has been featured at early music festivals in York (England), Boston, Bloomington, and Berkeley. She was a winner in numerous harpsichord competitions, received both Fulbright and Beebe Fund grants for study abroad, and was a recipient of the National Endowment for the Arts Solo Recitalist award. Her teachers include Gustav Leonhardt and Ton Koopman. Recent activities include a residency at Stanford University and a Monteverdi performance at the 2014 Berkeley Early Music Festival. 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 graduate of the Oberlin College Conservatory of Music and the University of Michigan (masters’), she has taught at both her alma maters; she is currently a member of the early music faculty at Cornish College of the Arts. Jillon performs with the Portland Baroque Orchestra, Ensemble Electra, the Seattle Symphony, the Seattle Baroque Orchestra, and 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 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.
Hailed by critics as an “especially compelling” and “superb violinist” with “exceptional talent,” whose performances are “energetic and exquisite,” violinist Adam LaMotte has appeared as soloist, concertmaster, and conductor of such orchestras as the Northwest Sinfonietta, the String Orchestra of the Rockies, the Astoria Festival Orchestra, the Portland Baroque Orchestra, and the Maggini String Orchestra in Houston. The co-founder of acclaimed ensembles in Portland and Houston, he produces many chamber music and chamber orchestra performances. With the American Bach Soloists, the Portland Baroque Orchestra, the Trinity Consort, and Chanticleer he performs on period instruments. His recordings appear on the Cinnabar, Koch, and Warner Brothers Classics labels.
Ingrid Matthews is well established as one of the premier baroque violinists of her generation. She won first prize in the Erwin Bodky International Competition for Early Music in 1989, and was a member of Toronto's Tafelmusik Baroque Orchestra before founding the Seattle Baroque Orchestra with Byron Schenkman; she served as its Music Director from 1994 to 2013. Matthews has performed extensively around the world with many of today's leading early music ensembles, appearing as a soloist and/or guest director with many groups including the New York Collegium, the Australian Brandenburg Orchestra, the Bach Sinfonia (Washington DC), Ars Lyrica (Houston), Musica Angelica (Los Angeles), New Trinity Baroque (Atlanta), and numerous others. Matthews has won high critical acclaim for a discography ranging from the earliest Italian violin music through the Sonatas and Partitas of J.S. Bach (“the finest complete set of these works,” according to Third Ear's Classical Music Listening Companion). Sought-after as a chamber musician, Matthews has collaborated with most of the leading early musicians of her generation and served as first violinist of the notable ensemble La Luna. She has taught at Indiana University, the University of Toronto, Oberlin College, the University of Washington, the University of Southern California/Los Angeles, and the Cornish College of the Arts in Seattle. She is also active as a visual artist.
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.
Recorder player 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.
Joanna Blendulf has performed as soloist and continuo player in leading period instrument ensembles throughout the United States. She holds performance degrees with honors from the Cleveland Institute of Music and Indiana University. In 1998, Ms. Blendulf was awarded the prestigious Performer's Certificate for her accomplishments in early music performance from Indiana University. Joanna performs regularly with the Portland Baroque Orchestra and Pacific MusicWorks (Seattle) and has also performed with America Bach Soloists, Apollo’s Fire Baroque Orchestra, and Bach Collegium San Diego. Ms. Blendulf is also an active chamber musician, performing and recording with Ensemble Electra, Ensemble Mirable, the Catacoustic Consort, Nota Bene Viol Consort, Parthenia, and Wildcat Viols. Her world premiere recording of the complete cello sonatas of Jean Zewalt Triemer with Ensemble Mirable can be found on Magnatune. Ms. Blendulf's summer engagements have included performances at the Bloomington, Boston and Berkeley Early Music Festivals, the Aspen Music Festival as well as the Carmel and Oregon Bach Festivals, where she was the viola da gamba soloist. Alongside performing, Joanna serves as faculty member at viola da gamba workshops across the country, maintains a private teaching studio and has taught courses at the University of Oregon and the Indiana University Jacobs School of Music.
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.
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, many of which have received international acclaim and awards.
