Join Gallery Concerts for its 25th Anniversary 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.
Pre-Concert Events 45 minutes before the concerts
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.
November 2 and 3, 2013
The Three Cellists play Bach
Meg Brennand, Page Smith, and Nathan Whittaker, violoncellos
Experience all six of Bach’s masterful Cello Suites—nos. 1–3 on Saturday, 4–6 on Sunday— and enjoy a rousing work for three cellos by Beethoven to close each program.
(Discounted “two-concert passes” available @ $50/40/20)
November 30 and December 1, 2013
A Baroque Christmas with Ellen Hargis
Guest artists Ellen Hargis, soprano, Carla Moore, violin, and John Dornenburg, viola da gamba, with Jillon Stoppels Dupree, harpsichord
Celebrate the holiday season with a sparkling trans-European tour, featuring “one of baroque music’s most renowned sopranos” in arias and traditional carols from France, Germany, Spain, and Italy.
January 25 and 26, 2014
Romantic Moments with Trio Paradies
Cecilia Archuleta, violin; Page Smith, violoncello, and Tamara Friedman, 1830 "Grafendorfer" fortepiano.
Soar to emotional heights with the early Romantic music of Schubert, Schumann, Mendelssohn, and Chopin, and join Trio Paradies for the debut of its magnificent 1830s Viennese "Grafendorfer" grand piano. Program
The European Masters Festival
Legendary artists of the Early Music Movement in Europe visit Seattle to play works by the Baroque masters.
February 22 and 23, 2014
The Dutch Masters Return
The Dutch Masters’ Wilbert Hazelzet, flute, and Jacques Ogg, harpsichord, joined by Seattle’s beloved viola da gambist Margriet Tindemans and violinist Marc Destrubé, leader of the Vancouver Baroque Orchestra,
celebrate the 300th Birthday of the emotion-charged C. P. E. Bach, Johann Sebastian's most talented son whose music was beloved by Haydn, Mozart and Beethoven.
March 8 and 9, 2014
The Kuijken-Legêne–Dupree Trio
Eva Legêne, recorder, Wieland Kuijken, viola da gamba, and Jillon Stoppels Dupree, harpsichord
Belgium’s Wieland Kuijken, the world’s pre-eminent viola da gambist, creates musical fireworks with recorder and harpsichord in this virtuosic program of Bach, Telemann, Marais, and others. Program
April 5 and 6, 2014
Haydn’s Surprise, and Mozart and Beethoven Too!
(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 has performed as viola da gamba soloist in the British Isles, Turkey, Australia, New Zealand, Poland, Holland, and across the United States. His solo appearances include the Istanbul Festival, Krakow Festival, York Early Music Festival (U.K.), Kilkenny Festival (Ireland), Warwick Festival (U.K.), Melbourne International Festival, and Monadnock Festival (New Hampshire). He has often played the viola da gamba arias in Bach’s St. Matthew and St. John Passions for groups such as the Oregon Bach Festival, Carmel Bach Festival, Honolulu Symphony, and the San Francisco Symphony. John has made solo recordings of gamba music by J. S. Bach, C. P. E. Bach, Marais, Telemann, Abel, Hume, Simpson, Sainte-Colombe, Kühnel, and Handel, and can be heard on the Centaur, Meridian, Koch, Dorian, Musica Omnia, Music and Arts, Musical Heritage Society, and other recording labels. He has also made many concert recordings for radio and television in both Europe and the United States, including the BBC, NPR’s Performance Today, and CBS television’s Sunday Morning program. John has been Music Director for performances of Monteverdi’s Vespers of 1610 and Purcell’s Dido and Aeneas for the Renaissance and Baroque Society of Pittsburgh, and in 2005 he conducted a fully staged production of Monteverdi’s L’incoronazione di Poppea at California State University in 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’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).
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).
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.
Violinist Cecilia Archuleta has performed internationally as an orchestral musician and soloist. Her freelance career in California, where she was born, brought numerous celebrity engagements, including a concert for Princess Grace of Monaco and a performance of the Bach Double Violin Concerto with Jack Benny. She has appeared as soloist with the Mexico City Philharmonic and, by special request of the First Lady of Mexico, has played before the President of Mexico. In the Pacific Northwest,Cecilia is one of the most sought-after violinists for chamber music. She participated for twelve seasonsin the Olympic Music Festival and is a founding member of the Obbligato Players, which performs on period instruments. She is concertmaster ofPhilharmonia Northwest and a member of the Northwest Sinfonietta, and has performed with the Seattle Baroque Orchestra, the Early Music Guild, the Northwest Puppet Center, the Our Lady of Fatima Baroque Orchestra, the Pacific Northwest Ballet, and the Seattle Symphony.
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.
