December 6, 2019
Croatian Cultural Center
Admission at the door: Adults: $25/person; checks accepted; no credit cards. Children and students are free.
Arwen Myers, soprano
Vicki Boeckman, recorder
Jillon Stoppels Dupree, harpsichord
Celebrate the season of light with spirited music by Baroque and contemporary composers, including Telemann, Handel, Purcell, Smith. Put on a smile and unwrap an early gift, because 'Tis the Season!
January 17, 2020
Croatian Cultural Center
Admission at the door: Adults: $25/person; checks accepted; no credit cards. Children and students are free.
Internationally acclaimed violoncellist Tanya Tomkins and Tamara Friedman on her 1804 “Beethoven” fortepiano take you on a journey through Johann Sebastian Bach’s Suites for Solo Cello and Ludwig van Beethoven’s Sonatas and Variations for cello and fortepiano.
February 14, 2020
Croatian Cultural Center
Admission at the door: Adults: $25/person; checks accepted; no credit cards. Children and students are free.
Seattle’s own recorder virtuoso Vicki Boeckman and Tamara Friedman on her 1740 Lautenwerck (gut-strung harpsichord) will explore solo and chamber music Johann Sebastian Bach as well as a Sturm und Drang keyboard sonata by his son C. P. E. Bach, and three delightful Fantasies for unaccompanied recorder by Georg Philipp Telemann.
April 3, 2020 at 7:00 pm
Croatian Cultural Center
Admission at the door: Adults: $25/person; checks accepted; no credit cards. Children and students are free.
Guest violinist Elizabeth Blumenstock returns to head up a string quartet of Cecilia Archuleta, violin, Laurie Wells, viola, and Meg Brennand, violoncello in performing two beloved works—Haydn’s Quartet in D minor, Op. 76, No. 2 (Quinten) and Mozart’s spectacular Quartet in C major, K. 465 (Dissonance). Rounding out the program will be Mozart’s little-known Adagio & Fugue after Wilhelm Friedemann Bach, KV. 404a, No. 6 for string trio.
May 1, 2020
United Methodist Church of Anacortes, 2201 H Avenue
Admission at the door: Adults: $25/person; checks accepted; no credit cards. Children and students are free.
Kenneth Slowik, curator of the Musical Instrument Collection at the Smithsonian, Artistic Director of the Smithsonian Chamber Music Society, virtuoso cellist, and fortepianist, joins his colleague of the Axelrod Quartet, violinsist Marc Destrube, Canadian soprano Linda Tsatsanis, and cellist Nathan Whittaker for a program featuring Beethoven’s famous “Ghost” Piano Trio, Op. 70, No. 1, as well as his rarely heard settings for soprano and piano trio of Iris, Scottish, and Welsh folk songs.
Changed venue for this program only: United Methodist Church of Anacortes, 2201 H Avenue.
June 5, 2020
Croatian Cultural Center
Admission at the door: Adults: $25/person; checks accepted; no credit cards. Children and students are free.
Canadian Violinist Edwin Huizinga is pushing the limits of violin playing. His career has taken him all over the world, from pubs in Ireland to the chapel at Versailles. He has created a versatile and fulfilling career. Performing both Baroque and modern repertoire, Edwin Huizinga has appeared alongside Yo-Yo Ma, Itzhak Perlman, Dawn Upshaw, Mike Marshall, and Stevie Wonder. He has been featured as a soloist with the San Bernardino Symphony, the Sweetwater Music Festival, the Trinity Alps Chamber Music Festival, and the Banff Summer Arts Festival. Edwin is a founding member of the Baroque ensemble ACRONYM, which has released six full-length albums of previously unknown and unrecorded Baroque music. Edwin also performs all over the world with Tafelmusik Baroque orchestra.
Elliot Figg is a keyboardist, conductor and composer from Dallas, Texas. He is a graduate of the Historical Performance Program at The Juilliard School where he studied harpsichord with Kenneth Weiss. He has also studied with Arthur Haas at the Yale School of Music. Elliot is an active member of several New York based early music and contemporary ensembles, including ACRONYM, New York Baroque Incorporated, and New Vintage Baroque. Recent engagements include: Conductor and harpsichordist for L'Amant Anonyme with Little Opera Theatre of New York; assistant conductor and harpsichordist for Cavalli's Veremonda with Spoleto Festival USA; assistant conductor and harpsichordist for Dido and Aeneas with L.A. Opera; assistant conductor and harpsichordist for Alcina and Orlando with WhiteboxLab. Elliot received Bachelor's and Master's degrees in music composition from the University of North Texas where he studied composition with Cindy McTee and Joseph Klein, and harpsichord with Lenora McCroskey. His own works combine baroque performance techniques with altered tuning systems and modern formal approaches.