Byron Schenkman Friends

season four 2016-2017

page 1 Tickets start at $52 SEATTLE CHAMBER MUSIC 2017 SEASON SOCIETY JAMES EHNES Artistic Director WINTER FESTIVAL // JANUARY 20-29

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www.dragonflybars.com Welcome to the fourth season of Byron Schenkman & Friends! I am very grateful for the joyful enthusiasm which has surrounded this series, from our first concert of Beethoven Piano Quartets three years ago up to the present. Our programs often juxtapose familiar works, such as a beloved Bach concerto or Mozart quartet, with wonderful music we may be hearing for the first time, including works by women such as Fanny Mendelssohn and Elisabeth Jacquet de la Guerre.

Each year we reconnect with old friends and

cover, back cover & welcome page photos by will austin by photos page & welcome cover back cover, meet some new friends too, both onstage and among the audience. This season I am especially delighted to welcome Margy Special thanks Crosby, our new General Manager. Margy to our series founders, will keep things flowing smoothly throughout Robert DeLine and Carol Salisbury, the season and is already helping to plan and to all our donors, for our fifth season and beyond. These are volunteers, and patrons! Special thanks also to Tom Lewandowski for exciting times for BS&F and I am happy that all his generous support and assistance. you are here to enjoy this music with us!

Byron Schenkman & Friends is an Associated Program of Shunpike.

page 3 September Bach & 18 the Mendelssohns 2016

Ingrid Matthews & Liza Zurlinden u V iolins Susan Gulkis Assadi u V iola Geoffrey Dean u Cello Byron Schenkman u Piano

Johann Sebastian Bach (1685-1750): Sonata in G Major, BWV 1027, for viola and piano Adagio u Allegro ma non tanto u Andante u Allegro moderato

Fanny Mendelssohn Hensel (1805-1847): Fantasy in G Minor for cello and piano

Fanny Mendelssohn Hensel: Il Saltarello Romano, op. 6, no. 4, for piano solo Allegro u Andante and variations u Tempo di Minuetto

Johann Sebastian Bach: Concerto in F Minor, BWV 1056, for piano and strings Allegro u Adagio u Presto

intermission

Felix Mendelssohn Bartholdy (1809-1847): Trio in C Minor, op. 66, for violin, cello, and piano Allegro energico e con fuoco u Andante espressivo u Scherzo: Molto allegro quasi presto u Finale: Allegro appassionato

page 4 notes on the program By Byron Schenkman

The music of the Mendelssohns the right hand of the harpsichord, Most of Bach’s keyboard concertos would not exist without that of while the left hand plays the began as concertos for violin or Johann Sebastian Bach. Both continuo part. The entire sonata oboe. The middle movement of Fanny and Felix were entirely is written in a three-voice texture, Bach’s Concerto in F Minor exists steeped in the music of the great often with the same material passed in an oboe version as the sinfonia Baroque master. Likewise, Bach’s around from voice to voice. to Cantata 156. It also bears a close music would not exist as we know resemblance to the opening of a it if the Mendelssohns had not The Mendelssohn family hosted flute concerto by Georg Philipp worked tirelessly to bring it to the musical salons which were Telemann, a friend of Bach’s public. The idea of performing frequented by the intellectual and one of the most celebrated music of the past was new in the elite of Europe. Contemporaries composers of his time. 19th century. Felix Mendelssohn described Fanny Mendelssohn as was a leading figure in establishing being either as talented as or more Bach’s influence can be heard a standard concert repertory, talented than her brother Felix. throughout Felix Mendelssohn’s often with the support and Their younger sister Rebecka Trio in C Minor, most notably in mentorship of his older sister. complained that in any other the way melodies are embedded His 1829 performances of Bach’s family she would have been highly in extended passages of running St. Matthew Passion, which Fanny regarded as a musician but that sixteenth notes. Mendelssohn’s helped to prepare, were among the she could not compete with Fanny use of a chorale in the last most important musical events of and Felix. Fanny wrote songs movement (as in his “Reformation” the century. for Rebecka to sing and wrote Symphony) also hearkens back to the Fantasy in G Minor for their German Baroque traditions. Bach’s Sonata in G Major for younger brother Paul, an excellent viol and harpsichord (which we cellist. Il Saltarello Romano is from are performing on viola and piano) one of the books of “Songs for is a reworking of his own earlier the Piano” (much like Felix’s trio-sonata for two flutes and “Songs without Words”) which continuo. Bach assigns one flute Fanny published near the end of part to the viol and the other to her short life.

