Gallery Concerts Seattle: Baroque, Classical and early Romantic Chamber Music on period instruments

Join Seattle’s Gallery Concerts for its 26th Season of
chamber music on period instruments,
presenting music of the Baroque, Classical, and early Romantic eras.

All concerts are performed in the intimate, acoustically superb
Queen Anne Christian Church, 3rd Avenue West and West Lee Street,
Seattle, WA 98119, on the top of Queen Anne Hill.

Saturdays at 7:30 p.m. and Sundays at 3 p.m.

Buy tickets online here or call 206.726.6088, or at the door.

2014-2015 Season

October 18 and 19, 2014
The Three Violinists Play Bach
Ingrid Matthews, Tekla Cunningham, and Emma McGrath, violins

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).
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy tickets here

November 29 and 30, 2014
Trio Capriccioso
Adam LaMotte, violin, Nathan Whittaker, violoncello, and Tamara Friedman, Classical fortepiano

Treat yourself to a Thanksgiving feast of trios and duos performed with clarity and panache in 18th-century style with period strings and a replica of a Viennese fortepiano (ca. 1800). Hear Haydn's witty Piano Trio in C, Hob. XV:27, Mozart's profound Sonata for Piano and Violin in e, K. 304, and Beethoven's Magic Flute theme and variations for Cello and Piano in F, Op. 66, and Piano Trio in E flat, Op. 1 No. 1.
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy tickets here

January 17 and 18, 2015
Ensemble Electra
Vicki Boeckman, recorder, Sand Dalton, oboe, Tekla Cunningham, violin, Joanna Blendulf, violoncello, and Jillon Stoppels Dupree, harpsichord

Dispel the winter blues with virtuosic music by high Baroque masters on period instruments! Fasch: Sonata in B-flat for Recorder, Violin, Oboe and continuo, FaWV N:B1, F. Benda: Sonata IV in E-flat for Violin and continuo, Vivaldi: Concerto in g for Recorder, Violin, Cello and continuo, RV 106, Bach: Sonata in F for Recorder and Harpsichord, BWV 1031 (originally for Flute, in E-flat), Geminiani: Sonata III in C for Cello and continuo, Telemann: Concerto a 4 for Recorder, Oboe, Violin and continuo, TWV 43:a3. Encore: Handel: Arrival of the Queen of Sheba from Solomon.
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy tickets here

February 14 and 15, 2015
Duo Romantique
Page Smith, violoncello, and Tamara Friedman, Romantic pianoforte

Celebrate Valentine’s Day with emotional Romantic duos and solos offered up with dramatic flare, played on a 'Grafendorfer' grand piano by Rodney Regier (2009) inspired by 1830s Viennese pianos of Conrad Graf and Ignaz Bosendorfer. Chopin: Allegro Moderato from Sonata in g for Cello and Piano, Op. 65, Schumann: Five Pieces in Folk Style, Op 102, four Chopin Mazurkas, Op 6, Mendelssohn: Song Without Words in D, Op. 109, and Beethoven: Sonata in C for Cello and Piano, Op. 102, No 1.
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy tickets here

March 14 and 15, 2015
Bach’s Inheritance: The Fantastic Style
Linda Melsted, violin, John Dornenburg, viola da gamba, and Jillon Stoppels Dupree, harpsichord
In Memoriam Margriet Tindemans

Explore chamber music written in stylus fantasticus featuring works of Buxtehude. Bach walked 250 miles to study with him! Buxtehude: Trio Sonata in a, Op.1, No.3, Pachelbel: Arietta and Variations in F, P.29 for harpsichord, Buxtehude: Trio Sonata in g, Op.2, No.3, Erlebach: Sonata III in A, Schmelzer: Sonata Prima in C for violin and continuo from Sonatae Unarum Fidium, Hacquart: Suite in a, Op.3, No.10 for solo viol, Buxtehude: Trio Sonata in B-flat, Op.1, No.4.
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy tickets here

April 18 and 19, 2015
Michael Partington, Classical guitar, Adam LaMotte and Tekla Cunningham, violins, Laurel Wells, viola, and Meg Brennand, violoncello

Celebrate the arrival of spring with enticing music from Iberia and Vienna. Boccherini: Quintet No. 7 in e for Guitar and String Quartet, G. 451; Mozart: String Quartet in G, K. 387 ("Spring"); Giuliani: Variations for Guitar, Op. 102; Mertz: Elegie for Guitar; Boccherini: Quintet No. 4 in D for Guitar and String Quartet, G. 448 ("Fandango").
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy tickets here

(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.

