CONCERT SPIRITUEL

ARTISTS

William McColI is Professor of Clarinet at the University of Washington and a founding member of the Soni Ventorum Wind Quintet. A graduate of the Vienna Academy of Music, he has performed with many string quartets and has been a member of the Philarmonia Hungarica in Vienna, the Orquestra Filarmonica de las Americas in Mexico City, the Puerto Rico Symphony, and the Casals Festival Orchestra under Pablo Casals. On period clarinet, he performs with the Classical Consort in Seattle, the Portland Baroque Orchestra, the Handel & Haydn Society in Boston, and the Philharmonia Baroque Orchestra in San Francisco.

In his 'spare' time, Professor McCoIl has built several replicas of early clarinets and basset horns. He has an extensive recording history on both modern and historical instruments and, as a member of the New World Basset Horn Trio, has recorded music of Mozart and Stadler for Harmonia Mundi.


Richard Spece regularly performs as soloist and chamber musician on modern and period clarinets. He holds a Master of Music degree from the University of Washington and is completing a Doctorate at Indiana University. He has studied with such distinguished clarinetists as James Campbell, Howard KIug, William McColI, Stan Stanford, and Alfred Prinz, and taught clarinet at several universities. He plays with the Northwest Sinfonietta and has performed with several orchestras in the US and abroad.

On period clarinet and basset horn, Mr. Spece has performed with the Classical Consort at Concert Spirituel (Seattle), the Portland Baroque Orchestra, the Ama Deus Ensemble in Philadelphia, and the Philharmonia Baroque Orchestra in San Francisco.


Bonnie Garrett is an active pianist, harpsichordist and fortepianist throughout the Northwest, Ohio, and Colorado. A co-founder of Portland Pro Musica, known for its Saturday Baroque Series in the 1980s, she produced the series "Papa Haydn and Friends" and "Vienna circa 1830". She was chosen to participate as fortepianist in the 1993 Aston Magna Academy's "Schubert's World: Viennese Culture in the Reign of Francis I". She has toured with the acclaimed Dutch baritone Max van Egmond and has performed on the Liederabend series at Trinity Episcopal Cathedral in Portland, Oregon. As fortepianist and harpsichordist, she has appeared with the Portland Baroque Orchestra, Oregon Symphony, Oregon Repertory Singers, and at numerous colleges and music festivals in Oregon and Washington (including the Governor's Artist Series and the Water Music Festival).

Miss Garrett teaches piano and harpsichord and directs the private instruction program at Reed College in Portland.


Since arriving in the Pacific Northwest in 1995, soprano TERRI RICHTER has quickly established herself as a leading opera and concert artist. She was a finalist in the 1995-96 Metropolitan Opera Regional Auditions, was awarded the very first Mary Levine Memorial Scholarship in 1997, and was chosen as the first member of Seattle Opera's new Young Artist Program, where she sang Despina in Cosi fan tutti. She made her Seattle Opera debut as Barbarina in The Marriage of Figaro and this season will sing Papagena in their performance of The Magic flute. Ms. Richter has recently appeared as soloist with the Spokane Symphony, Bellevue Philharmonic, the Seattle Symphony, Orchestra Seattle, and the Northwest Sinfonietta, and will make her Northwest Chamber Orchestra debut next month.
Keyboardist and conductor GEORGE SHANGROW is Music Director of Orchestra Seattle and the Seattle Chamber Singers, a position he has held since 1969 when he founded the organizations. He has been featured guest conductor with the Sapporo (Japan) Symphony, Seattle Symphony, Oregon Symphony, and the Northwest Chamber Orchestra, and was Music Director and Conductor of Pacific Chamber Opera from 1976 to 1978. Mr. Shangrow has taught at Seattle University and Seattle Community College and is a frequent lecturer throughout the Northwest. Having toured Europe several times as keyboardist and conductor, he has appeared in recital on piano and harpsichord with many noted soloists. Mr. Shangrow has recorded with Voyager Records, Edel Records and Lyman Digital Recording. Northwest music lovers also know George as a broadcast host on Classic KING-FM.
PAGE SMITH-BILSKI is principal cellist of the Northwest Chamber Orchestra and the Pacific Northwest Ballet Orchestra. She is one of the region's most active chamber musicians, performing frequently with the Chamber Music at SAM Series (Seattle Art Museum), Second City Chamber Music Series (Tacoma), Chamber Music San Juans (Friday Harbor) and the Mostly Nordic Chamber Music Series (Seattle). While living in New York for three years, she performed with the Chelsea Chamber Ensemble and as principal cellist of the New Jersey Symphony. Her teachers have included Ronald Leonard, Gabor Rejto, Eva Heinitz, Phyllis Allport and Lynn Harrell. Recently, Ms. Smith has developed a keen interest in performance practice and has participated in master classes with Anner Bylsma and Kenneth Slowik as well as studying privately with Catharina Meints.
STEVEN NOVACEK (early 19th-century guitar) has appeared as soloist with symphony and chamber orchestras and choral ensembles and in recital at festivals and concert halls throughout North America and Europe. He has been awarded, in two successive seasons, the prestigious "Solo Recitalist Fellowship" by the National Endowment for the Arts, and performance grants from the Washington State, King County and Seattle Arts Commissions. He received full scholarships for his studies at California State University Northridge and Recountres Internationales de la Guitar. Currently he directs the guitar and lute programs at both the University of Washington and the Cornish College of the Arts. He has solo recordings on the Ambassador, Overture, Naxos, and Klavier labels. "Novacek's playing is at once suave and affecting., but most to the point,, projects the varying idioms of each of the pieces, adding up to a recital that is at once kaleidoscopic and unified. The recording is just about ideal - conveying a most thoughtfully selected program played by an extraordinary musician." William Zagorski - Fanfare
SUSIE NAPPER studied at the Guildhall School of Music in England, at Juilliard (New York) and at the Conservatoire national supérieur de musique in Paris.

