Individuals Archive » Early Music America

Period woodwind specialist, Charles Wines is a native of the Kansas City area and has performed with Piffaro: the Renaissance Band, the Philharmonia of Greater Kansas City, the Kansas City Baroque Consortium, and St. Michael’s Baroque Ensemble. He is founder and director of Forgotten Clefs, a Renaissance wind band who performed at the Boston Early Music Festival in 2015. He is also a founding member of Opera Nova, a group dedicated to 17th century instrumental music. He studied modern bassoon at UMKC and modern oboe at the University of Central Missouri. He completed a Masters in Early Music in the Historical Performance Institute at Indiana University, Bloomington, where he currently a doctoral student. Charles enjoys making reeds for all historical double reed instruments, and is now building copies of instruments from the Renaissance.

Mrs. Jordan Larae Seguin-Gascoigne

Prof. Harry John Betteley Birks

Ms. Marisol Martinez Montemayor

During the summer of 2018 (at the age of 12), Rylie was introduced to the Baroque bassoon at a modern bassoon camp hosted by Dr. David Wells. After obessing about the sound and style of this instrument for a year, Rylie (at the age of 13) started learning the Baroque bassoon under the guidance of Dr. Anna Marsh (whom she still studies with). Rylie performed her first Baroque bassoon recital online during the pandemic when she was 14 years old, and when she was 15 years old, she joined Seattle Historical Arts for Kids – Early Music Youth Academy, which she regularly plays Baroque bassoon and sometimes historically informed Baroque style on modern bassoon.

Rylie has taught at a youth recorder camp for Seattle Historical Arts for Kids, and she has played chamber music for Seattle Historical Arts for Kids Baroque dance class. In January 2023, Rylie presented with Dr. Anna Marsh on Baroque style at the Meg Quigley Vivaldi Competition and Bassoon Symposium, and shortly after attending Meg Quigley, she created “Y-415 Connection”, which is a youth-to-youth early music education outreach. In June 2023, Rylie attended Oberlin's Barqoue Performance Institute, and in July 2023, she attended Amherst Early Music Festival. In addition to being a recipient of EMA's 2023 IDEA Workshop Scholarship, Rylie was also awarded a scholarship from Amherst Early Music Festival.

Ms. Avery Avanti

Maria Lyapkova

Ebony Stevens

Dr. Stuart Cheney

Dr. Mary-Jane Ballou

Mr. Gabriel Smallwood

Madison Vienna

Charles Dombek

Nathan Dougherty

Laura Potter

Ms. Jessica Korotkin

Steven Stamer

Amelia Sie

Ms. Debbie Crimmins

Leah Wenger

Dr. Brian Hodges

Brian Hodges is a baroque cellist and gambist. He is the Cello Professor at Boise State University and principal cellist of the Boise Baroque Orchestra. He is the author of the published books "A Survey of Solo Works for the Violoncello" and "Cello Secrets", and has contributed numerous articles to "The Strad" and "Strings" magazines.

Clea M Galhano

Dr. Mary Vanhoozer

Mr. Ross Crolius

BM, Mus.Ed., Peabody Conservatory (1976)

MM, Vocal Performance, Eastman School of Music (1979)

Chorister & Soloist, Metropolitan Opera Company (1981-2007)

Ensemble Member, St. Mary Schola, Portland, ME (2019- present)

Mr. Pierre Ruhe

Prof. LeGrace Benson

Bill Taylor

John Hancock

Toni Hancock

Dr. Carol Marsh

Steven Lundahl

Brandon Ruud

Greg Nosan

Barbara Harris

Kevin Cristiano

Isaac Bunch

Baptiste Petit

Erick Hoffman

Timothy Kendall

Prof. James A. Glazier

Joseph Brantley

Kristin Zoernig

V. Lee Harrison

Blake Ginet

Mr. Jeffrey Coggins

Music Director

St. Thérèse of Lisieux Parish

Roman Catholic Diocese of Portland

University Chorale Accompanist

USM School of Music

Gorham, Maine

Accompanist, Associate Conductor (Outreach Choir)

Tri-City Community Chorus

Saco/Biddeford/Old Orchard Beach, Maine

Freelance musician (music directing, accompanying, harpsichordist)

Christopher Short

Ms. Cheryl Stafford

Dr. Robert Kenet

Vikram Joshi

Jennifer Randolph

Lissette Ryan

Ed Hess

Aly Gardner-Shelby

Charlotte Tang

Emily Ostrom

James Louder

Mrs. Michelle Masek

Michelle Mašek has been performing for over 30 years. She studied medieval vielle with Shira Kammen, earned a Masters in Ritual Chant & Song from the Irish World Academy of Music and Dance (University of Limerick), and studied music at Brown University. She has performed internationally with an eclectic variety of ensembles, including Jordi Savall & Hespèrion XXI, Keltia Productions, and The Boston Camerata, and Class V Music, an ensemble dedicated to creating music on whitewater rafting trips. Recently she performed the show ‘Stars & Stones’ for Cístermusica Festival (2019) in Portugal with tenor Wolodymyr Smishkewych: a program of Irish, British, French, German, and Iberian Troubadour repertoire.  During her time living in Limerick, she was privileged to perform with the Limerick Philharmonic Orchestra, the University of Limerick Orchestra, and to teach violin/fiddle/viola & voice at Redemptorist Centre of Music and Mid-West Vocal Academy & Music School. Michelle has returned to the San Francisco Bay Area, California, where she lives with her husband and eight birds.

Dr. Paul Schiffelbein

Dr. Mary Heiden

Dawn Sleeper

Nicholas Phan

Described by the Boston Globe as “one of the world’s most remarkable singers,” American tenor Nicholas Phan is increasingly recognized as an artist of distinction. Praised for his keen intelligence, captivating stage presence and natural musicianship, he performs regularly with the world’s leading orchestras and opera companies. Also an avid recitalist, in 2010 he co-founded the Collaborative Arts Institute of Chicago (CAIC) to promote art song and vocal chamber music, where he serves as artistic director.

A celebrated recording artist, Phan’s album, Clairières, a recording of songs by Lili and Nadia Boulanger, was nominated for the 2020 Grammy Award for Best Classical Solo Vocal Album. His album, Gods and Monsters, was nominated for the same award in 2017. He is the first singer of Asian descent to be nominated in the history of the category, which has been awarded by the Recording Academy since 1959. His other previous solo albums Illuminations, A Painted Tale, Still Fall the Rain and Winter Words, made many “best of” lists, including those of the New York Times, New Yorker, Chicago Tribune, WQXR, and Boston Globe. Phan’s growing discography also includes a Grammy-nominated recording of Stravinsky’s Pulcinella with Pierre Boulez and the Chicago Symphony, Berlioz’ Roméo et Juliette with Michael Tilson Thomas and the San Francisco Symphony, Scarlatti’s La gloria di primavera and Handel’s Joseph and his Brethren with Philharmonia Baroque, an album of Bach’s secular cantatas with Masaaki Suzuki and Bach Collegium Japan, Bach’s St. John Passion (in which he sings both the Evangelist and the tenor arias) with Apollo’s Fire, and the world premiere recordings of two orchestral song cycles: The Old Burying Ground by Evan Chambers and Elliott Carter’s A Sunbeam’s Architecture.

An artist with an incredibly diverse repertoire that ranges from Claudio Monteverdi to Nico Muhly and beyond, Mr. Phan appears regularly with many of the leading orchestras and opera houses in the world. Phan is also an avid recitalist and a passionate advocate for art song and vocal chamber music. He has been presented in recital and chamber concerts by Carnegie Hall, London’s Wigmore Hall, the Metropolitan Museum of Art, Chamber Music Society of Lincoln Center, Atlanta’s Spivey Hall, Boston’s Celebrity Series, Aspen Music Festival, and the Library of Congress in Washington, DC. In addition to his work as artistic director of CAIC, he also has curated programs for broadcast on WQXR in New York and WFMT in Chicago, and served as guest curator for projects with the Philadelphia Chamber Music Society, Bravo! Vail Music Festival, Apollo's Fire, Laguna Beach Music Festival, Merola Opera Program, and San Francisco Performances, where he served as the vocal artist-in-residence from 2014-2018.

Timothy Swain

Suffered a stroke in late 2004 & had to learn to speak somewhat again, let my membership go but joined again to follow — performed beginning in early 1970s with such as Margaret Irwin Brandon & Grant Herreid but my writing is crucial, you can get copies by writing request to my email & I will respond

Ms. Janith Mason

Dr. Martha Folts

Ms. Shira Kammen

Mr. Tung Nguyen

Robert Vannoy

Ian Jones

Ian Jones is a violinist and baroque violinist from the Atlanta metropolitan area. He is currently studying at the University of Denver, Lamont School of Music, pursuing a masters degree in music performance on an awarded full scholarship, as well as a graduate teaching assistant position for pedagogue and violinist Linda Wang. Prior to moving to Denver, Colorado, Ian studied as an undergraduate at the University of Georgia, Hugh Hodgson School of Music, where he earned a bachelor's degree in Music Performance on scholarship: The Hugh Hodgson School of Music Scholarship Award, as well as the Claasen Orchestral Excellence Award. Ian’s primary instructors have been Michael Heald, and Linda Wang.

Ian started his studies in baroque violin in 2020 with his primary teachers, Jude Ziliak, and Augusta McKay Lodge. Ian has also studied with renowned violinists Cynthia Roberts, Cynthia Miller Freivogel, and Julie Andrijeski, at festivals such as Oberlin Baroque Performance Institute, and Clarion Society Collegium Week. Ian has performed with multiple ensembles – including a featured guest artist performance with Amethyst Baroque Ensemble, as well as performances alongside members of New York Baroque Incorporated, the Clarion Collegium, the American Bach Soloists, Voices of Music, instrumentalists of TENET Vocal Artists, and the Atlanta Baroque Orchestra.

In 2022, Ian was selected as an artist apprentice with the Baroque Chamber Orchestra of Colorado for the ‘22-23 and ‘23-24 seasons. Other concert engagements for the year include performances with the Boulder Bach Festival, the Boise Baroque Orchestra, the Seicento Baroque Ensemble, the Baroque Chamber Orchestra of Colorado, the Colorado Repertory Singers, both the Cheyenne and Fort Collins Symphonies, as well as several solo and collaborative recitals. Chamber music is a large facet of Ian’s career, and recently he and his chamber group won the 2023 Lamont Chamber Honors Competition with a performance of Franz Schubert’s prolific String Quintet in C Major. Highlights of the year include a recital of Italian baroque masterworks with members of Boise Baroque Orchestra and harpsichordist Benjamin Katz at Boise State University, as well as being selected to attend the prestigious Berwick Academy at the Oregon Bach Festival this coming summer.

Mr. Philip Taylor

Mrs. Christine Gevert

Ms. Mei Chang

Dr. Eva Lymenstull

Dr. Malachai Komanoff Bandy

Mr. Cayden Taylor

Mr. John Herman

Susanna Quagliariello

Jacob D. Jahiel

Prof. Steven Paul Spears

Noted for being “most consistently musical, most clear in diction,” possessing a “stunningly beautiful, edgeless tenor” and for “lustrous singing,” tenor Steven Paul Spears has performed with many arts organizations across the United States and Europe. Specializing in works of the Baroque and Contemporary Periods, Steven’s recent repertoire includes of works of Rameau, Cavalli, Monteverdi, Bach and Handel, as well as Britten, Stravinsky, Tichelli, Orff and Ullmann. Of his singing, reviewers have said Steven brought out “one reason why Bach’s vocal melodies have such complex, searching contours; they’re tracing not just musical thoughts, but also the changing weight and implications of the text,” giving a performance “so true to the words” and of a performance of the Roasted Swan in Orff’s Carmina Burana, one critic wrote that it was “riveting…filled with angst and an overabundance of high notes, Spears dramatized the moment with vocal dexterity and polish.”

Receiving the Master’s Degree in Music from the Juilliard School and the Bachelor’s Degree in Music from the University of Louisville, Steven is in his 19^th year of teaching at Lawrence Conservatory in Appleton, WI and 7th year as Director of Music at First Presbyterian Church of Neenah.

Dr. Nils Neubert

Tenor | Coach | Educator

Tenor Nils Neubert was born and raised in Hamburg, Germany, and is active as a performer, educator, coach, and scholar in the United States and abroad. He teaches German diction at the Juilliard School and the Manhattan School of Music and has served as German coach at the Music Academy of the West since 2016. He joined the Glimmerglass Festival and the Wolf Trap Opera Company in that same capacity during 2020 and 2022, respectively, and the music staff at the Metropolitan Opera in 2022. Nils Neubert holds degrees from the Juilliard School (BM), Teachers College, Columbia University (MA), and the CUNY Graduate Center (DMA). He also trained at the Internationale Sommerakademie Mozarteum, Bel Canto at Caramoor, the Scuola Leonardo Da Vinci, the UMass Amherst Arts Extension Service, the FernUniversität Hagen, and the Harvard Extension School, and is an alumnus of the Walnut Hill School for the Arts and the Boston University Tanglewood Institute. He is a student of Dr. Robert C. White, Jr., and is married to pianist Yuri Kim.

Dr. Edward Dunbar

Mr. David Skulski

Mr. Paul Johnson

Dr. Eric Jerome Hearst

Anne Johnson

Dr. Carol lei Breckenridge

Ms. Ana Maria Ruimonte

“Ana María Ruimonte gives the material much more clarity than most operatically-trained vocalists typically deliver. And she maintains power and edge through many of the melodies’ challenging, rapid-fire melismas and ornaments… She sings in character… She reaches for the rafters with arioso power….” New York Music Daily, 2020.

ANA MARÍA RUIMONTE, is a lyric soprano graduated from the Escuela Superior de Canto of Madrid. She studied further in Nuremberg, Philadelphia, and New York. She was a finalist at Italy’s International Opera Umberto Giordano competition in 2013.

She is a singer at the Arizona Opera Chorus, and president of Owlsong Productions Inc.

She was a singer at Madrid’s Teatro Real for seven years while sharing the stage and recording with the biggest stars of the opera world.

From 2008-2013, Ana María was a full-time tenured member of the National Chorus and Orchestra of Spain (OCNE), with whom she toured in Spain, Vienna (Austria), Dresden (Germany), Toulouse (France), including appearances in 2009 at Lincoln Center in New York.

Ms. Ruimonte has released on the Owlsong label five albums of Sephardic, Spanish baroque, Opera, Zarzuela, and Art Songs.

Her multi-part project “Slavery, Miscegenation and Liberation: The Era of Modernism” includes academic research and a series of collaborations with Cuban composers and musicians. So far this has resulted in the CDs Sencillamente Martí (chosen for an award by Fundación SGAE in 2019), Con Rodrigo en Cuba, and a pair with Huberal Herrera: Africana Soy and Rosas para Lecuona.

Her bilingual multimedia theatrical spectacular about life and music in 17th-century Spain, The Cart of Love (El Carro del Amor), has been honored with a featured performance at the Library of Congress in Washington DC for the Hispanic Heritage Month 2016 among others.

Since 2014, she has performed in Philadelphia, New York, Tucson, Washington D.C., and Phoenix in the U.S.; Tel Aviv and Jerusalem in Israel; Madrid, Granada, and Guadalajara in Spain; and Havana, Cienfuegos, Matanzas, and Santiago in Cuba.

Ana María taught master classes for the singers at the Teatro Lírico in Havana, Cuba, in 2019.

Mrs. Ruimonte prepared a program of rarely-heard Spanish Christmas songs from the late 19^th and early 20^th century in collaboration with Spain’s National Library to premiere in the 2021 holiday season.

She presented her project ""Africana Soy: Mestizaje en la zarzuela cubana" in October 2023 at the University of Oviedo for the IV International Congress of MUSAM".

Dr. Mark W. Ardrey-Graves

Mr. Israel Herman

Dr. Mark Edwards

First prize winner in the 2012 Musica Antiqua Bruges International Harpsichord Competition, Canadian harpsichordist and organist Mark Edwards is recognized for his captivating performances, bringing the listener “to new and unpredictable regions, using all of the resources of his instrument, […] of his virtuosity, and of his imagination” (La Libre Belgique). Since 2016, he is Assistant Professor of Harpsichord at Oberlin Conservatory.

He has given solo recitals at a number of prominent festival and concert series, including the Utrecht Early Music Festival, Bozar (Brussels), the Montreal Baroque Festival, and Clavecin en concert (Montreal). He has had concerto performances with a number of award-winning ensembles, including Il Gardellino (Belgium), Neobarock (Germany), and Ensemble Caprice (Canada). Also an active chamber musician, he is the artistic director of Poiesis, collaborates regularly with Les Boréades de Montréal, and has performed with Il Pomo d’Oro, Pallade Musica, and Flûtes Alors!.

Passaggi (ATMA 2013), his first CD with the Canadian recorder player Vincent Lauzer, was reviewed warmly and was nominated for an ADISQ award. His début solo CD, Orpheus Descending, was released in 2017 on the early-music.com label. His performances have been broadcast by American Public Media, the Canadian Broadcasting Corporation, Klara (Belgium), and Radio 4 (Netherlands).

In addition to his success in Bruges, Mark has distinguished himself as a prizewinner in a number of important competitions, including the 2012 Jurow International Harpsichord Competition, the 2011 Concours d’orgue de Québec, and the 2008 Rodland Organ Competition. He is the recipient of academic grants from the Social Sciences and Humanities Research Council of Canada and the German Academic Exchange Service (DAAD). He studied at the Eastman School of Music in Rochester, NY, where he earned his Bachelor of Music with highest distinction, and completed graduate degrees at McGill University and the Hochschule für Musik Freiburg. His former teachers include Robert Hill, William Porter, Hank Knox, and David Higgs. He is currently a PhD student at Leiden University and the Orpheus Instituut, Ghent, where his research examines the intersection of memory, improvisation, and the musical work in seventeenth-century France.

Mrs. Helen Brinkman

Ms. Terri Felton

Ethelyn Payne

Geoffrey Fallon

Dr. Arthur Houle

Dr. Arthur Houle is founder/artistic director of the Festival for Creative Pianists, a longstanding academic professor, a critically acclaimed performer/clinician, recipient of several teaching awards, and a published writer/reviewer, composer, arranger, editor and recording artist.

Dr. Cheryl Moore

Antoinette Seales

Ms. Nancy Fahringer

Dr. Mimi Mitchell

Dr. Kathryn Cok

Kathryn Cok pursues a varied career as a harpsichordist, forte-pianist and academic on both sides of the Atlantic. She is well sought after both as a soloist as well as a continuo player.

Born in the city of New York, USA, Kathryn now lives in The Hague, Holland where she completed a Masters degree at the Royal Conservatory as a student of Ton Koopman and Tini Mathot on the harpsichord, and Bart van Oort on the fortepiano. Kathryn was recently awarded a PhD from Leiden University on the subject Basso Continuo Sources from the Dutch Republic c.1620-c.1790.

Kathryn won first prize in the first solo competition for baroque instruments in Brunnenthal, Austria. She works regularly as a soloist and continuo player with the Amsterdam Baroque Orchestra, and other important early music ensembles in Europe and performs regularly as a soloist in many of the world's most renowned Early Music Festivals such as Oude Muziek, Utrecht, Brunnenthaler Concert Zomer, Bodensee Festival, and important keyboard collections in the UK such as the Cobbe Collection, Finchcock's, Fenton House and the Gemeente Museum, Holland.

She is co-founder of the Caecilia-Concert, a dynamic international group of instrumentalists specializing in performance and research of 17th century music for instruments and voices. She has an active duo for bassoon and fortepiano with Wouter Verschuren, performing known and unknown repertoire for historical bassoon and keyboard.

Kathryn teaches at the Royal Conservatory in The Hague, Holland, where she is also Head of Master Research. She also organizes the summer course Fiori Musicali for 16th and 17th music in Utrecht together with the other members of the Caecilia-Concert, and is a frequent guest teacher at workshops and early music festivals in the U.S.A. and in Europe.er

For more information please visit:

www.kathryncok.com and www.caecilia-concert.com.

Dr. Christopher Bagan

Christopher Bagan is a versatile artist, equally at home on modern and historical keyboard instruments. He is in high demand as a collaborator, chamber musician and basso continuo specialist. He has performed with many of the leading baroque singers, instrumentalists and conductors in North America and abroad with recent engagements including appearances with I Furiosi, Apollo's Fire, Les Dèlices, Catacoustic Consort, Daniel Taylor and Ellen Hargis. He is a regular performer in the Early Music Vancouver main series and Summer Festival as well as Vancouver’s Music on Main concert series. In 2015-16 Christopher was the Early Keyboard instructor at Case Western Reserve University and the head of Harpsichord at the Cleveland Institute of Music. He is harpsichordist for the Canadian Opera Company and Opera Atelier and holds a Doctor of Musical Arts in piano performance from the University of British Columbia with a specialization in the piano music of Arnold Schönberg.

Mr. Toni Codinas

I am a board member and Treasurer of the Washington Bach Consort, where I am in my third year of service participating actively in the elaboration of our Strategic Plan, including our renewed mission and vision statements, and shaping our Diversity, Equity and Inclusion commitment. I live in the Bloomingdale neighborhood of Washington DC with my husband Donald, where we engage actively in the community advocating for broadening access to fresh and healthy foods, and participating in the local arts and culture scene as collectors, supporters and enthusiastic audience members.

Suzy Hertzberg

Sam Motter

Ms. Tania C. Stefania Birardi

C. S. Tania Birardi

Emilia Fadini: "Tania Birardi.. a rare pearl" in the Inaugural Concert of the Early Music Courses promoted by the Monti and Mousikè Association of Parzanica, Lake Iseo Bergamo (2011).

Emilio Suvini (conductor): "[…] her strong lively soul creates a gesture: expressive, communicative, incisive and elegant " (2018).

Graduated in harpsichord and in piano at the Conservatory 'Niccolò Piccinni' in Bari among her best memories she has the participation in the first staging of Fellini's Gianburrasca following the discovery of the manuscript by Nino Rota.

Moved to Milan to attend courses of high artistic perfectioning in historical informed performance of keyboard instuments with Emilia Fadini (she is her last pupil) and Gianluca Petagna at Scuola Musicale di Milano where deepens the theory of praxis on the main European ancient-language treatises for both keyboard instruments and singing. Other significant encounters for her harpsichord training were Enrico Baiano and Jean-Mac Aymes.

She performs in concerts both as a soloist and in ensembles in contexts that enhance the territory in an ethical and sustainable way like Morellino Festival (2017, 2018), Serate Musicali di Milano (2019, 2020, 2021) and Palazzo Marino in Musica, Milano (2022).
She has recorded unpublished music by Giovanni Maria Sabino, the musician who founded the first Italian Conservatory in Naples, for the Unesco Club of Biseglie (2012) and is the dedicatee of Ettore Righello's latest composition "Scherzo in B flat" (2018) for harpsichord or piano. Premier " Concetric@mente" for Harpsichord solo, oboe and Orchestra, Church of San Sabino, Bari (2011). In the same year she is invited to perform in event "A night in the museums" music by G. Frescobaldi and D. Scarlatti sponsored by the Center for the Study of Performing Arts in the Mediterranean in Bari's Bona Sforza Hall of the Norman Swabian Castle.
Her repertoire on keyboards instruments ranges from the early days to the present days.

A colouratura soprano, she prefers 'a cappella' formation and has a repertoire ranging from Gregorian chant (Ambrosian and Benedictine) to early baroque, Her meeting with M. Walter Testolin was fundamental to her training. As Vatican Cantore in 2021 in the role of soloist , she inaugurated the Chapel of the Assumption at the Ursuline Nuns College of St. Charles Borromeo.

Masterclass with Deda Cristina Colonna-Preti, Robert Streiner, Dino Verga, Bill Goodson were important for here growth in dance, performing in the most important theatres in Bari, Italy.

As a pianist, harpsichordist and dancer, she has won international competitions.

The last pupil of M. Emilio Suvini with whom she studied conducting, in 2018 she founded and conducted the first Children's OrchestraCross-Over of the Sitema Abreu, the "J.O.I. Orchestra" , orchestra for peace, making its debut at the Auditorium Fondazione Cariplo Verdi for the Festival Giovani e Giovanissimi Città di Milano; she opened the festival "Choirs and Youth Orchestra Sistema Veneto" Coregliano Veneto (2018) and conducted also in the same Festival the following year in Sala Puccini of the Conservatorio Giuseppe Verdi in Milan; she closed the project in 2020 due to the pandemic.

She is the winner of a scholarship that allowed her to follow Riccardo Muti (2018) in Ravenna during his training on G. Verdi's Macbeth.

Since September 2017, the Scuola Musicale di Milano has entrusted her with a course for children and adolescents, an exclusive educational project that provides for the complete study of key instruments such as the clavichord, harpsichord, fortepiano, and piano, respecting historically informed practices also working on manuscripts with performances on a digital platform.

From an educational point of view she supplementing the work with an onomatopoeic study proper to the language of comics who has achieved excellent results in the learning process of her students.

She also taught adults of all levels and her students take exams at the Royal School of Music in London.

At the outbreak of the pandemic in March 2020, she was invited to the international tables organised by REMA-EEMM and EMA and was their guest until April 2021 partecipated in the REMA 2023 International Summit.

Since 2020, every year on 21 March we dedicate a free concert lecture for Early Music Day with REMA and EMA on Instagram live.

She is a member of the IAML and the EMA and supports national and international charity projects like Red Cross.

Since 2020, every year on 21 March we dedicate a free concert lecture for Early Music Day with REMA and EMA on Instagram live.

Her love for the dialogue between the arts that has led her in 2011 to create the Pianoforte al centro della città project, “– Questione di FILIng”, Murat Hall together with the Fabbrica della Creatività, ElaborAZIONI ( Open Space Technology ), Politecnico di Bari, Comitato Civico Metropolitano Barese together with the Fabbrica della Creatività and the Politecnico di Bari , and all national institutional bodies of the Barese Metropolitan Territory, which has had international resonance.

As artistic director she oversaw the event in which the Pianoforte plays a central role in the European dialogue, for International Conference "The Transport Community European Reality and Perspectives in the Land of Bari, Attilio Alto Lecture Hall, Bari Polytechnic University, Bari Transport Community Ministry of Infrastructure and Transport, Apulia Region, Province of Bari, Municipality of Bari, Port Authority of the Levant.(2011)

She practices Yoga and Meditation, is passionate about poetry which she often writes in French and English and knows LIS to understand the deaf.
Loves photography, cinema, theater, fashion, art, new technologies, chess, wild animals and patisserie (better if vegan).

Mr. Matt May

Ms. Gabriella Cariddo

Gabriella Cariddo (b.2004) is a harpsichordist, composer, and aspiring researching musicologist from New York City interested in exploring historical performance practice and composing tonal music in the twenty-first century.

Whether singing the soaring chants of Hildegard of Bingen or crafting arrangements of ancient music for historical harps, Alix Evans is dedicated to breathing life back into ancient music. She finds the sounds of medieval lays, epics, and polyphonic works to be not just aesthetically beautiful, but positively gripping, at once both familiar and captivatingly different. Alix’s passion is inspiring people through performance of this unique repertoire, and drawing them into the world of early music through teaching and performance opportunities.