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.

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 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.


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.

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.

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.

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 Baroque Orchestra, Portland Baroque Orchestra, Seattle Baroque Orchestra, 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 is co-artistic director of the chamber ensemble Folia based in Toronto known for its creative programing. Linda was Music Director of the Nota Bene Baroque Orchestra, 2005-2009 and a regular guest leader and soloist of the Kitchener-Waterloo Symphony Orchestra’s “Baroque and Beyond” series. She taught violin at the University of Waterloo and directed the baroque ensemble at Wilfrid Lau! rier University in 2007–2008. Working with amateurs of all abilities is a passion for Linda, and she has worked with several community baroque orchestras in the past. Linda recently returned to her hometown of Seattle and is enjoying getting to know the area again. Currently, she is the Director of the New Baroque Orchestra in Seattle.
Ingrid Matthews won first prize in the Erwin Bodky International Competition for Early Music in 1989, and since then has performed around the world to high critical acclaim. She served as the Music Director of the Seattle Baroque Orchestra from 1994 to 2013, and has appeared as a soloist and/or guest director with prominent ensembles from New York to Los Angeles to Sydney. Notable among her extensive discography is her recording of the Bach Sonatas and Partitas for Unaccompanied Violin, which critics have called “the finest complete set of these works I have heard” (Third Ear Classical Music Companion), and “my top recommendation for these works... on either period or modern instruments”(American Record Guide). In addition to Gallery Concerts, her calendar this season includes Seattle appearances with Byron Schenkman and Friends at Benaroya Hall as well as performances in Houston, San Francisco, New York, Boston, Cleveland, and Washington, D.C. and a teaching residency at Indiana University. Matthews is active as a visual artist, whose work has been shown in solo and group exhibitions in Seattle and elsewhere.
Sand Dalton began playing the baroque oboe in 1975 after graduating from the California Institute of the Arts. He has been manufacturing historical oboes since 1976. Concurrently, he has pursued an active career as a performer and teacher. Over the years he has performed and recorded with the Philharmonia Baroque Orchestra, Boston Baroque, the Handel & Hayden Society, Magnificat, Portland Baroque Orchestra, Seattle Baroque and the Pacific Baroque Orchestra. He has been of the faculties of the New England Conservatory, the University of British Columbia and Longy School of Music and taught at the summer workshops for the San Francisco Early Music Society, Vancouver Early Music Program, Amherst Early Music Workshop and the International Baroque Institute at Longy.
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.
Cellist Joanna Blendulf, a native of Sweden with performance degrees with honors from the Cleveland Institute of Music and Indiana University, has performed as soloist and continuo player in leading period-instrument ensembles throughout the United States. In 1998 she was awarded the prestigious Performer's Certificate for her accomplishments on baroque cello from Indiana University, where she studied with Stanley Ritchie, Tsuyoshi Tsutsumi, and Alan Harris. Joanna is currently performing with the Portland Baroque Orchestra, the Musica Angelica Baroque Orchestra, the Bach Collegium San Diego, and Pacific Musicworks in Seattle, and has been a guest artist of Early Music Vancouver. She is also an active chamber musician, performing and touring internationally with the Cascade Consort, Catacoustic Consort, Ensemble Electra, Ensemble Mirable, and Wildcat Viols. Her summer engagements have included performances at the Bloomington, Boston, and Berkeley Early Music Festivals and the Aspen and Ojai Music Festivals, as well as the Carmel and Oregon Bach Festivals. Joanna currently resides in Eugene, Oregon, where she is sought-after as a teacher and chamber music coach.
Michael Partington is one of the most engaging of the new generation of concert players. Praised by Classical Guitar Magazine for his "lyricism, intensity and clear technical command," this award-winning British guitarist has performed internationally to unanimous critical praise. He has trained with many of the world's greatest guitarists, including Oscar Ghiglia, Eliot Fisk, Eduardo Fernandez, Manuel Barrueco and David Russell, who commented on his "exquisite good taste and fluid perfection." Michael has appeared throughout the USA, UK, Canada, Russia and Scandanavia in solo recital, with orchestra and in chamber ensembles. His North American appearances include the first solo guitar recital in Seattle's Benaroya Hall, as well as Town Hall and Meany Theater in Seattle, Austin, Los Angeles, New Haven, Phoenix, Portland, Reno, San Francisco, Vancouver and many others. Concerts in England and Wales have included Blackheath Halls, the Royal College of Music, St. Martin-in-the-Fields and St. James', Piccadilly in London; the Royal Welsh College of Music and Drama in Cardiff; St. Mary in the Castle, Hastings; Bristol Music Club; Russell-Cotes Museum, Bournemouth; Brewery Arts Centre, Kendall; Trinity Arts Centre, Tunbridge Wells; Nottingham; Carlisle; Derby; and others. He has performed live on BBC Radio 3's In Tune, BBC Radio Bristol, BBC Wales and Great Western Radio in the UK, as well as St. Paul Sunday on National Public Radio in the US, KUOW, KING FM, KZAZ, and KAOS in Washington, JPR in Oregon, KUT in Texas, and cable television in California, Montana and Washington. An advocate of new music, he has commissioned and premiered works by Stephen Goss, Bryan Johanson, Toshio Hosokawa, Angelo Gilardino, Tom Baker, Kevin Callahan and others. He is a frequent performer and teacher at festivals, including the Guitar Foundation of America Festival, Llantilio Crossenny Festival, Portland Guitar Festival, Northwest Guitar Festival, Shenandoah Valley Bach Festival, Cascadia Festival and Chelan Bach Fest. He has also performed with Orchestra Seattle, Seattle Chamber Players, Seattle Creative Orchestra, Wenatchee Valley Symphony, Rainier Symphony, Portland State University Orchestra, Seattle Symphony Chorale, Seattle Choral Company, and flutist Paul Taub in the duo Dinamici. His recordings are available on the Rosewood Recordings, Present Sounds and Cadenza Music labels. He currently lives in Seattle where he is director of the Guitar Program at the University of Washington.