page 5 October 30 Music for 2016 the Sun King

Andrew Fouts & Ingrid Matthews u V iolins Elisabeth reed u V iol Nathan Whittaker u Cello Byron Schenkman u Harpsichord

Élisabeth Jacquet de la Guerre (1665-1729): Sonata in D Major for two violins, viol, and continuo

Marin Marais (1656-1728): Symphonie in D Major from Pièces en trio for two trebles and continuo

Louis Couperin (c.1626-1661): Pieces in F Major for harpsichord Prélude u Allemande grave u Courante u Branle de Basque u Gaillarde u Tombeau de M. Blancrocher

François Couperin (1668 - 1733): Sonata in D Minor, La Sultane, for two trebles, two basses, and continuo

intermission

Jean-Féry Rebel (1666-1747): Sonata in C Minor, Tombeau de M. Lully, for two violins, viol, and continuo

Jean-Henry D’Anglebert (1629-1691): Prelude in G Minor and Passacaille d’Armide (after Lully) for harpsichord

Marin Marais: Suite in D from Pièces en trio for two trebles and continuo Prélude u Sarabande grave u Fantaisie champestre u Gavotte en rondeau and Double u Gigue u Branle de village

page 6 notes on the program By Byron Schenkman

The court of Louis XIV is best Marin Marais was one of the entertainment. La Sultane is richly known in music history for the greatest viol players of all time and scored for two treble and two bass work of Jean-Baptiste Lully, the a composer of consistently gorgeous instruments plus continuo. Its development of French Baroque music. In 1692 he published a large title is typical of early 18th-century opera, and the powerful influence collection of Pièces en trio for pairs fascination with the exotic other. of the French court on all of of melody instruments (flutes, Western music for years to come. oboes, or violins) with continuo. Jean-Baptiste Lully, the towering “The Sun King” loved music for Many of these pieces also appeared figure of the French Baroque, wrote dancing and for dazzling spectacle, in a manuscript collection of Trios no instrumental chamber music. but also to accompany his more pour le coucher du Roi (“trios for the However, many transcriptions private daily activities. Our king’s bedtime”). were made of music from his program focuses on the intimate operas, such as D’Anglebert’s music from his court, with works French harpsichord music was as harpsichord version of the famous by composers close to him and widely influential as the operatic Passacaille from Armide. One of including music for the king’s music of Lully. Bach’s famous Lully’s students was the virtuoso bedtime. keyboard suites, for example, violinist Rebel who paid tribute would not exist without that to his teacher in his heartbreaking Elisabeth Jacquet de la Guerre came French influence. D’Anglebert and Tombeau de M. Lully. to court as a child prodigy and Louis Couperin, both employed remained one of the king’s favorite by Louis XIV, were two of the best musicians throughout her career. harpsichord composers of the 17th Although she chose to remain an century. independent musician in Paris, she was one of very few musicians François Couperin was referred to allowed the honor of dedicating as Le Grand (“the great”) in part her works to the king. Jacquet to distinguish him from other published an unusual amount of musical members of his family, music for any composer of her such as his uncle Louis. This time, including harpsichord suites, younger Couperin’s duties at court violin sonatas, sacred and secular included providing chamber music cantatas, and an opera. for the king’s Sunday afternoon

page 7 December 29 Bach & Corelli 2016

Ingrid Matthews u V iolin Byron Schenkman u Harpsichord

Arcangelo Corelli (1653-1713): Sonata in C Major, op. 5, no. 3, for violin and continuo Adagio u Allegro u Adagio u Allegro u Allegro

Johann Sebastian Bach (1685-1750): Toccata in E Minor, BWV 914, for harpsichord (Adagio) u Un poco allegro u Adagio u Fuga: Allegro

Arcangelo Corelli: Sonata in G Minor, op. 5, no. 5, for violin and continuo Adagio u Vivace u Adagio u Vivace u Allegro

intermission

Johann Sebastian Bach: Sonata in G Minor, BWV 1001, for violin Adagio u Fuga u Siciliana u Presto

Johann Sebastian Bach: Concerto in G Major, BWV 986, for harpsichord (Allegro) u Adagio u Allegro