Alix also enjoys working with living composers, and has performed with choirs and ensembles across North America. She is a featured soloist on the debut recording of Tristan Latchford’s “A Celebration of Women in the Bible.” She has performed with choirs specializing in music of the Renaissance in Madison, WI, Baltimore, MD, Ottawa, ON and with Illuminare and Brigid’s Circle in Washington DC. During the pandemic, Alix founded “Falsa Musica,” a venue through which avocational singers could gather online while choirs were dark to sing medieval monophonic music – one of the few repertoires that lends itself to group singing over Zoom.

Alix is the director of the new medieval ensemble Ignota, and is music director of Second Wind Chorus in Washington DC. She leads the youth music programs at Saint Luke Lutheran Church in Silver Spring, MD, and runs a thriving private vocal studio in Silver Spring, MD and online. Alix holds an MM in historical performance and vocal pedagogy from the Peabody Institute, and is a member of the Peabody LAUNCHPad faculty.

Described by critics as having "simply unbelievable vocal power and control" and "a winning stage personality," soprano Wanda Yang Temko holds a doctorate in performance from the Indiana University Jacobs School of Musicin Bloomington, Indiana. Other degrees include a Master of Music degree in Voice Performance from Georgia State University and a Bachelor of Arts degree in Psychology and Liberal Studies from Emory University. She made her international operatic debut in Mozart’s Die Zauberflöte in Rome. Other highlights include the Mother in Menotti’sAmahl and the Night Visitors and Morgana in Handel’s Alcina.

Acclaimed for performances on the operatic and concert stages, she has collaborated with some of the most renowned Early Music artists of our time, including Andrew Lawrence-King, Paul Hillier, Nigel North, Paul Elliot, and Stanley Ritchie. An acknowledged interpreter of Johann Sebastian Bach, she was a semi-finalist in the inaugural year of the Chimay Baroque Singing Competition. As a recitalist she performs throughout the country, featuring the works of Barber, Rachmaninoff, Ravel, Handel, Bach, and the great German Romantic composers. Wanda’s interest in contemporary music is equally keen, as evinced by her skilled and nuanced performances of the works of Olivier Messiaen. As a professional chorister, she has performed with conductors such as Robert Shaw, Robert Spano, Donald Runnicles, William Fred Scott, and Alfred Calabrese. Dr. Yang Temko is a founding member of Skylark Vocal Ensemble.

A multi-faceted performer, she was the host of Afternoon Classics and Concert 90 on Atlanta's own NPR affilliate, WABE, 90.1 FM, where for seven seasons she also wrote, produced, and hosted a weekly show highlighting singers and their connections to their art and the world, called "The Art of Song."

Having completed an undergraduate degree in music with emphasis on theory and composition, I currently enjoy clavichord and harpsichord playing. I serve on the Board of Trustees of WEKA (Western Early Keyboard Association) based in Portland, Oregon.

A founding member of EMA, mezzo-soprano Jennifer Lane has performed and recorded extensively, both nationally and internationally. She is a full professor in the Voice and Early Music faculties at the University of North Texas (UNT), which hosts the largest early music program in the United States. Her over 50 recordings and two films include Dido & Aeneas with The Mark Morris Dance Group and Tafelmusik Baroque Orchestra for CBC Records and Rhombus Media produced by BRAVO Television. She has performed and recorded with Barockorchester Freiburg, Philharmonia Baroque, Handel & Haydn Society, Musica Sacra, Seattle Baroque, Portland Baroque, Tempesta di Mare, Washington Bach Consort, Bach Society Houston, American Bach Soloists, Le Parlement de Musique, and a great many other period instrument ensembles. She has directed fully-staged Baroque operas for the Staunton Music Festival, produced at the Blackfriars Shakespeare Theatre. In addition to UNT, Jennifer Lane has held faculty positions at the University of Kentucky and Stanford University, where she built an opera program and an early music collegium which produced fully-staged productions of Dido & Aeneas and The Magic Flute, semi-staged productions of The Tempest and The Impresario, as well as one-act operas and scenes from Monteverdi's La Favola d'Orfeo. Students of hers are professionally and academically active in the US and abroad.

Harpsichord builder – two ZHI instruments, clavichord and virginal, and in 2021 designed and built five-octave brass-strung clavicytherium, followed by a second clavicytherium, with minor modifications, in 2022. Currently building a third instrument, for a customer. The first two can be seen/heard on YouTube – search by my name or for clavicytherium.

Jesse Lepkoff, flute, recorder, guitar, and vocal received his graduate education at the Royal Conservatory in the Netherlands with baroque flutist Wilbert Hazelzet. His many performances include appearances with The Smithsonian Chambers Players, The Musicians of Swanne Alley, The Newberry Consort, Joel Fredriksen & Ensemble Phoenix, The Arcadia Players and as a soloist with The National Symphony under the direction of Christopher Hogwood. He has appeared at many major festivals around the world including Tanglewood, Aix en Provence, Wolf Trap, BEMF, Holland Festival Oude Muziek, Utrect, Festival d’Ile de France among others. The Springfield Union News reported: “His phrasing seemed to defy the human body’s oxygen requirements, while remaining infinitely graceful and acoustically penetrating.” He performs and records regularly with The Boston Camerata, and since 1984 has toured with them in 14 countries, and has recorded for American and European radios, as well as for the Erato, Fleur de Son, and Nonesuch labels. In the U.S. he has appeared many times live on WGBH radio, the BBC and given lecture concerts at the Smithsonian, New England Conservatory and Louisiana University, Lafayette. As a singer/songwriter, Lepkoff performs mostly his own compositions which can have the sophistication of art song, or the knee slapping earthiness and humor of 30’s jazz and blues song. His lyrics can be funny or romantic, poetic or ironic depending on the song. Lepkoff has recorded 2 CDs of his own Brazilian inspired original songs. “ View of the Past” and “I’ll Call it Ecstasy.”

Charles is a Boston-based lutenist, guitarist, educator, and basso continuo performer. He received an MM in Historical Performance at Boston University, where he was award a departmental award for outstanding excellence in 2020, and a BA in music from Benedictine College. He has performed with Capella Clausura in Boston MA, and Sweete Accordes in Kansas City MO, and maintains dual lives as performer and instructor in Boston and the surrounding area. Charles' principle performance areas include early-17th century Renaissance lute, folk-style steel string guitar, 17th century theorbo accompaniment, and Elizabethan and Jacobean solo lute music and airs

I have been playing lute and other early music instruments since 1993. I started the Renaissance Cittern Site in 1999 and began devoting my time to instrument building and string construction in 2006. I have focused most of my research and interest on early wire-strung instruments and established Andrew Hartig Custom Strings for Period Wire-Strung Instruments in 2011.

I have written about citterns and wire-strung instruments for the column "The Wire Connection," in the Lute Society of America Quarterly. I have contributed instrument and music source information for citterns, bandoras, and orpharions to the synoptic pull-out poster of The Lute in Europe 2: Lutes, Guitars, Mandolins, and Citterns (2011) by Andreas Schlegel and Joachim Lüdtke. My most recent research contribution has been writing articles on the many styles of cittern tablatures for the forthcoming Encyclopaedia of Tablature being published by the Centre d'Etudes Superieures de la Renaissance in Tours.

I have been a devotee of early music since college where I began studies on harpsichord and organ. I have a special interest in the harpsichord and its music and worked for many years as a professional harpsichord maker. I’ve studied harpsichord with Homer Wickline (harpsichordist to the Pittsburgh Symphony) and Louis Bagger (at Brandeis, Boston). I completed a two year course of musical study at the Longy School of Music in 1996 during which I began harpsichord studies with Peter Sykes which continued for about 10 years.

I’ve sung tenor voice with the Consortium for Early Music under Annette Murphy (Wolfeboro, NH), the Longy Community Chorus under Lorna Cooke deVaron (Cambridge, MA), the Clearlakes Chorale under Andy Campbell (Wolfeboro), Key Chorale (Sarasota) under Joseph Caulkins, and Musica Sacra of Sarasota under Robert Parrish. I traveled with Sheila Beardsley’s Ars & Amici on its April 2012 tour of the Dolomites and Venice, the highlight of which for me was singing in St. Mark’s Cathedral. For 7 years I collaborated with Ms. Beardsley to bring early music concerts to the Wakefield Opera House in Wakefield, NH where I resided at the time.

During my residence in Sarasota Musica Sacra chose me to be a member of their Board of Directors on which I still serve. As a fundraiser for Musica Sacra I presented a program titled The Historic Harpsichord: Beauty for Ear and Eye. It consisted of an illustrated talk on the history of the harpsichord followed by a brief recital of solo harpsichord music and vocal ensemble with harpsichord accompaniment presented by myself, select singers from Musica Sacra, and guest harpsichordist, Julane Rodgers. Also, I did a brief private study of composition with Rex Willis at State College of Florida.

In 2021 I moved to Middletown, PA where I currently reside. In August of 2023 I gave my talk on the history of the harpsichord to a freshman music class at my alma mater, Elizabethtown (PA) College which was received with great enthusiasm by the students.

Top prize winner ex aequo of the Ninth Mae and Irving Jurow International Harpsichord Competition 2021, Singaporean fortepianist and harpsichordist Anastasia Chin is praised for her naturally sensitive, elegant and eloquent performances. She is in frequent demand as soloist, chamber musician, and continuo player on the harpsichord, fortepiano and organ. She was one of three finalists in the 2018 Berkeley Festival International Early Piano Competition. Anastasia is a regular performer on the Bloomington Bach Cantata Project series and the Bloomington Early Music Festival, and also plays regularly with Tonos del Sur, an ensemble specializing in 17th and 18th century Latin American music.

Upcoming and recent engagements include solo fortepiano recitals for the Western Early Keyboard Association and MusicSources (March 2025), J.S. Bach’s concerti for two and four harpsichords with Seven Hills Baroque (July 2024), J.S. Bach's Brandenburg Concerto No. 5 with the Indiana University Historical Performance Institute for the Madison Performing Arts Foundation (May 2024), Handel's Messiah with the Oregon Symphony (December 2023), concerts with Tonos Del Sur at Notre Dame de Chicago as part of the University of Illinois Chicago Latin American Baroque Music Festival (April 2024) and in Bloomington for the Bloomington Early Music Festival (2022 and 2023), and guest recitals and lecture-recitals at the Yong Siew Toh Conservatory of Music in Singapore (2023 and 2024).

Anastasia holds a Doctor of Music in Early Music (Keyboard) from the Indiana University Jacobs School of Music, where she also received her Master of Music in Early Music (Fortepiano) and a Performer Diploma in Harpsichord. Her mentor is eminent harpsichordist and fortepianist Elisabeth Wright, to whom she credits for igniting her passion for early music. Anastasia has been a recipient of the Artistic Excellence Award, and was a Graduate Assistant and Associate Instructor in the Historical Performance Institute. Anastasia also holds a Bachelor of Music in Piano Performance from the Yong Siew Toh Conservatory of Music, Singapore, where she studied with renowned pianist Albert Tiu.

Ibis Laurel Gonzalez Betancourt

Wei En Chan

Wei En Chan is a countertenor from Singapore whose singing is lauded for its “time-stopping” beauty and technical finesse. He leads an active career in Asia and North America performing lead roles in the works of Bach and Handel. Highlights include the title role in Handel’s Oreste with the 2019 Singapore International Festival of Arts, conducted by Tian Hui Ng, alto solos in Bach’s B minor mass & St. Matthew Passion with Bachfest Malaysia, conducted by Dr. David Chin, Ruggiero in Handel’s Alcina with The Opera People, conducted by Red Dot Baroque’s Alan Choo, Cupid in John Blow’s Venus & Adonis, with Cambridge Chamber Ensemble, conducted by Stephanie Beatrice, and Orlofsky in Strauss’ Die Fledermaus, with the Singapore Lyric Opera, conducted by Joshua Tan. Wei En also interpreted the role of Ircano in Chatham Baroque & Quantum Theatre's ambitious modern revival of Broschi's Idaspe, conducted by Daniel Nesta Curtis, to much acclaim.

Ms. Teresa Deskur

Barbara Scales

Building bridges between creators and audiences, Latitude 45 Arts Promotion is a Montreal-based booking agency and management company that celebrates musical gifts around the globe, representing about fifty artists who perform at the highest level and display creativity, engagement, and courage. The artists of Latitude 45 represent the finest talent from across the globe in the areas of classical, jazz, global, early, and contemporary music. In addition to our booking and management activities, Latitude 45 is a proactive member in arts industry organizations worldwide, putting forth a vision for the arts that embraces robust community engagement and strong advocacy for artists.

American tenor Zachary Wilder is recognized for his work in repertoires covering the 17th and 18th centuries and is sought after for concerts and opera productions on both sides of the Atlantic. In 2011, he was invited by the Festival d'Aix-en-Provence, to play Corydon in Händel's Acis and Galatea, a production which subsequently toured to La Fenice in Venice. During this period, William Christie selected him to join the ranks of the Jardin des Voix, the prestigious academy for young singers with the Arts Florissants. Zachary subsequently relocated to France which he now calls home.

He continues to work with many eminent ensembles such as Ensemble Pygmalion, Les Arts Florissants, L’Arpeggiata, Les Talens Lyriques, Le Concert d’Astrée, Le Poème Harmonique, Le Concert Spirituel, Bach Collegium Japan, the Boston Early Music Festival, Cappella Mediterranea, Collegium Vocale Gent, Early Music Vancouver, English Baroque Soloists, Ensemble Matheus, I Gemelli, the Handel & Haydn Society, De Nederlandse Bachvereniging, the Royal Philharmonic Orchestre, the San Francisco Symphony Orchestra, and the Saint Louis Symphony Orchestra.

Highlights from past seasons include a seven month tour celebrating the 450th anniversary of Monteverdi’s birth with Sir John Eliot Gardiner and the English Baroque Soloists, where he performed the roles of Eurimaco in Il Ritorno d’Ulisse in patria and Lucano in L’Incoronazione di Poppea; Tiridate in Händel’s Radamisto in a European tour with Il Pomo d’Oro; Vaughn-Williams' On Wenlock Edge and Britten’s Nocturne with the Charlottesville Symphony Orchestra; Frank Zappa’s 200 Motels as Mark with the Philharmonie de Strasbourg, The Tale of Genji as the Spirit of Light at Kabukiza led by Ebizo Ichikawa, the Rolex Concert led by Rolando Villazon at the Opera de Paris, and numerous tours with Bach Collegium Japan in Europe, the United States, and Japan.

His 2022/23 season includes performances of Mozart's Il Re Pastore(Agenore) with L'Arpeggiata and Rolando Villazon at Salzburg's Mozarteum, Mozart’s Le Nozze di Figaro (Basilio) with Handel & Haydn Society and Raphaël Pichon, two European concert tours with Ensemble Pygmalion centered on Bach and his predecessors, two extensive tours of the Netherlands of Bach's Christmas Oratorio with Les Talens Lyriques & Netherlands Chamber Choir, as well as the Saint Matthew Passion with the Netherlands Bach Society and Masato Suzuki, recitals with Ensemble I Gemelli, Les Bostonades, Ensemble Tictactus, Ensemble Le Stagioni, and staged productions of Purcell's Indian Queen in Caen and Luxembourg with Le Concert d'Astrée and Emmanuelle Haïm, and Sartorio's Orfeo (Erinda) with Ensemble Artaserse, Philippe Jaroussky, and Benjamin Lazar in Montpellier.

Zachary’s extenstive discography includes several solo albums: A Room of Mirrors (Gemelli Factory) with Emiliano Gonzalez Toro, Eternità d’amore (La Musica), with Josep M. Martí Duran, Lachrimae (La Musica) with Ensemble La Chimera, Amours Contrariées (Centaur) with Les Bostonades, and Balli e Sonate of Monteverdi & Rossi (Ricercar) with Ensemble Clematis. He has recorded extensively with the Boston Early Music Festival, including Händel’s Almira as Osman and their Grammy Award winning La Descente d’Orphée aux Enfersas Tantalus (CPO). He can also be heard on Monteverdi’s Il ritorno d’Ulisse in patria as Eurimaco with the English Baroque Soloists (Soli Deo Gloria), Bach’s Saint Matthew Passion and Saint John Passion with Bach Collegium Japan (BIS), Le Jardin de Monsieur Rameau and a DVD of Monteverdi’s Orfeo with Les Arts Florissants, DVDs of Monteverdi’s Vespro della Beata Vergine and Stravaganza d’amore with Ensemble Pygmalion (Chateau Versailles Spectacles), Zamponi’s Ulisse nell’isola di Circe(Ricercar) and Draghi’s El Prometeo, both as Mercurio with Cappella Mediterranea (Alpha), Montéclair’s Jepthé as Ammon with Orfeo Orchestra & Purcell Choir (Glossa), Félicien David’s Le Désert (Naïve) with the Orchestre de Chambre de Paris, Bach’s Magnificat (ATMA) with Arion Baroque, and Rameau’s Zaïs (Aparté) with Les Talens Lyriques.

Lester Fernandez began his vocal career as a young for a children's choir in the Philippines. He continued singing after his family emigrated to the United States, and established themselves in Southern California for various church choirs. Fernandez, a lyric tenor, specializes in the interpretation of early music, opera, oratorio, and art songs. He had performed for both concert and theatre stages all over North America including Amherst Early Music Festival in New London, Connecticut; the Boston Early Music Festival in Massachusetts; and the Mainly Mozart Festival in San Diego, California.

Mr. Fernandez has performed in concert as a tenor soloist in Vivaldi's Magnificat RV. 610 with the Artes Vocales of Los Angeles. While in the theatre stage, He played a wide variety of character roles from sailor in"Dido and Aeneas" at the Longy Opera Theatre, a British Soldier in"King Arthur," and the nurse for Hermione in "Cadmus et Hermione" at the Amherst Early Music Festivals. He has also performed for various medieval plays such as "The Roman de Fauvel" and"The Play of Daniel" with the Boston Camerata under the direction of Anne Azéma.

As an ensemble singer, Lester is currently performing with Jouyssance Early Music Ensemble. Additional ensembles includes San Diego Master Chorale, San Diego Symphony Orchestra, La Jolla Renaissance Singers, and Artes Vocales of Los Angeles.

Mr. Fernandez had participated in several master classes with renowned early music singers like Aaron Sheehan, Julianne Baird, Ellen Hargis, Anne Azéma, and Joel Frederiksen. He received his Master of Music in Historical Performance at the Longy School of Music of Bard College under the tutelage of Conductor Ryan Lee Turner. He also received his Bachelor of Music in Voice Performance at the Bob Cole Conservatory of Music in California State University, Long Beach. Lester has vocally trained with Kathleen O' Brien, and Laurie Johnson.

Amateur player. Have played modern oboe and English horn most of my life. I'm now persuing the Baroque oboe at 415.

Secretary of National Early Music Association. Author of 'Vocal Traditions in Conflict', subtitled 'Descent from Sweet, Clear, Pure and Affecting Italian Singing to Grand Uproar', published by Peacock Press in August 2019.

Recorder player and teacher. Music director of the Desert Pipes, Phoenix (Arizona)-area chapter of the American Recorder Society. Director of small recorder ensembles. Organizer of local recorder workshops. Early music enthusiast, player, and supporter.

Marylin Winkle is performer, teacher, and advocate for the arts, Marylin serves as Artistic Director of L.A. Camerata, a performing arts initiative devoted to works for and by women and “others.” She also directs the UCLA Early Music Ensemble. In addition to ongoing performances with these ensembles, Marylin has performed with the Desert Baroque Festival, Boston Camerata, and Musica Angelica. In September 2018, she was featured as a continuo player in Monteverdi’s Il combattimento di Tancredi e Clorinda, a fully-staged performance by Tick-Tock Productions in Cambridge, UK. Other period theatrical performances include: Fairy Queen (Purcell), Don Giovanni and Le Nozze di Figaro (Mozart), L’Ormindo (Cavalli), Il Primo Omicidio (Scarlatti), Haydn’s Creation, and L’Incoronazione di Poppea (Monteverdi). As director, Marylin staged a world-premiere reading of Isabella Andreini’s La Mirtilla; she previously directed USC’s Collegium Workshop production of a service for St. Ursula by Hildegard von Bingen and Chamber Opera USC’s production of Francesca Caccini’s La liberazione di Ruggiero. She holds a DMA in Early Music from USC Thornton School of Music, where she studied baroque cello and viola da gamba with Bill Skeen; her academic fields included a major emphasis in Musicology with minor emphases in Opera Directing and Teaching & Learning. In 2018, Dr. Winkle received the Early Music America Summer Workshop Scholarship to study vielle with Shira Kammen, Mary Springfels, and Benjamin Bagby at the Amherst Early Music Festival Roman de Fauvel Project. She has also spent several summers coaching and performing for the SFEMS Summer Baroque Workshop, and she attended the 2012 Tafelmusik Baroque Summer Institute. Her modern cello studies include a Master’s of Arts Degree from San Jose State University, where she studied with David Golblatt, and a Bachelor’s of Music Performance from Stetson University, where she studied with David Bjella.

Prof. Dana T. Marsh

Dana Marsh is Artistic Director of the Washington Bach Consort, and Director of the Historical Performance Institute and Chair of the Early Music Department at the Indiana University Jacobs School of Music. At IU, he coaches vocalists in historical performance and teaches early notation and performance practice. As an academic, Marsh was invited to be a panelist at the Smithsonian Institution’s conference “Historically Informed Performance in Higher Education” in 2015. In May 2016, he founded the annual international conference “Historical Performance: Theory, Practice and Interdisciplinarity,” which has attracted scholars and performers from a dozen countries. He recently founded the annual, peer-reviewed journal, “Historical Performance” (IU Press), which contributes significant research to the field.

Marsh was recently appointed artistic director of the Washington Bach Consort, recognized as one of the nation’s leading period instrument and vocal ensembles specializing in the performance of the complete instrumental and vocal works of J.S. Bach and his contemporaries. Marsh looks immensely forward to a long and fruitful relationship with the organization.

Dana Marsh’s musical training began as a boy chorister at St. Thomas Choir School in New York and at Salisbury Cathedral in England. He earned his undergraduate degree in organ performance from the Eastman School of Music, with later masters and doctoral degrees in historical musicology from the University of Oxford. An experienced vocalist, his teachers have included Virginia Fox and Kari Windingstad, with Bach aria study under Max Van Egmond in Amsterdam.

Acclaimed by the Los Angeles Times as “an energetic and persuasive conductor,” and by The Washington Post as “a superb choral conductor, energetic and precise,” Marsh has entered into fruitful collaborations with the London Mozart Players, Washington Bach Consort, Studio de Musique Ancienne Montreal, Cappella Romana, the Choir of St. Thomas Fifth Avenue, Magnificat (U.K.), Musica Angelica Baroque Orchestra, Ensemble Charivari Agréable, the Band of Instruments, City of Oxford Orchestra, and the Indianapolis Baroque Orchestra. While living and studying in the U.K., he founded the ensemble Musica Humana Oxford (2001-2008), which toured the U.S. to critical praise (“… pleasing to the ear and satisfying to the soul.”— LA Times).

Cited by The New York Times as “a powerful and expressive countertenor,” Marsh also worked as a vocal soloist and consort singer in the U.S. and the U.K. (1992-2008), performing with the American Bach Soloists, Concert Royal, New York Collegium (under Gustav Leonhardt), Seattle Baroque Orchestra, Musica Angelica Baroque Orchestra, A Cappella Portuguesa and the Brabant Ensemble, as well as lute song recitals with the late James Tyler. While undertaking his doctoral research at Oxford, Marsh sang regularly with the Choir of New College in over a thousand performances, including collaborations with the Academy of Ancient Music, Orchestra of the Age of Enlightenment, and the European Union Baroque Orchestra, recording 15 discs with New College Choir, one of which won the Gramophone Award for Early Music in 2008.

Dana has taught early music history at both Oxford and Cambridge universities and has published original research and review articles through the scholarly presses of both institutions. He served as Assistant Director of Music and Director of Chapel Music at Girton College Cambridge, and more recently was Canon Organist and Director of Music at Christ Church Cathedral, Indianapolis.

Marsh has prepared ensembles of young singers for concert and recording engagements with the Los Angeles Philharmonic under Esa-Pekka Salonen and Antonio Pappano. He has recorded variously for Sony, Universal, Avie, Decca, Erato, Koch International Classics, Signum and Public Radio International.

Andrew Hatfield has been performing throughout the United States and abroad for over 10 years as a violinist and violist, appearing on stages as a soloist, chamber musician, and orchestral player with both modern and period instruments. He holds a Master of Music and Doctorate of Musical Arts (ABD) in modern performance from Michigan State University, and is a current DMA student in Early Music and Historical Performance Practices at Case Western Reserve University, where he is a student of Julie Andrijeski. Other teachers and masterclass appearances include Allison Monroe, Cynthia Roberts, Andrew Fouts, Marilyn McDonald, Elizabeth Blumenstock, Susanne Scholz, Lindsey Strand-Polyak, Jane Starkman, and Alana Youssefian.

Recent engagements include performance with CWRU Baroque Ensembles at the Cleveland Museum of Art, Early Music Singers and Renaissance Ensembles with Bruce Dickey at the Maltz Performing Arts Center, and an unaccompanied recital at Marywood University featuring medieval, renaissance, baroque, and 21st-century music on a variety of historical string instruments. Andrew performs on a 2001 Francesco Toto violin with modern bows by Anthony DiMambro and Rodney Mohr, and period bows by Anthony DiMambro, Kate Buehler-McWilliams, and David Hawthorne. Currently, he plays a rebec by Kate Buehler-McWilliams and a vielle by Karl Dennis, on loan from Case Western Reserve University.

Christopher Morrongiello, a former British Marshall Scholar and Overseas Research Scholar, is a musicologist, performer, teacher, luthier, impresario, and director who specializes in early music. He is a graduate of the Mannes College of Music, Royal College of Music, and University of Oxford, where he earned a doctorate in historical musicology.

Dr. Morrongiello has published articles and reviews in academic journals, such as Early Music, Chelys, Journal of the Lute Society, and has taught, lectured, and performed at many international music festivals, such as the Utrecht Early Music Festival, Amherst Early Music Festival, Boston Early Music Festival, Madison Early Music Festival, and Lute Society of America Summer Seminars.

As a recitalist on historical plucked instruments, he has performed to critical acclaim throughout Europe and the United States. In 1993 he was a prizewinner in the BBC Radio Two Young Musician of the Year Competition, and in 1996 was awarded a Marco Fodella Foundation Scholarship for studies at the Civica Scuola di Musica in Milan, Italy. In recognition of his excellence as a teacher, scholar, and performer, the Lute Society of America, in 2006, conferred upon him its first Patrick O’Brien LSA Seminar Lectureship. Morrongiello was a longtime student of the late Patrick O'Brien, widely considered one of the greatest pedagogues in the history of the guitar and lute.

