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Home , Anna Bon, Antonio Vivaldi, Arcangelo Corelli, Baroque orchestra, Baroque violin, Boston Baroque

Byron Schenkman Friends

season five 2017-2018

2017-2018 season

Welcome to the fifth season ofByron Schenkman & Friends! 2017 has been a challenging year for many of us. I am very grateful for the power of to bring us together in community, for healing and for joy. This season our repertoire ranges from early 17th- century by and Claudia Francesca Rusca to masterpieces of 19th-century Romanticism by Robert and Clara Schumann, with Corelli, Vivaldi, Handel, Mozart, Beethoven, Schubert, and more in between. May this wonderful music nourish our minds, hearts, and souls, giving us the strength to continue moving joyfully forward!

byron schenkman, artistic director

page 3 Byron Schenkman & Friends announces a new CD R

The Art of the Byron Schenkman on eight historical in the

Available at www.byronschenkman.com Photo: Tony Jones, National Music Museum

contents Oct 15 Bach Double Harpsichord program & notes...... 6-7 Nov 12 Schumann: The Poet Speaks program & notes...... 8-9 Dec 28 An Evening of Viennese Classics program & notes...... 12-13 BISCHOFBERGER Feb 18 Handel: From theWar of Love program & notes...... 14-15 Mar 18 Beethoven: Kreutzer and Pathétique Professional Repairs, program & notes...... 18-19 Appraisals, & Sales April 22 Vivaldi and the High 1314 E. John St. program & notes...... 20-21 , WA 206-324-3119 musician bios ...... 22-26 www.bviolinsltd.com

page 4 Thank you for joining us for this Fifth Byron Schenkman & Friends Season of Byron Schenkman & Friends! Your support makes all 2017-2018 this wonderful and inspirational music possible. We depend on Artistic Director our generous donors, our loyal and growing audience, our talented Byron Schenkman musicians, and reliable volunteers to make this all happen. General Manager Margy Crosby As BS&F becomes a 501(c)(3) entity on its own, we have Graphic Design established a Board of Directors as you can see to the Rebecca Richards-Diop right. We thank these community members for their confidence in our mission as we move into our future. Board of Directors Rob DeLine Whatever part you take in this adventure, we could President

not do it without you. Thank You! Tom Lewandowski Vice President

margy crosby, general manager Maria Coldwell Treasurer

Peggy Monroe Secretary

Deborah Bogin Cohen

Special thanks… Flora Lee

Donna McCampbell To our Series Founders, Robert DeLine and Carol Salisbury. Wyatt Smith

Valerie Yockey To Tom Lewandowski for all his generous support and assistance. Office Address: To Shunpike helping 1211 E Denny Way, #179 Seattle, WA 98122-2516 Byron Schenkman & Friends Phone: 206-659-1644 Byron Schenkman & Friends is an Associated Program of Shunpike. reach its Fifth Season. [email protected]

page 5 October Bach Double 15 Harpsichord Concertos 2017

Ignacio Prego & Byron Schenkman u Harpsichords Ingrid Matthews & Laurel Wells u V iolins Jason Fisher u Nathan Whittaker u Curtis Daily u

Johann Sebastian Bach (1685-1750): in C Minor, BWV 1060, for two harpsichords and strings Allegro u Adagio u Allegro

Girolamo Frescobaldi (1583 – 1643): Canzon VI à 4 (, 1628) Girolamo Frescobaldi: Canzon II à 4 sopra Romanesca (Rome, 1628) Claudia Francesca Rusca (1593 – 1676): Canzon I à 4 La Borromea (, 1630)

Rupert Ignaz Mayr (1646 – 1712): Suite in B-flat for strings and continuo from Pythagorische Schmids-Fuencklein (Augsburg, 1692) u u Menuet u Rondeau

intermission

Georg Philipp Telemann (1681 – 1767): à 4 in F, TWV 43:F1, for strings and continuo Adagio u Allegro u Adagio u Allegro

Johann Sebastian Bach: Concerto in C Minor, BWV 1062, for two harpsichords and strings (Allegro) u Andante u Allegro assai

page 6 notes on the program By Byron Schenkman

J.S. Bach drew on many kinds of music for adaptations of vocal pieces. The Canzon II à 4 is built inspiration, from hundred-year-old organ works by on the Romanesca, a popular ground bass (repeating Girolamo Frescobaldi to the latest Italian concertos chord pattern). However, like Bach, Frescobaldi takes and French suites – and everything in between. The a simple form and turns it into something more universality of Bach’s work results at least in part from sophisticated and contrapuntally complex. his assimilation of such diverse types of music. Many women published music in the 16th and 17th Bach’s double harpsichord concertos were obviously centuries. Some were professional musicians such inspired by contemporary Italian models. However as Francesca Caccini, the highest paid musician at their complex also points back to the Florentine court; some were members of the Frescobaldi and to 17th-century German . aristocracy, such as the outstanding Bach made many transcriptions of Italian concertos ; and many were nuns, including and even adapted one of Vivaldi’s four- Claudia Francesca Rusca and concertos into a work for four harpsichords. Bach’s (whose music appears in our February program). original concertos take those Italian models as a jumping-off-point for a new type of concerto on a For most of the 17th century, German composers much larger scale. Often Bach made alternate versions looked to Italian music for inspiration. Then with the of his own works such as BWV 1060, adapted from rise in power of Louis XIV French music began to a concerto for violin and , and BWV 1062, sweep the continent, especially suites of dances from adapted from the famous D Minor concerto for by Lully. Mayr’s suites are typical of late 17th- two violins. century German imitations of that French style.