Courtney Westcott has performed as a soloist or principal flute with many of North America’s Baroque orchestras, including Seattle Baroque, NYS Baroque, and Tafelmusik. Her playing has been described as an “ear-opening experience...such lightness and clarity” (Ithaca Journal). A graduate of Oberlin Conservatory and the Royal Conservatory of The Hague, she has studied with Robert Willoughby, Barthold Kuijken, and Frans Vester. She has recorded for CBC, NPR, and the Wildboar, Focus, and Loft labels. With flute maker Peter Noy she collaborates on the research and development of flutes based on 18th- and 19th-century originals.
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.
Wilbert Hazelzet has dedicated himself since 1970 exclusively to the baroque flauto traverso. He studied the ancient instrumental techniques and the performance of the music from the 18th century according to contemporary treatises about flute playing and singing. Considered by many as the world’s leading baroque flute player, in 1978 he became a member of Musica Antiqua Köln, and with this world-famous ensemble he appeared in Japan, India, China, the USA, Canada, and all over Europe, from Finland to Portugal and from Ireland to Russia.
He now forms permanent duos with harpsichordist Jacques Ogg and with lutenist Konrad Junghänel. He is the first flautist of Ton Koopman’s Amsterdam Baroque Orchestra, has appeared for numerous radio and TV stations across the world and has recorded for several companies such as DGG, Erato, Harmonia Mundi, and, in recent years, Glossa. Wilbert Hazelzet is a Professor at the Royal Conservatory in The Hague.
Jacques Ogg performs on both harpsichord and fortepiano. He teaches at the Royal Conservatory in The Hague. Born in Maastricht (the Netherlands), he studied harpsichord in the city of his birth with Anneke Uittenbosch. In 1970 he went to study with Gustav Leonhardt at the Amsterdam Conservatory from which he graduated in 1974. Jacques Ogg’s current activities include solo concerts on harpsichord or on fortepiano, and concerts with flautist Wilbert Hazelzet as a duo as well as a trio-formation with Jaap ter Linden. He has been a member of the Orchestra of the 18th Century and has performed regularly with Concerto Palatino. He is frequently invited for master classes, for instance in Curitiba (Brazil), Vancouver (Canada), Buenos Aires (Argentina), in Mateus (Portugal), Salamanca (Spain) as well as in Cracow (Poland), Prague, and Budapest. Jacques Ogg is artistic director of the Lyra Baroque Orchestra in Minneapolis/Saint Paul (Minnesota).
Recorder player Eva Legêne is Professor of Music at Indiana University. A graduate of the Royal Conservatory of Music (Netherlands) and a former student of Frans Brüggen in The Hague, she has been a faculty member of the Sweelinck Conservatory in Amsterdam and the Royal Academy of Music in Copenhagen. Eva served as the director of the North American Recorder Conference at Indiana University. She concertizes extensively as a soloist and in collaboration with Frans Brüggen, Wieland and Bart Kuijken, John Gibbons, and the Rosenborg Trio. Her recordings can be found on the Telefunken and Brüggen Consort labels, and as soloist on the Denon label.
Wieland Kuijken is widely regarded as one of the most influential pioneers in the twentieth century revival of the viola da gamba and early cello. Born to a musical family near Brussels, he began studies on the cello at the Conservatory at Bruges in 1952. He then attended the Brussels Conservatory, winning the Prix d'Excellence in 1962. As a student in Brussels he began to teach himself the viola da gamba, and from 1959 to 1972, he performed with the Alarius Ensemble, an ensemble devoted to French Baroque music. Soon thereafter, the name “Kuijken” became synonymous with stylistically accurate performances of Baroque music thanks to concerts with his brothers Sigiswald (violin) and Barthold (flute) in the Kuijken Early Music Group. Specializing in the bass viol, Wieland has performed and recorded a large repertoire as both a continuo player and soloist. His recordings of Bach, Marais, and Forqueray have garnered critical acclaim, and his repertoire encompasses music by composers as late as Mozart and Boccherini. He has taught at the conservatories of Antwerp, Brussels, and The Hague, and has been a featured performer at festivals of early music such as Flanders, Saintes, and the English Bach Festival. Aside from his brothers, notable collaborators have included Alfred Deller, Frans Brüggen, Jordi Savall, and Gustav Leonhardt.
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.
Baroque dancer and educator Jamia Hansen-Murray specialize in the European dances of the 16th through 18th Centuries. She has performed with the Seattle Symphony, the Seattle Baroque Orchestra, on Gallery Concerts, and in operas with Early Music Guild. Jamia is a frequent soloist with Seattle Early Dance. She was on the faculty for Aestas Musica (in Croatia) for several years, teaching dance and staging Baroque operas. Her choreography has been seen in Europe, the Seattle area, and in EMG’s “Early Music Discovery” series. Jamia is in demand as a lecture-demonstration guest at local schools and universities, and loves teaching. She studied early dance with experts in the United States and Europe. Jamia also has a costume design business, and designed the costumes for the critically acclaimed Baroque operaIndian Queen. She retired from a U.S. Forest Service career in 2006
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).