Dr. Morrongiello is the Artistic Director of the Long Island Early Music Festival at the Cathedral of the Incarnation in Garden City, New York. This annual Festival has engaged and inspired the community with concerts given by leading as well as emerging artists in the field of historically informed performance (HIP). The Festival is now in its third season.

He is also Director of the Hofstra Collegium Musicum, which performs musically and dramatically compelling concerts of early music each year at the Hofstra Shakespeare Festival. These concerts, which include acting, staging, costumes, props, oratory, historical dance and period gestures, are becoming more and more like music dramas. Morrongiello calls them "early musicals."

Heralded as an innovative director of large-scale dramatic works, Dr. Morrongiello has a gift for bringing the music of the Renaissance and Baroque periods to life in its literary and social context. His musical portrait of the Elizabethan muse and songstress Lady Penelope Rich, created for Grammy-award winning singer Emily Van Evera (My Lady Rich, Avie 0045), has been described by Renaissance Magazine as “a presentation of unusual quality and beauty” and by the NY Times as “an inspired idea . . . a vivid and touching portrait.”

He has recorded for EMI, Avie, Gamut Music, the Lute Society of America, Visionaire, and the BBC. He has also been interviewed and recorded live on various radio and television broadcasts throughout the States, Canada, and Europe.

Recently, the Metropolitan Museum of Art produced and released several beautiful video recordings of Dr. Morrongiello's playing on a gut-strung, sixteenth-century lute, as well as on copies of old lutes, in its musical instrument collection; see, for instance, the MET's Listening to a Four-Hundred-Year-Old instrument.

Patrick Dailey

Ms. Tatiana Friesen

Tatiana Friesen (she/her) is a freelance violist, Baroque specialist, and music educator based in Winnipeg, Treaty 1. In 2016, she instigated Musica Poetica, a historically-informed Baroque instrumental ensemble which excitedly shares early music with audiences in a relaxed and intimate setting. She teaches privately, coaches chamber ensembles, and is a Teaching Artist with Sistema Winnipeg; as of 2021 she is also the director of the Collegium Musicum at the University of Manitoba. Her approach to performance and teaching is one of curiosity about the notes on the page, historical context, physical and emotional health, and relational dynamics between performers and other listeners.

Tatiana earned a Bachelor of Music from Canadian Mennonite University and a Post-Baccalaureate Diploma in Music from the University of Manitoba, both under the instruction of Daniel Scholz. Noticing that there is such a thing as historically-informed performance, she participated in Tafelmusik’s Baroque Summer Institute multiple times, then acquired a Master’s in Early Music from McGill University, where she benefited from the guidance of Hélène Plouffe, Hank Knox, Olivier Brault, Adrian Butterfield, Stefano Montanari, and Rodolfo Richter, as well as historical dance specialist Marie-Nathalie Lacoursière.

Graduate of The Ohio State University, Captain for USAirways/American Airlines, retired. Married with 4 stepsons, one grandson and one granddaughter. Amateur folk musician with a passion for Early Music. Viola da gamba and recorder amateur, lever harp.

Bronwyn Thies-Thompson (she/they) is a professional musician and graduate student, currently pursuing their PhD in Religions and Cultures at Concordia University in Montreal, Canada. Bronwyn maintains a busy performance career, as a classically-trained soprano sought after for her solid and inspired performances as a soloist and amongst chamber ensembles, regularly collaborating in live performances and on recordings with the leading early music and contemporary music groups in Canada and abroad. Their “clean and clear voice” (National Capital Opera Society) and “natural and assured musicianship,” informed by their musical upbringing as a cathedral chorister and instrumentalist in Ottawa, Canada, have also been appreciated during collaborations with the Tallis Scholars, the London Handel Players and Dame Emma Kirkby, among others. She has been featured on film soundtrack recordings for Canada's National Film Board productions, and on Juno-nominated discs with countertenor Daniel Taylor's Theatre of Early Music and Trinity Choir. Their 20 year ongoing practice as a church musician inspires and informs their autoethnographic and creative approach to their academic interests. These interests include: Anglicanism, liturgics, performance theory, and the intersections betweens the voice, gender and sexuality. Bronwyn’s primary research examines the Anglican choristership tradition in Canada, interrogating how aspects such as childhood professionalism, musical pedagogy, and gender perception/performance operate, and how this tradition has also effectively functioned as training for adult professionalization in music.

Nathaniel Brown is organist at The Presbyterian Church of Bowling Green, KY. He holds a DM and MM in Organ Performance, an MA in Music, and a Certificate of Specialized Studies in Early Music from Florida State University, as well as a Bachelor’s degree in Music from Western Kentucky University. He served as Adjunct Professor of Music History at WKU in the Fall of 2023 and worked as a tonal assistant at John-Paul Buzard Pipe Organ Builders in Champaign, IL for much of 2024. During his time as a student at WKU, he was the keyboardist for the Symphony, which toured in China in the summer of 2013, and was the student carillonneur for WKU’s Guthrie Bell Tower. He has previously held organist positions at other major churches in Bowling Green and Madisonville, KY, Quincy, FL, and Danville and Savoy, IL. He is a baritone, having sung with the Baroque Artists of Champaign Urbana, the Orchestra Kentucky Chorale, the Southern Kentucky Choral Society, the WKU Men’s Chorus, and FSU’s Cantores Musicae Antiquae. He has performed on a variety of early keyboard and wind instruments in FSU’s Collegium Musicum and Baroque Ensemble, including positive and portative organs, regal, harpsichord, recorder, crumhorn, shawm, rackett, and sackbut. He is also a Sacred Harp singer. In 2018 he was awarded the E. Power Biggs Fellowship from the Organ Historical Society. His review of Will Fraser's documentary "Bach and Expression" is featured in Bach Notes (no. 38, Spring 2023), and his two music publications, A Paraclete Treasury of Transcriptions for Organ (Paraclete Press, 2020), and Five Sacred Choral Transcriptions for Organ (Paraclete Press, 2023), feature his own organ transcriptions of sacred choral pieces from a variety of regions and across the ages. In addition to Early Music America, he holds memberships in the Society for Seventeenth-Century Music, the American Heinrich Schütz Society, the American Guild of Organists (Nashville chapter), and the American Institute of Organbuilders.

A native of Northfield, MN, Henry Beimers is a young viol player based in Chicago, IL. Henry studied viol with Julie Elhard at Macalester College where he double majored in music and geography. He also spent a semester abroad during his undergrad to study viol with Mieneke van de Velden at the Conservatorium van Amsterdam, and has also studied under Jaap ter Linden. Henry has performed with Minnesota-based groups such as La Grande Bande and Bold North Baroque Opera, as well as at the Twin Cities Early Music Festival and the Festival Oude Muziek in Utrecht, the Netherlands. He is fascinated by all aspects of music from jazz to folk to '80s alternative, but his passion lies in early music study and performance. He currently pursues an MS in Geography from Minnesota State University, Mankato, while continuing to pursue music at a semi-professional level.

My name is Jurn Buisman, director at Musuem Geelvinck. At Museum Geelvinck, our mission is to allow others to experience the 18^th and 19^th centuries by creating a relationship between the historical context of this period and 21^st century themes. While this can cover topics from slavery to food heritage, we particularly focus on protecting our collective sound heritage, in orchestrating concerts, festivals and exhibitions around our early piano collection. Recently we have taken many of our events online, and hope to reach a worldwide audience in this way!

At Museum Geelvinck, we look after the largest collection of early Dutch pianos in the Netherlands. The collection includes over 200 musical instruments, mainly pianos from the 18th and 19th centuries. A large part of this is made up by The Sweelinck Collection with 80 historical pianos, of which a quarter is of Dutch origin.

I play recorders, including renaissance recorders at a high-intermediate/advanced level.

Cameron Welke

Cameron Welke spends most of his time explaining to well-meaning strangers that the lute is, in fact, quite a different instrument from the flute. He brings a passionate curiosity and a deep creative drive to all manner of historical plucked instruments, which he plays with “expert technical dexterity, consummate phrasing and endearing expressivity” (Chestnut Hill Local). Past and current engagements include performances with the Washington Bach Consort, Tempesta di Mare, the Aston Magna Festival, Baltimore Choral Arts, Early Music City, the Handel Choir of Baltimore, Consortium Carissimi, and the Madison Bach Musicians. He explores repertoire for two baroque lutes in Duo Silvio with duo partner Richard Stone; the two gave the modern premiere of Stone’s reconstructions of lute duets by Sylvius Leopold Weiss in the fall of 2019.

Cameron began his musical life as a classical violinist and a rock and jazz guitarist. He holds a B.M. in classical guitar performance from Belmont University, where he studied with Francis Perry and John Pell, and a M.M. in historical performance on lute and theorbo from the Peabody Conservatory, where he studied with Richard Stone. He currently teaches lute at Grinnell College and lives in Richmond, VA.

Tracy Cowart (mezzo-soprano) enjoys a wide range of vocal interests, from twelfth-century polyphony to contemporary art music. Praised by the New York Times as “the real attraction” with a voice that is “light and lithe,” Tracy has performed with a number of period ensembles, including the American Classical Orchestra, Apollo’s Fire, La Donna Musicale, Exsultemus, Musica Pacifica, Opera Lafayette, the Newberry Consort, Newton Baroque, Seven Times Salt, Three Notch’d Road, and the Washington Bach Consort. She has three times been featured as part of Early Music America’s Young Performer’s Festival with Case Western Reserve University (CWRU), twice at the Boston Early Music Festival, where she was also awarded a spot with the Early Music America’s Select Festival Ensemble, and also at the Berkeley Early Music Festival. As a scholar of historical performance practice, Tracy has been a guest-artist/lecturer at Pennsylvania State University and Bucknell University, and performed the music of Antonio Tenaglia at the Society for Seventeenth Century Music. Most recently, Tracy co-founded Alkemie, a new ensemble that explores popular music from the Middle Ages.

Tracy began exploring early dance and choreography with Ken Pierce during her MM at the Longy School of Music, and continued under Julie Andrijeski during her DMA studies at CWRU. There, she regularly performed with the CWRU Renaissance and Baroque Dance Ensemble, for which she also served as a teaching assistant. She made her debut with Pegasus Early Music, and her final doctoral recital investigated the role of dance in 17^th-century French theatre, with a focus on the operas produced by Madame de Pompadour at Versailles.

Also known for her interpretations of new music, Ms. Cowart is the resident mezzo-soprano for the Great Noise Ensemble, with whom she recently performed the world premiere of Armando Bayolo’s Kaddish: Passio: Rothko and the role of “Hadewijch” in Louis Andriessen's Die Materie.

DMA in Harpsichord from University of Michigan

MM from the New England Conservatory

BM from Syracuse University

Teaching positions at Iowa State University, Ames, Adrian College, Adrian, MI,

Private coaching of students on organ and harpsichord

Concerts of early music on the harpsichord, clavichord, and organ, touring across the US and in Denmark, Germany, and France.

Workshops, lectures, and presentations for MHKS, now known as HKSNA

Naxos: Recorded performance of keyboard music attributed to Frescobaldi from less known miscellaneous manuscripts

Harpsicat Records: Recording of The Essercizi (1738) of Domenico Scarlatti;

Dr. John A. McKean

Dr. Audrey B. Axinn

Audrey Axinn is a faculty member of The Juilliard School, Manhattan School of Music and Mannes School of Music where she teachers performance practice courses on historical keyboards as well as collaborative piano and other ensemble courses. An active performer and guest instructor, Dr. Axinn has performed is a frequent instructor of master classes in the U.S., Europe and Asia. Dr. Axinn is a co-director of the Academy of Fortepiano Performance, an intenstive workshop in fortepiano performance scheduled each summer at the Catskill Mountain Foundation. From 2018-21, Ms. Axinn served as Associate Dean and faculty at the Tianjin Juilliard School in China. Previously, she held the position of Assistant Dean at Mannes School of Music. Ms. Axinn holds a Doctorate of Musical Arts degree from The Juilliard School, as well as degrees from The Curtis Institute of Music, and The Manhattan School of Music. She also attended Sweelinck Conservatorium on a U.S. Fulbright and Netherland-America Foundation grant.

Andrew Koutroubas, is a multi-instrumentalist specializing in baroque cello. He is an active performer and teacher interested in art and folk music spanning antiquity to the present. As a cellist, Andrew has performed with the Boston Early Music Festival Orchestra, Boston Camerata, Horszowski Trio, Ars Lyrica Houston, Dramatic Voices Berlin in Germany, New Hampshire Philharmonic, New England Symphony, Brockton Symphony, Du Bois Orchestra, the Harvard Baroque Orchestra, Yale Voxtet, Fenway Quartet and Boston String Quartet.

An international performer, Andrew has been heard throughout the United States, and in Germany, Greece, Turkey and Russia. Andrew has performed in venues such as Zilke Hall, Sanders Theater, Faneuil Hall, Massachusetts State House, Kresge Auditorium, Pickman Hall, M. Steinert & Sons Recital Hall, Mechanic's Hall. He also enjoys more intimate concert settings and can often be heard playing in old town halls and taverns throughout Southern New Hampshire.

With a passionate curiosity for the cross-cultural influences of folk and art music, Andrew travelled to the village of Xoudetsi, on the island of Crete, in 2019 to study music of different modal traditions.

An educator, Andrew has extensive experience teaching students of all ages, abilities and backgrounds. With over ten years of experience, Andrew is proud to have taught students who have been accepted into the New Hampshire All-State Festival Orchestra and gone on to music programs at the Berklee School of Music in Boston, Ithaca College in New York and the University of New Hampshire.

From 2017-2019, Andrew served as the music program director, at the Pine Hill Waldorf school in Wilton, New Hampshire. Andrew continues to be involved in music education and music making at the Pine Hill School as well as in the Monadnock region at large, where he maintains a flourishing studio of private students.

A motivating factor for Andrew’s musical activities comes from his desire to share the healing qualities of music and help facilitate an inward sensitivity. Andrew’s ultimate goal as a musician is to bring service to the soul in ways only music is capable.

Jean Newton is Executive Director at the Music Conservatory of Westchester, a non-profit community music school located in White Plains. A professional harpsichordist, Ms. Newton made her New York recital debut at Merkin Concert Hall in 1983 and was active as a soloist, chamber musician and accompanist in the New York area. An experienced music educator and administrator, Ms. Newton previously served as the Music Conservatory's Dean of Students and Faculty, and prior to that served as Director of Development, supervising completion of the school’s $7.8 million fundraising campaign to acquire and renovate it’s 36,000 square foot facility. As a member of the Conservatory faculty, Ms. Newton established the school's Baroque Ensemble and has coached both students and faculty in the interpretation of 17^th and 18^th century repertoire. Ms. Newton has served on peer review panels for the Massachusetts Cultural Council, the New York State Council on the Arts, and the United States Department of Education. She holds a masters degree in harpsichord/early music performance practice from the Aaron Copland School of Music at Queens College and a Ph.D. in English Literature from the Graduate School and University Center of the City University of New York.

Sarah Davies, musicologist and organist, earned her doctorate at New York University (16th century lute and organ tablatures in Switzerland and Germany) and her masters at Rutgers University (Byrd’s Nevell Booke, 1591). She has given papers at a variety of musicology and interdisciplinary conferences, nationally and internationally, and her work has been published by the IMS in Budapest, the University of Leuven, and New Grove. She is a regular lecturer for the early music series at St. Luke’s in the Fields and for Polyhymnia. As an organist, she has been heard on historical and historically-based instruments in the U.S., France, Germany and Switzerland, and recently performed on the early 15th century organ in Sion.

Mr. Mark Louis Kausch

Dr. Christopher Michael Jackson

Dr. Christopher Jackson, Assistant Professor of Music, Director of Choral and Vocal Studies, Muhlenberg College.

ACDA PA – Collegiate R&R Chair

Director of Educational Outreach – GRAMMY-nominated Skylark Vocal Ensemble

B.A. Oklahoma State University; M.M. Westminster Choir College; D.M.A., University of North Texas

Dr. Christopher Jackson is the Director of Choral Activities and Head of Voice at Muhlenberg College. Professor Jackson works frequently as a guest conductor for High School Honor Choir Festivals on the east coast, including multiple PMEA Regional and District Choir Festivals, and as a Conductor-in-residence for the Wyoming Seminary Creative Arts Program in Kingston, PA. He is a long standing member of both ACDA and NAfME, and has served both organizations in various leadership roles at the local level. He has taught courses in Music History, Vocal Methods and Pedagogy, and Conducting, including masterclasses at the San Juan Conservatory, the Coro de Niños de San Juan, and Baldwin Wallace Conservatory (2019). He is also the co-founder of the professional ensemble, Bricolage Project, which debuted with performances of David Lang’s Pulitzer Prize winning composition, The Little Match Girl Passion, in conjunction with various Collegiate and High School Art Departments and to raise funds for Women’s and Children’s shelters. In his previous position at Lycoming College he led national and international tours (China, Canada, Florida) and co-founded the Lycoming Baroque Choir and Orchestra. That ensemble was honored to have been selected as a guest performer for the PaACDA 2016 Fall Conference.

In addition to teaching, conducting, and academic research, Christopher is also active as a professional choral singer, and soloist. Most recently, he was honored to sing as a member of the GRAMMY Award-Winning ensemble, Roomful of Teeth. He is the Educational Outreach Manager and core member of the professional chamber choir, Skylark Vocal Ensemble. He is featured on Skylark’s last three album releases, including the most recent GRAMMY-nominated album, Seven Words from the Cross, released in the Spring of 2018. Christopher has sung with other professional ensembles such as the Tucson Chamber Artists, Brevitas, Kinnara Ensemble, Santa Fe Desert Chorale, The South Dakota Chorale, and more. He regularly makes regional appearances as a soloist with groups such as the Bethlehem Bach Choir, Berks Sinfonietta, Holy Trinity Lutheran of NYC, and others. His areas of research include the choral music of Benjamin Britten, links between modern educational practices, learning theory, and music education, and programming Renaissance and Baroque Music for choirs of all ages and abilities.

For over 25 years, Cathy Barbash has been a specialist in cultural diplomacy, creative industry development, and an independent producer, working with the People’s Republic of China and the Republic of Cuba. She received a 2015 Silver Magnolia Award from the Shanghai government in recognition of her longtime contributions to the economic and social development of the city, and the 2018 Patrick Hayes Award from the International Society for the Performing Arts, in recognition of her transformative leadership in the performing arts.

China-related projects include New York’s 2015-2020 Chinese New Year fireworks; touring vertical dance company Bandaloop to Shanghai and Macao; creating The Philadelphia Orchestra’s China residency program; and touring Native American performers to Inner Mongolia, Yunnan, and Beijing. She was the lead architect of the Philadelphia Orchestra’s current China tour/residency project. In December 2018, she participated in a National Committee on U.S.-China Relations panel discussing the trajectory of 40 years of U.S.-China formal diplomatic relations.

In 2016 and 2017, Barbash participated in the Primera Linea Havana International Music Forum, and lectured at La Unión de Escritores y Artistas de Cuba. She also toured traditional Native American performer Kevin Locke to Cuba and brought the Ted Nash Trio to the Festival Jazz Plaza Havana in January 2018. In March 2018, she brought the El Ciervo Encantado theater company for performances and classes in New York City. Since 2019 she has advised Cuban companies El Ciervo Encantado, Ludi Teatro, Trébol Teatro, and Paso a Paso Dance Theater on cultural industry infrastructure development and international marketing.

Barbash has spent over 30 years managing and consulting to organizations including The Philadelphia Orchestra, the United States Department of State, The President’s Committee on the Arts and the Humanities, The Ministry of Culture of the People’s Republic of China, Arts Midwest, The John F. Kennedy Center for the Performing Arts, The Juilliard School, Nederlander Worldwide Entertainment, China Shanghai International Arts Festival, and the China National Centre for the Performing Arts. A graduate of Harvard University, Barbash has served on the boards of the International Society for the Performing Arts, Ping Chong & Company, and City Contemporary Dance Company (Hong Kong), and Teatro Yerbabruja. She is a member of the International Advisory Council of the Shanghai Jewish Refugee Museum and the National Committee on United States-China Relations.

Ingrid Matthews is well established as one of the premier baroque violinists of her generation. She won first prize in the Erwin Bodky International Competition for Early Music in 1989, and was a member of Toronto's Tafelmusik Baroque Orchestra before founding the Seattle Baroque Orchestra with Byron Schenkman; she served as its Music Director from 1994 to 2013. Matthews has performed extensively around the world with many of today's leading early music ensembles, appearing as a soloist and/or guest director with groups including the New York Collegium, the Australian Brandenburg Orchestra, the Bach Sinfonia (Washington DC), Ars Lyrica (Houston), Musica Angelica (Los Angeles), New Trinity Baroque (Atlanta), and numerous others. Matthews has won high critical acclaim for a discography ranging from the earliest Italian violin music through the Sonatas and Partitas of J.S. Bach (“the finest complete set of these works,” according to Third Ear's Classical Music Listening Companion). She has taught at Indiana University, the University of Toronto, Oberlin College, the University of Washington, the University of Southern California/Los Angeles, and the Cornish College of the Arts in Seattle. She also plays jazz and swing styles and is active as a visual artist.

Hi, I'm Ki and I am post graduate harpsichord student at the Guildhall School of Music. I was originally studying piano at DePauw University and took a risky decision to transfer with only one more semester left. I graduated with Bachelors degrees in historical performance and computer science from Indiana University in 2021. I have always loved early music and I thank my summer in 2018 at Oberlin's Baroque Performance Institute for immersing me in harpsichord.

Craig Kridel is coordinator of Berlioz Historical Brass and Harmoniemusik North America and is the serpentist and bass hornist in the Lititz (PA) Collegium (late 18th/early 19th century Moravian chamber orchestra-harmoniemusik ensemble).

Karen is Assistant Director of the Historical Harp Society of Ireland (HHSI), and of the HHSI Scoil na gCláirseach–Festival of Early Irish Harp. She is an organologist specializing in study of the construction and craftsmanship of early Irish harps. Karen conducts scientific analysis of historical instruments, uncovering the wealth of information they hold in order to help musical instrument makers, musicians, and museums. She has led groundbreaking work studying the harps of Ireland and Scotland, and in 2020 led a HHSI project funded by the Arts Council of Ireland to undertake analysis of the 18th-century Hollybrook harp at the National Museum of Ireland. Karen’s expertise is in non-invasive techniques, utilizing extensive experience in scientific imaging, and an interdisciplinary background in STEM and music. She studied at the University of Edinburgh, earning a MMus in musical instrument research followed by a PhD in music (organology). Karen also has a BS in physics from the University of Connecticut, and an MA in astronomy from Wesleyan University.

Zoe Vandermeer is a soprano and triple harpist specializing in Baroque, Classical and Bel Canto repertoire. She performs as a soprano soloist in oratorio, chamber music and opera, and has given solo soprano/harp performances at the International Festival de Deia, Rio International Harp Festival in Sao Paulo, Glasgow International Early Music Festival, American Harp Society, Gotham Early Music NYC, and elsewhere. She teaches singing, historical harp and lever harp. A prize-winning graduate of the Royal Conservatoire of Scotland, she was named to the roster of the Connecticut Commission on Culture and Tourism in 2011, and is a recipient of the Hartt School Faculty Development Fund, CT Office of the Arts Grant, MNTA Foundation Grant for research, and others. Her Carnegie Hall debut took place in 2014. Ms. Vandermeer won the Bronze Medal for singing and the Silver Medal for singing and composition in 2022 by Global Music Awards. Ms. Vandermeer has been a featured guest on WFIU, KVON, KPFK, Moray Firth Radio Scotland, and articles about her can be found in the Swiss journal Harpa and Classical Singer Magazine. www.sopranoandharp.com

Nancy Wilson

Dr. Curtis Pavey

Curtis Pavey, praised by Peter Jacobi of the Herald Times as “an artist of considerable finish and even more promise,” enjoys a diverse musical career as a harpsichordist, pianist, and educator. Originally from Highlands Ranch, Colorado, Curtis has performed throughout North America at the Oregon Bach Festival, the Bloomington Early Music Festival, and the Oklahoma Mozart Festival. His passion for music education has led to positions at Indiana University, the University of Cincinnati, Oberlin Conservatory, and the Frances Clark Center. Curtis was recently selected as one of Diapason Magazine’s “20 Under 30 – Class of 2021.” In addition to serving as a member of EMA's Emerging Professional Leadership Council, in fall 2022 he will serve as an Adjunct Instructor at the University of Cincinnati where he will teach courses in harpsichord and piano pedagogy, and in spring 2023 he will serve as a Visiting Assistant Professor of Piano Pedagogy at Oberlin Conservatory. He completed a doctoral degree under the guidance of Dr. Michael Unger and Professor James Tocco at the University of Cincinnati and in December 2022 will publish An Introduction to Early Music and the Harpsichord, a textbook designed to introduce undergraduate pianists to the harpsichord. Curtis graduated from the master’s program at Indiana University’s Jacobs School of Music where he majored in Early Music – Harpsichord and Piano Performance, working with Professors Elisabeth Wright and Edward Auer.

Born and raised in Montreal in a musical family, Margaret Little played violin, piano, recorder and guitar as a child. She was also part of a children’s choir and occasionally played electric guitar in a band. When she was eleven years old she discovered the viola da gamba and fell in love with it instantly! Her father was an organist and choir conductor and an addict of J. S. Bach. He was a wonderful pedagogue and a great source of inspiration to his colleagues as well as a pioneer of Early Music in Canada. Margaret started playing Bach cantatas on the violin with her father from the age of nine and still does it as often as possible on the viola.

After studying science and then visual arts, living in a commune and working on construction, she came back to music and the viol in her early twenties. Since then, Margaret has been performing as a soloist and a chamber musician on the viola da gamba and baroque viola with various Montreal-based and international ensembles.

Margaret co-founded Les Voix humaines with Susie Napper in the 1980s and was artistic co-director until 2020. Les Voix humaines have toured the world, received critical acclaim and prestigious awards. Margaret plays regularly with Studio de musique ancienne de Montréal and L’Harmonie des Saisons and is invited as guest soloist on the viol for Bach’s Passions by different orchestras.

Margaret loves travelling and meeting other musicians in different parts of the planet. She has recorded over 100 CDs including two solo CDs, most of them for the ATMA label. She teaches the viola da gamba at Université de Montréal and has a private teaching studio. Margaret spends her time practicing, touring, and playing with and enjoying her six grandchildren. She loves hiking, yoga, Origami, knitting, and learning Spanish.

Paul Ross has worked and volunteered for Gotham Early Music Scene since its founding in 2007.

Musicology professor and Collegium director at Grinnell College. Specialist in 17th-century Italian opera, manuscript studies. Edition of Cavalli's La Calisto (A-R, 2007) won Palisca Award from the American Musicological Society. Edition of Cavalli's Scipione Affricano forthcoming with Baerenreiter.

