2017-18 29th Season
Nathan Whittaker, Artistic Director, and Jillon Stoppels Dupree, Founding Director
Due to unforseen circumstances, we have cancelled the party on March 31st. We apologize for any inconvenience.
April 14 and 15, 2018
Strike the Viol
In memory of Margriet Tindemans, presented in collaboration with Pacific Northwest Viols
Guest artists Ellen Hargis, soprano and Mary Springfels, viola da gamba, with Jillon Stoppels Dupree, harpsichord
An Early Music lover’s delight for the second annual Margriet Tindemans Memorial Concert. Enjoy a rich array of English vocal and instrumental music by Purcell, Dowland, Lawes, and others.
Purchase Tickets online or, at the event at Queen Anne Christian Church, 1316 3rd Ave W., Seattle
Saturdays at 7:30 p.m., General Admission $32, Seniors 65+ $27, Ages 15-25 $15, Ages 7-15 free
Sundays at 3 p.m., General Admission $35, Seniors 65+ $30, Ages 15-25 $15, Ages 7-15 free
Pre-concert talks start 45 minutes before the concert and last 30 minutes. All programs subject to change.
Prior concerts 2017-18
October 21 and 22, 2017
Guest artist Carla Moore and Joanna Blendulf, viola da gamba/violoncello, with Linda Melsted, violin and Jillon Stoppels Dupree, harpsichord
North America’s newest early music ensemble, Leonarda’s Circle, makes its Seattle debut with the dazzling and sensuous music of 17th-century Italy and Germany, featuring works by Rosenmüller, Marini, Krieger, Uccellini, Schmelzer, Vierdanck, Kindermann, Buxtehude, Cima, and the incomparable Isabella Leonarda.
December 2 and 3, 2017
The Virtuoso Clarinet
Guest artist Thomas Carroll, clarinet, with Ingrid Matthews and Christine Wilkinson Beckman, violins, Laurel Wells, viola, and Page Smith, violoncello
Guest Artist Thomas Carroll, period clarinetist extraordinaire, visits from Boston to perform virtuosic chamber music with Seattle artists. Program includes Hummel: Quartet in E-Flat for Clarinet and Strings, S. 78; Backofen: Quintet in F for Basset Horn and Strings, Op. 9; Mozart: String Quartet in d, K. 173; Mozart: Quintet in A for Clarinet and Strings, K. 581.
January 13 and 14, 2018
The Power of Three
Tekla Cunningham, violin, Vijay Chalasani, viola, and Nathan Whittaker, violoncello
Join three of Seattle's young star Early Music performers in celebration of the string trio. Often neglected next to its “big brother” the string quartet, string trios allow space for a playfulness that is sure to delight. Schubert: allegro from Trio in B-flat, D. 471; Mozart: Prelude and Fugue #2 in g (after J.S. Bach); Rolla: Trio Concertant in B-flat, Op.1 No.1; Beethoven’s quirky Eyeglasses Duo for Viola and Cello, WoO 32, and his String Trio in G, Op. 9 No.1.
February 3 and 4, 2018
Artistry of Ingrid Matthews
Featured artist Ingrid Matthews, violin, in collaboration with John Lenti, theorbo
Two internationally renowned titans of Early Music explore music of the French Baroque that is swimming in virtuosity, emotion, and passion. Together they perform Jean-Marie LeClair: Sonata in A, bk I, no. 3, and Jean-Féry Rebel: Suite in G. Mr. Lenti will feature his “engine of destruction” in Marin Marais: Les voix humaines, Louis Couperin: Chaconne, and Robert de Visée: Suite in b. Ms. Matthews will perform J.S. Bach’s French-influenced Partita in b for solo violin, BWV 1002 - it is truly an event whenever she and Bach cross paths.
March 3 and 4, 2018
Mozarts Quartet Party
Guest artist Marc Destrubé, violin, with Adam LaMotte, violin, Laurel Wells, viola, and Nathan Whittaker, violoncello
In 1784, four of the greatest musicians the world has ever known - Franz Joseph Haydn, Carl Ditters von Dittersdorf, Wolfgang Amadeus Mozart, and Johann Baptist Vanhal - came together to play an evening of string quartets. Celebrated violinist Marc Destrubé joins forces with other Gallery Concerts’ favorites to reimagine the magic that must have occurred that night. Dittersdorf: Quartet No 2 in B-flat, Mozart: Quartet in d, K.421, Vanhal: Quartet in D, Op 21, No 6, Haydn: Quartet in C, Op 33, No 3 'The Bird'.