Early Baroque music developed In addition to Italian concertos, J.S. Bach transcribed out of a tradition of instrumentalists performing at least one concerto by his good friend Georg polyphonic vocal music, either as written or with Philipp Telemann, godfather to his son Carl Phillip elaborate embellishments. Frescobaldi was one of Emanuel and one of the most famous composers of several early 17th-century composers who published the day. You may notice some similarity between the Canzoni da Sonar (“songs to be played”), newly slow movements of Telemann’s Sonata in F and composed instrumental pieces written as if they were BWV 1062.

page 7 November Schumann: 12 The Poet Speaks 2017

Ross Hauck u Tenor Susan Gulkis Assadi u V iola Byron Schenkman u

Robert Schumann (1810-1856): Clara Schumann, née Wieck , op. 68, no. 4 (1819-1896): Scenes from Childhood, op. 15, for piano Nocturne in , op. 6, no. 2, for piano Of foreign lands and people Robert Schumann: Curious story Poet’s Love, op. 48, for tenor and piano Blind man’s buff Pleading child Perfect happiness Important event Dreaming By the fireside Knight of the rocking horse Almost too serious Frightening Child falling asleep The poet speaks

Fairy Tale Pictures, op. 113, for viola and piano Not fast Lively Quick Slowly, with melancholic expression

intermission

page 8 notes on the program By Byron Schenkman

Robert Schumann, child of a publisher, grew up The relationship between Robert Schumann and surrounded by books. Schumann set out to become Clara Wieck is probably the most famous romance a writer before he was drawn irresistibly to music, in the history of Western music. Wieck was a child and his music is often closely connected to poetry prodigy who grew up to be one of the great pianists or Romantic prose. Schumann was extraordinarily of her century and the first to champion the music of sensitive and struggled with mental illness throughout both Robert Schumann and . She his life, eventually attempting suicide and then published some wonderful music of her own but gave committing himself to an asylum out of fear of up composing based on her false belief, according to harming his wife and children. an entry in her journal, that women had never been composers and that it would be arrogant to think One of Schumann’s obsessions seems to have been a she could be the first. The Nocturne in F is from a longing for innocence. He loved children and wrote collection published when she was just seventeen many beautiful pieces for children to play, most years old. famously the Album for the Young, op. 68, from which our opening chorale is taken. On the other hand his A Poet’s Love, op. 48, is the quintessential Romantic Scenes from Childhood, op. 15, is a series of nostalgic song cycle. Although inspired by the great cycles of reminiscences intended for adults. Schumann only Franz Schubert, Schumann’s settings of sixteen poems added titles to these short pieces after the fact as by Heinrich Heine sound distinctly more modern, subtle hints for interpretation. with tonal ambiguity and extended piano solos. Whereas the individual songs in a Schubert cycle can The Fairy Tale Pictures for viola and piano, op. 113, easily stand alone, many of these songs by Schumann have no titles other than their indications. sound like mere fragments until they are stitched However notes in Schumann’s journal inform us that together to create the perfect whole. This potentially the first two pieces depict scenes from Rapunzel, depressing series of poems is given great beauty and the third from Rumpelstiltskin, and the fourth from depth through Schumann’s masterful setting. Sleeping Beauty.

page 9 2017-18 SEASON International Series

SUN. 8 OCT. 2017 Diabolus in Musica

TUES. 19 DEC. AND THURS. 21 DEC. 2017 Seattle Baroque Venetian Women: Vivaldi’s and Alexander Weimann,

SUN. 25 FEB. 2018 SAT. 11 NOV. 2017 Forces of Nature

THURS. 12 APR. 2018 SUN. 14 JAN. 2018 The King’s Singers Byron Schenkman’s Favorites

SAT. 5 MAY 2018 SAT. 17 MAR. 2018 and Hespèrion XXI The Fairy Queen with Carlos Núñez SUN. 8 APR. 2018 The Splendor of

BUY TICKETS AT earlymusicseattle.org

December An Evening of 28 Viennese Classics 2017

Rachell Wong u V iolin Nathan Whittaker u Cello Byron Schenkman u Piano

Franz Schubert (1797-1828): Sonata in A Major, D. 574, for violin and piano Allegro moderato u : Presto u Andantino u Allegro vivace

Joseph Haydn (1732-1809): Trio in E Minor, H.XV:12, for violin, cello, and piano Allegro moderato u Andante u Rondo: Presto

intermission

Ludwig Van Beethoven (1770-1827): Allegretto in B-flat, WoO 39, for violin, cello, and piano

Wolfgang Amadeus Mozart (1756-1791): Trio in G Major, K. 496, for violin, cello, and piano Allegro u Andante u Allegretto and variations

page 12 notes on the program By Byron Schenkman

Key moments in music history often revolve around a was already a musical celebrity and particular place. The four composers who dominated an elder statesman among musicians by the time any the music of the Classical era (and the transition of the other three composers arrived on the scene. into the Romantic Era) were all active in in Although Haydn had begun his career as a choirboy the last decades of the eighteenth century and/or in Vienna, at the height of his fame he was in the the first decades of the nineteenth: Haydn, Mozart, service of the Esterhazy palace about sixty miles away. Beethoven, and Schubert. It is almost redundant to Haydn attributed his originality as a composer to his speak of Viennese since nearly all the relative isolation there. Besides writing marionette most famous music from the Classical era was written operas and other light entertainments for the court, by these composers associated with Vienna. Haydn took the sonata, trio, , and symphony in new directions, offering models and inspiration for Franz Schubert, the youngest of these composers, generations to come. is the only who was actually born in Vienna and spent his entire life there. His lack of connections Young Beethoven originally planned to move to to aristocratic patronage is one of the ways in which Vienna to study with Mozart, who unfortunately died he is more typical of Romantic than Classical or before Beethoven got there. He studied with Haydn earlier composers. Although Beethoven was living in instead and although theirs was a stormy relationship Vienna for almost all of Schubert’s life they moved there is no doubt of Haydn’s influence on Beethoven’s in very different circles. Whereas Beethoven was music. Haydn and Mozart, on the other hand, had closely connected with the aristocracy, Schubert been good friends who acknowledged their influence moved in a circle of poets, actors, and political on each other. Beethoven’s Allegretto in B-flat is a late dissidents. Schubert was well known in his lifetime work composed for the ten-year old child of a friend. for his hundreds of great songs; it was only after his Mozart’s Trio in G is a much more demanding work death that his instrumental music became part of the intended for his own concert performance. standard repertory.