Arcangelo Corelli: Sonata in A Major, op. 5, no. 9, for violin and continuo Preludio: Largo u Giga: Allegro u Adagio u Tempo di gavotte: Allegro

page 8 notes on the program By Byron Schenkman

The music theory I was taught Although Bach based an organ Corelli’s sonatas are divided evenly as a kid, with major and minor fugue on a subject from one of between what he calls “church” and scales and triads organized around Corelli’s trio-sonatas, he doesn’t “chamber” sonatas. The church a circle of fifths, can all be traced seem to have made any direct sonatas, such as the third and fifth back to Arcangelo Corelli. The transcriptions of Corelli’s music the violin sonatas, generally alternate harmonic language he developed way he did with that of Vivaldi. freely expressive slow movements and perfected at the turn of the The clearest evidence of Corelli’s with contrapuntal fast movements. 18th century formed the basis of influence on Bach is in the fugal Some dance movements are thrown Western music for the next two movements of Bach’s sonatas for in, such as the final allegros which centuries. Corelli’s music was unaccompanied violin. Before are gigues in all but name. The hugely influential on the generation Corelli, double-stops (playing two chamber sonatas, such as the of Johann Sebastian Bach. Some notes at once) were an unusual ninth, mostly feature lighter dance composers openly acknowledged effect in violin music. Corelli’s movements introduced and set off their debt to Corelli with titles such sonatas include extended passages by preludes and short adagios. as Couperin’s L’apothéose de Corelli in double-stops, allowing the or Telemann’s Sonates Corellisantes; violin to play two voices of a fugal Bach’s toccatas come out of the some simply made transcriptions movement with the continuo North German keyboard tradition of his work, such as Geminiani’s providing a third voice. Bach yet resemble Corelli’s church orchestrations of Corelli’s solo takes this one step further, giving sonatas (and Bach’s unaccompanied sonatas; and many, most notably all the voices of the fugue to the violin sonatas) in their alternation Handel and Vivaldi, finely flattered violin without any supporting between free adagios and fugal Corelli with unacknowledged instruments. Since it isn’t possible allegros. Bach made many imitation. for the violin to literally play more transcriptions of Italian concertos, than two voices at once for any especially of those by Vivaldi. length of time Bach often creates The G Major concerto is from an the illusion of multiple voices by unknown original. interweaving the notes of two voices into one line.

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206.271.9704 [email protected] www.austincreativeinc.com February 12 Russians 2017 & Jews

Sean Osborn u C larinet Steven Greenman & Liza Zurlinden u V iolins Jason Fisher u V iola Nathan Whittaker u Cello Byron Schenkman u Piano

Mikhail Glinka (1804-1857): Sonata in D Minor for viola and piano Allegro moderato u Larghetto ma non troppo

Joel Engel (1868-1927): Two pieces, op. 20, for violin and piano Chabader Melodie u Freilachs Tanz

Traditional: Sher u Joseph Achron (1886-1943): Sher, op. 42, for violin and piano

Alexander Krein (1883-1951): Caprice Hébraïque, op. 24, for violin and piano

intermission

Solomon Rosowski (1878-1962): Fantastic Dance on a Hebrew Theme, op. 6, for violin, cello, and piano

Alexander Krein: Esquisses Hébraïques, Op.12, for clarinet and strings Lento u Andante con anima – Allegretto grazioso u Allegro moderato

Sergei Prokofiev( 1891-1953): Overture on Hebrew Themes, op. 34, for clarinet, strings, and piano

page 12 notes on the program By Byron Schenkman

The repertory of concert music professions available to them. By composers of the group and established by Felix Mendelssohn the turn of the 20th century many continued to incorporate Jewish and others in the 19th century of the students at the St. Petersburg folk material into art music in the was dominated by German Conservatory were Jewish and a Soviet Union after the revolution. composers. Mikhail Glinka was group of them decided to form After studying in St. Petersburg, the first Russian composer to a society for Jewish music. The Solomon Rosowsky founded a achieve widespread success and is czarist authorities who had to grant Jewish conservatory in Riga before thought of as the father of Russian permission for the group to exist emigrating first to Palestine and music although most of his work renamed it “The Society for Jewish eventually to New York, where he sounds entirely Western. Glinka’s Folk Music” although most of the taught at the Cantorial School of unfinished viola sonata, from the work they were creating was in the Jewish Theological Seminary. mid 1820s, is stylistically close to fact art music. They incorporated the music of the Mendelssohns. elements of traditional Jewish Sergei Prokofiev wrote hisOverture music in the same way that on Hebrew Themes in New York Later in the 19th century, folk traditions informed other in 1919 on a commission from the nationalist movements began to nationalist movements of the time. Zimro Ensemble which was then emerge as non-German composers in the United States on a world started taking an interest in their Joel Engel, a founder of the society, tour sponsored by the Russian own native music. The five Russian was among the first to preserve and Zionist Organization. The themes composers known as “The Mighty document traditional Ashkenazi on which the overture is based may Handful” (Balakirev, Borodin, Cui, music. Joseph Achron, a student be folk tunes or may have been Mussorgsky, and Rimsky-Korsakov) of the great Leopold Auer, was a composed by the ensemble’s leader, established a Russian musical virtuoso violinist and was described Simeon Bellison, who would later language which lasted well into the by Arnold Schoenberg as one become principal clarinetist of the 20th century. Meanwhile, as Jews of the most underrated modern New York Philharmonic. began to assimilate into Russian composers of the time. Alexander culture, music was one of the few Krein was one of the younger

page 13 March Bach’s Goldberg 5 Variations 2017

Ignacio Prego u Harpsichord

Johann Sebastian Bach (1685-1750): Aria with diverse variations for harpsichord with two keyboards, BWV 988