French-American soprano Véronique Filloux has been noted for her “radiant vocal ease” and won praise from Opera News for her “expressive, lovingly shaded soprano.” She looks forward to her 2020/21 season as a first-year Resident Artist with Pittsburgh Opera, singing Despina (Così fan tutte), Chan Parker (Charlie Parker's Yardbird), and the title role in Handel's Semele. She spends the summer singing L'Amour and covering La Folie in Rameau's Platée.

In the 2019/20 season, she performed the roles of Shepherdess/Soprano Soloist (Venus and Adonis) with Opera Lafayette, with whom she sang Tigrane (Radamisto) last year. Prior to COVID-19, she was scheduled to make her debut with Salt Marsh Opera as Clorinda (La Cenerentola) and return to Opera Lafayette as Jeannie in the modern premiere of Philidor's The Blacksmith. Also an active concert singer, she returned to soprano solos in Carmina Burana, Bach’s Jauchzet Gott in allen Landen, and Handel’s Messiah, with organizations including the Champaign-Urbana Symphony Orchestra and Bach Collegium San Diego. A regular performer of early music, she is also pleased to rejoin Chicago’s Music of the Baroque, singing Pales in Bach’s “Hunt Cantata” and Aricie/La chasseresse (Hippolyte et Aricie, excerpts). She spent the summer with Des Moines Metro Opera as a part of their Virtual Festival.

Véronique recently completed two summers with Central City Opera, with whom she sang both Papagena (Die Zauberflöte) and the title role in Debussy’s La damoiselle élue. She was awarded the company’s Apprentice Artist Award and the prestigious Central City Opera Young Artist Award. Other recent highlights include her debut with Chicago Opera Theatre, covering Brigitta (Iolanta) and Doodle (The Scarlet Ibis), and solo work in Handel’s Dixit Dominus and The Fairy Queen (excerpts) with Music of the Baroque. Additional performances include Mae Jones (Street Scene), Soeur Constance (Dialogues des Carmélites), Servilia (La clemenza di Tito), Isifile (Il Giasone), Adele (Die Fledermaus), Despina (Così fan tutte), Lily (The Young King– world premiere), Silberklang (The Impresario), Olympia (Les contes d’Hoffmann), and solos in lost objects, several Bach cantatas, and Poulenc’s Gloria.

Véronique is a 2020 Pittsburgh District Winner of the Metropolitan Opera National Council Auditions, the Handel Award Winner of the 2021 Orpheus Competition, Encouragement Award Winner and Audience Favorite of the 2021 Annapolis Competition, and the 2020 winner of the Lynne Harvey Foundation/Virginia Cooper Maier Award from the Musicians Club of Women. She is a 2021 finalist in the Jensen Competition (upcoming).

www.veroniquefilloux.com

SELECTED ENGLISH-LANGUAGE PRESS
“…Schumann featuring cello soloist SeungAh Hong, was unpredictable and constantly changing,
keeping the audience on the edge of their seats and at times startled by the rapidly changing dynamics and musical styles… Hong was like a warm ray of sunshine on a crisp fall day. Hong’s sweet smile, her self-assured personality, and virtuoso playing brought a ray of light and a feeling of warmth to the dark auditorium. Displaying a strong technique coupled with a rich musical understanding of the piece and its composer, Hong played brilliantly with a rich full tone throughout the full range of her instrument
and never appeared tense or strained through the concerto’s most difficult and demanding passages…”
–The Republic

“Another exquisite moment in the concert. Her sensitivity to the beauty of the musical line and her total involvement in her musicianship brought a moment of “you could hear a pin drop” to an otherwise lighthearted concert.” –The Republic

"…Seungah Hong added her sumptuous, golden tone to beautiful cello solos and played the continuo part in the Baroque pieces with intelligence and strong underpinning."

–The Republic

"…Schumann Cello Concerto brought to life by South Korean Cellist Hong who negotiated her way through this warm and embracing concerto with a blend of verve and elegance…the result being a richly lyrical reading of a Romantic master work." –The Hoosier Times

"…Hong contributed a satisfying tonal resonance and passionate intensity, never overwrought but
continuously infectious…with professional maturity. The recital made for awfully good listening."
–The Herald-Times

“…How fortunate to have a real expert, SeungAh Hong, cellist… Both players had the right touch and imaginative ideas in their realizations and improvisations of recitatives throughout the evening." –The Republic

A first prize winner of the 2018 Indianapolis Matinee Musicale Competition, 2017 Kuttner quartet competition, the 2016 IU Cello Concerto competition, the 2014 Kumho Asiana Young Artist Concert Audition, the 2012 Ujung Arts Center Rising Star Concert, and the 2009 Ewon Arts Center Young Artist Auditions, SeungAh Hong has been praised for her distinctive sound, poetic interpretation, intensely expressive music makin
g, and commanding stage presence.
Born in Korea, Ms. Hong began cello lessons at the age of 6. She continued her stud
ies with Hyeong-Won Chang and Kangho Lee. Based on her distinguished artistic an
d academic accomplishments, she was awarded the Kookmin Bank’s Artistic Excellence Scholarship at the Korea National University of Arts. Since 2014, she has been studying with cellist Peter Stumpf. Since 2017, she has been studying with baroque cellist Joanna Blendulf at the Jacobs School of Music at Indiana University, where she is a graduate assistant and a recipient of the prestigious full-tuition Eva Heinitz Schol
arship and Artistic Excellence Award.
She graduated from Indiana University’s highly selective Artist Diploma program in 2017, and she was the cellist of the Kuttner quartet-in-residence from 2017-2018. She is currently pursuing a Masters degree in both cello and Early Music baroque cello while serving as the Principal Cellist of the Columbus Indiana Philharmonic and Terre
Haute Symphony Orchestra.

Soprano, Cara Gabrielson, was a 2020 National Semi Finalist in the Metropolitan Opera National Council Auditions and made her San Francisco Symphony debut as the Soprano Soloist in Bach’s Magnificat and Bernstein's Chichester Psalms. Last summer she participated in the prestigious Georg Solti Accademia di Bel Canto in Castiglione, Italy and held a Fellowship at the Tafelmusik Baroque Summer Festival in Toronto, Canada. In 2019-20 she joined the Opera Idaho Young Artists Program to perform the title role in Acis & Galatea, Poussette in Manon, and Sister Catherine in Dead Man Walking. Her cover assignments while there included Mimì in La bohème and the title role in Manon.

Cara was the Winner of the San Francisco Conservatory of Music Concerto Competition where she performed Mozart’s Exsultate, jubilate and holds awards from the James Toland Vocal Arts Competition, East Bay Opera League, Berkeley Piano Club Voice Competition, and Henry & Maria Holt Memorial Scholarship Competition. California Bay Area performances have included Norina (Don Pasquale) with Pocket Opera, Elisena (Ifigenia in Aulide) and Jocasta (Le Amazzoni) with Ars Minerva, and the Foreign Woman (The Consul) with Berkeley Chamber Opera.

Cara has been presented in recital by the Portland Opera Guild, Berkeley Piano Club, and the Arid Club. Her concert repertoire includes Purcell’s The Fairy Queen (Tafelmusik), Orff’s Carmina Burana (Berkeley Resonance Concert Series), Haydn’s Kleine Orgelmesse (Boise Baroque), Mendelssohn’s A Midsummer Night’s Dream (Oregon Ballet Theatre), Barber’s Knoxville: Summer of 1915 (Clark College Orchestra) as well as being a featured soloist with Amadeus Chamber Orchestra, Southwest Washington Wind Symphony and Northwest Symphony Orchestra.

Cara graduated with her Bachelor and Master of Music degrees from the San Francisco Conservatory of Music where she sang the roles of Musetta (La bohème), Atalanta (Serse), Nerone (Agrippina), The Rose (The Little Prince) and Drusilla (L’incoronazione di Poppea). She is an alumna of Houston Grand Opera's Young Artists Vocal Academy and the Opera Saratoga Young Artist Program.

Mezzo-soprano Amanda Crider has been recognized for her “gleaming vocalism” (Boston Globe), “star acting” (Urban Milwaukee), and “superbly clear diction and warmly burnished timbre” (South Florida Classical Review). In demand for performances of classical and contemporary opera alike, Ms. Crider created the role of Alma in Keeril Makan and Jay Scheib’s Persona in its world premiere with the Beth Morrison Projects and later at LA Opera, about which the New York Times raved, "The Mezzo-Soprano, Amanda Crider, made a winsome, vulnerable, and when the story turns dark, wildly volatile Alma, who for long stretches carries the entire opera,” and San Francisco Classical Voice declared, "Crider’s performance was a tour-de-force for its sustained vocal luster, dramatic variation, and sheer amount of singing."

Most recently, Ms. Crider was seen as the title character in L’incoronazione di Poppea at Florentine Opera, a role that she “wielded with beauty and charisma” (Voix des arts). Boston University News Service declared her “the true star” for her leading role in Boston Lyric Opera’s production of Mark-Anthony Turnage’s Greek, and Opera News lauded her “beautiful work” and “agility” playing the English Teacher in Gregory Spears and Kathryn Walat’s 2019 recording of Paul’s Case, a role which Crider premiered with the Prototype Festival and Urban Arias in 2013.

Ms. Crider’s 2019-20 season includes a debut with the Calgary Symphony, performances with the GRAMMY®-nominated ensemble Seraphic Fire, soloist in Sarah Kirkland Snider's Penelope with Nu Deco Ensemble, a duo recital with countertenor Reggie Mobley, and two separate appearances with Jacksonville Symphony in Beethoven's Mass in C and Manuel de Falla's Three Cornered Hat.

A sought-after soloist and recitalist on the concert stage, Ms. Crider has appeared regularly with Seraphic Fire and Apollo’s Fire, as well as performed with the Bach Festival Society of Florida, the International Contemporary Ensemble, the Cooperstown Chamber Music Festival, the Symphony Orchestras of Eugene, Savannah, Charlotte, Syracuse, Charleston, Amarillo, Southwest Michigan and Jacksonville, and Philharmonic Orchestras of Louisiana, Carnegie Mellon and Greeley. She made her Carnegie Hall debut in the fall of 2007 singing as mezzo soloist in Messiah with the New England Symphonic Ensemble, and returned the following season as soloist in Haydn's Lord Nelson Mass. She has performed as a soloist in Beethoven’s Symphony No. 9, Bach’s B minor Mass, Monteverdi's L'Orfeo, Handel’s Messiah, Mozart’s Requiem and Mass in C minor, Britten’s Phaedra, Bach's St. John Passion, Bernstein’s Jeremiah Symphony and Ravel’s Chansons Madécasses, and has been a featured recitalist on the Trinity Church Concerts at One Series and with Five Boroughs Music Festival. Of her New World Symphony performance of de Falla’s El Amor Brujo in 2014, South Florida Classical Review boasted, “Amanda Crider’s smoky mezzo-soprano assayed the flamenco vocal solos with gutsy abandon,” as well as celebrating “Her rhythmic acuity and incisive declamation.”

Ms. Crider’s first foray into the operatic world as L'Enfant in L'Enfant et les Sortilèges at the Tanglewood Music Center in 2001 was hailed by Opera News as "delightful," the Boston Globe stating she sang with "ineffable tenderness." Since then, she has delighted audiences in the roles of Angelina (La Cenerentola), Zerlina (Don Giovanni), Cherubino (Le Nozze di Figaro), Sesto (Handel Giulio Cesare), the title role in Carmen, Nellie Forbush (South Pacific), Diana (Orpheus in the Underworld), Speranza/Pastore #3 (Monteverdi L’Orfeo), Siébel (Faust), Olga (Eugene Onegin), Prince Orlofsky (Die Fledermaus), Laurey (Oklahoma) and Mallika (Lakmé) at companies including the Dallas Opera, Orlando Opera, Florida Grand Opera, Knoxville Opera, Opera Omaha, Nevada Opera, Des Moines Metro Opera and Eugene Opera, Anchorage Opera and Opera Boston, New York City Opera, Castleton Festival and Glimmerglass Opera.

Ms. Crider was a 2012 grant recipient from the Pittsburgh Concert Society, and a 2011 finalist in both the Joy in Singing Debut Artist Competition and the Jensen Foundation Vocal Competition. In addition she was a 2009 finalist in the José Iturbi International Voice Competition, the 2nd Place Winner in the 2008 Shreveport Opera Singer of the Year Competition, 2007 Recipient of the Palm Beach Opera Vocal Competition David and Ingrid Kosowsky Award, Finalist in the 2006 Oratorio Society of New York Vocal Competition and 2005 Center for Contemporary Opera Competition, and a 2003 Recipient of a Richard F. Gold Career Grant from the Shoshana Foundation. Ms. Crider is also the Founder and Artistic Director of Miami's Art Song concert series, IlluminArts (www.illuminarts.org).

KOJI OTSUKI is a versatile performer, teacher, and conductor specializing in the historically informed performance of the music of J.S. Bach. His mentors include Helmuth Rilling with whom he studied at Oregon Bach Festival over three festival seasons (Eugene, Oregon) and at Bachwoche 2004 (Stuttgart, Germany) with a scholarship from the Internationale Bachakademie Stuttgart. He is also Bach coach and head music librarian at the Marlboro Music Festival, where he collaborates with Mitsuko Uchida and other world-class musicians.

After receiving a Master’s degree in Choral Conducting at Temple University, he studied Bach in Tokyo as a Japanese government fellow under Masaaki Suzuki, director of the Bach Collegium Japan. While in Tokyo, he also studied baroque violin, flauto traverso, baroque voice, and early music ensemble with foremost experts of our time. After his return, he continued his study with Stanley Ritchie et al. in a doctoral program at Indiana University Bloomington.

His recent international engagements include Otaru Viola Masterclass in Japan (Januaries 2015-9), Viola Space Taiwan in Kaohsiung, Taiwan (January 2016), Shanghai Conservatory of Music in China (November 2016), National Taiwan Normal University in Taipei (September 2017), and the Aichi University of the Arts in Japan (Fall 2018). Koji is the founding director of the Gamut Bach Ensemble based in Philadelphia, whose concerts are highly attended in the Philadelphia Chamber Music Society’s concert series.

He now serves as the artistic director of the Bach Collegium–Fort Wayne, a period instrument and vocal ensemble.

Ms. Rachel Gain

Baroque flutist studying PhD Music Theory with a related field in Early Music at the University of North Texas.

John Taylor Ward is a tastemaker among his peers. His vocal performances have been praised for their “stylish abandon” (The New Yorker), “intense clarity and color” (New York Times), and “finely calibrated precision and heart-rending expressivity” (Washington Post), while his entrepreneurial projects have brought classical music to underserved communities and significantly broadened the cultural offerings of urban centers.

A native of Boone, North Carolina, Taylor grew up in a musical family (bluegrass and Broadway, primarily). He spent his early years living a dual life as both a sought-after triple threat in regional musical theater and an Anglican boy treble, traveling across the US and England in performances and residencies. During his high school years at the University of North Carolina School of the Arts, hours spent in the music library brought the outlines of his future professional life into steadily sharpening focus for him. This led to a Howard Hanson scholarship at the Eastman School of Music, where he was also a recipient of the Ornest Award and winner of Eastman’s concerto competition. Under the guidance there of Paul O’Dette, Taylor was drawn to the study of performance practice and baroque music. Upon graduation, he went on to attain three advanced degrees and numerous awards from the Yale School of Music, where his scholarship focused on the performance practice of shape-note music (a uniquely American genre of folk hymnody). Completing his studies at Yale, he moved to Paris as a recipient of the Harriet Hale Wooley Fellowship.

Taylor’s “intensity and sincerity” (New Haven Independent) have yielded him collaborations with many of the world’s great conductors, including Yannick Nézet-Séguin, Sir John Eliot Gardiner, William Christie, Philippe Herrewege, Masaaki Suzuki, Nicholas McGegan, and Courtney Lewis. His recent and future engagements include world tours with Les Arts Florissants (as a laureate of the Jardin des voix) and the English Baroque Soloists (in several roles in Monteverdi’s three operas); the US premier of Claude Vivier’s Kopernikus with the International Contemporary Ensemble and Roomful of Teeth under the direction of Peter Sellars; the premier staging of Orfeo Chaman with L’Arpeggiata at the Teatro Mayor in Bogotà; the trilogy of Monteverdi’s operas at the Boston Early Music Festival; and Berio’s Sinfonia with the New York Philharmonic. Taylor has appeared as a principal artist at the Luzern Festspiele, Berliner Festspiele, Festival Oude Musiek Utrecht, and Lincoln Center’s Great Performers and in such venues as London’s Barbican, the Sydney Opera House, the Kennedy Center, the Grand Théâtre de Provence, and the Philharmonie de Paris. Recent roles include Jesus in Bach’s Passions, Rafael in Haydn’s Creation, Bottom in Britten’s A Midsummer Night’s Dream, Arkêl in Debussy’s Pelléas et Mélisande, the Emcee in Kander and Ebb’s Cabaret, Aeneas in Purcell’s Dido and Aeneas, Papageno in Mozart’s The Magic Flute, Giove (and Giove in Diana) in Cavalli’s La Callisto, and the King in Maxwell Davies’ Eight Songs for a Mad King. He can be heard on the Naxos, Warner Classics, and 4AD labels.

Taylor is a founding core member of Cantata Profana, a New York-based collective focused on the narrative programming of chamber music and recent winner of Chamber Music America’s award for Most Adventurous Programming. As the New York Times put it, “While its theatrical bent is a constant, Cantata Profana's approach to the repertory is admirably varied and indefinable. It's devoted not to new or modern or early music — such specialists proliferate – but to most anything, so long as the mixture is put together thoughtfully and put across persuasively." Recent Cantata collaborations include a solo show produced for Joe’s Pub at the Public Theater, the first-ever opera on New York’s High Line, a reimagining of the “American Songbook” (incorporating everything from Appalachian folk ballads to Miley Cirus) and numerous performances with the group’s sister company, Heartbeat Opera, which “transforms great works of the operatic canon through visionary adaptations, radical arrangements for chamber ensembles, and intimate, visceral productions that put the singers and the instrumentalists at the center of the work. Heartbeat distills opera to its essence, and cultivates new audiences for the artform.”

The proudest achievement of Taylor’s promotional endeavors is the Lakes Area Music Festival. Founded in 2009, LAMF brings over one hundred musicians from around the world to showcase everything from chamber music to full symphonic repertoire, live ballet performances, and even a fully produced opera each season. Based in Brainerd, Minnesota, far removed from metropolitan centers whose affluence fosters frequent contact and mutual support between patrons and the arts, the Lakes Area Music Festival now serves over 10,000 people annually through its performances, educational programs, and outreach activities. Dispelling myths of the death of classical music, the Festival raises hundreds of thousands of dollars each year from small-dollar donors and provides its programs free of charge to the public it serves, sixty percent of whom have never seen an opera outside of the ones produced at the Festival. Most importantly, a community of spirit has grown up around the Festival, which, with the cooperation of business and government leaders, provides a footing for cultural and economic revitalization in central Minnesota.

In all he undertakes, it is not so much their content as his approach to them that stamps Taylor Ward’s enterprises with their individuality. Whether bringing a virtuosic piece of music off the page through dramatic instincts and historically informed acumen or transcending the existing models of arts funding and programming, he at once flourishes at the highest levels of the musical establishment and challenges the boundaries of what that establishment can encompass. His voice – and hands – are helping to shape the future of the fine arts.

Violist Emily Rideout is increasingly in demand as a specialist in period-instrument performance, and the music of the Baroque and Classical periods. As a soloist, she was twice winner of the Boston University Bach Competition, and she plays regularly with period-instrument ensembles including Boston Baroque, Handel and Haydn Society, Lyra Baroque Orchestra (MN) and Mercury Orchestra (TX). She served as principal viola at the 2019 Academy of the American Bach Soloists in San Francisco, and is in demand as a soloist in concertos of Bach, Telemann and Mozart with period instrument ensembles.

Ms. Rideout’s additional period instrument activities have included a tour of Japan with Cambridge Concentus and Joshua Rifkin; recording a soundtrack for the PBS documentary “Seeing in the Dark”; and touring Poland with Boston Baroque, giving the group’s first performance in the newly opened Polish National Radio Symphony Hall. She is a founding member of Folk Baroque, a string trio that combines their love of period instrument performance with both Baroque and traditional music; and has been featured as a soloist performing unaccompanied Bach on NPR station WBUR. Emily has also appeared as guest violist with the Muir, Emerson, and Avalon String Quartets and plays routinely with Grammy-nominated ensembles Boston Modern Orchestra Project and A Far Cry.

Dr. Rideout has an extensive background in pedagogy and is a frequent lecturer on topics including the intersection of period performance and string teaching. She was invited to speak at the 2012 National Suzuki Conference, and has presented on Baroque and period-instrument topics at Suzuki Institutes across the U.S. and Canada. Emily is also an enthusiastic folk musician, appearing as fiddle player in the bands Three Tall Pines and Fort Point Ramblers.

Ms. Morgan Balfour

Australian soprano Morgan Balfour has been praised for her “thrilling clarity” (Sydney Morning Herald), and “impressive vocal control and dynamic sensitivity” (San Francisco Classical Voice).

With a strong affinity for early music, Morgan was the 2019 Handel Aria Competition 1st Prize winner, will be a Virginia Best Adams Fellow at the 2020 Carmel Bach Festival, and is scheduled to perform a recital with Ensemble Moliére at the London Handel Festival. She has previously performed the role of Cephise in Pinchgut Opera's production of Pigmalion, and Honour in Brisbane Baroque Festival's King Arthur.

Morgan joined the Lyric Opera of Kansas City as their Soprano Resident Artist for the 2019/2020 season. During this time, she covered Blonde in Die Entführung aus dem Serail, Musetta in La Boheme and will perform Mrs Grady in rescheduled performances of The Shining.

As a concert singer and performer of oratorio, Morgan has appeared with the Australian Brandenburg Orchestra (2019 Noël Noël tour), California Bach Society (2019 Bach's Magnificat and Zelenka's Missa Divi Xaverii), American Bach Soloists (2018 Summer Festival), Canberra Symphony Orchestra (2018 Prom's Concert), Sydney Philharmonia (2017 Tudor Portraits), Brisbane Baroque Festival (2016 Vivaldi Women of the Pieta) and appeared at the 2016 Coriole Music Festival and 2015 Port Fairy Spring Music Festival.

Engaged as an AGMA chorister with the San Francisco Symphony for their 2018/2019 season, Morgan also performed as a member of Ragnar Bohlin’s vocal ensemble, Capella SF, and appeared as Voice of the Dawn in La Rondine with San Francisco'a Pocket Opera.

Bagpipes:

Cornemuse du Centre (G/C & D/G)

Musette du cour (@392)

Zampogna (G, D, Bb, Low G)

Uilleann Pipes (D)

Highland Pipes (Bb 472, Bb466, A440)
Ciaramella ( G/D)

Friscalettu (A/C)

Clarinets, (Bb & G) Oboe & Cor(@440)

Praised as “an excellent and impassioned” soprano possessing "a graceful tonal clarity that is a wonder to hear" (San Francisco Chronicle), MICHELE KENNEDY is a versatile specialist in early and new music. Her recent concert venues include Carnegie Hall, Davies Symphony Hall, The Getty Museum, Lincoln Center, and Washington National Cathedral. She is a Winner of the 2023 American Prize in Voice.

In high demand across the country, Michele has been a featured soloist in Bach’s St. John Passion with Voices of Music and The San Francisco Symphony Chorus, Handel’s Messiah with New York City’s Trinity Wall Street Choir, Poulenc’s Gloria and Handel’s Messiah with The Bach Society of Saint Louis, Undine Smith Moore's MLK Oratorio at U.C. Berkeley, and in her Carnegie Hall mainstage debut with The Hollywood Film Orchestra. Michele recently debuted with Portland Baroque Orchestra in the ‘Summer Fireworks’ of Handel and Purcell, with San Francisco Ballet in Mendelssohn’s Midsummer Night’s Dream, with Miami’s Seraphic Fire and Cleveland’s Les Délices. She will soon debut with SF's Masterworks Chorale in Mozart's Requiem and Bach's Magnificat, and with DC’s Washington Bach Consort in Haydn’s Die Schöpfung. Her singing is highlighted on a new recording of Monteverdi’s Vespers of 1610 with The Thirteen and Dark Horse Consort, and in her solo debut album with AGAVE – called In Her Hands – showcasing an extraordinary range of female composers from over the ages, from Barbara Strozzi and Pauline Viardot to Florence Price and Margaret Bonds.

A lifelong advocate of new works, Michele has sung premieres with Experiments in Opera, Harlem Stage Opera, The Crossing Choir, and The New York Philharmonic. This year, she is traveling with Lorelei Ensemble in a world premiere tour of Julia Wolfe’s Her Story – an outspoken celebration of women’s civil rights – in concert with the Nashville, Chicago, Boston, and San Francisco Symphony Orchestras. She is also a member of Kaleidoscope Vocal Ensemble: a group of early and contemporary music specialists that champions the voices of women and artists of color on the stage.

Michele completed her musical studies at Yale University, Yale School of Music, and New York University. A lover of redwood groves and bay vistas, she lives in Oakland with her husband, visual artist Benjamin Thorpe, and their daughter, Audra May. Please find more at www.michele-kennedy.com.

GAIL HERNANDEZ ROSA performs recitals and concerts throughout the world as a baroque, classical and modern violinist. Her chamber music engagements include concerts at Wigmore Hall, The Place, Bishopsgate Hall, Royal Opera House, Wilton's Music Hall, SF Conservatory, California Jazz Conservatory, The Philadelphia Museum of Art, Reformation Lutheran Church, University Lutheran, Teatro Municipal de Santiago and Museo Pablo Casals. She has performed with the Kreutzer Quartet & Zalas Trio.

Gail’s versatility allows her to perform internationally with a variety of groups including the Scottish Chamber Orchestra, Gabrieli Consort and Players (including BBC Proms), Florilegium, Yorkshire Baroque Soloists, International Baroque Players, BBC Scottish Symphony, Scottish Ballet, Northern Ballet Sinfonia, Royal Northern Sinfonia and Santiago Philharmonic Orchestra (Chile).

She currently performs with American Bach Soloists, Philharmonia Baroque Orchestra, Live Oak Baroque Orchestra, Washington Bach Consort, Tempesta di Mare, Handel Choir of Baltimore, Princeton Baroque, Pennsylvania Ballet Orchestra, Opera Philadelphia, Chamber Orchestra of Philadelphia, Philly Pops, Academy of the Vocal Arts, Delaware Symphony, Opera Delaware, Colorado Music Festival, Lancaster Symphony, Reading Symphony, Richmond Symphony, among many others. She has performed in leadership positions with the Washington Bach Consort, Opera Delaware, Reading Symphony Orchestra, Lancaster Symphony & Endless Mountain Music Festival.

Gail is the co-founder of Beneath A Tree – Baroque To Folk (BaT), a group that explores the interrelationships found between composed and traditional music from the baroque period, brings these idioms together and combines them with historically informed performance (HIP) practices, instruments and performers.