page 13 February Handel: From the 18 War of Love 2018

Ian Pomerantz u Bass-baritone Andrew Fouts & Ingrid Matthews u V iolins Elisabeth Reed u Cello Byron Schenkman u Harpsichord

Arcangelo Corelli (1653-1713): Sonata in , op. 2, no. 1, for two violins and continuo Preludio u Allemanda: Largo u Corrente: Allegro u Gavotta: Allegro

Arcangelo Corelli: Sonata in G Major, op. 4, no. 10, for two violins and continuo Preludio: Adagio – Allegro u Grave u Tempo di Gavotta: Presto

George Frideric Handel (1685-1759): Cantata Dalla guerra amorosa for bass and continuo

Isabella Leonarda (1620-1704): Sonata in F Major, op. 16, no. 10, for two violins, cello, and continuo

intermission

Carlo Ambrogio Lonati (c.1645-c.1712): Sonata XII in G Major (Ciacona) for violin and continuo

George Frideric Handel: Cantata Cuopre tal volta il cielo for bass, two violins, and continuo

page 14 notes on the program By Byron Schenkman

George Friderick Handel spent formative years in Isabella Leonarda was one of the best and most in his early twenties. There he was the darling prolific of the many nuns who published music in of a circle of aristocratic patrons known for their 17th-century Italy. She was also the first to publish tendency to celebrate same-sex desire. One of them, a collection of instrumental sonatas, including the , even wrote an ode to Handel trio-sonata on tonight’s program. In of with obvious sexual innuendo and commissioned the this period, imitations of and often young composer to set it to music. Another, Francesca evoke the war of love, whether conquering the heart Maria Ruspoli, hired Handel to direct the music at of the beloved or conquering one’s own desire for an his Roman palace and wrote the texts for many of unattainable love. In sacred music, and most likely Handel’s Italian , including Dalla Guerra in this sonata by Leonarda, such military allusions Amorosa (From the war of love). Cuopre tal volta il generally represent the triumph of salvation over sin. cielo was most likely composed in Naples for the bass who sang the role of Polyphemus in Handel’s Aci, Carlo Ambrogio Lonati was a virtuoso violinist Galatea e Polifemo which premiered there in 1708. employed by the exiled Queen Christina of Sweden, one of the great arts patrons of the time. It seems In Rome Handel worked closely with the violinist that nicknames were popular in this period and while Arcangelo Corelli, perhaps the most influential Handel was known as Il Caro Sassone (The Dear composer of the time. Corelli’s 48 published trio- Saxon), Lonati was known as Il Gobbo della Regina sonatas, 12 solo sonatas, and 12 concerti grossi (The Queen’s Hunchback). A ciaccona is a series provided the model for sonatas and concertos by of variations on a popular repeating chord pattern. Handel and many of his contemporaries throughout Lonati’s set is a particularly extravagant (and lengthy!) Europe. The two equal violin parts in the trio-sonatas example. and concertos would originally have been performed by Corelli and his intimate friend, Matteo Fornari, from whom he was said to have been inseparable for the last two decades of his life.

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2017-2018

Gallery

Concerts DYNAMIC MUSIC IN INTIMATE SETTINGS

OCTOBER 21, 22 LEONARDA’S CIRCLE

North America’s newest ensemble, Leonarda’s Circle — Carla Moore and Linda Melsted, violin, Joanna Blendulf, viola da gamba/violoncello, and Jillon Stoppels Dupree, harpsichord — makes its Seattle debut with the dazzling and sensuous music of 17th-century Italy and , featuring works by Uccellini, Marini, Buxtehude, Schmelzer, and the incomparable Isabella Leonarda.

DECEMBER 2, 3 THE VIRTUOSO

Guest Artist Thomas Carroll, period clarinetist extraordinaire, visits from to perform virtuosic on the clarinet and basset . Celebrate the holiday season with the iconic Mozart Clarinet Quintet, the Hummel Clarinet Quartet, the Backofen Quintetto, and a rarely performed of Mozart. Mr. Carroll is joined by Ingrid Matthews and Christine Wilkinson Beckman, violin, Laurie Wells, viola, and Page Smith, violoncello.

JANUARY 13, 14 THE POWER OF THREE

Gallery Concerts' new Artistic Director Nathan Whittaker, cello, is joined by Tekla Cunningham, violin, and Vijay Chalasani, viola, in celebration of the . Often neglected next to its “big brother” the string quartet, string trios allow space for a playfulness that is sure to delight. Trios by Schubert, Beethoven, and Rolla are joined by Beethoven’s quirky Eyeglasses Duo for Viola and Cello.

FEBRUARY 3, 4 THE ARTISTRY OF INGRID MATTHEWS

Baroque devotees love the artistry of violinist Ingrid Matthews — “one of the lights on early music’s international circuit” (San Francisco Chronicle) whose playing is “luminous and illuminating” (Seattle P-I). Her intimate art will be unveiled in works from 17th-century and for solo violin and in duos with lutenist John Lenti.