Aria Var. 1 for one keyboard Var. 15 Canon at the fifth for one keyboard: Andante Var. 2 for one keyboard Var. 16 Ouverture for one keyboard Var. 3 Canon at the unison for one keyboard Var. 17 for two keyboards Var. 4 for one keyboard Var. 18 Canon at the sixth for one keyboard Var. 5 for one or two keyboards Var. 19 for one keyboard Var. 6 Canon at the second for one keyboard Var. 20 for two keyboards Var. 7 for one or two keyboards Var. 21 Canon at the seventh in the tempo of a Giga Var. 22 for one keyboard alla breve Var. 8 for two keyboards Var. 23 for two keyboards Var. 9 Canon at the third for one Var. 24 Canon at the octave for keyboard one keyboard Var. 10 Fughetta for one keyboard Var. 25 for two keyboards: Adagio Var. 11 for two keyboards Var. 26 for two keyboards Var. 12 Canon at the fourth in Var. 27 Canon at the ninth for contrary motion for one two keyboards keyboard Var. 28 for two keyboards Var. 13 for two keyboards Var. 29 for one or two keyboards Var. 14 for two keyboards Var. 30 for one keyboard: Quodlibet Aria da capo

this will be performed without intermission page 14 notes on the program By Ignacio Prego (translated by Byron Schenkman)

The so-called Goldberg Variations, or not Forkel’s story is true it has piece; followed by a highly virtuosic published in 1741 under the become part of the legend of this piece with hand crossings and use original title “Aria with diverse mysterious work, undoubtedly of both keyboards; followed by variations for harpsichord with one of the most important musical a canon. The canons are clearly two keyboards,” were conceived monuments in Bach’s oeuvre. organized in rigorous order, using by Johann Sebastian Bach as the ascending intervals as a reference: fourth part of his modestly titled Of all his work, the Goldberg the third variation is a canon at Clavier-Übung (“Exercises for the Variations are one of the clearest the unison, the sixth at the second, keyboard”), an extraordinary series examples of the originality and the ninth at the third, up to the of works for harpsichord and organ genius of the composer. Given the 27th which is a canon at the ninth. which the composer had begun in great variety of Bach’s writing, his This logical order is broken in the 1726. The first part, containing the imaginative use of patterns and 30th variation in which Bach writes Six Partitas, was published in 1731; textures, and the rich contrasts a quodlibet, a musical form that the second, containing the Italian between variations, it would be combines various popular themes. Concerto and the French Overture, impossible to find earlier works With this variation, Bach recalls his in 1735; and the third, containing by other composers that compare well-documented family gatherings the German Mass for organ and with the Goldberg Variations’ at which everyone sang and the Four Duets for harpsichord, architectural dimensions and Bach’s improvised quodlibets to the great in 1739. extraordinary use of the technical pleasure of all present. After that, possibilities of the keyboard. we end by again hearing the aria In his 1802 biography of Bach, which we heard at the beginning Johann Nikolaus Forkel tells us that The bassline of the aria on which of the work. However we no the variations were commissioned this work is built is heard 32 times. longer hear it the same way. After by Count Carl von Keyserlingk The origin of the bassline may be this journey of an hour and a half, of Dresden so that his court the Chaconne with 62 variations in the aria is completely transformed harpsichordist Johann Gottlieb G Major, HWV 442, by Handel. as we remember the origin of all Goldberg could bring some From this ostinato bass Bach that we have heard in a magical pleasure to his nights of insomnia. constructs 30 variations organized combination of fantasy and order. Also according to Forkel, Bach in groups of threes. In each group received the highest payment of his one generally finds a dance-like life for this commission. Whether piece, arioso, overture, or fugue-like

page 15 April 30 Mozart & 2017 the Bachs

Joshua Romatowski u F lute Ingrid Matthews u V iolin Jason Fisher u V iola Nathan Whittaker u Cello Byron Schenkman u Harpsichord

Carl Philipp Emanuel Bach (1714-1788): Sonata in E-flat Major (attrib. J.S. Bach) for flute and harpsichord Allegro moderato u Siciliana u Allegro

