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2014-2015 Season

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.

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). Note our special two-concert discount.
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy Single Tickets Here

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

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).
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy Single Tickets Here

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

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.
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy Single Tickets Here

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

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.
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy Single Tickets Here

March 14 and 15, 2015
Life before Bach: The Stylus Fantasticus in Germany
Linda Melsted, violin, Margriet Tindemans, viola da gamba, Jillon Stoppels Dupree, harpsichord

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.
General Admission, $30, Seniors (65+), $25, Students/Young Adults (15-25), $15 Buy Single Tickets Here

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

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

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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.

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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).

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Margriet Tindemans has performed, recorded, and taught early music on four continents. As a student of Wieland Kuiyken, she was awarded the Prix d'Excellence with honors for viola da gamba. A Grammy Nominee, she has been called “a national treasure” and “a channel through which pure music comes without any distortion.” A player of early stringed instruments, from the medieval fiddle and rebec to baroque viola and viola da gamba, she has been a frequent guest soloist with such leading ensembles as the Folger Consort, Tragicomedia, and the Philharmonia Baroque Orchestra. She has been a member of the ensembles Sequentia and Medieval Strings. She regularly performs with the Seattle Baroque Orchestra and Pacific MusicWorks, and in duo with Shira Kammen. Their CD, Dawn of Joy, was released in November 2010. Margriet has appeared with both the Seattle Opera and the National Dutch Opera in Amsterdam. She directs the Medieval Women’s Choir of Seattle and works closely with the Northwest Puppet Center, for whom she has arranged and directed many operas, including Mozart’s The Magic Flute and Don Giovanni. Margriet maintains a busy private studio and is a much sought-after director and teacher at workshops. Her recordings for Harmonia Mundi, Erato, Wildboar, BMG, EMI, Smithsonian Collection, and Koch span the centuries, from the music of the medieval German mystic Hildegard von Bingen to works by contemporary composers. Margriet is playing a viola da gamba by Ray Nurse (Vancouver, 1994), after Barak Norman (London, 18th century).
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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.

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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.

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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.

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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.
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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.

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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.
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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.
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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.
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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.
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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.
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