MARCH 3, 4 MOZART QUINTETS

Canada’s celebrated violinist Marc Destrubé, artistic director of the Pacific Baroque Festival (Victoria), and the Op. 20 String Quartet — Cecilia Archuleta, violin, Adam LaMotte and Laurel Wells, viola, and Nathan Whittaker, cello — continue their acclaimed Mozart Quintet cycle with the String Quintets Nos. 2 and 5, K. 406 and 593.

APRIL 14, 15 STRIKE THE

A -lover’s delight — two early-music stars, Mary Springfels, viola da gamba, and Ellen Hargis, soprano — team up with Jillon Stoppels Dupree, harpsichord, for the second annual Margriet Tindemans Concert. Enjoy a rich array of vocal and instrumental music by Purcell, Dowland, Lawes, and others, performed exquisitely by these renowned artists.

All concerts are in the acoustically superb

Queen Anne Christian Church, 1316 3rd Ave West, Seattle, WA 98119

Saturdays at 7:30 pm & Sundays at 3:00 pm www.galleryconcerts.org 206.726.6088

March Beethoven: Kreutzer 18 and Pathétique Sonatas 2018

Mikhail Shmidt u V iolin Byron Schenkman u Piano

Ludwig Van Beethoven (1770-1827):

Sonata in C Minor, op. 13, (Sonate Pathétique) for piano Grave – Allegro di molto e con brio Adagio cantabile Rondo: Allegro

Sonata in G Major, op. 30, no. 3, for violin and piano Allegro assai Tempo di minuetto, ma molto moderato e grazioso Allegro vivace

intermission

Sonata in A Major, op. 47, (Kreutzer Sonata or Sonata Mulattica) for violin and piano Adagio sostenuto – Presto Andante con variazioni Presto

page 18 notes on the program By Byron Schenkman

What’s in a name? In the 19th century it was Not all of Beethoven’s work is about triumph over fashionable to add fanciful titles to instrumental suffering however. Much more of his music expresses works. Often these were short character pieces, such unabashed joy in life! A wonderful example is the as Robert Schumann’s Scenes from Childhood heard Sonata in G Major, op. 30, no 3, which might be earlier this season. Some large-scale works received better known if it had a catchy nickname. It’s amazing titles as well and Beethoven even speculated that that Beethoven could write such cheerful and the popularity of his Grande Sonate Pathétique may optimistic music when his life seemed to be falling have resulted from that evocative title given by the apart, especially as he faced the perceived shame of publisher. The name helped sell more copies from the losing his hearing at a time when there was no respect outset and helped people to identify the work from for people with disabilities. then on. It’s still easier for most of us to remember the “Pathétique” than “op. 13 in C Minor.” Beethoven originally called his op. 47 Sonata Mulattica and dedicated it to “the mulatto Even if the publisher’s motivation for it was purely Bridgetower, great mulatto madman and composer.” commercial, the title given to Beethoven’s op. 13 George Bridgetower was a phenomenal violin virtuoso seems quite fitting for this emotionally fraught of mixed European and African descent who played sonata. Friedrich Schiller, a favorite author of the premier of this exceptionally difficult work. It Beethoven’s, had recently published an essay “on is said that when they finished the performance the pathetic.” In his essay Schiller advocated for the Beethoven leapt from the keyboard to embrace his depiction of suffering in art, not for its own sake young colleague. After a falling out between them but so that we might triumph over it through moral Beethoven replaced the original dedication with resistance and reason. Beethoven became a master at one to the French violinist Rodolphe Kreutzer who this and his op. 13 is a fine example. declared it unintelligible and never played it. Yet we still call it the Kreutzer Sonata and an inspirational person of color vanishes from history.

page 19 April Vivaldi and the 22 High Baroque 2018

Joshua Romatowski u Debra Nagy u Oboe Anna Marsh u Ingrid Matthews u Violin Nathan Whittaker u Cello Byron Schenkman u Harpsichord

Antonio Vivaldi (1678-1741): Anna Bon (c.1739-after 1767): Sonata in D Major, RV 84, for flute, violin, Sonata in C Major, and continuo op. 2, no. 4, for harpsichord Allegro u Andante u Allegro Allegro u Largo u Allegro assai

Antonio Vivaldi: Giuseppe Antonio Brescianello Sonata in , RV 28, (c.1690-1758): Sonata in C Minor for for oboe and continuo oboe, violin and continuo (Largo) u (Allegro) u Largo u Allegro Larg u Allegro u Adagio u Adagio u Allegro

Joseph Bodin de Boismortier Johann Ernst Galliard (1687-1749): (1689-1755): Sonata no. 2 in G Major Sonata in G Major, op. 37, no. 1, for violin, for bassoon and continuo cello, and continuo Andante u Vivace u Alla ciciliana cantabile u Allegro u Adagio u Allegro Spiritoso e allegro

Joseph Bodin de Boismortier: Antonio Vivaldi: Concerto in E Minor, op. 37, no. 6, for flute, Concerto in D Major (), RV 90, oboe, violin, bassoon, and continuo for flute, oboe, violin, bassoon, and continuo Allegro u Adagio u Allegro (Allegro) u Largo u Allegro