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 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 solo recital at Reed College in Portland. 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 has also been 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 the San Francisco Bach Choir.
Soprano Ellen Hargis is one of America’s premier early music singers, specializing in repertoire ranging from ballads to opera and oratorio. She has worked with many of the foremost period-music conductors of the world, including Andrew Parrott, Gustav Leonhardt, Paul Goodwin, Monica Huggett, and Paul Hillier. She has performed with the Saint Paul Chamber Orchestra, the Freiburg Baroque Orchestra, Tragicomedia, the Mozartean Players, Fretwork, the Seattle Baroque Orchestra, Emmanuel Music, and the Mark Morris Dance Group. She has appeared at many of the world's leading festivals and is a frequent guest at the Boston Early Music Festival. Her recordings ranges from medieval to contemporary music, including Lully’s Thésée and Conradi’s opera Ariadne, both nominated for Grammy Awards. Her recordings for Harmonia Mundi include a critically acclaimed solo recital disc of music by Jacopo Peri and Arvo Pärt’s Berlin Mass with Theatre of Voices, and two recital discs with Paul O’Dette on Noyse Productions. Ellen teaches voice at Case Western Reserve University in Cleveland, and is Artist-in-Residence with the Newberry Consort at the University of Chicago and Northwestern University.
Described by Strad magazine as possessing “unerring musicality,” Carla Moore enjoys exploring and performing the repertoire for baroque violin. A California Bay Area resident since she joined Philharmonia Baroque Orchestra in 1991, she now serves as one of Philharmonia’s concertmasters and soloists, as well as concertmaster for Portland Baroque Orchestra (Oregon). Carla is a founder and co-director of Archetti, a conductor-less Baroque string band dedicated to the performance of 18th century concerto repertoire, and performs chamber music with the early music ensembles Music's Re-creation and Voices of Music. The most recent addition to her extensive discography is her recording of J. S. Bach Violin Sonatas with Voices of Music. Carla's performances with Voices of Music on YouTube have been seen by more than five million viewers worldwide. Carla teaches baroque violin at the University of California at Berkeley and has taught at the summer music festival Amherst Early Music (Connecticut). She studied with Stanley Ritchie at Indiana University’s Early Music Institute. Shortly after earning her Masters degree at IU, Carla won First Prize in the Erwin Bodky Competition for Early Music.
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, Freiburg Baroque Orchestra, Portland, Seattle, and Pacific Baroque Orchestras, and Pacific MusicWorks. Linda is the featured soloist in Tafelmusik’s documentary “Le Mozart Noir,” and has recorded for Sony, ATMA Classique, and Harmonia Mundi.
Linda’s true love is chamber music. She has performed with many ensembles in chamber music series from Toronto to Seattle including Early Music Vancouver, Gallery Concerts, Folia, Discovery Island Music Festival, La Primavera, and Toronto Music Garden. She regularly performs with Marc Destrubé and Friends and Early Music Underground. She is co-founder of the new chamber ensemble sound|counterpoint (www.soundcounterpoint.org) as well as the Cosi Quartet, a new classical oboe quartet, and the Salish Sea Players, a group dedicated to bringing early music to retirement and nursing facilities ( www.salishseaplayers.org ). Linda performs on a Nicolò Amati violin.
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.
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.
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.
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. Ms. Blendulf is Associate Professor of Music (Baroque cello and viola da gamba) at the Indiana University Jacobs School of Music.
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).
With a sound described as “beautifully warm” (Herald Times) and “sweet and agile” (New York Times), period clarinetist and instrument builder Thomas Carroll performs extensively throughout North America and Europe on historical instruments. He holds degrees from Oberlin Conservatory, Indiana University, and The Royal Conservatoire of The Hague, where his major teacher on early clarinets and chalumeaux was Eric Hoeprich. He is also an alumnus of the Jeune Orchestre Atlantique Formation for period instrument orchestral performance and the Orchestra of the Age of Enlightenment Ann and Peter Law Experience Scheme.
