For Immediate Release
Hayley Woldseth, 206 325-7066, email@example.com
Early Music Guild Announces Seven Finalists for Seattle Baroque Orchestra Music Director
(January 6, 2014) – Early Music Guild (EMG) has identified seven finalists for the position of Seattle Baroque Orchestra (SBO) Music Director and plans to make a final selection early in 2015. Candidates for the position were culled during an international search process that identified a large pool of highly qualified Baroque specialists. The list of finalists is a Who’s Who of internationally recognized period performers and includes Elizabeth Blumenstock, Rachel Barton Pine, Kevin Mallon, Alexander Weimann, Matthias Maute, Eric Milnes, and Julie Andrijeski. Finalists were selected not only on the basis of artistic merit, but also for their savvy and experience in building successful performing arts organizations in their home communities.
“We will be expanding our vision for SBO with creative programming and partnerships that will engage the Seattle arts community in new ways,” says Gus Denhard, EMG’s long-time Executive Director. “This is a unique opportunity to experience what these very creative people can achieve and then select the best fit for Seattle.” The Music Director Search Committee, made up of current and former EMG board members, SBO musicians, and EMG’s Executive Director, has directed the entire process. It will make recommendations to the board of directors in early 2015 in time for the new music director to assume his/her position for the 2015-16 season. It is critical for each finalist to direct the Orchestra in concert to test the chemistry between the director and SBO’s locally based ensemble. The Orchestra’s input will be critical to the final selection of a director.
Because the search process straddles two concert seasons, the first four candidates; Blumenstock, Pine, Mallon, and Weimann will appear this season, while Maute, Milnes, and Andrijeski will appear in November, December, and January of the 2014-15 season. “While this is a long time for SBO to be without a director, in the process, the audience and Orchestra will benefit by experiencing a wide range of excellent artistic leadership and programming choices,” comments EMG President JoLynn Edwards. “We look forward to exciting synergies for the new director and the SBO musicians reaching out to the early music community and beyond. ”
The audience will be able to weigh in on the process, participating in surveys at each of the guest director concerts. SBO’s first concert in the seven-part search process was directed by Bay Area violinist Elizabeth Blumenstock on October 12th and was a great artistic success, eliciting new energy from the Orchestra that was mirrored by an overwhelming audience response. The organization looks forward to the next chapter in the search, a concert of Vivaldi and Pisendel concertos directed by Rachel Barton Pine on January 18, 2014.
About the Finalists:
Elizabeth Blumenstock is widely admired as a performer of compelling verve and eloquence. She has played with Philharmonia Baroque Orchestra since 1981 as a regular soloist, concertmaster, and leader. She is also a regular concertmaster with American Bach Soloists, the Göttingen Händelfestspiel Orchestra, the Italian ensemble Il Complesso Barocco, and is Artistic Director of the Corona del Mar Baroque Music Festival. Blumenstock has performed throughout the United States and abroad, appearing with the Boston and Berkeley Early Music Festivals, Santa Fe Chamber Music Festival, Los Angeles Opera, Carmel Bach Festival, Oulunsalo Soi Festival (Finland), and San Luis Obispo Mozart Festival, among many others. She has recorded over 100 CDs for Harmonia Mundi, Deutsche Grammophon, Virgin Classics, Dorian, BMG, Reference Recordings, and Koch International.
Rachel Barton Pine has appeared as violin soloist with orchestras around the world under conductors such as Charles Dutoit, Zubin Mehta, Neeme Järvi, Marin Alsop, Semyon Bychkov, Plácido Domingo, and José Serebrier, as well as Baroque chamber music with Trio Settecento. Her festival appearances include Marlboro, Ravinia, Montreal, Salzburg, and Salzburg’s Mozartwoche. Her musical interests extend well beyond classical to Baroque, folk, Celtic, rock, and jazz. Pine has been involved with historically informed performances of early music for over two decades. Performing on Baroque violin, Renaissance violin, viola d’amore and rebec, she has collaborated with leading artists including David Douglass, Elizabeth Wright, Luc Beausejour, Marilyn McDonald, and Robert Mealy, and has worked with groups including Ars Antigua, the Newberry Consort, Callipygian Players, and Temple of Apollo.