intermission

page 20 notes on the program By Byron Schenkman

Before Antonio Vivaldi, most chamber music he indicates may be performed by flute and viol, featured pairs or groups of like instruments such as oboe and bassoon, or violin and cello (always with trio sonatas for two violins and continuo or string continuo ), retaining the traditional concertos or (earlier) consorts for recorders or preference for pairing like instruments when possible. . In the early Vivaldi popularized These five trios are then followed by a chamber sonatas and concertos for diverse combinations of concerto with the mixed instrumentation most typical instruments including many chamber concertos for of Vivaldi. flute, oboe, violin, bassoon, and continuo. Besides being a celebrated violinist and a prolific Anna Bon was one of the paying students at the composer, Vivaldi presided over the Ospedale della Ospedale della Pieta beginning at the age of four. Pieta, a famous Venetian music school and home for While still a teenager she was hired as a professional girls. Some of the young musicians in residence there singer at the Brandenburg court in Bayreuth. She were orphans; others came from wealthy families published three volumes of instrumental music willing to pay for their daughters to have such a by the time she was nineteen before marrying and great musical education. The virtuosity of the music drifting into obscurity. The violinist Giuseppe Vivaldi composed for these students indicates that Antonio Brescianello was another of the many there must have been many phenomenally talented Italian musicians employed at German courts during young women and girls at the Ospedale. the Baroque era. European music was becoming increasingly international in flavor and his C Minor Joseph Bodin de Boismortier was one of the first incorporates French dotted rhythms in composers to earn a living by selling music to the the first movement, Italian virtuosity in the second, general public, neither relying on a church, court, and German empfindsamkeit (a kind of expressive or theater for employment, nor on aristocratic sensitivity) in the third. Meanwhile Johann Ernst patronage. Therefore he had to be up on the latest Galliard was a German musician who settled in fashions and to present works with broad popular England where he became the principal oboist in appeal. His opus 37 contains five trio sonatas which George Friderick Handel’s opera orchestra.

page 21 Byron Schenkman has Violist Jason Fisher is recorded more than thirty CDs of a founding member of Boston’s 17th- and 18th-century repertoire, Grammy-nominated chamber including recordings on historical orchestra, A Far Cry (afarcry.org). A instruments from the National Music Carnegie Hall Fellow and a Peabody Museum, Vermillion, and the Museum Singapore Fellow, Jason has toured of Fine Arts, Boston. A recipient of Europe, Asia, Kazakhstan, and the the Erwin Bodky Award from the Kyrgyz Republic. Concerts at Vienna Will Austin Will Cambridge Society for Early Music Musikverein, Singapore Esplanade, “for outstanding achievement in the field of early music,” he and Carnegie Hall. Performances with Pink Martini, Jake was voted “Best Classical Instrumentalist” by the readers of Shimabukuro, Itzakh Perlman, Yo-Yo Ma, Renée Fleming, Seattle Weekly, and his piano playing has been described in The Kiri Te Kanawa, and with members of the Florestan Trio, and New York Times as “sparkling,” “elegant,” and “insightful.” He the Æolus, Brentano, Cleveland, Emerson, Mendelssohn, has been a featured guest with the Chameleon Arts Ensemble and St. Lawrence String . As a passionate explorer of Boston, the Daedalus Quartet, Les Enfants d’Orphée, of early music, he plays period viola with a bicoastal variety the Northwest Sinfonietta, Pacific , of ensembles including Gut Reaction, Antico/Moderno, the Philharmonia Northwest, and the Portland Baroque Handel & Haydn Society, , and the Seattle Orchestra. He was also founding co-director of the Seattle and Portland Baroque . During the summer, Jason Baroque Orchestra with violinist Ingrid Matthews. In 2013 performs on both modern and period instruments at the he launched “Byron Schenkman & Friends,” a Baroque and Staunton Music Festival in Virginia. Classical chamber music series at Benaroya Hall in Seattle. Schenkman is a graduate of the New England Conservatory and received his master’s degree with honors in performance Baroque violinist Andrew from the Indiana University School of Music. He currently Fouts has been noted for his teaches at Seattle University, and has been a guest lecturer in “mellifluous sound and sensitive harpsichord and at the Indiana University Jacobs style” (Washington Post) and as “an School of Music. www.byronschenkman.com extraordinary violinist” who exhibits “phenomenal control” (Bloomington Curtis Daily has focused Herald-Times). In 2008 Andrew on the historical performance practice won first prize at the American Bach of Baroque and Classical music Soloists’ International for more than 25 years. He is the Competition. That same year he joined Pittsburgh’s acclaimed principal bassist with Portland Baroque ensemble, Chatham Baroque, which he co-directs; they Orchestra and a member of Seattle perform over 50 concerts annually, both at home and on tour. Baroque Orchestra since its inception. In addition, he regularly appears with Apollo’s Fire, American He has also made frequent appearances Bach Soloists, and The Four Nations Ensemble. In 2010, with Pacific Baroque Orchestra and Andrew began serving as concertmaster of the Washington Oregon Bach Festival. Daily also performs on occasion with Bach Consort. The Washington Post has written of his position Musica Angelica, Orchester Wiener Akademie, Philharmonia there “Fouts, the group’s new concertmaster, was exemplary Baroque Orchestra, and Baroque Orchestra, on the highest part, playing with clean intonation and radiant working with many of the most distinguished artists in the tone.” His principal teachers include Charles Castleman at early music field. In the realm of modern performance, Mr. The Eastman School of Music and Stanley Ritchie at Indiana Daily performs every summer at Chamber Music Northwest, University. Andrew has taught at the Madison Early Music where he collaborates with leading chamber musicians from Festival and the Oficina de Música de Curitiba, Brazil. He plays around the world. Daily was a member of the Oregon Bach on a violin by Karl Dennis (Warren, RI 2013), after Guarneri Festival orchestra for the Grammy-winning recording of del Gesu’s Le violon du Diable (1734). by Krzysztof Penderecki on Hannsler Records and is also heard on recordings for Virgin Classics, Koch, Centaur, and Sub-Pop Records. He lives in Portland, Oregon.