Elisabeth Reed teaches Baroque cello and viola da gamba at the University of California at Berkeley. She also teaches Baroque cello and viola da gamba at the San Francisco Conservatory of Music, where she is co-director of the Baroque Orchestra. A member of the American Bach Soloists, Voices of Music, and Wildcat Viols, she has also appeared with the Seattle, Portland, and Philharmonia Baroque Orchestras, and at the Boston Early Music Festival, the Berkeley Early Music Festival, the Ohai Festival, the Whidbey Island Music Festival, and the San Luis Obispo Mozart Festival. She can be heard on the Virgin Classics, Focus, and Magnatune recording. She is a Guild-certified practitioner of the Feldenkrais Method of Awareness Through Movement, with a focus on working with musicians and performers.
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).
A native of Eugene, Oregon, Nate Helgeson performs frequently throughout the United States on modern and historical bassoons. A founding member of period instrument ensembles on both coasts, including SacroProfano (Seattle), Grand Harmonie (Boston), and Symphonie des Dragons (Boston and New York), he has also recently appeared with Juilliard Baroque, the Trinity Baroque Orchestra, Concitato, and the Sebastian Chamber Players. Equally active on the modern instrument, Nate has performed with the Oregon Bach Festival Orchestra, the Boston Philharmonic, Arosa Musiktheater, and the Orchestra of Indian Hill, and has appeared as soloist in the United States and Switzerland. Nate is a recent graduate of the Historical Performance program at the Juilliard School, and also holds degrees from the University of Oregon and the New England Conservatory of Music.
Countertenor Andrew Rader has performed as a soloist and with Magnificat Baroque, LIBER: Ensemble for Early Music, and ¡Sacabuche! Ensemble throughout the United States, South America, and Europe. In addition to these chamber music activites, he has been involved in numerous solo and choral performances with Music City (formerly Belle Meade) Baroque of Nashville, Tennessee, Bourbon Baroque of Lexington, Kentucky, and Indianapolis Baroque. Sharing the stage with ARTEK, Marion Verbruggen Trio, AVE, Music’s Re-creation and Archetti, he has performed at the Boston, Chicago, Madison, Bloomington and Berkeley Early Music Festivals during recent seasons.
Soprano Elisabeth Marshall has been praised for her “admirably flexible, gilt-edged voice” (Music in Cincinnati) of “resonance and beauty” (Bloomington Herald Times), and “satisfying precision" (Fringe Opera, London) in works of Handel, Haydn, and Mozart, among others. She has also been described as a voice of “maturity and radiant sheen” (Bloomington Herald Times), and as displaying “real technical skill” (What’s Been Seen, London) particularly in the lyric coloratura repertoire of Mozart, including the soprano soloist in his C minor Mass, for which she is often in demand.
JUNO Award winning conductor, composer, recorder and flute soloist Matthias Maute has achieved an international reputation. In 2016 he was named artistic director of the Bach Society of Minnesota. Impressed by his artistic approach, The New York Times described the orchestra he conducts in Montreal, Ensemble Caprice, as being “an ensemble that encourages the listener to rehear the world.”
Maute’s recording of Bach’s Brandenburg Concertos juxtaposed with Maute’s own arrangements of Preludes from Shostakovich's Op. 87 was hailed by The New Yorker’s Alex Ross as standing out “for its fleet, characterful approach” and “its fresh, vibrant colors”.
Matthias Maute’s compositions are published by Breitkopf & Härtel, Amadeus, Moeck and Carus. In 2014 and 2015, Maute’s 1st violin concerto was performed by soloist Mark Fewer with the St. John’s Symphony and with I Musici de Montréal. Forty-nine movements of Matthias Maute’s compositions are featured in 49 videos on noncerto.com.
Matthias Maute has made some twenty recordings on the Analekta, Vanguard Classics, Bella Musica, Dorian, Bridge and ATMA Classique labels. He is regularly invited to perform at major international festivals. Matthias Maute is co-artistic director of the Montreal Baroque Festival. He currently teaches at l’Université de Montréal and McGill University.