Kevin Mallon is music director and founder of the Aradia Ensemble, a Baroque group with whom he has toured widely and made over 50 award winning recordings for Naxos. He is music director of the Toronto Chamber Orchestra and Ottawa’s Thirteen Strings and conducts the Centre for Opera Studies in Italy and West Side Chamber Orchestra in New York. A native of Belfast, Ireland, Mallon learned his craft as a violinist with such orchestras as the Hallé and the BBC Philharmonic, and later played with Tafelmusik Baroque Orchestra and as concertmaster with Le Concert Spirituel and Les Arts Florissants in Paris. Mallon is a frequent guest conductor in North America and Europe, an Irish Fiddler, and recently composed music for the popular TV series “Camelot.”
Alexander Weimann is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia, and as frequent guest with Cantus Cölln, the Freiburger Barockorchester, Gesualdo Consort, and Tafelmusik, he now focuses on his activities as conductor of the Pacific Baroque Orchestra in Vancouver, and as music director of Les Voix Baroques, Le Nouvel Opéra, and Tempo Rubato. Recently, Weimann has conducted the Montreal-based Baroque orchestra Ensemble Arion, Les Violons du Roy, and the Portland Baroque Orchestra. He is a regular soloist with Orchestre Symphonique de Québec and the Montreal Symphony Orchestra, and has conducted the Victoria Symphony and Symphony Nova Scotia. He can be heard on some 100 CDs, and frequently, on the radio in many countries.
Matthias Maute has achieved an international reputation as a conductor, recorder and flute player, and composer. Maute is artistic direction of Ensemble Caprice, for whom he regularly produces fascinating programs for major festivals worldwide. In Canada, he has performed at the Ottawa Chamber Music Festival, Festival international du Domaine Forget, and Elora Festival among others. In the realm of choir and orchestra direction, Matthias Maute has focused on large-scale projects. His versions of Bach’s B Minor Mass, Arvo Pärt’s and Bach’s Magnificat and Zelenka’s Miserere were broadcast nationwide by CBC Radio 2 and Radio Canada/Espace Musique. He has recorded Handel’s Music for the Royal Fireworks and was awarded the prestigious 2009 JUNO Award for Best Classical Album of the Year for Ensemble Caprice’s Gloria! Vivaldi’s Angels on the Analekta label.
Eric Milnes has been critically acclaimed throughout North America and Europe as one of the most dynamic and compelling sacred music directors and keyboard artists of his generation. A native New Yorker, his imaginative and energized performances have been applauded at the Utrecht, Bremen, Regensburg, Lufthansa, Potsdam, Passau, Boston, Mostly Mozart, Montréal, Vancouver, Ottawa, Toronto, Berkeley, Santa Fe and San Francisco Early Music Festivals. As conductor, he has directed New York Baroque, The National Symphony of Santiago (Chile), New York Collegium, Trinity Consort, Portland Baroque Orchestra, I Cantori di New York, Musica Divina, Les Boréades de Montréal, and many others. He has taught at the Juilliard School, Hofstra University, William Patterson College, Berkshire Choral Festival, Norwegian State Academy of Music in Oslo, and Bergen Conservatory in Norway.
Julie Andrijeski maintains an active violin performance schedule, playing with many diverse early music groups across the nation. She is artistic director of the Atlanta Baroque Orchestra, concertmaster of New York State Baroque, co-director of Quicksilver, principal player with Apollo’s Fire, and member of Les Délices, the Boston Early Music Festival Orchestra, and The King’s Noyse. Andrijeski teaches both violin and dance each summer at several festivals including the Baroque Performance Institute (Oberlin), Madison Early Music Festival, Magnolia Festival and workshop (Winston-Salem), Baroque Instrumental Programme (Vancouver, BC), and the Vancouver Early Music Festival. Her recordings can be found on Acis Productions (Quicksilver), Dorian Recordings (Chatham Baroque), Centaur (Cecilia’s Circle and The Publick Musick), cpo (Boston Early Music Festival Orchestra), Avie (Apollo’s Fire), and Musica Omnia (Boston Bach Ensemble).