page 22 Principal Violist of the Seattle Anna Marsh, Baroque Symphony since the 1992-1993 bassoon, was highlighted by season, Susan Gulkis Philadelphia’s Broad Street Review: “... Assadi enjoys a varied career as an memorable solos for Anna Marsh...a orchestral player, chamber musician, perfect evocation of a flowing river” soloist, and teacher. After playing in and Boulder’s Daily Camera: “the real numerous chamber orchestras, she highlight may have been Anna Marsh began her orchestral career as the on bassoon. Marsh’s concerto received a Principal Violist of the San Francisco well-earned and warm ovation.” Anna Opera Orchestra before coming to Seattle. owns six from different eras and plays with Opera Hailed by the Seattle Post Intelligencer for her “uncommon Lafayette, Tempesta Di Mare, Tafelmusik, Opera Atelier, Pacific warmth and beauty of timbre,” Gulkis Assadi often appears Musicworks, Atlanta and Portland Baroque, Trinity Wall Street as soloist with the Seattle Symphony. She helped inaugurate Baroque Orchestra, Washington Bach Consort, among others. Benaroya Hall with Yo-Yo Ma in R. Strauss’ Don Quixote. She is bassoon faculty at the San Francisco Early Music Society David Stock’s , written for her and the Seattle Baroque Workshop and the Hawaii Performing Arts Festival Symphony, was released spring 2004 on Innova Records to where she also runs the Instrumental program. She is the critical acclaim. In June 2006, Ms. Gulkis Assadi played the co-director of the and Baroque group Ensemble west coast premiere of Paul Schoenfield’sViola Concerto. Lipzodes. She holds a Doctorate of Music in Historical Susan Gulkis Assadi also performs regularly with the Performance from Indiana University and her MM from the Seattle Opera, Music of Remembrance, and The Governor’s University of Southern California. She played the Opera Royal Chamber Music Series. She has spent twenty summers in Versailles six times and performed and lectured for the music performing with the Grand Teton Music Festival in Jackson department of the Washington DC National Gallery of Art. Hole, Wyoming. She has coached and given master classes She has been heard on Performance Today, Harmonia, the at the University of Washington, the New World Symphony Super Bowl, and CBC radio, and on the record labels Chandos, in Miami, Florida and the National Orchestral Institute in Analekta, Centaur, Naxos, Avie, and on Musica Omnia’s College Park, Maryland. Grammy nominated album of Handel’s Israel in Egypt. Ms. Gulkis Assadi received her Bachelor of Music from The Curtis Institute of Music, where she studied with Michael Tree of The Guarneri Quartet and Karen Tuttle. Ingrid Matthews is well established as one of the premier baroque violinists of her generation. Lyric Tenor Ross Hauk is She won first prize in the Erwin Bodky well-known to Seattle area audiences, International Competition for Early recently described as “Seattle’s favorite Music in 1989 and was a member of tenor” by the Seattle Times. He is a Toronto’s Tafelmusik Baroque Orchestra specialist in the classical concert work, before founding the Seattle Baroque but is well-known for his versatility Orchestra with Byron Schenkman; she and range of expression. Mr. Hauck’s served as its Music Director from 1994 to 2013. Matthews has recent credits include the symphonies performed extensively around the world with many of today’s of Phoenix, , Grand Rapids, leading early music ensembles, appearing as a soloist and/or Kansas City, and Portland, and the National Symphony. guest director with groups including the New York Collegium, Opera credits include lead roles with companies in Tacoma, the Australian Brandenburg Orchestra, the Bach Sacramento, Indianapolis, and Cincinnati, among others. (Washington DC), Ars Lyrica (Houston), Musica Angelica Mr. Hauck is a distinguished alum of the Cincinnati-College (), (Atlanta), and numerous Conservatory of Music, with further training at , others, and is currently a member of the esteemed Bay Area Ravinia, and Aspen, with two seasons at the prestigious ensemble Musica Pacifica. Matthews has won high critical Filene Center at Wolf Trap. He is a cellist and serves as acclaim for a discography ranging from the earliest Italian professor of voice at Seattle University. He is active in ministry violin music through the Sonatas and Partitas of J.S. Bach through the arts, and lives in Maple Valley, WA with his wife (“the finest complete set of these works,” according to Third and four children. Ear’s Classical Music Listening Companion). 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 also plays jazz and swing styles and is active as a visual artist. www.ingridmatthews.com page 23 Praised for her “dazzling technique Ignacio Prego is and soulful expressiveness,” (Rocky considered one of the leading Spanish Mountain News), and a musical of his generation. approach that’s “distinctly sensual… First Prizewinner at the 2012 pliant, warm, and sweet,” (New York Westfield International Harpsichord Times), Debra Nagy is one Competition, he regularly performs of North America’s leading performers worlwide with artists such as Maurice on the baroque oboe. She plays Steger, Monica Huggett, and Nicholas Noah Shaye Noah principal oboe with the American McGegan, among others. He also Bach Soloists and Apollo’s Fire, and is a regular guest with the collaborates with ensembles such as the Portland Baroque Handel & Haydn Society and Boston Early Music Festival, Orchestra, Philharmonia Baroque, , and among other ensembles. A dedicated chamber musician, La Ritirata. This season, appearances include recitals in major Debra is the founder of Les Délices (whose debut recording festivals in Austria, Israel, , Croatia, Lithuania, and the was named “One of the Top Ten Early Music Discoveries USA. He has recorded for Verso, Cantus, and Glossa labels. of 2009”) and performs late- as a regular His last release, by J.S. Bach, has been guest with Boston’s acclaimed Blue Heron and the Newberry received with great acclaim. Consort. Debra has received many awards for her creative Mr. Prego is recipient of the 2005 AECI Grant, the and scholarly pursuits including first prize in the American 2009 Caja Madrid Foundation Grant, and the 2014 English Bach Soloists Young Artists Competition and a 2010 Creative Concert Fellowship. He studied harpsichord with Elisabeth Workforce Fellowship from Cuyahoga Arts & Culture. She has Wright at the Indiana University and with Kenneth Weiss and recorded over 30 CDs with repertoire ranging from 1300-1800 Richard Egarr at The Juilliard School in New York. and has had live performances featured on CBC Radio Canada, He is Artistic Director of Nuovo ensemble. He is Klara (), NPR’s Performance Today, WQXR (New York often invited to give masterclasses both in Europe and the City) and WGBH Boston. USA. During the 2014 and 2015 he also worked as a vocal coach and resident artist at .

