2016-17 28th Season
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Saturdays at 7:30 p.m., General Admission $32, Seniors Age 65+ $27, Ages 15-25 $15, Ages 7-15 free with paying adult
Sundays at 3 p.m., General Admission $35, Seniors Age 65+ $30, Ages 15-25 $15, Ages 7-15 free with paying adult
Pre-concert talks start 45 minutes before the concert and last 30 minutes.
Two Internationally acclaimed recorder artists in dazzling music by Castello, Turini, A. Scarlatti, Chedeville, Vivaldi, Merula, and Maute himself!
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Prior concerts 2016-17 Season
The toasts of the olde London town—George Frideric Handel and his flamboyant Italian castrati! Experience the virtuosic art of Italian opera arias by 'Farinelli', Broschi, Porpora and Handel, and ensemble and solo instrumental music by Handel including Sinfonia in B-flat and Concerto à 4 in D.
Hear two unique keyboard instruments in their Pacific Northwest debuts! Beethoven: Variations on Handel’s See the Conqu'ring Hero Comes, WoO 45, Bach: Violoncello Suite No 5 in c, BWV 1011, Bach: Concerto in the Italian Style, BWV 971, Beethoven: Sonata No. 3 in A for Piano and Violoncello, Op. 69.
Saturday: J. S. Bach: 3 sonatas for Viola da Gamba and Harpsichord, Nicolai: Sonata a 3 in a, Bach: Adagio from Trio Sonata No. 1 for Organ (arr. Dornenberg).
Sunday: music from the Court of Louis XIV by Marais, Sainte Colombe, and Boismortier, and from the court of Frederick the Great: Rameau (arr. Ludwig Christian Hesse).
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.johndornenburg.com
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.
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.
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).
Cellist Juliana Soltis performs the world over---from New York, to Osaka, to Venice---as both soloist and chamber musician. Hailed as "delightful" in performance (ClevelandClassical.com) and praised for her "thought-provoking" interpretations (The Oberlin Review), Juliana specializes in the historical performance of the Baroque and Classical cellos, violoncello piccolo, and viola da gamba. She has been a featured performer at the Boston Early Music Festival and on numerous concert series, including the Millennium Stage Series at the John F. Kennedy Center in Washington, D.C.. Most recently, she opened the 2016 BRQ Vantaa Festival (Finland) Fringe Series for young artists, and her Japanese tour of the Bach Suites for Unaccompanied Cello was met with both popular and critical acclaim: "Never did one think the heart could be so stirred by a cello alone" (Yomiuri Shinbun). A passionate performer-scholar dedicated to telling the forgotten stories of classical music, Juliana holds degrees from the New England Conservatory, Ball State University, The Longy School of Music, and Oberlin Conservatory; her primary studies having been conducted under the tutelage of Yeesun Kim, Richard Aaron, Phoebe Carrai, and Catharina Meints..http://www.julianasoltis.com/