Gail's recordings include Chopin Piano Concertos and Mozart Opera Arias & Overtures with the Scottish Chamber Orchestra under Hyperion Records and the music of Telemann and Janitsch with Tempesta di Mare under the Chandos early music label.  Beneath a Tree – Baroque to Folk’s debut album My Cup of Tea is currently in mixing and editing stages. Their single Manha de Carnaval is available on Spotify.

Gail Hernández Rosa was born in Puerto Rico and began her violin studies at age three with the Suzuki Method before joining the preparatory division of the Conservatory of Music of Puerto Rico. She won the Youth Symphony Orchestra of America's competition, as part of the Casals Festival, and the Toronto School of Music International Competition. She was awarded scholarships from the Music and Art Corporation of Puerto Rico, Stapley Trust and Margot MacGibbon Award, and was the 2015 recipient of the Leibig Grant.

Gail graduated from Temple University in Philadelphia on full scholarship with a Bachelor of Music where she studied with Yumi Ninomiya Scott. She earned a Master of Arts with Honors (Violin & Historical Performance) from the Royal Academy of Music (London) where she studied with Clio Gould and Matthew Truscott.

Gail plays a c. 1850 Andrea Postacchini violin with a Jutta Walcher bow, a c.1700 Baroque Violin attributed to Jacob Stainer with baroque and classical bows by Jutta Walcher and Trevor Ewert and a 1800 French viola from Mirecourt.

Boston-based baritone, Craig Juricka, is an energetic vocal pedagogue and performer.

Praised by OperaToday as an “engaging baritone,” Mr. Juricka’s performance career has brought him to concert, opera and musical theatre stages around the nation.

His favorite opera credits include Owen Hart (Dead Man Walking), Pandolfe (Cendrillion), and Eisenstein (Die Fledermaus). During the summer of 2018, he was featured as an Apprentice Artist with Des Moines Metro Opera. In 2017, he was a finalist in the Classical Singer Competition (Emerging Professional Division) in Chicago, IL. He received first place for the New England Region of this same competition's preliminary rounds in both Musical Theatre and Classical. He currently sings regularly with Odyssey Opera’s Chorus.

In the concert singing world, Craig is a sought-after soloist and chorister. Most recently has been featured as a chorister and/or soloist with The Boston Camerata, Handel & Haydn, and Boston Baroque. As a Choral Scholar at Marsh Chapel, he has performed in various Bach cantatas, as well as Handel's Judas Maccabaeus (Messenger) and Bach's St. John Passion (Pilatus).

As an advocate for the pedagogy behind cross-training the voice, Craig's approach to singing is routed in his cross-trained background. Comfortable in teaching all genres, Craig’s students range in age, beginners to pre-professionals. Using a pedagogy based on the philosophy and methods of the bel canto tradition and modern musical theatre pedagogies, Mr. Juricka’s teaching is a mix of various methods.

Mr. Juricka holds a Masters of Music in Vocal Pedagogy, from The Boston Conservatory at Berklee, as well as professional affiliations with the National Association of Teachers of Singing (NATS) and College Music Board. He is a current board member with the Boston NATS Chapter. In 2016, he received his BM from Capital University in Vocal Performance, with an emphasis on Opera and Musical Theatre.

He maintains a private studio in Cambridge, Massachusetts, and teaches voice at The Walnut Hill School of the Arts and Amy Dancz Voice Studio.

Mr. Brian Giebler

Praised for his “lovely tone and deep expressivity” by the New York Times, American tenor Brian Giebler has established an impressive career singing virtuosic and eclectic repertoire “with shine and clarity” (Opera News). Whether performing Handel’s Semele with Harry Bicket and The English Concert or Stravinsky’s Threni with Franz Welser-Möst and The Cleveland Orchestra, "Brian Giebler use[s] his high-placed tenor with great skill” (Opera Magazine). This past 2019/20 season, he made debuts with Santa Fe Pro Musica, the National Cathedral Choral Society, Handel’s Messiah with both the Naples Philharmonic and the Oratorio Society of New York (Carnegie Hall), and as Adam in the New York premiere of Julian Wachner and Cerise Jacobs’ opera, REV. 23 (Prototype Festival). His debut solo album titled A Lad’s Love, featuring music by Ivor Gurney and Benjamin Britten, has just been released this past spring. “The sweetness of Giebler's impressive high tenor” and his "expressive and elegant phrasing" (Cleveland Classical) have been heard recently with The Cleveland Orchestra, The English Concert, Boston Baroque, Boston Early Music Festival, Grand Rapids Symphony, Virginia Symphony Orchestra, Syracuse Symphoria, Charlottesville Opera, Boston Modern Orchestra Project, Mark Morris Dance Group, Handel & Haydn Society, and regularly with the Trinity Baroque Orchestra, among others. Mr. Giebler took second-place in the 2018 Lyndon Woodside Oratorio-Solo Competition at Carnegie Hall, won a People’s Choice Award at the 2018 American Traditions Vocal Competition, and was a prize winner at the 2016 Biennial Bach Vocal Competition sponsored by the American Bach Society. Dedicated to the changing landscape of new music, Mr. Giebler frequently collaborates with prominent living composers such as Paola Prestini, Julian Wachner, Charles Wuorinen, and Ian Venables. An active crossover artist, “the dashing Giebler, whose voice would make anyone melt” (BroadwayWorld), received critical acclaim and a Gregory Award nomination for his “faultless high tenor” (Seattle Times) in the role of Marius in Les Misérables (Seattle, WA). In 2018, Mr. Giebler revisited the role of Jack in Into the Woods with Charlottesville Opera, where he was lauded for "his spotless tenor vocals (that were) a highlight of the production" (BroadwayWorld). For the most current information, please visit www.briangiebler.com.

Aniela Eddy

Mr. Vijay Dutt Chalasani

South Asian-American violist and arts administrator Vijay Chalasani is a performer, scholar, teaching-artist, and advocate for diversity and equity, whose work focuses on the performance practice of music of the last five centuries. Equally at home on both modern and historical violas, Chalasani has been featured as a soloist in repertoire ranging from Telemann and Graun to Walton and Feldman. An avid advocate for contemporary music, Chalasani was the soloist in the US premiere of Vinko Globokar’s chamber-theater piece Blinde Zeit with members of the Callithumpian Consort, supervised by the composer. He has also performed with violist-composer Garth Knox, pianist-conductor Stephen Drury, and the Inverted Space Ensemble; coached with composers Vijay Iyer, Kamala Sankaram, Brian Ferneyhough, Scott Wollschleger, and Nicole Mitchell; and has commissioned new works for viola in collaboration with the Guerrilla Composers Guild and others.

Chalasani performs frequently on period instruments with ensembles such as American Bach Soloists, Boulder Bach Festival, Baroque Chamber Orchestra of Colorado, Pacific MusicWorks, Sinfonia Spirituosa, and Early Music Vancouver, as well as in chamber music performances of works from the classical and romantic eras on historical instruments. His research on original viola pedagogy and performance practices of the long 19th century has led to performance collaborations and conference presentations at the Universities of Oxford and Huddersfield (UK), as well as a recording of works by Tchaikovsky and Fuchs made by the Accordes! International Chamber Orchestra released in 2020. Chalasani was appointed a member of Early Music America’s Inclusion, Diversity, Equity, and Access (IDEA) Task Force in August 2021, and currently serves as a member of the EMA Board of Directors.

Since becoming a permanent resident of Canada in 2023, Chalasani has performed with the Manitoba Chamber Orchestra and Thunder Bay Symphony Orchestra, and as a volunteer chorister with the Joie de Vivre and Westworth United Church choirs. He is thrilled to be joining both the Winnipeg Philharmonic Choir as its manager and the teaching faculty at the Manitoba Conservatory of Music & Arts. Born in Northern California, he is grateful to now reside on Treaty One territory in Winnipeg with his wife Ruth Denton.

Dr. Daniel Bubeck

Mr. Thomas Carroll

With a sound described as “beautifully warm” (Herald Times) and “sweet and agile” (New York Times), period clarinetist and instrument builder Thomas Carroll performs extensively throughout North America and Europe on historical instruments. He holds degrees from Oberlin Conservatory, Indiana University, and The Royal Conservatoire of The Hague, where his major teacher on early clarinets and chalumeaux was Eric Hoeprich.

Internationally, Thomas has performed under such directors as Christophe Coin, Richard Egarr, Philippe Herreweghe, Jos van Immerseel, Allessandro Moccia, and David Stern; and has performed at numerous festivals as an orchestral and chamber musician including Oude Muziek Utrecht, Muziekzomer Gelderland, Young Euro Classic, Festival de Saintes, and Musica Antiqua Brugge in venues ranging from the Kozerthaus in Berlin to the Concertgebouw in Amsterdam. He has been featured as a soloist with Mercury: The Orchestra Redefined, Lyra Baroque, Ensemble ad Libitum, Boston Baroque, and Grand Harmonie to critical acclaim. In North America, Thomas is the principal clarinetist with Boston-based Grand Harmonie, Houston-based Mercury, and the romantic opera orchestra of Teatro Nuovo, frequently performing with other early music specialists throughout North America including the Clarion Music and Handel and Haydn Societies, Sonoma Bach, Musica Angelica, and Boston Baroque. He has given faculty chamber recitals and guest lectures and masterclasses on both coasts and at the Hawaii Performing Arts Festival. Thomas is currently on the faculty of the Brookline Music School and maintains a private studio.

An interest in instrument mechanics and acoustics has led Thomas to a secondary career as an instrument builder and extensive research into 18th and 19th century wood treatment and seasoning. He studied woodworking and instrument construction with Linda Shortridge, Rob Turner, and Paul Beekhuizen, and builds chalumeaux, baroque, and classical clarinets, and basset instruments for use in historically-informed performance ensembles. His instruments and mouthpieces are played throughout North America, Europe, and Australia.

Peruvian-born lutenist Dušan Balarin is an active soloist and accompanist on various lutes and early guitars. He has collaborated with such performing artists and ensembles as Ingrid Matthews, Nell Snaidas, Alchymy Viols, The Haymarket Opera Musicians, Voyage Sonique, The Bach and Beethoven Experience, Las Aves, Tonos del Sur, Deux Classical Vocal Duo and the Denton Bach Society. Balarin is currently based in Bloomington, where he is pursuing a M.M. in Historical Performance under the guidance of Nigel North at the Indiana University Jacobs School of Music. He earned degrees from the University of North Texas and the Souza-Lima Conservatory in São Paulo, Brazil.

Played piano since age 6, organ since age 11, first salaried gig age 11, majored in Music Therapy at Indiana University, switched major and have BS and MAEd degrees in Special Education. Retired from career in Special Education, not retired from music! Play and conduct handbells. Bought first Virginal 2 years ago. 2 adult children, 5 grandchildren. Both grandmothers and both parents were (one still is) musicians, one grandmother composed, too. Play some other instruments, too, but not well enough to perform….guitar, hammered dulcimer, penny whistle, etc. Love percussion.

I am Alice Culin-Ellison's mom and lover of early music since my youth, long before Alice was born. I am Homestay Coordinator for Bourbon Baroque here in Louisville, avid supporter on Incantare, and devoted follower of Alice's career!

Harpsichordist and pianist John Mortensen is a leader in the international revival of historic improvisation. Appearing frequently as concert artist and masterclass teacher at colleges and universities in America and Europe, he is noted for his ability to improvise entire concerts in historic styles, including complex compositions such as Baroque fugues. His most recent book, Improvising Fugue, is forthcoming in 2022 with Oxford University Press. His previous volume, The Pianist’s Guide to Historic Improvisation (Oxford University Press, 2020), the world’s best-selling book in the field of historic keyboard improvisation, is now in use as a course text at many leading conservatories.

He is a Steinway Artist and an Ohio Artist on Tour. In 2017 he was selected as a Fulbright Specialist by the US Department of State to serve as an international artistic ambassador on behalf of the American people.

In 2018 he toured Europe for three months, performing and teaching improvised music at conservatories across the continent.

A recent Fulbright award funded four international tours through Canada, the United Kingdom, Denmark, and the Baltic states.

He is the creator of Improv Planet, an online school of historic improvisation, where his students include concert artists and conservatory faculty from across the world.

He serves as professor of piano at Cedarville University in Ohio. In 2016 he was named Faculty Scholar of the Year, that institution’s highest award.

Visit his website at www.johnmortensen.com and Improv Planet at http://improvplanet.thinkific.com.

Dana Whiteside (baritone) performs regularly as a soloist and ensemble member. Performance affiliations include Handel+Haydn Society, Cantata Singers and Skylark Vocal Ensemble. Mr. Whiteside's non-musical occupation is as Deputy Director for Community Economic Development in Boston and in addition to his work for the City he brings his enthusiasm for organizational development to his role as Board President of Emmanuel Music.

Sought after for her musical versatility, Ruth is active as a choral conductor, oboist, educator, and administrator. Her love of music began with singing along to hymns with the church choir and Disney’s Little Mermaid soundtrack. Like Ariel, she found her voice singing in choirs and playing all kinds of oboes. Ruth is particularly excited about baroque music, and loves to introduce historical performance practice to curious minds.

Musicologist, Contralto and Arts Administrator Suzanne Fatta is the Founder and Director of The Women of Vivaldi, the only dedicated early music vocal ensemble in Western New York, and one of the few true all female choirs – including female Tenors, Baritones and Basses – in the country; and early music trio Pavana with voice, and all early plucked & strummed instruments.

Suzanne quickly became one of the most in-demand arts professionals in Buffalo since she returned to the States after 5 years in England, where she studied historical performance practice with Grammy-winning John Potter, Peter Seymour, and world famous soprano Lynne Dawson. As a very low Contralto, Suzanne sings Bass with the world-famous Vivaldi's Women choir (dir. Richard Vendome) in Oxford UK, and pioneers the use of low female voices in opera often taking lead Baritone roles in Baroque operas. Harvard-educated, her Lecture-Recitals (selected by OPERA America as one of the top 15 National Opera Week 2014 events in the nation) are sell-out WNY audience favorites.

Possessing a unique and powerful voice, Suzanne is a Baritone (Tiefer Alt/ Contralto Profondo/ Oktavista) based in Buffalo, NY, performing in top venues in the US, Canada, England, Scotland, France, Malta, Italy, Germany, and the Czech Republic. Stateside, Ms. Fatta sings with some of the top organizations in WNY such as Buffalo Philharmonic Orchestra, Vocális Chamber Choir, Sotto Voce Vocal Collective, The Buffalo Chamber Players, QED, Camerata di Sant'Antonio, Nickel City Opera, Opera Sacra, Harmonia Chamber Singers, Buffalo Master Chorale, OperaBuffs of WNY, and The Opera Foundation of Buffalo. Suzanne sang the Tenor and Alto solos in Bach Weihnachtsoratorium completing the cycle in early 2019. In early 2017 Suzanne headlined the Vivaldi WinterFest with Music Niagara performing motets, cantatas and arias by Vivaldi; she debuted at Rochester Early Music Festival and the Fredonia Bach & Beyond Baroque Music Festival some time earlier. Suzanne co-conducted the North Eastern Early Music Forum's Venetian Christmas Music workshop, and was also a mentor, rehearsal director and vocal coach for Vivaldi's Women Summer School.

Having studied Vocal Performance, Musicology and Historical Performance Practice at the Oberlin Conservatory of Music (Joint BA With Honors), Suzanne has done doctoral studies at the Eastman School of Music with Paul O'Dette, and the University of York; her focus is vocal music of the 16th and 17th centuries. In addition, she has a Masters in Medieval Studies and Religion from Harvard University, where she won a university-wide Teaching Award of Distinction for a course on Jazz and Music of the Swing Era

Voice teachers include Tony Arnold, Jacqueline Quirk, Yvonne Seymour, Robert Vehar, Gerald Crawford and La Scala mezzo Genia Las. Conductors/ directors she's performed with are Doreen Rao, Atis Bankas, Philip Thorby, Grant Cooper, Roland E. Martin, Daniel Bassin, Nadja Zwiener, Will Todd Trio, Robert Shoup, Lorna Cooke de Varon, Lisa Goode Crawford, Steven Plank and Frank Scinta. And Suzanne has had coachings with the Grammy-winning Tallis Scholars, Robert Hollingworth, Francis Steele, Black Hair Ensemble and more.

Ms. Fatta’s operatic roles, consort work and solos have taken her around North America and Europe. Suzanne has performed with and been Choral Director for the Buffalo Philharmonic Orchestra; she also served as both Alto and Tenor Section Leaders with the Buffalo Philharmonic Chorus and Chamber Singers under the BPO. She is a featured singer in the documentary Peter Ackroyd’s Venice for SkyArts TV across Europe. A highly experienced performer, Suzanne's skills as a Contralto Soloist and Baritone Ensemblist are now in demand in New York; she is currently working with some of the top composers in the country to commission new Contralto repertoire, and to develop world-premiere operas.

An avid actress, Ms. Fatta is the Co-Founder of HIDden Theatre, a historical drama troupe started at The York Mystery Plays and debuted at The British Museum. While particularly gifted in Medieval drama and Victorian burlesque, Suzanne's passion for acting ranges through plays, opera and operetta, masked Greek drama, one-woman performance art, voice-overs, commercials and other forms.

Dr. Jacqueline Horner-Kwiatek

Dr. Jacqueline Horner-Kwiatek, soprano/mezzo-soprano, is a singer, conductor, educator, and composer. She was a member of the world-renowned vocal quartet Anonymous 4 from 2000-2016 and recorded twelve award-winning CD’s with the group. Anonymous 4′s performance of the Irish lament “Caoineadh” on Christopher Tin’s album Calling All Dawns, with Jacqueline as featured soloist, led to a Grammy for Best Classical Music Crossover Album. She is currently Artistic Director of ModernMedieval Voices, a women’s ensemble dedicated to creating programs that combine early music with new commissions. The ensemble has performed and given residencies all over the U.S. As a composer, Dr. Horner-Kwiatek has written pieces for MMV and the Folger Consort, amongst others, and her music has been described by The Washington Post as “beguiling and succinct.”

As a soloist she has been a guest with many renowned ensembles and opera companies, including English National Opera, Washington Bach Consort, Royal Opera Covent Garden, The Folger Consort, DCINY, Ensemble Modern Frankfurt and Ensemble InterContemporain Paris, performing at many of the world’s leading venues, including The Pompidou Center, Queen Elizabeth Hall, The Kennedy Center, Carnegie Hall, Disney Concert Hall, and Lincoln Center. Dr. Horner-Kwiatek has a D.M.A. from The Juilliard School and is on the performance faculty at Princeton, where she teaches voice and is conductor of the Early Music Princeton vocal ensemble. She is also on the faculty of NYU and Juilliard. She is in demand as a clinician and gives masterclasses, ensemble technique workshops, and vocal pedagogy for composers seminars all over the US. For more information please visit ModernMedieval.org.

Ms. Willemien Insinger

Dr. Sarah Brailey

Hailed by The New York Times for her "radiant, liquid tone,” and “exquisitely phrased” singing and by Opera UK for “a sound of remarkable purity,” soprano Sarah Brailey enjoys a career that resists specialization. She has sung Handel’s Messiah with The Saint Paul Chamber Orchestra; recorded cello and vocal soundscapes for the 2018 Fog x FLO public art installation in Boston’s Emerald Necklace; and performed with Kanye West and Grammy Award-winning alternative-classical vocal band Roomful of Teeth at the Hollywood Bowl.

Recent highlights include Bach’s St. John Passion with St. Thomas Fifth Avenue; the role of Verveine on the premiere recording of Le Dernier Sorcier by Pauline Viardot, also featuring mezzo-soprano Jamie Barton and bass-baritone Eric Owens; Puccini’s Suor Angelica with the Lorelei Ensemble and Boston Symphony Orchestra; Barber’s Knoxville: Summer of 1915 with the Colorado Symphony; Mahler’s 2^nd Symphony with the Johnstown Symphony; Purcell’s The Fairy Queen with The Handel and Haydn Society; Schoenberg’s Das Buch der Hängenden Gärten with the Brooklyn Art Song Society; a Nico Muhly world premiere for the MATA Festival; various Webern works with Trinity Wall Street; John Zorn’s Madrigals at the Louvre Museum; and the premiere recording of Ethel Smyth’s The Prison with The Experiential Orchestra.

Among Sarah’s recording collaborators are tUne-yArDs, John Zorn, the Choir of Trinity Wall Street, Paola Prestini, and Bang on a Can All-Stars Stars (Julia Wolfe’s 2015 Pulitzer Prize-winning work Anthracite Fields). Sarah is a featured soloist on numerous GRAMMY®-nominated albums including New York Polyphony’s Sing Thee Nowell and The Clarion Choir’s recording of Maximilian Steinberg’s Passion Week. She also appears as a soloist on the premiere recording of Du Yun's Angel’s Bone, winner of the 2017 Pulitzer Prize in Music and sings the role of The Soul on the premiere recording of Ethel Smyth’s The Prison with The Experiential Orchestra. Co-founder of Just Bach, a new monthly concert series in Madison, Wisconsin, Sarah is also the Artistic Director of the Handel Aria Competition and co-host of Musica Antiqua on WORT 89.9 FM. Learn more at www.sarahbrailey.com.

Stacey Brady

Mr. Enrico Lagasca

Filipino-American bass-baritone Enrico Lagasca performs oratorio, opera, chamber music, and recitals with repertoire from early to contemporary music both as soloist and chorister across the United States and internationally.

In New York, Enrico regularly performs as soloist and chorister with the Choir of Trinity Wall Street, Choir of St. Ignatius Loyola, Bach Choir of Holy Trinity Lutheran Church, St. Thomas Choir of Men and Boys, Musica Sacra, Cathedral Choir of St. John the Divine, Bard Festival Chorus, New York Choral Artists, TENET Vocal Artists, Clarion Music Society, and The Metropolitan Opera Chorus. Across America, Enrico regularly performs with the Santa Fe Desert Chorale in New Mexico, Conspirare and Ensemble VIII in Austin, Texas, Skylark Vocal Ensemble and Kaleidoscope Vocal Ensemble in Massachusetts, Bach Collegium San Diego in California, Spire Vocal Ensemble in Kansas City, Missouri, The Thirteen in Washington D.C., and Seraphic Fire in Miami, Florida.

Solo concert work has included Beethoven Symphony no. 9, Haydn The Creation, Mendelssohn Die Erste Walpurgisnacht, Bach Mass in B Minor, Haydn Lord Nelson Mass, Mozart Requiem, Rossini Petite Messe Solennelle & Stabat Mater, Handel Dixit Dominus, and many others. Enrico has performed a handful of Operatic roles, including the US premiere of Jonathan Dove's Monster in the Maze as Daedalus and Gerald Cohen's World Premiere of Steal a Pencil For Me as one of the Prison Guards, as L’arbre/Fauteuil in Ravel’s L’Enfant et les sortilèges, Collatinus in Britten’s Rape of Lucretia, and Lorenzo in Bellini’s I Capuleti e I Montecchi. In song recital, Enrico’s repertoire include Strauss, Schubert, Schumann, Mahler, Rachmaninoff, Brahms Muhly, Heggie, and many others.

Several orchestra performances include with the New York Philharmonic Orchestra, American Symphony Orchestra, Orchestra of St. Luke's, American Classical Orchestra, Pacific Symphony, Atlanta Symphony Orchestra, Israel Philharmonic Orchestra, New Orchestra of Washington, to name a few. He has also worked with distinguished conductors and stage directors, including Riccardo Muti, Zubin Mehta, Pablo Heras-Casado, Joann Falletta, Alan Gilbert, Christoph von Donyanhi, Carl St. Clair, Joseph Colaneri, Craig Hella-Johnson, Joshua Habermann, Matthew Halls, Jane Glover, John Butt, John Nelson, Kevin Newbury, Thaddeus Strassberger, Laura Alley Dietrich, Anthony Laciura, RB Schlather, among others. Enrico has premiered works by Jonathan Dove, David Lang, Gerald Cohen, Denise Hofmann, Stanislav Fridman, Jonathan Newman, Joseph Rubinstein, Nilo Alcala II, Joshua Cerdenia, Luna Pearl Woolfe, and Richard Danielpour. Festival appearances include the Salzburg Festival, Oregon Bach Festival, Virginia Arts Festival, Mostly Mozart Festival, Twelfth Night Festival, Webern Festival, Time’s Arrow Festival, and the Bard Summerscape Festival.

Enrico has been a guest vocalist for the Mark Morris Dance Company, Idan Cohen Dance Company, The Canales Project, Pacific Chorale, Baltimore Choral Arts, Bourbon Baroque, Choral Society of the Hamptons, Ars Musica New Jersey, Fairfield County Chorale, Westchester Choral Society, Danbury Orchestra, Bedford Chamber Orchestra, Crescendo Early Music Ensemble. He has recorded albums with the Philippine Madrigal Singers, ACRONYM, Bach Choir of Holy Trinity, Choir of Trinity Wall Street, American Symphony Orchestra, Skylark Vocal Ensemble, Conspirare, and the Santa Fe Desert Chorale.

He was a finalist in the Das Lied International Song Competition in Berlin, Germany, in 2013 and in the 24th International Vocal Arts Competition Le Centre Lyrique in Clermont-Ferrand, France, in 2015. In 2019, he was a participant in Renee Fleming's inaugural Song Studio at Carnegie Hall.

Enrico studied at the University of the Philippines with Cecilia Valeña and at Mannes College of Music with Arthur Levy. He currently resides in Hudson Heights, New York.

Ms. Terumi Kurokawa

Barbara Herzog

Retired 30 year member of The Early Interval

Mr. William T. Duffy

Appreciated for his "command of the seemingly impossible high tessitura" (South Florida Classical Review), countertenor William Duffy has established himself as equally comfortable exploring ancient tunes and the compositions of our era. Currently residing in Montréal, William enjoys regular performances as both a soloist with orchestra and a member of professional vocal ensembles across North America.

Notably, William is sought after for his interpretations of the music of J.S. Bach, and has performed over fifty of Bach's cantatas as a soloist and ripienist with historically informed ensembles such as Les Idées heureuses, the Montréal Bach Festival, Studio Musique Ancienne de Montréal (SMAM), Clavecin en concert, I Musici de Montréal, the Montréal Symphony Orchestra, and on numerous occasions during the complete Bach cantatas concert series at Bourgie Hall of the Montréal Museum of Fine Arts.

Additionally, William has been the featured alto soloist in J.S. Bach's Oratorios for Easter and Ascension with Ensemble Caprice, and in the complete Bach motets presented one voice per part (OVPP) by SMAM. Other key elements of William's solo Baroque repertoire include Pergolesi's "Stabat Mater," Buxtehude's "Membra Jesu nostri," Schütz's "Musikalische Exequien," the sacred polyphony of Gesualdo, Josquin, Gabrieli and Monteverdi, and the haute-contre roles of Charpentier's sacred works.

In modern realm, William has participated in premieres of several new works, including: "Nanumissuat – Île-Tonnerre" (2021) by Innu poet Natasha Kanapé Fontaine and Montréal composer Alexandre David with Les plaisirs du clavecin, and "Formes subtiles de la fuite" (2022) by Kim Farris-Manning with One Equall Musick. William has also sung nearly twenty representations of "Path of Miracles" by Joby Talbot with Voces Boreales as part of the group's ongoing "Urban Pilgrimage" concert installation.

