Elegant Duos for Violoncello and Classical Fortepiano – Mozart, J.S. Bach, Beethoven, and Schubert –
NATHAN WHITTAKER, CELLO, AND TAMARA FRIEDMAN, PIANO WITH CHARLES KAUFMANN, BASSOON AND GEORGE BOZARTH, PIANO
Variations on Mozart’s “Bei Männern, welche Liebe fühlen,” from The Magic Flute, WoO 46 (1801) Ludwig van Beethoven (1770–1827)
Sonata in B-flat major for Bassoon and Violoncello, K. 292 (1775) Wolfgang Amadeus Mozart (1756–1791)
Ländler for Fortepiano Four-Hands Franz Schubert (1797–1828)
Suite No. 2 in D minor for Unaccompanied Cello, BWV 1008 Johann Sebastian Bach (1685–1750)
Sonata in C major for Violoncello and Fortepiano, Op. 102 No. 1 (1815) Ludwig van Beethoven
Program Subject to Change
Tamara Friedman, praised by the Seattle Times for the depth, wit, and humor of her performances, is a graduate of the Mannes College of Music, where she studied with noted Mozart specialist Lilian Kallir. She has collaborated in concert with such artists as Stanley Ritchie, Jaap Schröder, and Max van Egmond, and has appeared in Seattle and San Francisco with violinist Elizabeth Blumenstock as the Duo Amadeus. A resident of Seattle in the winter and Sanford in the summer, she has performed in the Pacific Northwest on the Gallery Concerts, Allegro Baroque and Beyond, Mostly Nordic, and Belle Arte series and for the Governor’s Chamber Music Festival. With a grant from the Jack Straw Artist Support Program she has recorded a compact disc of early Romantic character pieces on her 1815 Streicher (Viennese-style) grand piano, issued by Kreisler Records, which has also released a compact disc of her 2007 Gallery Concerts recital performed on her 1867 Chickering (Boston) grand piano.
Cellist Nathan Whittaker has enjoyed praise as a recitalist, chamber, and orchestral musician in the United States and Europe. A graduate of Indiana University, he has studied with Peter Wiley, Helga Winold, Tsuyoshi Tsutsumi, Emilio Colon, Stanley Ritchie, and Robert Marsh. He has been principal cellist of the Columbus Indiana Philharmonic and associate principal cellist of the Terre Haute Symphony Orchestra, and has twice been appointed cellist at the American Institute of Musical Studies in Graz, Austria. As a Baroque cellist Nathan has performed with such artists as Stanley Ritchie, Rachel Barton Pine, and Ingrid Matthews. Currently pursuing a doctorate at the University of Washington, studying with Toby Saks, he performs as a soloist and with the Bellevue Ballet, the Yakima Symphony, and the Seattle Baroque Orchestra. Next season Nathan will be the cellist in the new period-instrument ensemble, the Op. 20 String Quartet.
Bassoonist and composer Charles Kaufmann, who has lived in Maine for many years, holds degrees from the Eastman School of Music and Yale University’s School of Music. One of North America’s leading specialists in historic bassoon performance, he performs in period instrument orchestras from Montreal to Mexico City, and from Portland, Oregon, to Boston, where he performs with the celebrated Handel & Haydn Society. On modern instruments he has played as principal bassoonist in almost all of the New England regional orchestras, including the Portland Symphony, the New Hampshire Symphony, the Rhode Island Philharmonic, and the Pro Arte Chamber Orchestra of Boston. During the 1980s, he was a member of the Bergen Philharmonic in Norway. Beyond bassoon playing, he is the founding director of The Longfellow Chorus of Portland, a community chorus with a mission to perform and record vocal and choral settings of Henry Wadsworth Longfellow's poetry and to inspire and commission new vocal and choral settings of Longfellow's poetry through its International Composers Competition. An award-winning composer himself, Chip has recently completed a five-movement work, commissioned for the Choral Art Society of Portland, called A Longfellow Winter, which will be premiered in December 2009 during Choral Arts’ popular “Christmas in the Cathedral” series. Chip is also currently producing a compact disc that documents the traditional songs of the Portland Sudanese refugee community, and how traditional music undergoes change in a first-generation immigrant culture.
Tamara Friedman, praised by the Seattle Times for the depth, wit, and humor of her performances, is a graduate of the Mannes College of Music, where she studied with noted Mozart specialist Lilian Kallir. She has collaborated in concert with such artists as Stanley Ritchie, Jaap Schröder, and Max van Egmond, and has appeared in Seattle and San Francisco with violinist Elizabeth Blumenstock as the Duo Amadeus. A resident of Seattle in the winter and Sanford in the summer, she has performed in the Pacific Northwest on the Gallery Concerts, Allegro Baroque and Beyond, Mostly Nordic, and Belle Arte series and for the Governor’s Chamber Music Festival. With a grant from the Jack Straw Artist Support Program she has recorded a compact disc of early Romantic character pieces on her 1815 Streicher (Viennese-style) grand piano, issued by Kreisler Records, which has also released a compact disc of her 2007 Gallery Concerts recital performed on her 1867 Chickering (Boston) grand piano.
Cellist Nathan Whittaker has enjoyed praise as a recitalist, chamber, and orchestral musician in the United States and Europe. A graduate of Indiana University, he has studied with Peter Wiley, Helga Winold, Tsuyoshi Tsutsumi, Emilio Colon, Stanley Ritchie, and Robert Marsh. He has been principal cellist of the Columbus Indiana Philharmonic and associate principal cellist of the Terre Haute Symphony Orchestra, and has twice been appointed cellist at the American Institute of Musical Studies in Graz, Austria. As a Baroque cellist Nathan has performed with such artists as Stanley Ritchie, Rachel Barton Pine, and Ingrid Matthews. Currently pursuing a doctorate at the University of Washington, studying with Toby Saks, he performs as a soloist and with the Bellevue Ballet, the Yakima Symphony, and the Seattle Baroque Orchestra. Next season Nathan will be the cellist in the new period-instrument ensemble, the Op. 20 String Quartet.
Bassoonist and composer Charles Kaufmann, who has lived in Maine for many years, holds degrees from the Eastman School of Music and Yale University’s School of Music. One of North America’s leading specialists in historic bassoon performance, he performs in period instrument orchestras from Montreal to Mexico City, and from Portland, Oregon, to Boston, where he performs with the celebrated Handel & Haydn Society. On modern instruments he has played as principal bassoonist in almost all of the New England regional orchestras, including the Portland Symphony, the New Hampshire Symphony, the Rhode Island Philharmonic, and the Pro Arte Chamber Orchestra of Boston. During the 1980s, he was a member of the Bergen Philharmonic in Norway. Beyond bassoon playing, he is the founding director of The Longfellow Chorus of Portland, a community chorus with a mission to perform and record vocal and choral settings of Henry Wadsworth Longfellow's poetry and to inspire and commission new vocal and choral settings of Longfellow's poetry through its International Composers Competition. An award-winning composer himself, Chip has recently completed a five-movement work, commissioned for the Choral Art Society of Portland, called A Longfellow Winter, which will be premiered in December 2009 during Choral Arts’ popular “Christmas in the Cathedral” series. Chip is also currently producing a compact disc that documents the traditional songs of the Portland Sudanese refugee community, and how traditional music undergoes change in a first-generation immigrant culture.