Wolfgang Amadeus Mozart (1756-1791): Allegro in G Minor, K. 312/590d, for harpsichord

Wolfgang Amadeus Mozart: Prelude and Fugue no. 5 (after J.S. Bach’s BWV 526), K. 404a, for string trio Largo u Fuga: Moderato

Johann Sebastian Bach (1685-1750): Sonata in G Major, BWV 1038, for flute, violin, and continuo Largo u Vivace u Adagio u Presto

intermission

Wolfgang Amadeus Mozart: Quartet in D Major, K. 285, for flute and strings Allegro u Adagio u Rondeau: Allegro

Johann Christian Bach (1735-1782): Quartet in G Major, W B66, for harpsichord and strings Allegro u Rondo: Allegretto

page 16 notes on the program By Byron Schenkman

The most famous Bach in Mozart’s with which we opened this series bassline as his violin sonata BWV time was Johann Christian, the in September, this time the voices 1021 and it has been suggested that youngest son of Johann Sebastian. often have very different material the elder Bach gave the bassline to a A highlight of the eight-year- from each other creating a sense student, perhaps his son C.P.E., as a old Mozart’s travels was meeting of polite conversation between the composition exercise. But since all J.C. Bach, and some of Mozart’s harpsichord and the flute. Mozart’s four movements exist in J.S. Bach’s early keyboard concertos are late unfinished keyboard sonata handwriting it seems unlikely to transcriptions of solo sonatas by the in G Minor hearkens back to the have been written by a student. (A so-called “London Bach.” Another conversational and sensitive style of student might copy a teacher’s work famous Bach was Carl Philipp C.P.E. Bach. but why would a teacher copy a Emanuel, the much older half- student’s work?) brother of J.C. Bach. C.P.E. Bach Mozart’s acquaintance with the worked at the court of Frederick music of J.S. Bach is mostly a result Mozart’s flute quartets were the Great and published the most of his association with an eccentric composed for the virtuoso flutist important 18th-century treatise on patron, Baron Gottfried Van Johann Baptist Wendling who also keyboard playing. It was referring Swieten, who had a rare interest inspired the flute music of J.C. to C.P.E. Bach that Mozart said in music of the past. Van Swieten Bach. Unlike his father and older “Bach is the father and we are the commissioned Mozart to arrange brothers who never left Germany, children.” major choral works by Handel J.C. Bach traveled widely, studying as well as preludes and fugues in Italy and settling in England. The sonata in E-flat Major for by J.S. Bach for contemporary There, his international style paved flute and harpsichord, formerly performance. the way for the music of Mozart. attributed to J.S. Bach, is typical of the empfindsamer Stil (“sensitive The authorship of J.S. Bach’s Sonata style”) associated with C.P.E. Bach. in G Major for flute, violin, and Although in a three-voice texture, continuo has also been questioned. much like the sonata by J.S. Bach The first movement uses the same

page 17 Byron Schenkman has Bulgarian solo and chamber works spanning over 200 recorded more than thirty CDs of years. A founding music faculty member at the American 17th- and 18th-century repertoire, University in Bulgaria, Geoffrey earned cello performance including recordings on historical degrees from the University of North Carolina School of instruments from the National the Arts and the Indiana University School of Music, and Music Museum, Vermillion, and the recently received his PhD in Philosophy of Music from Museum of Fine Arts, Boston. A Sofia University. recipient of the Erwin Bodky Award will austin from the Cambridge Society for Violist Jason Fisher is Early Music “for outstanding achievement in the field of a founding member of Boston’s early music,” he was voted “Best Classical Instrumentalist” Grammy-nominated chamber by the readers of , and his piano playing Seattle Weekly orchestra, A Far Cry (afarcry.org). has been described in as “sparkling,” The New York Times A Carnegie Hall Fellow and a “elegant,” and “insightful.” He has been a featured guest Peabody Singapore Fellow, Jason has with the Chameleon Arts Ensemble of Boston, the toured Europe, Asia, Kazakhstan, Daedalus Quartet, Les Enfants d’Orphée, the Northwest and the Kyrgyz Republic. Concerts Sinfonietta, Pacific Baroque Orchestra, Philharmonia at Vienna Musikverein, Singapore Northwest, and the Portland Baroque Orchestra. He was Esplanade, and Carnegie Hall. Performances with Pink also founding co-director of the Seattle Baroque Orchestra Martini, Jake Shimabukuro, Itzakh Perlman, Yo-Yo Ma, with violinist Ingrid Matthews. In 2013 he launched “Byron Renée Fleming, Kiri Te Kanawa, and with members of Schenkman & Friends,” a Baroque and Classical chamber the Florestan Trio, and the Æolus, Brentano, Cleveland, music series at Benaroya Hall in Seattle. Schenkman is a Emerson, Mendelssohn, and St. Lawrence String Quartets. graduate of the New England Conservatory and received As a passionate explorer of early music, he plays period his master’s degree with honors in performance from the viola with a bicoastal variety of ensembles including Gut Indiana University School of Music. He currently teaches Reaction, Antico/Moderno, the Handel & Haydn Society, at Seattle University and Cornish College of the Arts, and Boston Baroque, and the Seattle and Portland Baroque has been a guest lecturer in harpsichord and fortepiano at Orchestras. Indiana University. www.byronschenkman.com