The key events in William's 2022-23 season include several concerts and a Christmas album recording with Seraphic Fire in South Florida, appearing as alto soloist in Bach's B-minor mass at the Maison Symphonique in Montréal and Palais Montcalm in Québec City with Ensemble Caprice, and participating in the first of six concerts in a series of Christoph Graupner’s complete cycle of nineteen cantatas composed for Good Friday with Geneviève Soly and Les Idées heureuses at Salle Bourgie.

Recent ensemble collaborations include presenting "Dolce cantavi" by Caroline Shaw with One Equall Musick, Benjamin Britten's "Canticle II: Abraham and Isaac" with Compagnie Baroque de Montréal, and a 12-voice Brahms's "Ein deutsches Requiem" staging with Les grands ballets canadiens choreographed by Andrew Skeels. Previously, William has appeared on stage at the Montréal Baroque, Montréal Bach, Illinois Bach, American Bach Soloists and Lanaudière Summer Festivals.

On the record, William can be heard as a soloist on the 2020 disc "Distance" by The Church of St. Andrew and St. Paul in Montréal on the ATMA Classique label, and soon on an upcoming digital release of "Path of Miracles" by Voces Boreales, and he has also contributed to choral recordings of 17th-century Italian and German repertoire and works of Québec composers with Ensemble ArtChoral.

William holds degrees in voice (California State University, Chico) and choral conducting (McGill University).

For more information, visit his website: www.guillaumedufay.com

Bruce has been playing recorder for over 40 years, mostly self-taught and studied in many masterclasses with Marion Verbruggen. He plays all recorders, including Baroque, Renaissance, and Medieval including Medieval double recorder. Bruce plays many bagpipes including these Early music instruments that are historical copies: musette (French Baroque), Northumbrian smallpipes (Northumbrian Baroque), musa (Spanish Medieval), Leicestershire smallpipes (English Medieval). Bruce plays capped double reeds – rausachpfiefe and crumhorn. Bruce dabbles in some percussion(ish): nakers drum set, frame drum, castanets, campanille bells, tromba marina. Bruce directs ensembles in each music era – Medieval (Los Goytx), Renaissance (Wessex Consort), Baroque (Les Plaisirs Champetre), Regency(ish) (The Picadillys) – see their respective Facebook pages; all the consorts can perform in historic costumes.

Mr. Leonardo Marques Ferreira Lima

Walter Bitner

Veteran music educator Walter Bitner is the Director of Education & Community Engagement for the Richmond Symphony. He has led a multi-faceted career as a teacher and performer: a multi-instrumentalist and singer, he is also a teacher, composer, and conductor conversant with a wide variety of musical styles and traditions. Walter has been a performing musician since childhood; he began his career as a boy soprano singing in school and church choirs and began to study piano at the age of seven. His work as a choral singer continued for many years into his twenties, and he has sung in symphony choruses under many directors including Michael Deane Lamkin, Robert Summer, Julius Rudel, and Robert Shaw.

He continued his piano study into college (where he also studied conducting and music education), and had performed many solo and chamber music recitals by his mid-twenties. During his teens and twenties he was also active as a jazz pianist, performing both solo and in small clubs in Tampa and Gainesville, Florida, and in metropolitan New York City. In 1992 he began to focus on Renaissance and Baroque repertoire, engaging in private study on recorder with Steve Silverstein (New York Pro Musica, Music For A While) and on lute with Pat O’Brien (Mannes, Juilliard) in New York City. From 1996 – 2000 he recorded and performed throughout Florida on lute and recorders as a soloist and as a member of The Tampa Bay Early Music Consort, with Carl Klein, harpsichord and organ, and Theresa Villani, cello and viola da gamba.

He conducted members of The Florida Orchestra in his first orchestral concert at the age of 21, and directed hundreds of student performances – instrumental and vocal music, as well as plays, musicals, and traditional dance – in his many years of teaching.

Walter served as Music Director or Performing Arts Director at private schools in New York, Florida, and Nashville 1991 – 2007. From 2008 – 2014 he taught at Nashville School of the Arts, Metropolitan Nashville Public Schools’ arts magnet high school, where he successively directed the school’s piano, choral, and orchestral programs. Walter holds a Bachelor of Arts degree from Charter Oak State College, Connecticut, and he completed his teacher certifications training at Belmont University in Nashville. He is licensed to teach both Vocal and Instrumental Music, grades K – 12, by the State of Tennessee.

From 2014 – 2019 he served as Director of Education & Community Engagement for the Nashville Symphony, where he established the award-winning Accelerando program designed to prepare gifted young students of diverse ethnic backgrounds for pursuing music at the collegiate level and beyond.

A summary of Walter's many music and music education activities in Nashville 2004 – 2019 may be be found here. He began to serve as Director of Education and Community Engagement for the Richmond Symphony in August 2019, and in the summer of 2020 he founded the Richmond Symphony School of Music.

Walter is Conductor Emeritus of Music City Youth Orchestra, which he founded and directed from 2007 – 2012, and he serves on the National Advisory Board of the Sewanee Summer Music Festival. As performing musician or ensemble director, he has collaborated or performed with a wide variety of artists over the last four decades including Pete Seeger, Tracy Silverman, Jeff Coffin, Ryan Middagh, The Chieftains, Music City Baroque, The Tampa Bay Master Chorale, The Florida Orchestra, the Jacksonville Symphony, the Nashville Symphony, the Nashville Symphony Chorus, the Nashville Concerto Orchestra, and the Richmond Symphony. He writes about music and education on his blog Off The Podium at walterbitner.com.

Misti Bernard is a vocalist and multi-instrumentalist, based out of Gulfport, Florida. She has been performing world, jazz, blues, Celtic and early music across the US and Europe since 1993. Misti studied vocal technique at Trinity College of Music in London, Indian classical voice at the Ali Akbar College of music in San Rafael, California, and Jazz at the Berkeley Jazz College in California. She sings in eight languages ranging from Spanish to Urdu, with regular forays into scat and improvisational melody and lyric lines. Misti also plays 14th century mandora, guitar, hammered dulcimer, silver and bamboo flutes, pennywhistle, Irish flute, and bodhran.

Misti is the musical director and lead vocalist of The Blue Muse Project, which combines 13th Century Spanish and Portuguese songs with jazz, Middle Eastern, and world music. She also performs with singer/songwriter Billy Miller in the genre-bending duo Miller and Bernard, Billy Miller and bassist Bret Blackshear as swing and blues ensemble Speakeasy, as well as performing solo on the hammered dulcimer.

Luthier specializing in Lutes, Citterns, and Early Wire Strings, with related research interests in early wire-strung instruments (citterns and lute/cittern hybrids); early wire string manufacturing; pre-industrial instrument making technology; cornetti; and natural trumpet. Current memberships include AMIS, ARS, FoMRHI, The Galpin Society, The Lute Society of America, The Lute Society (UK), and Société Française de Luth. Previously served as Music, Theatre, Film and Dance Librarian and student Collegium Musicum instructor at Southern Methodist University; and performed in Texas/Louisiana area on early plucked strings, winds, brass, and voice. I also have a parallel career in Information Security, where I am currently serving as a Global Deputy Chief Information Security Officer (DCISO) for Brinks, Incorporated.

Mrs. Barbara King

Barbara King has performed since 1980 as an organist and soloist/continuo player with ensembles in Dayton, Ohio, southern California, and northwest Washington. She served as a long-time leader in early music (Past President of the Western Early Keyboard Association), music teacher organizations, and the American Guild of Organists. Prior to moving to Anacortes, she was harpsichordist for fifteen years with the southern California Harmonia Baroque Players. Semi-retired in Anacortes, she formed and directs the successful Anacortes Early Music Concert Series, which has brought to the city stellar early music performance for over a dozen years.

Born in Tokyo, Tomoko Sugawara began playing the Irish Harp at age twelve. She added the Concert Harp at sixteen, and graduated with a BS in harp at Tokyo University of the Arts. She studied cultural history at Seijo University in Tokyo and took up the angular harp (or kugo) in 1991. The kugois the “mother of all harps,” played 3,000 years before any European harp.

After moving to NYC, she learned to play baroque music on the Italian Triple harp: from Figured Bass to the Art of Ornamentation.

Ms. Sugawara has received many major awards: Japan Foundation twice (1999 and 2008), Asian Cultural Council trice (2007-2008, 2014 and 2018-2019), and the Dunhuang Foundation (2019).

She has given solo recitals on the kugoat major international venues, such as The World Music Institute (NYC), and World Harp Congresses (trice: Prague, Amsterdam, and Vancouver). Other places include The Early Music Guild of Seattle, The British Museum, Central China Conservatory of Music (Beijing), The Symposium on Historical Harps (Berlin), and Shanghai Conservatory of Music. She has given recitals at many US Universities: Columbia, Harvard, Pennsylvania, Princeton, Illinois, Indiana, Pittsburgh, and UCBerkeley. She has led her ensemble, Eurasia Consort, at The World Music Institute.

In September 2018 and Spring 2019 she will take up a position as Visiting Researcher at Shanghai Conservatory of Music.

Dr. Maria J. Romero Ramos

Venezuelan-born violinist María Romero Ramos is Assistant Professor of the Practice in Violin and Baroque Violin and Director of Historical Performance at Vanderbilt University Blair School of Music.

Romero specializes in both modern and historical performance practice and pedagogy, switching comfortably between bows from different time periods as well as modern and gut strings. Prior to her appointment at Vanderbilt, Romero taught at the Indiana University String Academy. She has given master classes and been a guest clinician throughout the Americas, including the Universidad Austral de Chile and El Sistema-inspired programs such as the Metropolitan Youth Symphony, Valley Vibes Youth Orchestra, California Central Coast Orchestra and Jazz Academy, Bolivia Clásica, El Sistema San Salvador, and National Youth Orchestra of Belize.

Romero is a graduate of Venezuela’s El Sistema music program, and has since been passionate about music education as a tool for social empowerment and transformation. She has volunteered and worked as artist teacher and program and development director for MusAid, a nonprofit organization that provides teacher training and instrument repair workshops to socially driven music programs around the world. Romero is an equally ardent advocate for inclusion, diversity, equity, and access in classical music, and she is actively involved in initiatives that promote these efforts with the Sphinx Organization, Early Music America, and Global Leaders Program.

Romero has performed in venues across Europe, Asia, and North, Central and South America, including the Isaac Stern Auditorium at Carnegie Hall with the Sphinx Virtuosi chamber orchestra. She has collaborated with ensembles including the Orchester Wiener Akademie, Les Délices SalonEra, Musica Angelica Baroque Orchestra, Bourbon Baroque, Michigan Bach Collective, and New Vintage Baroque. She has also performed in festivals such as the Boston Early Music Festival, Valley of the Moon Music Festival, Arts on Alexander, and Vietnam Connection Music Festival. Romero has appeared as soloist with the Princeton Festival Baroque Orchestra, Mountainside Baroque, Sonoma State University Orchestra, Metropolitan Orchestra at Montgomery College, University of North Texas Baroque Orchestra, Indiana University Baroque Orchestra, Bloomington Early Music Festival Orchestra, and the Indianapolis Baroque Orchestra, as winner of their concerto competition. A versatile musician, Romero has collaborated with Wayne Wallace and Michael Spiro on Latin jazz album recordings. The album Canto América received a Grammy nomination for Best Latin Jazz Album in 2016.

Romero holds master and doctor of music degrees in violin from Indiana University, where she was awarded the Artistic Excellence and Jacobs Fellowships, the most prestigious awards in the school of music. At IU, she studied violin with Kevork Mardirossian, baroque and classical violin and viola with Stanley Ritchie, and violin pedagogy with Mimi Zweig. Romero also holds a bachelor of music degree and Graduate Artist Certificate from the University of North Texas, where she studied violin with Julia Bushkova and baroque violin with Cynthia Roberts. At UNT, she was selected Presser Scholar and received the Outstanding Undergraduate and Graduate Student in the Strings Awards. Romero holds an Executive Graduate Certificate in social enterprise, cultural agency, teaching artistry, and civic leadership from the Global Leaders Program, and she was recently selected as a fellow for Cleveland Institute of Music’s Future of Music Faculty Fellowship Program.

At Vanderbilt, Romero teaches music majors on baroque instruments, as well as non-majors and Blair Academy students, and she coaches chamber music ensembles. She is concertmaster of Music City Baroque and currently plays with the Nashville Opera, Indianapolis Baroque Orchestra, and Mountainside Baroque. She lives in Nashville with her husband, pianist Nicholas Reynolds.

Dr. Alan Berquist is a flutist and educator based in Northern California on faculty at California State University, Stanislaus and Diablo Valley College. He performs most frequently with his partner harpist Dr. Vincent Pierce, Ensemble 126, Etesian Duo, Bay Area Rainbow Symphony, and Awesöme Orchestra Collective. He has also performed with the California Symphony, San José Symphonic Choir, The American Opera Project, Brooklyn Wind Symphony, and the Albany (GA), Astoria (NY), Madison (WI), and Tallahassee Symphony Orchestras.

An advocate of new music, he has commissioned, performed premieres, and collaborated with composers Matthew Briggs, Viet Cuong, David DelTredici, Mark Fromm, Scott Gendel, Libby Larsen, David Maslanka, Sami Seif, and David Stock. He serves as the a judge for the Flute New Music Consortium’s annual composition competition, frequently performing works of new composers. On the other end of the spectrum, Alan’s deep affinity for early music has led to the study of baroque traverso, recorder, and renaissance recorders, taking classes from early flute specialists like Barthold Kuijken and Na’ama Lion

Alan has judged for the National Flute Association Newly Published Music, Music Teachers' Association of California, and Fanfares of Lviv International Competitions (Ukraine), and a competition coordinator for the Florida Flute Association, also performing solo and chamber works at yearly conventions. Winner of two National Flute Association competitions: 2021 C.R.E.A.T.E. (Creating Resources through Engagement, Artistry, Teamwork, and Entrepreneurship) with Ensemble 126, and 2019 Convention Performers. He has also served the NFA as 2004 Associate Program Chair.

Alan has performed in dozens of masterclasses across the country, for international flute luminaries like Sir James Galway, Paul Edmund-Davies, Karl-Heinz Schütz, Leone Buyse, and Julius Baker. He holds degrees from Florida State University (DM, BM), University of Wisconsin-Madison (MM), and a Certificate in Advanced Flute Studies from Carnegie Mellon University. His principal teachers include Eva Amsler, Alberto Almarza, Stephanie Jutt, Caryl Mae Scott, and Susan Clark. He was also a student of Dalcroze Eurhythmics at the Marta Sanchez Dalcroze Training Center at Carnegie Mellon University with support from the Dalcroze Society of America.

Kiele Sacco

Hi, I'm Ki and I am a early music (harpsichord) and computer science dual degree student at Indiana University. I was originally studying piano at DePauw University and took a risky decision to transfer with only one more semester left. I have always loved early music and I thank my summer in 2018 at Oberlin's Baroque Performance Institute for immersing me in harpsichord.

Martha R. Hsu

Dr. Liza Malamut

Liza Malamut is Co-Artistic Director of the ensemble Incantare (www.incantaremusic.com) and regularly appears as a historical trombonist, teaching artist, and presenter throughout the United States and abroad. She has performed with Tafelmusik, Opera Atelier, the Handel & Haydn Society, Trinity Wall Street, Boston Camerata, Apollo’s Fire, Dark Horse Consort, Boston Baroque, and many other ensembles. Her playing can be heard on the Musica Omnia, Naxos, Hyperion, and George Blood Audio labels. A passionate teacher and researcher, Liza has presented masterclasses, lecture recitals, and papers at conferences and institutions throughout the country. Her work was supported by an American Fellowship from the American Association of University Women (2017-2018). Liza served as Visiting Lecturer in Sackbut at Indiana University in spring 2015 and 2018, and taught as applied instructor in sackbut at Tufts University. She is currently coediting the forthcoming book Music and Jewish Culture in Early Modern Italy with Rebecca Cypess and Lynette Bowring. Liza’s interest in historical performance accessibility has inspired various large-scale outreach projects, including family-friendly productions of Heinrich Schütz's Weihnachtshistorie, staged in New York and Boston in collaboration with Musica Nuova; and Singen und Sagen: Music for Hope in a Time of War, presented by the American Musicological Society in 2017. Liza holds a Doctor of Musical Arts degree in Historical Performance from Boston University, where she studied with Greg Ingles. Her dissertation, a method book for modern trombonists, integrates historical techniques with mainstream playing and introduces eighty-eight solo etudes for trombone transcribed from historical sources.

Mrs. Peggy Sniezek

Melinda Sullivan Friedman

Dance Director, Boston Early Music Festival; Resident choreographer, Central City Opera; Master teacher of Movement and Dance.

Recipient of a prestigious 2020 Avery Fisher Career Grant (the first baroque recipient in the respected program’s history) and Grand Prize winner of the inaugural Lillian and Maurice Barbash J.S. Bach Competition, violinist Rachell Ellen Wong is a rising star on both the historical performance and modern violin stages, and has performed throughout the United States and Canada, as well as in the United Kingdom, Canada, Italy, Costa Rica, Panama, China, and New Zealand. A sought-after collaborator, her growing reputation as one of the top historical performers of her generation has resulted in appearances with such respected ensembles as the American Bach Soloists and The Academy of Ancient Music, and tours with Bach Collegium Japan, Les Arts Florissants, and others. Equally accomplished on the modern violin, Ms. Wong made her first public appearance with the Philharmonia Northwest at age 11 and has since performed as a soloist with such orchestras as Orquesta Sinfónica Nacional de Panamá and Seattle Symphony.

Following summer performances with Yale Schola Cantorum in Oslo, Norway, at Massachusetts’ Boston Early Music Festival Fringe Series, with the American Bach Soloists in San Francisco, The Academy of Ancient Music in the UK, Bach Collegium Japan in Warsaw, Poland, and with Les Arts Florissants at France’s Festival Thire, Ms. Wong’s 2019-2020 season is split between orchestral, recital and chamber music concerts. Engagements include performances with the American Classical Orchestra, New Amsterdam Consort, Mercury Chamber Orchestra, Baroque Chamber Orchestra of Colorado, Voices of Music, Byron Schenkman & Friends, Smithsonian Chamber Music Society, and New York Baroque Incorporated. She appears in recital at New York’s Island Symphony Bach Festival, with Dioscuri, and the Heifetz International Music Institute, Nationally, she can be heard in chamber music performances with the Jupiter Ensemble in Paris, for the Lakewold Gardens Series (WA), and with the Shanghai Camerata in Shanghai, China. This season, Ms. Wong also serves as a 2019-2020 Mercury Chamber Orchestra Juilliard Fellow, and as an American Fellow of The English Concert.

Passionate about chamber music as well as orchestral and recital music, Ms. Wong is a founding member of New Amsterdam Concert, a New York-based period- instrument string ensemble comprising Juilliard graduates specializing in one-on-a-part performances of music from the Renaissance through the High Baroque. Fellow members include violinist Isabelle Seula Lee, violist Andrew Gonzalez, cellist Keiran Campbell and harpsichordist Robert Warner. With acclaimed keyboardist David Belkovski, she co-founded Dioscuri, a dynamic, versatile ensemble that focuses on music from all periods on historical instruments. Dioscuri will be hosted by Valley of the Moon Music Festival in summer 2020. Notable past concerts include performing the Sibelius Violin Concerto with the Orquesta Sinfónica in Costa Rica, Bottesini’s Gran Duo Concertante with the Orquesta Sinfónica Nacional de Panamá, recitals with world-renowned pianists Anton Nel and Byron Schenkman, and a 16 concert, four-city tour of New Zealand with the New Zealand String Quartet which included the New Zealand premiere of Alexander Ekman’s Cacti for on stage string quartet and ballet with the Royal New Zealand Ballet, and a recital in Wellington, New Zealand featuring works by Bartok, Schubert and Beethoven, also with the New Zealand String Quartet. Ms. Wong served as Artist-in-Residence with the Heifetz International Music Institute in Staunton, Virginia from 2017-2019.

A native of Seattle, Washington, Rachell Ellen Wong counts among her numerous awards and honors grand prizes in the 52nd Sorantin International String Competition, the International Crescendo Music Awards, the Heida Hermann’s International Competition, and Seattle’s Gallery Concert’s Next Generation Competition. Recently, she placed in the XXI J.S. Bach International Competition in Germany. She is the recipient of a 2019 Benzaquen Career Advancement Grant from The Juilliard School; a 2017 Kovner Fellowship, also from The Juilliard School; a 2013 Barbara and David Jacobs Fellowship Award and a 2013 Artist Excellence Award, both from Indiana University; a Distinguished Performance, King Award at the 2012 Young Artists Nat’l Competition; the Starling Distinguished Violinist Scholarship from UT-Austin, from 2009 – 2013, and the 2009 Cascade Symphony’s Mori Simon Scholarship, of which she was the first recipient.

A recent graduate, Ms. Wong holds a Masters in Music in Historical Performance from The Juilliard School in New York City, where she moved after receiving her Masters in Music from Indiana University and a Bachelors of Music from The University of Texas at Austin. Teachers include Brian Lewis, Cynthia Roberts, Elizabeth Blumenstock, Kent Coleman, Mark Kaplan, Monica Huggett, Rachel Podger, Simon James, and Stanley Ritchie. When not performing, Ms. Wong enjoys exploring her multi-racial heritage by studying diverse musical styles, including the Scottish fiddle. She performs on a baroque violin from the school of Joachim Tielke and a violin made by Carlo de March. An animal lover, she has two rabbits.

Marika Hoyt

Marika Fischer Hoyt maintains a demanding concert schedule on modern and baroque viola and viola d’amore, performing with period-instrument ensembles including the Madison Bach Musicians, Bach Collegium of Fort Wayne, IN, Florentine Opera, Great Lakes Baroque, Sonata à Quattro, Just Bach, and Indianapolis Baroque Orchestra, and with modern-instrument ensembles including the Madison Symphony Orchestra, Ancora String Quartet, and Sinfonia Sacra of the Wisconsin Chamber Choir. She serves on the advisory board of the Madison Early Music Festival (MEMF) and the Regional Orchestra Players’ Association (ROPA), and directs Bach Around The Clock, an annual community-wide Bach festival.

Marika hosted the Saturday Afternoon Classics radio show on Wisconsin Public Radio from 2012 – 2016, also delivering pre-concert lectures for ensembles such as the Madison Symphony Orchestra and the Eau Claire Chamber Orchestra.

Marika holds degrees from Smith College and the Indiana University School of Music. Her training includes one year at the Hochschule für Musik in Hamburg, Germany, two years at the Mannes College of Music in New York City, and one year at IU's Early Music Institute, studying with Stanley Ritchie. Her major teachers include Kim Kashkashian, Csaba Erdélyi, and Abraham Skernick.

In addition to my day job (my own business, which I love) I am a well trained musician. I have a BA in Music (double major, piano and organ) and did a considerable amount towards an MA (including a graduate recital) in Music (organ). I also developed my love of singing in college. I am now also a well-trained singer, performing with both choral groups and as a soloist (paid occasionally!). I'm also now in my second year of studing treble viola da gamba and have just picked up the pardessus de viole. I've participated in the San Francisco Early Music Society's Medieval and Renaissance music workshops for three years. I sing with the California Bach Society and in 2018 we were invited to be the opening Main Stage concert for the SFEMS-sponsored Berkeley Early Music Festival, performing an all-Charpentier concert. CBS specializes in Renaissance and Baroque music, with occasional forays into other centuries.

Lois Rosow, Professor Emeritus at the Ohio State University, was on the musicology faculty at Ohio State from 1985 until her retirement in 2014. She currently serves as Editor-in-Chief of the Journal of Seventeenth-Century Music and President of the Friends of Early Music, Columbus, Ohio, and she is past president of the Society for Seventeenth-Century Music. Her research is focused mainly on French opera of the seventeenth and eighteenth centuries. Her critical edition of the opera Armide by Jean-Baptiste Lully (Olms, 2003) has served for productions released internationally on audio CD and DVD.

Soprano Madelaine Matej has won praise for her clear, agile lyricism and versatile stage characterizations. Her recent roles have included Phaedra in Conradi’s Ariadne (as part of the Anch’io project at Amherst Early Music, 2019), Cupid in Handel’s Semele (2018), Sparrow in Krása’s Brundibár (2015), Aglante in Lully’s Cadmus et Hermione (2017), Titania and Fairy 2 in Mendelssohn’s A Midsummer Night’s Dream (2016), Celidora in Mozart’s The Goose of Cairo (2015), First Spirit in Mozart’s Die Zauberflöte (2012), Eurydice in Offenbach’s Orpheus in the Underword (2014), Gabrielle in Offenbach’s La Vie Parisienne (2016), Venus in Purcell’s Dido and Aeneas (2016), and First Priestess in Rameau’s Hippolyte et Aricie (2019).

Ms. Matej made her professional debut in 2007, singing Flora in Benjamin Britten’s The Turn of the Screw with Oakland Opera Theatre. She reprised the role in 2008 with San Francisco Lyric Opera and drew praise from Joshua Kosman of the San Francisco Chronicle for “[rising] magnificently to the challenge…her singing bright and true, and her stage presence a compelling mixture of playfulness and turmoil.” That same year, she created the role of Dory Kamen in San Francisco Opera’s celebrated world premiere of The Bonesetter’s Daughter, by Stewart Wallace.

Following study in Italy at the 2014 Pistoia Musica Antica summer festival, Ms. Matej presented a lecture-recital titled Don't Look Back! A Eurydice Retrospective. The performance used the character Eurydice as a model to explore the silencing of female characters throughout operatic history. Ms. Matej's concert credits include soloist in Vaughn Williams’s Serenade to Music, soloist in Mozart’s Vespera solennis de confessore (2015) and both Mary and the Daughter of Zion in Handel's Brockes Passion (2014), all with Pacific Choral Ensembles. She has also performed solos with Case Western Reserve University’s Baroque Orchestra (2018) and Collegium Musicum (2017), and she covered the soprano solo in Haydn’s The Creation with Summit Choral Society and Akron Symphony Orchestra (2016).

First-place competition awards include the Avanti Award (2016); Kathe Underwood Scholarship of Stockton Opera Guild (2015); the Ray Eberle Vocal Scholarship of the Glenn Miller Birthplace Society (2013); the Classical division winner of the California Capital Chapter, National Association of Teachers of Singing (2013); and the Manlio Silva Young Artist Award from Stockton Symphony (2012).

Ms. Matej graduated from University of the Pacific in May 2016 with a B.M. in Vocal Performance, summa cum laude, having been designated a Powell Scholar in Pacific’s most distinctive academic program. She has been privileged to train in master classes with Wagnerian soprano Linda Watson, William Schumann from the Academy of Vocal Arts, Broadway music director Paul Staroba, and opera director Peter Sellars. In May 2015, she was inducted into Pi Kappa Lambda, the national honor society for musical achievement and academic scholarship.