Michael can be heard performing Isaac Albeniz' "Mallorca," Op. 202, on Classical KING FM at
Heralded as a “first-magnitude star in the making” by the Seattle Times, British violinist Emma McGrath has since performed with many professional ensembles and orchestras, and has played in France, Belgium, the Czech Republic, Brunei, Malaysia, Hong Kong, Russia, Israel, the UK and the USA as a soloist. In 1999 she won Cumbria’s Keldwyth Award, and in 2002 she was a National String Finalist in the BBC Young Musicians Competition, broadcast on UK TV and radio. In 2002 she was awarded the Mozart prize in the International Yampolsky Violin Competition in Russia, and consequently performed with the Moscoviya Chamber Orchestra in the Great Hall of the Tchaikovsky Conservatoire, Moscow. With the Panormo Quartet she won the Helen Just and Susan Connell prize for string chamber music, and played at the Wigmore Hall. Emma has given many recitals in Europe and the USA, and has a strong interest in contemporary works, having had several specially written for her. She features on the CD ‘Defiant Dames’ in aid of breast cancer. With the Celtic band Tarras she recorded ‘Rising’ which reached No. 1 in the Folk charts and was voted Mojo’s Folk Album of the Month, and toured Germany, Holland and the USA. She also sings professionally—her debut CD ‘The Girl Stands’ is an eclectic mix of violin, fiddle, and vocal music—and is a published and recorded composer. She has been Tanglewood Music Center, where she gave a concerto performance and was awarded the Violin Prize. Emma graduated with a BMus(Hons) First Class from the Royal College of Music, where she was a Foundation Scholar and Concertmaster of every ensemble. She studied violin with Ani Schnarch and singing with Margaret Cable and was generously supported by the Emerton-Christie Trust. Emma has also received awards from the Martin Musical Scholarship Fund, the Edmund Castle Trust, the Musicians Benevolent Fund, the Tillett Trust and the Countess of Munster Musical Trust. Emma completed her MMus and Artist Diploma at Carnegie Mellon University in Pittsburgh, where she studied with Andrés Cardenés and was a member of The Starling Quartet, with whom she toured China and played at Steinway Hall, NYC. She won the inaugural Gindroz Travel/Study prize, for independent travel and research in music and architecture in Europe. Emma became the Associate Concertmaster of the Seattle Symphony Orchestra in 2009, having previously been the Assistant Concertmaster of the Colorado Symphony Orchestra. Prior to this, she performed with the Pittsburgh Symphony Orchestra and the Chicago Symphony Orchestra, and toured Australia and Japan with the Australian Chamber Orchestra. She currently teaches at Seattle University and also maintains a private teaching studio. Emma loves exploring the wonderfully varied musical life that Seattle has to offer—which includes playing concerti and recitals, adjudicating, presenting Masterclasses, chamber music, composing, singing, baroque violin, and various styles of fiddling!

Emma can be heard playing Bartok's Roumanian Dances at and her own Sillyloquy for Solo Violin at