Baroque violinist Andrew Originally from the San Francisco Fouts has been noted for his Bay area, cellist Geoffrey “mellifluous sound and sensitive was based in Sofia, Dean style” (Washington Post) and as Bulgaria, where he was a member “an extraordinary violinist” who of the internationally renowned exhibits “phenomenal control” Dimov and Sofia quartets for 17 (Bloomington Herald-Times). seasons. As recitalist and chamber In 2008 Andrew won first prize musician, he has performed at at the American Bach Soloists’ vasilka balevska vasilka Opera Bastille in Paris, Gasteig International Baroque Violin Competition. That same in Munich, Helsinki’s Sibelius Academy, Vienna’s Joseph year he joined Pittsburgh’s acclaimed ensemble, Chatham Haydn Institute, as well as for the Council of Europe Baroque, which he co-directs and they perform over 50 in Strasbourg, for Queen Margrete II of Denmark in concerts annually, both at home and on tour. In addition Copenhagen, and on concert tours of Japan. He has also to Chatham Baroque, he regularly appears with Apollo’s shared his passion for collaborative music-making through Fire, American Bach Soloists, and The Four Nations his ongoing series of projects with the Ardenza Foundation Ensemble. In 2010, Andrew began serving as concertmaster that bring together performers representing different of the Washington Bach Consort. The Washington Post generations, nationalities, and musical styles, such as the has written of his position there “Fouts, the group’s new Vivapiano Competition for amateur pianists of all ages, the concertmaster, was exemplary on the highest part, playing Rila Music Exchange for young ethno musicians from five with clean intonation and radiant tone.” His principal continents, and the AmBul Festival, which has presented teachers include Charles Castleman at The Eastman School over 200 world and regional premieres of American and page 18 of Music and Stanley Ritchie at Indiana University. Andrew Hailed by the Seattle Post Intelligencer for her has taught at the Madison Early Music Festival and the “uncommon warmth and beauty of timbre,” Gulkis Assadi Oficina de Música de Curitiba, Brazil. He plays on a violin has appeared often as soloist with the Seattle Symphony. by Karl Dennis (Warren, RI 2013), after Guarneri del In 1998, she helped inaugurate Seattle’s Benaroya Hall Gesu’s Le violon du Diable (1734). with Yo-Yo Ma in the Orchestra’s performance of R. Strauss’s Don Quixote. David Stock’s Viola Concerto, written for Susan Gulkis Assadi and the Seattle Symphony, Described by the Washington was released spring 2004 on Innova Records to critical Post as “particularly impressive,” acclaim. In June 2006, Ms. Gulkis Assadi played the and “extraordinary” by the west coast premiere of Paul Schoenfield’s Viola Concerto. Pittsburgh Post Gazette, Steven Most recent solo performances include Mozart’s Clarinet is a multi-talented Greenman Concerto (for viola), Dittersdorf’s Sinfonia Concertante for musical artist, who is equally adept Viola and Double Bass, and Berlioz’s Harold in Italy. performing stunning solo violin Susan Gulkis Assadi also performs regularly works with orchestras, soulful with the Seattle Opera, the Seattle-based Music of matt greminger matt East European Jewish folk music Remembrance, and The Governor’s Chamber Music Series. and passionate East European Romani music. Steven has She has happily spent the last twenty summers performing produced two landmark recordings of his original Jewish and with the Grand Teton Music Festival in Jackson Hole, klezmer compositions, and Stempenyu’s Dream Stempenyu’s Wyoming. She has coached and given master classes at the , while two of his Jewish liturgical melodies have Neshome University of Washington, the New World Symphony in been published by the Shalshelet Foundation for New Jewish Miami, Florida and the National Orchestral Institute in Liturgical Music. With his recording Khevrisa: European College Park, Maryland. , Steven is a Smithsonian Folkways recording Klezmer Music Ms. Gulkis Assadi received her Bachelor of Music artist. Steven leads international klezmer music master classes from The Curtis Institute of Music where she studied with and has been a teaching artist with the Cleveland Orchestra’s Michael Tree from The Guarneri Quartet and Karen Tuttle. “Learning Through Music” program since 2001. Performing his own arrangements of traditional East European Romani (“Gypsy”) violin music, Steven has been a guest soloist with Ingrid Matthews the Cleveland Pops Orchestra and the Canton and Akron has long been established as one symphonies. He has explored classical Chinese music of the leading baroque violinists of performing the famous Butterfly Lovers Violin Concerto her generation. She founded the as soloist with the Chagrin Falls Studio Orchestra, the Seattle Baroque Orchestra with Firelands Symphony, and the National Repertory Orchestra. Byron Schenkman in 1994, and Steven’s collaboration with master pipa-player Gao Hong, served as Music Director until The Braided Candle, explores a unique blending of both stepping down from that position traditional Jewish and Chinese folk music styles. in 2013. First prize-winner in the 1989 Erwin Bodky International Competition for Early Music, Matthews has performed extensively around the Principal Violist of the Seattle world as soloist, guest director, or concertmaster with Symphony since the 1992-1993 many prominent period-instrument ensembles including season, Susan Gulkis the New York Collegium, the Australian Brandenburg enjoys a varied career Assadi Orchestra, the Boston Early Music Festival Orchestra, as an orchestral player, chamber Tafelmusik, and many others. Matthews has won musician, soloist and teacher. international critical acclaim for a discography ranging After playing in numerous from the earliest solo violin repertoire through the chamber orchestras, including The Sonatas and Partitas of J.S. Bach. The latter recording Brandenburg Ensemble, Concerto was named by Third Ear’s Classical Music Listening Soloists of Philadelphia and the European-based New Companion as “the finest complete set of these works,” American Chamber Orchestra, she began her orchestral and the critic for American Record Guide writes “this career as the Principal Violist of the San Francisco Opera superb recording is my top recommendation for this Orchestra before coming to Seattle.