Ms. Matej is currently a Ph.D. candidate in Musicology at Case Western Reserve University in Cleveland, OH, where she researches relationships between the physical and metaphoric voice and nineteenth-century interactions between music and medicine. She studies voice with Dina Kuznetsova at the Cleveland Institute of Music and with Ellen Hargis at Case.

David Morales

Dr. Michael Delfin

Praised for “beautiful performances of great warmth” (Classical Voice of North Carolina), Michael Delfín captures the listener with sensitivity and flair on both the modern piano and historical keyboards. Mr. Delfín won the top prize ex aequo in the Ninth Jurow International Harpsichord Competition, shortly after being nominated to the Diapason 20 Under 30 Class of 2021. He is the recipient of the Bourbon Baroque Nicolas Fortin Scholarship, the Historical Keyboard Society of North America Bechtel/Clinkscale Scholarship, and the Catacoustic Consort Early Music Grant. As a pianist, Mr. Delfin has won prizes in the International Crescendo Music Awards, Chautauqua International Piano Competition, and two consecutive concerto competitions at the University of Cincinnati College-Conservatory of Music. Recent performances include solo recitals for the Western Early Keyboard Association and Central California Baroque Festival, and solo appearances with Lyra Baroque, Bourbon Baroque, the CCM Concert Orchestra, and at The Stone in NYC and the Ear Taxi New Music Festival. Upcoming performances include the world premiere of Armando Bayolo’s [Unplanned] Obsolescence with the American Chamber Symphony and solo recitals in the Midwest and on the East Coast. Mr. Delfin’s advocacy for new music has led to numerous world premieres across the United States to rave reviews. He recently collaborated with mezzo-soprano Leandra Ramm on an album of contemporary art song cycles for Ablaze Records, to be released in 2024.

Mr. Delfín is the artistic director of Cincinnati-based ensemble Seven Hills Baroque and the harpsichordist for the Bach Ensemble of St. Thomas. He recently joined the faculties of Cedarville University as Adjunct Professor of Piano and Xavier University as Harpsichord Instructor and has taught figured bass and improvisation at the University of Cincinnati College-Conservatory of Music. He was also recently appointed to the board of directors of the Historical Keyboard Society of North America. Mr. Delfin makes his home in Cincinnati, where he serves as organist at the Episcopal Church of the Redeemer. A native of Fresno, CA, Mr. Delfín holds degrees from the University of Cincinnati College-Conservatory of Music, San Francisco Conservatory, Peabody Conservatory, and the Johns Hopkins University. His mentors include Michael Unger, Awadagin Pratt, Yoshikazu Nagai, Boris Slutsky, and Carol Oaks. www.michaeldelfin.com

Amateur cellist and violist interested in playing and listening to the treasures created in the Baroque era

Dr. Teresa Coffman

Meg Bragle

Widely praised for her musical intelligence and “expressive virtuosity” (San Francisco Chronicle), Meg Bragle has earned an international reputation as one of today’s most gifted mezzo-sopranos. She is a leading interpreter of both Baroque and Classical repertoire with over a dozen recordings to her credit. She has sung in North America and Europe with Sir John Eliot Gardiner and the English Baroque Soloists, the Orchestra of the Age of Enlightenment, the Bavarian Radio Symphony Orchestra, Philharmonia Baroque Orchestra, Netherlands Bach Society, Tafelmusik Baroque Orchestra, St. Paul Chamber Orchestra, Les Violons du Roy, Orchestra of St. Luke’s and the Dunedin Consort. She has also collaborated with many symphony orchestras in the US and Canada including the Philadelphia Orchestra, the Houston, Seattle, Detroit, Toronto, Atlanta, Cincinnati and National Symphony
Orchestras among others.

Meg is the afternoon classical host on WRTI 90.1FM and is an Artist
in Residence at the University of Pennsylvania where she directs the Collegium Musicum and
Opera and Musical Theater Workshop.

Gwyn M Roberts

Gwyn Roberts is one of America’s foremost performers on recorder and baroque flute, praised by Gramophone for her “sparkling technique, compelling musicianship, and all-around excellence.” She is also co-founder and -director of Philadelphia Baroque Orchestra Tempesta di Mare, hailed by the Miami Herald as “the model of a top-notch period orchestra.” Now in the 18th season of its Philadelphia Concert Series, Tempesta di Mare tours from Oregon to Prague, recently released its 12th CD on the British label Chandos, and reaches audiences in 56 countries around the world with broadcasts of live performances.

Roberts’ soloist engagements include Portland Baroque Orchestra, Recitar Cantando of Tokyo, Washington Bach Consort and the Kennedy Center. In addition to Chandos, she has recorded for Deutsche Grammophon, Dorian, Sony Classics, Vox, PolyGram, PGM, and Radio France. Her latest solo recordings include the Fasch Recorder Concerto in F, Bach’s Concerto in G after BWV 530, and Sonatas by Francesco Mancini. She enjoys collaborating with living composers, recently recording James Primosch’s Sacred Songs and Meditations with the 21st Century Consort for Albany Records.

Roberts studied recorder and baroque flute at Utrecht Conservatory in the Netherlands with Marion Verbruggen, Leo Meilink and Marten Root. She loves teaching, with recent masterclasses at the Curtis Institute of Music, Hartt School of Music, and Oregon Bach Festival. She is Professor of Recorder and Baroque Flute at the Peabody Conservatory, Director of Early Music Ensembles at the University of Pennsylvania, and directs the Virtuoso Recorder Program at the Amherst Early Music Festival.

I am a maker of stringed instrument bows. I make and repair all types of bows from early music period bows to modern bows.

In my distant past, I played the violin and have more recently taken lessons on the harmonium.

Michael Lynn is Professor of Baroque Flute & Recorder at Oberlin Conservatory and Curator of Musical Instruments Emeritus, he also served as Associate Dean for 15 years. Mr. Lynn performed at the Inaugural Luncheon for President Obama’s first term and recently at the same event for Mr. Trump. He has performed throughout the United States, Canada, Portugal, Romania, Italy, Taiwan and Japan with Apollo’s Fire, Mercury Baroque, ARTEK, the Oberlin Baroque Ensemble, Smithsonian Chamber Players, Tafelmusik, the American Baroque Ensemble, Handel & Haydn, the Boston Early Music Festival Orchestra, the Cleveland Orchestra, the Houston Symphony, the Cleveland Opera, Santa Fe Pro Musica, Il Gardilino, and many other ensembles. He teaches each year at the Oberlin’s Baroque Performance Institute. He can also be heard at www.soundcloud.com/mloberlin

Mr. Lynn has taught at the University of Michigan, Oakland University, Case Western Reserve University, and at the Recorder Institute of Indiana University as well as teaching classes on historical flutes throughout the country.

A performer/scholar, Mr. Lynn produced a monthly column for Flute Talk Magazine and has recently written feature articles for Traverso, Flute Talk, Flute View, Flutist Quarterly, and the Oberlin Conservatory Magazines. He was the founder of Early Music Facsimiles, and a founding member of the Board of Apollo’s Fire. Michael can be heard on Wildboar, Gasparo, Eclectra, Koch International, Avie, and other labels. Known for his knowledge of historical flutes he maintains a website www.originalflutes.com based on his flute collection and is available to give lecture/demonstrations about the history of the flute. Recently he presented at the International Congress of the National Association for Music Instruments – Portugal, in Tomar, as well as lecturing and performing in Romania and Italy. Mr. Lynn is on the Board of the American Musical Instrument Society and ANIMUSIC-Portugal.

Former Education Director for the Dallas Symphony Orchestra

Sarah Hawbecker is an active recitalist, full-time church musician, and winner of numerous competitions. She is a prize winner of both the 1998 and 1996 National Young Artists Competition in Organ Performance. She won first place in the 1988 Undergraduate Organ Competition, Ottumwa, Iowa, and was a finalist in the 1992 Spivey International Organ Competition. Ms. Hawbecker’s performances have been recorded and broadcast on American Public Media’s radio program Pipedreams^®.

Ms. Hawbecker has a varied organ repertoire and enjoys designing programs tailored to the specific instrument and the audience. Whether playing a “traditional” organ program, all-Bach, American composers, Halloween concerts, or interactive concerts for children, her goal is to engage the audience and share her love of the instrument and its music. Also recognized as a specialist with children’s choirs, she is frequently asked to lead workshops in the area of church music and children’s choir techniques.

She has presented workshops and performed for conventions of the American Guild of Organists and for conferences of the Association of Lutheran Church Musicians. Her articles have been published in several professional journals: The American Organist (AGO), CrossAccent (ALCM), and The Chorister (Choristers Guild). She has adjudicated several organ competitions, most notably the semi-final round of the 2008 National Young Artists Competition in Organ Performance.

A native of Illinois, Ms. Hawbecker studied organ and church music with John Ferguson at St. Olaf College, where she earned the Bachelor of Music degree, magna cum laude with Departmental Distinction, and was elected into Pi Kappa Lambda. She went on to earn the Master of Music degree in Organ Performance from the Eastman School of Music, where she studied with Russell Saunders. An active lifetime member of the American Guild of Organists, she served three terms on its National Council and completed two terms on the Board of the Association of Lutheran Church Musicians as a regional president.

Ms. Hawbecker is Organist and Director of Children’s Music at Lutheran Church of the Redeemer in Atlanta, Georgia, where she has served since 1996. She is also on the staff of Orgues Létourneau Limitée of St-Hyacinthe, Québec as a project consultant and regional representative on the east coast of the United States. She is on the roster of Concert Artist Cooperative (www.concertartistcooperative.com). She lives in Atlanta with her husband, Billy Fuller, and their son, Jonathan.

Ms. Claire Hammett

30 years tuning and supplying harpsichords for concerts & recordings in London, UK. Now retired to sunny Florida. Happy to take on refurbishing work of harpsichords to include re-stringing, requilling and regulatation. Top quality concert instruments available for hire in the Gulf Coast area.

Jennifer Kampani

David Kellett

Critics and audiences assessing David Kellett's performances have consistently remarked on the clarity and purity of his tenor voice, praised the taste, refinement and subtlety of his interpretations and lauded his excellent diction in standard operatic, oratorio and recital repertoire. Reviewing David in David Amram's Twelfth Night, Bernard Holland of the New York Times wrote "Set apart from the rest of the cast was the pleasing, seamless tenor of David Kellett in the role of Feste."

Recently devoting more time and energy to Baroque and Early Music, David has sung the role of Eumaeus in Monteverdi's Return of Ulysses at Princeton University and concerts of Monteverdi & Cavalli opera excerpts, French Airs de Cours and vocal music of Claudio Sarcini, Barbara Strozzi and other programs with the New York Continuo Collective in New York City and at the Boston Early Music Festival in June of 2013. His forays into the music of Bach include performances of the B-minor Mass and Cantata 208 with Bach in Baltimore and he sang his first Evangelist in Johannespassion with the Concordia Chorale and Camerata. His Handel oratorio roles have included the tenor soloist in Samson, Judas Maccabaeus, Esther, Solomon and of course, Messiah. He has appeared multiple times with the Practioners of Musick and Les Agréments de Musique in the Princeton area, with the newly formed Early Music Princeton ensemble at Princeton University and on several programs sponsored by the Guild for Early Music at the Grounds for Sculpture in New Jersey. David appeared with Lewis Baratz's early music ensemble, La Fiocco, in a program entitled The Lion & The Lamb: The Jewish Baroque in June of 2014. He has appeared in masterclasses with the famous Italian baritone and Baroque specialist, Furio Zanasi and with sopranos Dame Emma Kirkby, Julianne Baird and Ellen Hargis.

David made his operatic debut as Count Belfiore in Mozart's La Finta Giardiniera with the Opera Shop at the Vineyard Theatre in New York City. He has appeared at the Lake George Opera Festival, the Princeton Festival, the June Opera Festival, the Opera Festival of New Jersey and the Banff Centre for the Arts. Having performed over 50 principal and secondary roles in opera and operetta, he has portrayed several roles in some of the obscure Donizetti operas, including Daniele in Betly, Ernesto in Il Giovedi Grasso, and Eutropio in Belisario. David has also the distinction of having performed Count Almaviva in both the Rossini and Paisiello versions of Il Barbiere di Siviglia. His Mozart roles have included Tamino in Die Zauberflöte, Belmonte in Die Entführung aus dem Seraglio, Ferrando in Cosi fan tutte, Don Ottavio in Don Giovanni, Bastien in Bastien und Bastienne and Don Basilio in Le Nozze di Figaro.

An active concert soloist, David has appeared at the Charles Ives Center for the Arts, with the Long Island Jewish Arts Festival, the Brooklyn Philharmonic, and the National Dance Institute under the baton of composer/conductor David Amram. As Mr. Amram's tenor of choice, David has sung in the composer's opera, Twelfth Night, and performed his songs in concert on numerous occasions. He appeared at Lincoln Center in 2007 on a program celebrating the 50^th anniversary of Joseph Papp’s Shakespeare Festival singing selections that were composed for productions directed by Papp during the first 11 years of its existence. He has also appeared with the Mid-Atlantic Chamber Orchestra, the Garden State Philharmonic, the Highlands Symphony Orchestra, the Fairfield Chamber Orchestra, the Bridgeport Chamber Orchestra and the Princeton University Orchestra.

As an oratorio soloist, he has appeared with the Bach Concert Series in Baltimore, the Mendelssohn Choir of Connecticut, the Long Island Choral Society, the Monmouth Civic Chorus, the Oratorio Society of New Jersey, the Choral Arts Society of New Jersey, the Summit Chorale, the Richmond Choral Society in Staten Island, Commonwealth Opera, Concordia Chorale, the Arcadian Chorale, Ars Musica, the Putnam Chorale, the Glee Club and Chapel Choir at Princeton University, Concordia College in Bronxville, New York and numerous other organizations in the New York area. In recital, David has presented programs on the Illiade Concert Series in Strasbourg, France with pianist Masako Hayashi-Ebbesen, Smith College, Princeton University, Westminster Choir College, the Glen Ridge Concert Series and other venues in the New York area.

David's contemporary and new music endeavors include the world premieres of several works by composer Peter Westergaard. In 2008 he sang the roles of the Mad Hatter and Gryphon in Westergaard’s Alice in Wonderland under the auspices of the Center for Contemporary Opera at Symphony Space in New York City. He originated the role of Sebastian in his The Tempest with the Opera Festival of New Jersey and the roles of Stubbs and the Parsee in a concert version of his opera, Moby Dick which has been recorded by Albany Records. He also premiered Westergaard’s cantata, To the Dark Lady, based on five Shakespearean sonnets for vocal quartet and percussion. He has presented new compositions by composer Webster Young in concert in New York City on several occasions and performed in the premiere of The Rime of the Ancient Mariner by Hollis Thoms for soprano, tenor, bass-baritone soloists and chamber orchestra in Annapolis, Maryland.

Radio audiences have heard him on WQXR's Listening Room, and WNCN's WNCN's Live including a recreation of Vittorio Giannini's radio opera, Blennerhassett. Recordings of his operatic performances have been broadcast on WKCR and WBAI in New York City.

David appeared in Zoe Caldwell's production of A Christmas Carol at the Hudson Theatre on Broadway. This production featured Christopher Plummer, Richard Kiley, Jason Robards, Maureen Stapleton, Julie Harris, E.G. Marshall and Ms. Caldwell, and was the first dramatic presentation in the newly renovated structure.

Since 1995, David has taught private voice at Princeton University. He made his directing debut with the university production of Mozart’s Magic Flute in 2002. Since that time he has directed Gilbert & Sullivan’s Patience, Mozart’s Marriage of Figaro, Benjamin Britten's Albert Herring, a double bill of Jonathan Dove's Tobias and the Angel/Purcell's Dido and Aeneas and three student thesis productions. He has appeared regularly with the Richardson Chamber Players, the resident chamber music ensemble of the university.

In 2005, David began his association with the Princeton Festival appearing as Pirelli in their debut performance of Sondheim’s Sweeney Todd. Since that time, he has directed their young artist productions of Menotti’s Old Maid and the Thief,and the musicals, Man of La Mancha, The Fantasticks and The Threepenny Opera, presented audition master classes and served as vocal/auditions consultant. From 2007 to 2009, he served on the board of trustees for South Mountain TheaterWorks, a non-profit organization that produces concerts and theatrical events.

Stephanie Hunt

An active and versatile musician, Stephanie Hunt performs on both modern and baroque cello. Her current activities include performances with the Persied String Quartet, Chamber Project St. Louis, and the Coromell Ensæmble, a Mexican Early Music ensemble. Stephanie has participated in numerous international music festivals, including the Nederlandse Orkest- en Ensemble-Academie, Royaumont Formations Professionnelles (France), the Britten-Pears Young Artist Programme, and two summers as a Tanglewood Music Center Fellow. Her studies on modern cello led to a B.Mus. summa cum laude from the University of Miami's Frost School of Music and a M.Mus. from Rice University's Shepherd School of Music. Following her American studies, Stephanie moved to Europe and earned both a B.Mus. Honours and M.Mus. in baroque cello from the Utrecht Conservatory in the Netherlands. Her teachers include Viola de Hoog, Norman Fischer, Hans Jørgen Jensen, Ross Harbaugh, and Monique Bartels.

After five years studying and performing in the Netherlands, Stephanie returned to the United States, to settle in the St. Louis area. Stephanie teaches cello in the Southern Illinois University-Edwardsville Suzuki program, is the cello instructor at Lindenwood University, and maintains a private studio in St. Louis.

Matt Bickett, from Portsmouth, Ohio, is a
fourth-year student at Oberlin College and Conservatory of Music, where he pursues a Bachelor of Arts in Religion and a Bachelor of Music in Organ Performance. While still a candidate for both Bachelor’s degrees, he was accepted into Oberlin Conservatory’s accelerated Master of Music in Historical Performance program. Hiswork focuses on musicologically-informed approaches to historical styles of organ and harpsichord playing. He studies organ with Jonathan Moyer, harpsichord with Mark Edwards, composition with Elizabeth Ogonek, and choral conducting with Gregory Ristow.

Alongside his work at Oberlin College and Conservatory, Matt serves as Assistant Organist and Choirmaster at Christ Episcopal Church, Oberlin, Ohio, where he plays for all liturgies and assists in directing the semi-professional choir. As organist, he has performed at notable venues such as Behrend College of Penn State University in Erie, Pennsylvania; Broad Street UMC in Columbus, Ohio; Pilgrim Congregational Church in Chardon, Ohio; St. Columba Cathedral in Youngstown, Ohio; and in Cleveland, Ohio at Church of the Covenant and Trinity Lutheran Church. Matt received the honor of the 2017 Presser Fellowship from the Presser Foundation and took first prize in the 2017 Great Lakes AGO/Quimby Regional Competition for Young Organists.

Ms. Julienne Pape

I founded Montclair Early Music. The core of the organization is a recorder group who meets weely and performs locally. We produce several creative performances each year such as "Robin Hood at the May Faire", Sir George and the Dragon, Christmas in Italy, Shakespeare's Music, Rembrandt and his music. We also do Outreach to Alzeiheimer patients and sponsor a Recorder Contest for kids. The winners play at our Fall Concert. .

Our events often combine recorders with viols, cornetto, sackbutt, crumhorn, shawms, pipe and tabors, singers, and actors.. The events are inter-generational with audience participation. We are always looking for musicians to join us. Contact me for more information.

Camilla Tassi

http://camillatassi.com

Performer and producer of early music – visual projections combined with early!

Mr. Peter Gilbert Manson

Member of the Board of the Handel and Haydn Society in Boston.

Has played renaissance lute since 1978, Baroque lute since 1988.

Paulina Francisco is a versatile singer and interpreter of early music and a practitioner of historically informed performance. Paulina has been a featured soloist with IndyBaroque, Bourbon Baroque, Alchymy Viols, the Bloomington Bach Cantata Project, Los Angeles Camerata and the American Bach Soloist Academy. Most recently she performed the role of Calliope in Handel’s serenata Parnasso in Festa under the direction of Jeffrey Thomas, Bach’s St. John Passion directed by John Butt, Pergolesi’s Stabat Mater led by Stanley Ritchie, and served as music director for BWV 49 with the Bloomington Bach Cantata Project. Paulina is a founding member of Las Aves, an emerging ensemble that specializes in historical performance of 17th century chamber music. Las Aves has performed at the International Sacred Music Festival in Quito, Ecuador and the Bloomington Early Music Festival. In 2018, Paulina was the recipient of Bourbon Baroque’s Nicholas Fortin Summer Workshop Scholarship.

Paulina is passionate about building stronger connections between research and performance; she has performed new research presentations for Robert Ketterer (University of Iowa), Donald Burrows (The Open University), Ayana Smith (Indiana University) and Michael Bane (Indiana University).Paulina’s 0research is centered on 17^th century virtuosic repertoire for soprano, early voice training, the education of early modern women, and sacred monody. Her Master’s thesis “The Virtuosi of Ferrara: The Concerto delle Donna 1580-1601”, including a modern edition of Luzzasco Luzzaschi’s Madrigali (1601), is available on ProQuest.

In addition to performing, Paulina is an active arts administrator; she serves as General Manager for Bloomington Early Music and has worked summer festival administration for the Madison Early Music Festival and the SFEMS Baroque Workshop.

Paulina Francisco is currently the Associate Instructor of Early Voice at Indiana University, where she is working toward a Doctor of Music in Historical Performance and Graduate Certificate in Vocology, with minor specialization in Musicology. Before attending IU, she received a Master of Arts in Early Music from the University of Southern California and a Bachelor of Arts in Vocal Performance and Public Relations, with minor specialization in Arts Administration from Carroll University. Paulina has studied voice with Rachelle Fox, Brian Gill, Lynn Helding, Judith Malafronte, Steven Rickards, and Thomas Weis.

Jeffrey has performed with many baroque groups including the Orchestra of New Spain, Boulder Bach Festival, Parish House Baroque, Austin Baroque Orchestra, Jeune Orchestre de l’Abbaye, Bloomington Bach Cantata Project, Several Friends Early Music In The High Desert, and Grand Cru Baroque, among others. In 2016 he was viola soloist in Mozart’s Sinfonia Concertante at La Petite Bande Summer Academy (Italy). Since relocating to New Mexico in 2017, Jeffrey has played violin with area groups including Santa Fe Pro Musica, Santa Fe Symphony, Santa Fe Desert Chorale, New Mexico Philharmonic, Opera Southwest, and the Amarillo Symphony. Smith has also been a guest concertmaster for the West Texas Symphony and principal violist for the Pueblo Symphony as well as perform chamber music on violin and viola with Chatter ABQ, NM Tech and Western New Mexico Univeristies Presidential Chamber Music Series.

Mr. Smith received his Performers Diploma in Early Violin from the Historical Performance Institute of the Jacobs School of Music at Indiana University, where he studied with Stanley Ritchie and obtained his Masters of Music in Violin from New York University, studying with Stephanie Chase and Gregory Fulkerson. His Bachelors of Music Performance is from Brigham Young University, studying with Alexander Woods and Monte Belknap. He has also furthered his period performance training studying with Elizabeth Blumenstock, Julie Andrijeski, Cynthia Roberts, Elizabeth Wallfisch and Shunske Sato.

Aside from his performance endeavors, Jeffrey has worked for David Brewer Fine Violins assisting clients with investment purchases of antique instruments to managing the sales for Riverton Music at their Clearfield, UT location. He succesfully set new sales and revenue records for the area, particularly in the Clearfield piano department which saw a near ten fold increase.

When Jeffrey has free time, his interests include violin making, visiting national parks, hiking, speaks fluent Mandarin Chinese and raising his daughter with his wife, Rebecca. Jeffrey has also served on Early Music America’s Emerging Professional Leadership Council from 2017-2020.

Founding member of Philharmonia Baroque Orchestra, member of Live Oak Baroque Orchestra, Voices of Music and Alphabet Baroque Club. Plays with Voices of Music, Jubilate, and others.

Mr. Joe Koetas

Mr. Ethan DePuy

Praised for his “masterful acting” and “fine singing,” American tenor Ethan DePuy brings his unique dramatic style to works ranging from the Baroque era to now.

DePuy trained as a young artist at the Chautauqua Opera Company, where he was a recipient of the Young Artist Encouragement Award. His list of credits includes Nemorino in L’elisir d’amore, Peter Quint in The Turn of the Screw, Alfred in Die Fledermaus, the title role in Albert Herring, Don Basilio in Le nozze di Figaro, Jaquino in Fidelio, King Kaspar in Amahl and the Night Visitors, Chevalier de la Force in Dialogues of the Carmelites, and Motel the Tailor in Fiddler on the Roof.

Mr. DePuy has also established himself as a presence on the concert stage, where highlights of recent seasons include performances of Bach’s St. John Passion, St. Matthew Passion, Easter Oratorio, and Mass in B Minor, Handel’s Israel in Egypt and Messiah, Mozart’s Requiem, Solemn Vespers, and Coronation Mass, Schubert’s Mass in G, Haydn’s Seven Last Words, Rachmaninoff’s All Night Vigil, Stravinsky’s Mass, Buxtehude’s Membra Jesu Nostri, Charpentier’s Messe de Minuit, the Evangelist in Bach’s Christmas Oratorio, and the title role in Handel's Judas Maccabaeus.

A native of Rochester, NY, Ethan earned degrees in voice and opera performance from SUNY Fredonia and Arizona State University.

Mr. Steven Bichel

Ms. Georgina McKay Lodge

Georgina McKay Lodge has performed with leading Danish early music ensembles Camerata Øresund and Copenhagen Soloists on viola and violin, as well as with the Porto Orquestra Barroca Casa da Música, and in the USA with period orchestra Grand Harmonie, The Berry Collective at Boston Early Music Festival, at Oregon Bach Festival, and alongside musicians of Tafelmusik, Voyage Sonique, Concerto Copenhagen, the Cleveland Orchestra, and the Juilliard School. She will perform in the 2019-20 season with Holland Baroque as a Samama fellow. Ms. McKay Lodge serves on the Emerging Professional Leadership Council for Early Music America. She won the Best Bach award at the Ohio Viola Society Competition. She currently lives in Copenhagen.

A native of Oberlin, Ohio, she studied at the Oberlin Conservatory pre-college program before receiving her Bachelors of Music from the Eastman School of Music and her Masters of Music from Boston University.

Christopher Brodersen (b. 1948), baroque oboe and baroque bassoon, pursued undergraduate and graduate degrees in music history, vocal performance and musicology at the University of Michigan and Wayne State University. In 1973 he began an apprenticeship with organ builder Klaus Becker; later he worked for harpsichord builder Martin Sassmann. Returning to the States in 1975, Chris took up the baroque oboe. Initially self-taught, he subsequently studied privately with Bruce Haynes, Stephen Hammer and Marc Schachman.

In addition to his musical activities, Chris is a builder of historical keyboard instruments (harpsichord, clavichord and fortepiano) and is active in music journalism. In the latter role he was the Review Editor of Continuo Magazine from 1995 to 1999, and in 2013 contributed 13 articles to the Second Edition of the Grove Dictionary of Musical Instruments. Chris is on the staff of Fanfare Magazine, and is a frequent contributor to The Double Reed, the journal of the International Double Reed Society.