For the past twenty years, she has performed widely as a baroque cellist and gambist. She was a co-founder and director of the Philharmonia Baroque Orchestra in San Francisco. She is principal cellist of the Studio de musique ancienne de Montral and Ensemble Stradivaria (France) and has appeared as viola da gamba soloist with the San Francisco and Vancouver symphony orchestras.

Susie Napper has played with Il Complesso Barocco at La Scala in Milan, La Petite Bande in Belgium, Les Arts Florissants in Paris, and has taught and performed in Australia, New Zealand, Israel, India and Japan. She has performed for the Socit Radio-Canada, the Canadian Broadcasting Corporation, KPFA (Berkeley), Radio-France, Radio Télévision Belge and the BBC. She can be heard on the Harmonia Mundi, ADDA, NAXOS, Erato, CBC Records, SRC, ATMA, UMMUS and EMI record labels.

Susie Napper's viola da gamba is a rare original made by Barak Norman, London 1703 and restored by William Monical (New York) in 1995.


Born in New York in 1943, JOHN WHITELAW was trained as a pianist in the United States. He was first exposed to ensemble playing as a trumpet player in both standard wind bands and in classical jazz ensembles. Finishing his studies at universities in Indianapolis and in Chicago, John Whitelaw was led to discover the world of vocal music. Singing in madrigal groups and in motet choirs, and performing as a pianist for singers, created a sensitivity to singing that influences all his musical activity.

He has played at the keyboard, sung, or conducted virtually all styles of "European" music. In 1966, he left Chicago for Montreal where he discovered the harpsichord (and the burgeoning world of baroque music) under the guidance of Kenneth Gilbert. After receiving performance diplomas from McGill University and the Montreal Conservatoire, he taught harpsichord and the history of vocal music at the University of Ottawa. In 1971, he took the advanced degree in harpsichord performance under Kenneth Gilbert at the Antwerp Conservatory (Belgium). Settling in Paris in 1972, he won prizes in the international competitions in both Bruges and Paris. Among his diverse activities in Paris, he returned to piano accompanying and met Gerda Hartman in 1975. He has since played regularly for her and other singers, especially in the repertoire of the German Lied. He gives regular summer courses in harpsichord, as well as in the art of piano playing in the vocal repertoire.

He has conducted baroque and classical orchestras, has founded and directed several vocal ensembles and is in constant working contact with the great polyphonic literature of the 16th century. He was the musical director of "Les Troqueurs", by Antoine d'Auvergne, which was produced in Paris, and taken to the Newport Opera Festival. With "Ris et Danceries", a Parisian dance company which specializes in the discovery and interpretation of 17th- and 18th-century court and theatre dancing, he was the solo harpsichordist for "L'Amante Invisible", a fantasy on reconstructed historical dancing techniques. This experience has profoundly enriched his insight into French baroque music. He was for several years the harpsichordist of the remarkable "Five Centuries Ensemble" (soprano, male soprano, cello and harpsichord), which performed programs of collages of early and modern music coupled with improvisations.

Having recorded for European and North American radios, his published recordings include harpsichord music of William Byrd and of Domenico Scarlatti, Das Musikalische Opfer of J. S. Bach; and, with soprano Gerda Hartman, Mozart Lieder played on a copy of a Stein fortepiano, Lieder of Hugo Wolf and Das Marienleben of Paul Hindemith. He has given recent solo performances of Die Kunst der Fuge. John Whitelaw is professor of harpsichord at the Conservatory in Ghent, Belgium. He participates in various colloquia around early music and its pedagogy. He is a member of several clavichord societies and leads a diverse, active musical life as a harpsichord, clavichord and forte-piano soloist as well as keyboard player in modern music.


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