page 19 music… on either modern or period instruments.” Ingrid Ignacio Prego is Matthews has served on the faculties of the University considered one of the leading of Toronto, the University of Washington, Indiana Spanish harpsichordists of his University, the University of Southern California in Los generation. First Prizewinner at Angeles, the International Baroque Institute at Longy, the 2012 Westfield International and Amherst Early Music, and is currently on the faculty Harpsichord Competition, he of Cornish College of the Arts in Seattle. In addition to has performed in major cities her musical work, she is active as a visual artist. in Europe, the USA, Canada, South-America and Asia. Recent appearances include Mr. Prego’s debut at Segovia, Soto del Sean Osborn has traveled Real and Seville Early Music Festivals (FeMAS), concerts the world as soloist and chamber as a soloist with the Portland Baroque Orchestra led by musician, and during his eleven Monica Huggett at the Oregon Bach Festival, with The years with the Metropolitan Opera English Concert and Harry Bicket in NY, and with Byron Orchestra. He has also appeared Schenkman & Friends in Seattle, among others. Mr. Prego as guest principal clarinet with the releases the Goldberg Variations by J.S. Bach for GLOSSA New York Philharmonic, Pittsburgh in Autumn 2016. His previous recording, the complete Symphony, Seattle Symphony,

larey mcdaniel larey French Suites for Cantus Records, was listed among the and the American Symphony best recordings of March 2015 by Scherzo magazine and Orchestra. The New York Times dubbed him“...an was awarded the . Mr. Prego is recipient excellent clarinetist,” the Boston Globe called him “...a Melomano de Oro of the 2005 AECI Grant, the 2009 CajaMadrid Foundation miracle,” and Gramophone “...a master.” With over Grant and the 2014 English Concert Fellowship. He forty concertos in his repertoire, Sean has also recorded studied harpsichord with Elisabeth Wright at the Indiana dozens of CDs for London, Deutsche Grammophon, University and with Kenneth Weiss and Richard Egarr at Sony, Albany, and others, as well as premiering works by The Juilliard School in New York. He is Artistic Director Philip Glass, John Adams, John Corigliano, Chen Yi, and of Tiento Nuovo ensemble. During the 2014 and 2015 he Jennifer Higdon to name a few. He has performed at many also worked as a vocal coach and resident artist at Yale festivals including Marlboro, Seattle Chamber Music, University. Aspen, Zagreb Bienalle, Pacific Rim, and Colorado. Sean has received grants from many organizations, including the NEA and the Aaron Copland Fund. He is also an award- Elisabeth Reed teaches winning composer whose works have been played by the viola da gamba and Baroque cello London Philharmonic Orchestra, and members of the at the San Francisco Conservatory New York Philharmonic, Metropolitan Opera, Marlboro of Music, where she is co-director Music Festival, and the Los Angeles Philharmonic among of the Baroque Orchestra. Recent others. As an educator, he has presented over 100 master teaching highlights include master classes around the world, developed many multi-media classes at the Juilliard School, the educational series, and served on the faculty of the Shanghai Conservatory and Middle teresa tam teresa University of Washington and the Cornish College of the School, and the Royal Academy Arts. Visit him on-line at www.osbornmusic.com of Music. Her playing has been described as, “intense, graceful, suffused with heat and vigor” and “delicately nuanced and powerful” (Seattle Times). A soloist and chamber musician with Voices of Music, Archetti, and Wildcat Viols, she has also appeared frequently with the Seattle, Portland, Pacific, and Philharmonia Baroque Orchestras and with Pacific Musicworks. She has performed at the Boston Early Music Festival, the Berkeley Early Music Festival, the Ohai Festival, the Whidbey Island Music Festival, and the San Luis Obispo Mozart Festival. She also teaches viola da gamba and Baroque