The voice of music director and bass- baritone Ian Pomerantz Elisabeth Reed teaches is “remarkable, with gravity turning viola da gamba and Baroque cello at mellifluous at key moments, free of the San Francisco Conservatory of any hint of false inflation.” Praised Music, where she is also co-director for his versatility, he is “the possessor of the Baroque Ensemble. Recent of an instrument naturally at home teaching highlights include master in many genres…and radiates artistic classes at The Juilliard School, the investment.” A specialist in French Shanghai Conservatory and Middle Teresa Tam Stuio Tam Teresa baroque repertoire, Pomerantz is the artistic director of the School, and the Royal Academy of acclaimed ensemble, Les Enfants d’Orphée, with whom he gave Music. Her playing has been described as, “intense, graceful, the North American premiere of Philippe Courbois’ Orphée. suffused with heat and vigor” and “delicately nuanced and Recently, he joined the Grammy Award-winning Boston Early powerful” (Seattle Times). A soloist and chamber musician Music Festival in André Campra’s opera, Le Carnival de Vénise. with Voices of Music, Archetti, and Wildcat Viols, she has also A scholar of Jewish music, Pomerantz joined Boston’s appeared with the Smithsonian Chamber Players, the Seattle, Cantata Singers as the guest soloist in Yehudi Wyner’s Portland, Pacific, and Philharmonia Baroque Orchestras; Torah Service, collaborated in Orchestra of New Spain’s , Byron Schenkman & Friends, Gallery groundbreaking program The Triangle of Al-Andalus, and will Concerts, and Pacific MusicWorks. She has performed at soon give his recital “Hazzan: The Golden Age of the Cantor.” the Boston Early Music Festival, the Berkeley Early Music Pomerantz joins Opera Connecticut as a Resident Artist before Festival, the Ohai Festival, the Whidbey Island Music Festival, reviving Louis Saladin’s 17th-century Canticum Hebraïcum and the San Luis Obispo Mozart Festival. She can be heard in a collaboration with Les Enfants and Hebrew College, as a on the Virgin Classics, Focus, Plectra, and Magnatunes guest soloist. The recipient of degrees from Westminster recording labels and has many HD videos on the Voices of College and Longy School of Music, Pomerantz is completing Music Youtube channel. She also teaches viola da gamba and a Doctor of Musical Arts at the Hartt School of Music. Baroque cello at the University of California at Berkeley. She is a Guild- certified practitioner of theFeldenkrais Method of Awareness Through Movement, with a focus on working with musicians and performers. page 24 Josh Romatowski, among others. Mikhail has recorded on Melodia, Delos, flutist, has been praised for his ability Naxos, ECM, Tzadik, Dux, Six Degrees and Inova labels. to “allow each note to sound with Mikhail is a member of Seattle Chamber Players, a leading its own expressive qualities” (San New Music group of the Pacific Northwest. Francisco Examiner). Joshua’s playing has been described as “elegantly Laurel Wells is known for shaped” (San Francisco Examiner) her work on both baroque and modern and possessing “graceful intimacy”

Danielle Barnum Danielle viola and violin. She has enjoyed an (San Francisco Classical Voice). Joshua extensive and eclectic musical life, holds a MM in Flute Performance from the San Francisco performing in Hong Kong, Norway, Conservatory of Music and a BM in Flute Performance from Canada, and throughout the United the University of Texas at Austin, as well as an Artist Diploma States. For twenty years she played in Early Music from the Cornish College of the Arts. Joshua violin with the Lyric Opera of was a finalist in the National Flute Association’s Orchestral McDaniel Larey Chicago, between seasons earning Excerpt Competition and a winner of the Ladies Musical Club Master’s degrees in violin and viola from Indiana University. of Seattle Frances Walton Competition. She studied chamber music at the Banff Center in Canada, As well as being a prize winner in the National Flute and performed extensively under the guidance of the Vermeer Association’s Baroque Artist Competition, Joshua has appeared Quartet. Laurel was a member of the Northwest Chamber in concert on baroque flute in every major city on the West Orchestra, holding the position of principal viola. She is Coast with the American Bach Soloists, Portland Baroque currently a member of the Pacific Northwest Ballet orchestra, Orchestra, Byron Schenkman & Friends, Pacific MusicWorks, and the 5th Avenue Theater orchestra. In the early music and other period ensembles. Joshua currently holds the third world, Ms. Wells plays with the Seattle Baroque Orchestra, Flute/Piccolo chair with Symphony Tacoma and is on faculty Pacific MusicWorks, and performs chamber music with the at Music Works Northwest. Joshua’s primary teachers have Gallery Concert Series. Other past seasons have included been Timothy Day, Marianne Gedigian, Jeffery Zook, and performances with the Seattle Symphony, Seattle Opera, Janet See. Pacifica Baroque Orchestra, Portland Baroque, and the Oregon Bach Festival. She has also performed as a chamber musician Mikhail Shmidt, violin, with the Whidbey Island Concert Series and Camerata was born in , Russia and began Musica. Laurel has recorded for NPR, Wild Boar, and the his musical education at the age of five. Centaur labels. At fourteen he won the International Chamber Music Competition Nathan Whittaker, Concertino Prague. He graduated violoncello, enjoys a unique and cum laude from Gnessin Institute of diverse career as a concert soloist, Music in 1987. His major teachers chamber musician, recitalist, teacher, were Halida Akhtiamova and Valentin and historical cello specialist with Berlinsky of the celebrated Borodin Quartet. While in college, concert stops ranging from Seattle to Mikhail participated in the highly successful Gnessin String New York to Dubai. He is the Artistic Quartet, winner of several national competitions. He also Director of Gallery Concerts (Seattle) played in the State Symphony Orchestra, Moscow Radio Chuck Moses and regularly plays with the Seattle String Quartet and was concertmaster of Camerata Boccherini Baroque Orchestra, Pacific Baroque Orchestra, and Portland Baroque Orchestra. A highlight of Mikhail’s Russian career Baroque Orchestra, and has served on the faculty of Cornish was collaborating with Alfred Schnittke, one of the greatest College of the Arts. He can be heard on recordings by ATMA composers of our time. Since immigrating to the United Musique and Harmonia and broadcasts by NPR, CBC, and States in 1989, Mikhail Shmidt has established himself as a KING FM. He completed a Doctorate of Musical Arts from leading chamber musician. A founding member of the the University of Washington in 2012 and also holds degrees Ensemble, he regularly tours Europe as a guest violinist of the from Indiana University. Moscow Piano Quartet; his “remarkable musicianship” was hailed by Lisbon newspaper Tempo. Highlights of Mikhail’s diverse chamber music activities include collaborations Steve Reich, John Zorn, Bill Frisell, Wayne Horvitz, Giya Kancheli, Paul Schoenfield, Dmitri Sitkovetsky, and Vadim Repin,