Internationally, Thomas has performed under such directors as Christophe Coin, Richard Egarr, Philippe Herreweghe, Jos van Immerseel, Allessandro Moccia, and David Stern; and has performed at numerous festivals as an orchestral and chamber musician including Oude Muziek Utrecht, Muziekzomer Gelderland, Young Euro Classic, Festival de Saintes, and Musica Antiqua Brugge in venues ranging from the Kozerthaus in Berlin to the Concertgebouw in Amsterdam. He has been featured as a concerto soloist with Mercury: The Orchestra Redefined, Lyra Baroque, Ensemble ad Libitum, and Grand Harmonie to critical acclaim. In North America, Thomas is the principal clarinetist with Boston-based Grand Harmonie and Houston-based Mercury: The Orchestra Redefined, and frequently collaborates with other early music specialists on the east coast including the Clarion Music and Handel and Haydn Societies and Boston Baroque. He additionally performs as principal clarinet of Cologne's L'arte del Mondo and Nuremberg's Kapella19, as well as the Lutherse Bach Ensemble in the Netherlands, among others. He has given faculty chamber recitals and guest lectures and masterclasses on both coasts and at the Hawaii Performing Arts Festival. Thomas is currently on the faculty of the Brookline Music School and maintains a private studio.
Photo credit Teddy Hwang
Violist Vijay Chalasani is a Seattle-based performer, scholar, and teaching-artist who specializes in performance practice, ranging from the Renaissance to the music of today. Equally at home on both modern and historical violas, Chalasani was featured as a soloist in performances ranging from the Walton Viola Concerto, Mozart Sinfonia Concertante, and Hoffmeister Viola Concerto with modern orchestras, to Bach’s 6th Brandenburg concerto, the Telemann Viola Concerto, and the Telemann Concerto for Two Violettas with period orchestras. Chalasani performs frequently on period instruments with ensembles such as the American Bach Soloists, Pacific MusicWorks, Early Music Vancouver, and the Albany Consort, as well as in chamber music performances of works from the classical and romantic eras on historical instruments. Chalasani is a predoctoral candidate in the Doctor of Musical Arts program at the University of Washington, where he studies viola with Melia Watras; as a Teaching Assistant at the UW, he worked with the Modern Music Ensemble and Baroque Ensemble, and taught Chamber Music Lab and String Techniques.
Christine Wilkinson Beckman is a baroque violin specialist based in Olympia, WA. She enjoys performing throughout her native Northwest with early music ensembles large and small and appears regularly with such groups as the Seattle, Portland, and Pacific Baroque Orchestras, Pacific MusicWorks, and Pacific MusicWorks Underground. From 2015 to 2017 she directed the New Baroque Orchestra, one of the Community Collegia of the Early Music Guild of Seattle.
Christine began her studies on baroque violin with Ingrid Matthews, and she graduated in 2013 with an MA from the Historical Performance Practices program at Case Western Reserve University where she studied with Julie Andrijeski. A passionate educator, Christine teaches Suzuki violin and viola to a busy studio of young musicians in Olympia. Her Suzuki teacher training has been with Elizabeth Stuen-Walker.
Mary Springfels is a veteran of the Early Music movement in America. She began her professional career with the New York Pro Musica, nearly 50 years ago, and is still an active performer and teacher. She directed the Newberry Concert in Chicago for 25 years, and now freelances all over the country. She is a member of Ars Lyrica of Huston, TEMP in Austin, the Live Oak Baroque Orchestra in Sonoma, CA, and guests with many ensembles, including the Folger Consort. Mary now lives in Santa Fe, where, with Elizabeth Blumenstock, she co-directs Severall Friends, and loose collective of early musicians. She will be performing as a part of an official event at this summer's Berkeley Early Music Festival. She has taught at the Amherst Early Music Festival, The Viola da Gamba Society Annual Conclave, the SFEMS medieval, Renaissance and baroque workshops, the Texas Toot, and directs her own weekend workshop for voices and viols in Santa Fe.