page 20 cello at the University of California at Berkeley. She is a other concert stops ranging from Seattle to New York to Guild-certified practitioner of the Feldenkrais Method of Dubai. He also composed and recorded an original score Awareness Through Movement, with a focus on working for the Emmy nominated documentary “When Seattle with musicians and performers. Invented the Future”. He can be heard on recordings by ATMA Musique and Harmonia and broadcasts by NPR, CBC, and KING FM. An active pedagogue, he maintains , Joshua Romatowski a dynamic private studio and is faculty at the Cornish flutist, has been praised for his College of the Arts and the founder and director of the ability to “allow each note to sound Seattle Chamber Music Coaching Sessions (SCMCS). with its own expressive qualities” Along with his busy performance and teaching schedule, he (San Francisco Examiner). Joshua’s completed a Doctorate of Musical Arts from the University playing has been described as of Washington in 2012. Dr. Whittaker also holds degrees “elegantly shaped” (San Francisco from Indiana University. Examiner) and possessing “graceful intimacy” (San Francisco Classical Voice). Joshua holds a Master of Music in Flute Violinist Liza Zurlinden, Performance from the San Francisco Conservatory of a native of San Francisco, enjoys Music and a Bachelor of Music in Flute Performance a career rich with chamber music, from the University of Texas at Austin, as well as an Artist orchestral playing and teaching. Diploma in Early Music from the Cornish College of the She is a recent transplant to Arts. Joshua was a winner of the Ladies Musical Club of Seattle, and is thrilled to have Seattle Frances Walton Competition. made this beautiful city her As well as being a prize winner in the National home! Ms. Zurlinden has been Flute Association’s Baroque Artist Competition, Joshua a longtime member of the New has appeared in concert with the American Bach Soloists, Century Chamber Orchestra in San Francisco, and is a Portland Baroque Orchestra, the Byron Schenkman & former member of A Far Cry, the Grammy-nominated, Friends concert series, Early Music Underground, Pacific self­-conducted chamber orchestra in Boston. She has Musicworks, Agave Baroque, MUSA, and The Albany collaborated with members of the Cleveland, Juilliard Consort. On baroque flute, Joshua has studied with Janet and Mendelssohn Quartets and can be heard on Naxos, See, Wilbert Hazelzet, Claire Guimond, Sandra Miller, Paladino Music, Azica, NSS and Blue Note Records. Ms. Stephen Schultz, Philippe Allaine-Dupre, and Greer Zurlinden has performed regularly with the Orchestra of Ellison. St. Luke’s in New York, Boston Modern Orchestra Project, Joshua is currently on faculty at Music Works Pacific Northwest Ballet and the Seattle Symphony. She Northwest, in Bellevue, WA. Joshua’s primary teachers have enjoys frequent collaborations with Byron Schenkman & been Timothy Day, Marianne Gedigian, Jeffery Zook, and Friends, Simple Measures and Spectrum Dance Theater, Janet See. and maintains a private teaching studio. Ms. Zurlinden holds degrees from the University of Michigan, Rice University and SUNY Purchase. Nathan Whittaker, violoncello, 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 bob peterson Baroque Orchestra, and is a founding member of the Op. 20 String Quartet. Recent concert appearances have included the Indianapolis Early Music Festival, Vancouver Early Music Festival, and Pacific Baroque Festival (Victoria, B.C.), as well as

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