page 25 Originally from Lynnwood, Washington, versatile violinist/ baroque violinist Rachell Musique du Ellen Wong has soloed with orchestras across the US and abroad. Jour Presents! Recent concerts include a tour of New Zealand as a guest with the New YNAMIC USIC ON Zealand String Quartet, a recital with D M ISTORICAL NSTRUMENTS Ayaka Sano Ayaka H I world renowned pianist Anton Nel, Enjoy our Debut Season! and performances of Bottesini’s Gran Duo Concertante with the National Symphony Orchestra of Panama in Panama • Queen Anne Concerts • City. She has won numerous prizes in international and NOVEMBER 18 & 19 BACH AND BEETHOVEN national competitions, including the Grand Prize at the 52nd Internationally acclaimed violoncellist Tanya Tomkins and Sorantin International Young Artist Competition, among fortepianist Tamara Friedman—team up to begin a journey others. Recent music festivals include the International Johann through Johann Sebastian Bach’s Suites for Solo Cello and Ludwig van Beethoven’s Sonatas and Variations for cello and fortepiano. Sebastian Bach Competition in , the Tafelmusik Baroque Institutes in Toronto, the Sarasota Music Festival, the JANUARY 27 & 28 THE ARTISTRY OF MICHAEL PARTINGTON London Masterclasses at the Royal Academy of Music, and the Seattle’s pre-eminent classical guitarist Michael Partington performs his only solo concert this season to celebrate the release Starling-Delay Violin Symposium at The Juilliard School. of his newest CD Potpourri, with selections from this album of Rachell is a proud recipient of a Kovner Fellowship at The early by Mauro Giuliani, Fernando Sor, and Juilliard School, and is currently pursuing a Master’s degree Johann Kaspar Merton, and is joined by guitarist Alexander Dunn in pieces by Beethoven. in baroque violin as part of their Historical Performance program. She also holds a Master of Music from the Jacobs MARCH 11, 12 DUO AMADEUS: LEGACIES Acclaimed violinist Elizabeth Blumenstock, concertmaster of the School of Music at Indiana University. She currently lives in world-famous Philharmonia Baroque Orchestra (San Francisco), New York, NY. performs on her 1660 Andrea Guarneri violin with her duo partner Tamara Friedman playing on her fine replica of a and a 1782 Johann Andreas Stein fortepiano. The concert will include Bach’s Partita No. 3 in E major for solo violin and duo sonatas by C. P. E. and J. C. Bach, and Mozart. APRIL 22 or 29 MOZART À LA MODE The Harpsichord Shop Seattle’s mistress of the fortepiano, Tamara Friedman, explores the rich repertoire of Mozart’s Baroque pieces, rondos, and ! ! sonatas in a recital assisted by Classical flutist Courtney Westcott Sales Rentals Service in one of Mozart’s youthful flute sonata and operatic tenor Stephen Rumph in from Cosi fan tutti and .

In the acoustically superb Queen Anne Christian Church,

1316 3rd Ave W, Seattle (top of QA Hill).

Saturdays at 7:30 pm, Sundays at 3:00 pm $25 GA, $20 SN, Young Adult $10 (ages 17–25) “Kids-Come-Free” (ages 7–16, one-on-one with adults) • Bach & • Let go and Listen Enjoy one of Seattle’s magnificent Paul Fritts Baroque-style organ! (Organ “on stage,” for easy viewing of the performers)

MARCH 9 BACH & THE ROMANTICS (Wyatt Smith) Great Music All Day APRIL 6 BACH & BUXTEHUDE (Henry Lebedinsky)

The Church of the Ascension (Magnolia), Fridays at 7:30 pm $20 GA & SN, Young Adult $10. “Kids-Come-Free

• Soirées • Henry Lebedinsky Master and Aspiring Young Artists explore Historic Instruments Dates announced by email • “Free-Will-Offering” ! 6931 Highland Drive Everett, WA 98203 Seattle Early Keyboard Museum, 8505 2st Ave NW, Seattle

704.654.6997 (mobile) www.MusiqueduJourPresents.org [email protected] www.theharpsichordshop.com 8505 21st Ave NW, Seattle, WA 98117 206.284.0111

page 26 Let go and Listen Great Music All Day

page 27 www.byronschenkman.com page 28