Jan Elliott

Jan Elliott (recorder, crumhorn, cornamuse, English concertina, Irish whistle) has performed and taught music and dance for over four decades. Studying recorder as a child with Ruth Guillard and Patricia Brown in Falmouth, MA she developed a deep interest in medieval, renaissance, baroque and world music. She earned a BA in music from Wesleyan University and an MA in dance ethnology from UCLA, taught music education at Boston University and studied ethnomusicology at the University of London. She currently teaches recorder in her home studio, coaches and performs with several early music ensembles, and maintains an active interest in traditional music and dance, especilly from the British Isles.

Ms. Linda Margaret Clifford

I make a living as a lawyer but enjoy a secret life as an amateur harpsichordist. I was a founding member in 1984 of the Midwestern Historical Keyboard Society, which recently morphed into the Historical Keyboard Society of North America. I serve on the board of Madison Bach Musicians, in Madison, Wisconsin. I enjoy promoting early music in my neighborhood by hosting house concerts featuring harpsichord solos and ensembles of singers and string, flute, and bassoon players.

Christina Kay

New York-based soprano Christina Kay has a keen interest in music of the Renaissance, Baroque, and 20th and 21st Centuries. She has sung at the Carmel Bach Festival (Virginia Best Adams Masterclass), American Bach Soloists Academy, Baroque Opera Workshop at Queens College, and Madison Early Music Festival, and performs with ARTEK, The American Classical Orchestra, the Chamber Choir at Fifth Avenue Presbyterian Church, and True Concord Voices & Orchestra.

B.A. Music, CCNY (1966); M.Phil. Theory of Music, Yale (1970).
Oboe: Modern oboe, 1964-1968 under Lois Wann and 2011-2013 with Marilyn Krentzman; Baroque oboe, 2013-2015 with Marc Schachman.
Recorder since 1960; currently a member of a recorder ensemble.
Clarinet since 1961; performed with ethnic folkdance bands, 1988-2013.
South Indian Vina, 1970-83, primarily under M. Nageswara Rao.
Choral experience since 1961; currently a member of an a-cappella group.
Attended Amherst Early Music Festival 2013-2022 and Winter Workshop 2015. Master classes in oboe with Marc S., Geoffrey Burgess, Debra Nagy, and Meg Owens.
Performed in Bach Cantata days at Christ Church Cathedral, Hartford, CT, in Oct 2014 & 2015.
Attended Pinewoods Early Music Week, 2016. Master classes with Héloïse Degrugillier and Francis Fitch.
Performed numerous times on Baroque oboe for the Musical Club of Hartford (as well as modern oboe and clarinet).
Historical reedmaking study with Lola Soulier, 2023-24.
Relocated to Chicago, 2024.

Dr. Keith Williams Courtney

Dr. Andrew Fyson

I am a biologist and photographer as well as a singer. I am active in Arts Denman our local, non-profit arts organisation. As chair of Denman Early Music, I am busy organising our fourth Denman Island Baroque Music Workshop and Festival which takes place here May 2-10, 2017. The website is denmanbaroque.com and applications for the workshop are due by the end of 2019.

Karen Shaffer

Biographer of the American violinist Maud Powell, founder of The Maud Powell Society for Music and Education. Maud Powell played some of the first Early Music concerts with violinist Sam Franko in New York City.

Mr. Adam Dillon

Adam Dillon is a specialist in historical trombones, recorders, performance practice, and chamber music. Recent performances include concerts with the Ottawa Baroque Consort, ¡Sacabuche!, Washington Cornett and Sackbutt ensemble, Forgotten Clefs, Bloomington Bach Cantata Project, and Las Aves at events such as the American Musicological Society Conference, University of Oregon Musicking Conference, Festival Internacional de Música Sacra de Quito, North Carolina HIP Festival, and the Sackville and Bloomington Early Music Festivals. This summer Adam will present research on Vincente Lusitano's use of improvisatory techniques within his own compositions at the MedRen Conference in Uppsala, Sweden. In January 2018 Adam was featured as an emerging professional in Early Music America’s EMagazine's Early to Rise series. In addition to his performance experience, Adam is an active arts administrator working at the Schulich School of Music of McGill University as its Production and Events Assistant. Passionate about children's outreach and education programs, Adam has taught Renaissance dance, music, and history through Shakespeare's Ear and Shawms and Stories to elementary school students in south/central Indiana and North Carolina. Adam lives in Montreal, QC while pursuing a PhD in Musicology at McGill University. He has also studied at Indiana University and the University of North Texas. Science fiction books, political podcasts, and Juneau the dog take up Adam’s free time.

Claudia Holmes

Amateur recorder player; folk harp player since 2014; lifetime lover of early music.

PHIL HOLLAR

Phil Hollar teaches recorder, hurdy-gurdy, and early music in Greensboro, North Carolina. He serves as teacher and coach for Voce Ventus, a recorder ensemble formed to teach recorder technique and ensemble playing skills. Phil has served as faculty at the Atlanta Early Music Alliance’s Mid-Winter Workshop and at Mountain Collegium Early Music and Folk Music Workshop. He has many years’ experience leading American Recorder Society chapter playing sessions and has been invited to lead various local chapters’ sessions throughout the Southeast. Phil served as the president of the Atlanta Recorder Society from 2005 – 2009. Currently, he is music director for the Triad Early Music Society and serves as a board member for the American Recorder Society. Phil holds a Bachelor of Arts in Music from the University of North Carolina at Greensboro.

Ruby Brallier

Dr. Alexa Haynes-Pilon

Recently described by Early Music America as “a special artist with a brilliant future,” Alexa Haynes-Pilon has quickly established herself in the early music scene, performing on baroque cello, viola da gamba, baroque bassoon and dulcian. She is the principal cellist of Musica Angelica Baroque Orchestra, co-director and cellist/gambist of Musica Pacifica, and co-founder of Ensemble Bizarria, a Los Angeles-based early music chamber ensemble. She has performed with numerous American ensembles, including the American Bach Soloists, Los Angeles Chamber Choir, Opera NEO, Burning River Baroque, Long Beach Opera, the Albany Consort, the American Contemporary Ballet, Los Angeles Baroque Players, and Con Gioia. In Toronto, she was a founding member of the early music ensemble, Rezonance, and performed with Accenti Vocali and played in Handel's Hercules with Tafelmusik Baroque Orchestra. Recent concerts and tours have taken her all over the United States and Canada, as well as Bogotà, Columbia, and Mexico City, Mexico. Recent recordings include Aryeh Nussbaum Cohen Sings Gluck, Handel and Vivaldi with American Bach Soloists, as well as Agostino Steffani duets under the Musica Omnia label titled Agostino Steffani: A son trés-humble service, Duets for Sophie Charlotte of Hanover. She has recorded for the TV show, Hannibal, and was the featured solo cellist on the soundtrack to the highly acclaimed 2017 documentary That Never Happened: Canada's First National Internment Operations.

After completing her BMus and MMus in cello performance at Brandon University, Alexa Haynes-Pilon earned a performance certificate from the University of Toronto in connection with the Tafelmusik Baroque Orchestra, studying cello with Christina Mahler and viola da gamba with Joëlle Morton. Alexa recently earned a DMA at the University of Southern California, where she studied baroque cello and viola da gamba with William Skeen, and baroque bassoon and dulcian with Charlie Koster. She has participated in most of the major Early Music festivals and workshops in North America including the Tafelmusik Winter and Summer Institutes, the American Bach Soloists Academy in San Francisco, the Vancouver Early Music Festival, the Twin Cities Early Music Festival, and the Boston and Berkeley Early Music Festivals.

Alexa’s passion is to create music and connect with members of the community, and because of this, she co-founded and is co-Artistic Director of Los Angeles Baroque (LAB), a community baroque orchestra based in South Pasadena, CA. In addition, she has introduced thousands of elementary and secondary school students to Renaissance and baroque winds and viols through her work with the Crumhorn Collective, in collaboration with Ars Lyrica Houston’s outreach program in Houston. Alexa has been a guest conductor for the Orange County Recorder Society, the Pacifica Viola da Gamba Society, and the Southern California Recorder Society. She has been a faculty member at the San Francisco Early Music Society (SFEMS) Recorder workshop, as well as a faculty member (viola da gamba and dulcian) at the Road Scholar Hidden Valley Workshop in Carmel Valley, CA. This past summer, she was on faculty (viola da gamba) at the Port Townsend Early Music Workshop near Seattle. This coming summer, Alexa will be on faculty at the SFEMS Baroque Summer Workshop.

Mezzo-soprano Ashley Mulcahy is a recent graduate of the Voxtet Program (MM ‘19) at the Yale School of Music and Institute of Sacred Music, which provides four students each year a full scholarship to study early music, oratorio, and chamber music. At Yale, Ashley studied with James Taylor and had the opportunity to work with many internationally renowned conductors, including Nicholas McGegan, Masaaki Suzuki, David Hill, and Simon Carrington, and performed at venues such as Carnegie Hall, Alice Tully Hall, and the Leipzig Gewandhaus. Favorite performances include alto solos in Handel’s Alexander’s Feast, Bach’s St. John Passion, and Haydn’s Lord Nelson Mass with Juilliard 415, and the title role in A. Scarlatti’s Caino, ovvero il primo omicidio.

Ashley has performed with numerous ensembles including Bach Collegium Japan, Theatre of Voices, New York State Baroque, The Newberry Consort, and Music of the Baroque. Additionally, Ashley co-directs her own ensemble, Lyracle, dedicated to repertoire for voice and viol family instruments. Lyracle is one of just four ensembles invited to perform at the 2020 Early Music America Emerging Artist Showcase. http://www.lyraclemusic.com/

Ashley currently resides in the Boston area, where she is a regular soloist and the Alto Two Section Leader at Marsh Chapel, under the direction of Scott Allen Jarrett. Ashley was a Young Artist at the 2017 Boston Early Music Festival and earned a BA in Italian and a BM in vocal performance from the University of Michigan, where she studied with Carmen Pelton.

Lindsey Macchiarella joined the music faculty at the University of Texas at El Paso in Fall 2015. She currently holds the position of Assistant Professor of Instruction and is musicology area coordinator and is P.I. for the NEA-funded Early Music Latin America Festival https://www.utep.edu/liberalarts/music/outreach/musicology-area/early-music-latin-america-festival.html

She received her Bachelor of Arts from the University of California, Riverside, and a Masters in Musicology and certificate in Early Music Studies from Florida State University. In 2016, she completed her PhD with a focus in musicology from Florida State University. Her area of specialization is early modernism in fin-de-siècle France and Russia and her recent studies have focused on the sketches and libretto of Aleksandr Skryabin’s (Alexander Scriabin) unfinished work, Prefatory Action.

Dr. Macchiarella is also an early music performer on the recorder and viola da gamba. She regularly puts on public outreach lecture-recitals with Sprezzatura, an early music performing group based in El Paso. She is the founder and director of the UTEP Early Music ensemble and Collegium Musicum and currently serves on the Board of Directors for the Viola da Gamba Society of America. She is the 2023 recipient of the Thomas Binkley Award from Early Music America.

She has presented her research at local and national musicology and interdisciplinary conferences, including the 2014 and 2017 National Conferences of the American Musicological Society. She is published in Music in Art and Keyboard Perspectives. Her latest research project is a reception study of Aleksandr Skryabin.

You can hear more about Dr. Macchiarella’s life and research in her recent radio interview: https://www.ktep.org/show/we-are-ut-el-paso/2023-11-13/lindsey-macchiarella-and-musicology

Ms. Simone Hawkins

Maria Gabriela Alvarado

Venezuelan Native, Maria Gabriela Alvarado, is a modern and baroque flutist with a passion for bringing classical music to nontraditional places. Her mission is to make classical music accessible and relatable to those who might not otherwise experience it. Ms. Alvarado enjoys collaborating in numerous chamber music projects. In 2016, she founded Amaranti Ensemble, a period instrument chamber ensemble that curates programs intersecting music and other humanities, making memorable performances for their audiences. In addition to Amaranti Ensemble, she is also a founding member of In Radiance, a Boston-based flute quintet dedicated to developing and promoting repertoire for this instrumentation. She is currently working on her Doctorate in Music Arts in Flute Performance with Dr. Mary Karen Clardy with an emphasis in Early Music at the University of North Texas. In 2017, Ms. Alvarado joined the faculty of Mountain View College. She maintains a private studio in the Dallas–Fort Worth Metroplex.

Pedro Funes is currently the Assistant Orchestra Director at Woodcreek Middle School in Humble ISD. He graduated from the University of Houston where he majored in Double Bass performance under Dennis Whittaker. In addition, he received his Master's Degree in Early Music at Jacobs School of Music at Indiana University where Mr. Funes studied viola gamba and vielle with Wendy Gillespie and performed baroque bass in the IU Baroque Orchestra under Stanley Ritchie. He was the Teaching Assistant for the Beginner Viols at Conclave 2016, Teen Beginners Viol Assistant for Conclave 2021, and Lead Teacher for Teen Beginner Viol at Conclave 2022. Pedro has performed across the state of Texas with Ars Lyrica, Texas Early Music Project, La Follia, Austin Troubadours, and Principal Bass with Austin Baroque Orchestra. Currently he is the President of Viols of Houston and Director of Viols of the Creek, a viola da gamba ensemble in Woodcreek MS/Summercreek HS in Humble ISD.

Karin Brookes

Test

Dr. Ross Duffin

Ross W. Duffin was known for many years as the lively, informative host and producer of Micrologus: Exploring the World of Early Music, on National Public Radio from 1981 to 1998. A native of London, Canada, he received the bachelor’s degree from the University of Western Ontario, then attended Stanford University for his master’s and doctorate. He is Fynette H. Kulas Professor of Music at Case Western Reserve University, has chaired the Music Department, and directs the undergraduate and graduate programs in historical performance practice. He has also taught and lectured at summer early music workshops in Toronto, Vancouver, Amherst MA, Washington DC, Oberlin, San Francisco, and Los Angeles.

A winner of the prestigious Noah Greenberg Award from the American Musicological Society for work of benefit to both scholars and performers, Duffin served as founding chair of the Committee on Early Music in Higher Education for EMA. His scholarly work includes articles in many major journals concerning music from the 13th to the 18th centuries, online articles on historical tuning systems, a catalog of musical subjects at the Cleveland Museum of Art, as well as editions of music from the 15th to the 17th centuries.

He served as editor of A Josquin Anthology for Oxford University Press (1999) and A Performer’s Guide to Medieval Music for Indiana University Press (2000). His Shakespeare’s Songbook, a study of the vocal music in Shakespeare’s plays, was published by W. W. Norton in 2004 and received the inaugural Claude V. Palisca Award from the American Musicological Society in 2005. Cantiones sacrae: Madrigalian Motets from Jacobean England, a reconstruction and edition of several Jacobean motets appeared from A-R Editions in 2005. His book, How Equal Temperament Ruined Harmony (And Why You Should Care), was published by W. W. Norton in 2007 and has found a worldwide audience. His reconstructed edition of Richard Davy’s St Matthew Passion from the Eton Choirbook appeared from A-R Editions in 2011. More recently, his edition of the theoretical works of Thomas Ravenscroft appeared from Ashgate in 2014. He is currently at work on a follow-up to Shakespeare’s Songbook. Notable performance projects include the 1611 masque Oberon, the Faery Prince, for which video performances he served as Executive Producer/Director.

He co-founded the professional choral ensemble Quire Cleveland in 2008 and serves as the group's artistic director. In addition, he has sung with Apollo's Fire since its inception, and directs the CWRU Collegium Musicum.

Ms. Suzanne Ford

Dr. Derek Chester

Praised by the New York Times for his “beautifully shaped and carefully nuanced singing,” tenor Derek Chester has quickly established himself as a preeminent singer in the field of concert and early music repertoire He is a graduate of the University of Georgia and holds a master’s degree in early music performance from the Yale School of Music and a doctorate in performance and opera studies from the University of North Texas. As a Fulbright Scholar, he spent a year in Germany working as a freelance musician and furthering his training under Helmuth Rilling and tenor Christoph Prégardien. Recent concert appearances include Handel's Messiah with the Bach Collegium San Diego, Colorado Symphony Orchestra, Dallas Bach Society, and the Indianapolis Chamber Orchestra; Haydn’s Creation with the Fort Worth Symphony, Monteverdi's Vespers of 1610 with Boston Baroque; Beethoven’s Missa Solemnis at the Berkshire Choral Festival; Britten’s War Requiem with the Korean Broadcasting System Symphony Orchestra; Mendelssohn's Symphony No.2 the "Lobgesang" with the Buffalo Philharmonic; and all of the major works of Bach with American Bach Soloists. Recent operatic work includes Ferrando in Così fan tutte, Belmonte in Die Entführung aus dem Serail, Nemorino in L'elisir d'amore, Peter Quint in Turn of the Screw, Oronte in Alcina, and Acis in Acis and Galatea. He currently serves on the voice faculty at the University of Northern Colorado and continues his worldwide career as a sought after clinician, master class teacher, and interpreter of concert and operatic repertoire. Chester is thrilled to perform in his ninth season with ABS. For more information visit www.facebook.com/dchestertenor.

BRUCE NESWICK is the recently appointed Interim Director of Music at Trinity Cathedral, having come from Indiana University, where he was Associate Professor of Organ. Prior to joining the faculty at IU, Mr. Neswick was the Director of Music at the Cathedral of Saint John the Divine, New York City, where he conducted the Choir of Girls, Boys and Adults and had oversight of the musical life of that historic church. Active in the field of church music, Mr. Neswick holds Fellowship degrees from the American Guild of Organists and the Royal School of Church Music. He has conducted dozens of summer camps and festivals for boy and girl choristers and has been commissioned to compose for performers and churches throughout North America. Mr. Neswick’s skill at improvisation garnered him three first prizes from the 1989 San Anselmo Organ Festival; the 1990 American Guild of Organists' national convention in Boston; and the 1992 Rochette Concours at the Conservatoire de Musique in Geneva, Switzerland. He is a graduate of Pacific Lutheran University and Yale University, and his organ teachers have included David Dahl, Margaret Irwin-Brandon, Gerre Hancock, Robert Baker and Lionel Rogg. As a recitalist, Mr. Neswick has performed extensively throughout the United States and Europe and has been a frequent performer at national and regional conventions of the American Guild of Organists. In 1994, he played the opening convocation for the national AGO convention held in Dallas, Texas, and he was a featured artist at national AGO conventions in Seattle (2000), Washington, DC (2010) and Boston (2014). He is represented by Phillip Truckenbrod Concert Artists.

Ms. Susan M. Hellauer

Ms. Marcia Gronewold Sly

Mezzo-soprano Marcia Gronewold Sly, founder and Executive Director of Blue Hill Bach, has appeared with organizations that include American Bach Soloists, Philharmonia Baroque Orchestra, San Francisco Opera, Bangor Symphony Orchestra, and the Kronos Quartet, working with such esteemed conductors as Kent Nagano, Jeffrey Thomas, Nicholas McGegan, Joanne Falletta, and William McGlaughlin. She has sung in premier performances and recordings of numerous works. Marcia holds degrees from San Francisco Conservatory of Music, San Francisco State University, and Mills College. As a writer and arts administrator, she has worked with organizations that include the Ellsworth American, San Francisco Opera, Northeast Historic Film, and the Young Musicians Program of U.C. Berkeley. She has taught voice at University of Maine, Orono, the Young Musicians Program, and San Francisco Community Music Center.

Vincent Osborn retired from the USAF Band Program in 1998 and now lives in Duluth, MN. He is the assistant principal bassist and program annotator of the Duluth Superior Symphony Orchestra. He also plays in the Big Time Jazz Orchestra, the Blue Canvas Orchestra at Lake Superior Big Top Chautauqua in Bayfield, WI, and free-lances in jazz and classical music. Also, Mr. Osborn is the president of Local 18 of the AFM.

Mr. Anton TenWolde

Anton TenWolde (baroque cello) studied cello with Sylvain van Amerongen, cellist with the The Hague Philharmonic Orchestra. While earning his physics degree at the Delft University of Technology Anton toured with the Netherlands Student Chamber Orchestra and the Netherlands Student Baroque Orchestra. In 1973 he moved to Madison, Wisconsin, where he worked for 28 years as a researcher at the Forest Products Laboratory. For many years he played principal cello with the Wisconsin Chamber Orchestra. He is a founding member and current president of the Wisconsin Baroque Ensemble, and regularly performs with the Madison Bach Musicians and the Fort Wayne Bach Collegium in Indiana.

Dr. Bruce MacIntyre

Mr. David Bennett

Played Baroque Cello in the Baroque Ensemble at Florida State University under Karyl Louwenaar Lueck. Currently play modern cello and living in Pittsburgh, PA.

Caroline Krause

Violinist Carrie Krause’s “elegant, sparkling performance brought audience cheers” ‐Seattle Post Intelligencer. Raised in Fairbanks, Alaska, Carrie Krause performs as baroque violinist with ensembles across the country and on numerous international series. This past season, Carrie was guest artistic director and concerto soloist with Seattle Baroque in a performance of Vivaldi’s Four Seasons. She has performed as concertmaster of New Trinity Baroque in Atlanta, as guest concertmaster of Pacific Baroque in Vancouver and the San Francisco Bach Choir, as associate concertmaster of Apollo's Fire in Cleveland, and as principal with the Oregon Bach Festival, Spire, Baroque Chamber Orchestra of Colorabdo. Carrie has also appeared with Chatham Baroque, New York State Baroque, Portland Baroque, Passamezzo Moderno, Clarion, American Classical Orchestra, and Concert Royale in New York. Festival engagements include the Leipzig Bach Festival as soloist, the Belgrade Early Music Festival in Serbia, Sastamalla Gregoriana in Finland, the Utrecht Early Music Festival, Festival Dan les Jardins de William Christie, and the BBC Proms. Carrie has worked under such conductors as Jordi Savall, Ton Koopman, Richard Egarr, Nic McGegan, and Masaaki Suzuki. Carrie founded the I‐90 Collective, a baroque ensemble, which performs a house concert series across Montana, has been presented on series from Seattle to Syracuse, and was recently featured on Spokane Public Radio. She also founded Baroque Music Montana, which presents a series of community concerts in southwest Montana and the Period Performance Workshop. Carrie has presented classes on baroque style for the Fairbanks Suzuki Institute, Montana State University, and the Bozeman Symphony.

As a modern violinist, Carrie serves as concertmaster of the Bozeman Symphony. She was twice featured in the Grammy Award-winning TV series, 11th and Grant, as a founding member of the Meritage String Quartet and with cellist Julia Cory. Carrie is founder and director of the Second String Orchestra for amateurs. As a modern violinist, Carrie has performed as soloist with the Fairbanks Symphony, Casper Symphony, National Repertory Orchestra, String Orchestra of the Rockies, and Bozeman Symphony. She has appeared as guest concertmaster of the Big Sky Festival Orchestra and Helena Symphony. Carrie maintains a studio of thirty students, including award winners at the MTNA and ASTA competitions. She organizes regional student tours and directs a student chamber music and orchestra program. Carrie received degrees from Carnegie Mellon under Andres Cardenes and a masters degree from the Cleveland Institute of Music in violin performance and Suzuki Pedagogy, and recently graduated with a second masters from The Juilliard School in Historical Performance. An avid adventurer, Carrie placed first in her age group in the Springfield Missouri Marathon, and second in her age group in the Old Gabe 50k Trail race.

Ms. Augusta Jane Lodge

A native of Oberlin, Ohio, Augusta Jane is an emerging baroque and classical/modern violinist. At the age of 22, she has performed internationally as both a soloist and orchestral musician.

She was winner of the 2014 Indianapolis Baroque Orchestra Concerto Competition, and semifinalist in the 2014 Musica Antiqua International Competition in Bruges, Belgium. In the upcoming season she will perform at Juilliard under directors Robert Mealy, Jordi Savall, William Christie, and many more.

Augusta holds a B.M. degree from the Oberlin Conservatory and a M.M. degree from the Indiana University Jacobs School of Music. She will begin studies at The Juilliard School in the Fall of 2015 for baroque violin, as proud recipient of a Kovner Fellowship.

In the 2015-2016 season, Augusta will performed as concerto soloist with the Indianapolis Baroque Orchestra, with the Bach A minor Violin Concerto.

In the 2011-2012 season, Augusta performed in the Kennedy Center in Washington D.C. with her Oberlin based baroque ensemble, and at the Boston Early Music Festival. That same year she held Principal second violin in the Sweelinck Baroque Orchestra (Amsterdam) under the baton of Teunis van der Zwart, and assistant concertmaster in the Nederlands Student Orkeston their 2012 European tour, playing in such venues as the Amsterdam Concertgebouw.

Augusta performs as an apprentice with Apollo's Fire and has collaborated on stage with members of Tafelmusik Baroque Orchestra during their Winter Institute. She was invited to play in a Tafelmusik masterclass for renowned violinist Elizabeth Wallfisch.

On modern violin she has worked under such conductors as Kurt Masur, Michael Tilson Thomas, Alan Gilbert, James Gaffigan, David Zinman, and Robert Spano.

Augusta holds a Bachelor of Music from the Oberlin Conservatory of Music in violin performance, with a minor in historical performance, graduating at age 19 with honors (Pi Kappa Lambda Society). Her principal teachers were Milan Vitek (modern violin) and Marilyn McDonald (baroque violin). She then pursued her Masters of Music in violin performance at the Indiana University Jacobs School of Music, under the tutelage of Alexander Kerr and Stanley Ritchie. She spent an exchange semester in 2011-12 at the Conservatorium van Amsterdam, with Johannes Leertouwer and Sophie Gent. Currently Augusta studies at The Juilliard School.

She began her violin studies at the age of three with the Suzuki Violin School Method, continuing her studies in Moscow, Russia at the age of 12 with Zoya Makhtina of the Moscow Central Special Music School. Throughout her childhood, Augusta studied privately with Gregory Fulkerson and Almita and Roland Vamos.

Kim Leeds

With her "vivid, deeply satisfying sound" and “rich, smooth mezzo soprano”, Kim Leeds engages audiences in her exploration of life’s essence through music. As a soloist, she has appeared with the Bach Akademie Charlotte, Ad Astra Musical Festival, American Bach Soloists Academy, L’Akadémie du Roi Soleil, Handel Society of Dartmouth, Bach Society of St. Louis, the Tafelmusik Baroque Chamber Orchestra and Choir, and the Oregon Bach Festival Discovery Series. Over the years, Ms. Leeds has garnered multiple accolades including winning the Tafelmusik Vocal Competition in 2016, attending the Carmel Bach Festival as a Virginia Best Adams Fellow in 2017, was a finalist for the American Prize in Art Song in 2019, and this past summer worked with Philippe Herreweghe as a Britten-Pears Young Artist in their Bach Cantata programme.

Ms. Leeds enjoys performing a wide range of repertoire from Zelenka and Barbara Strozzi, to Janacek, Irving Fine, and Poulenc as well as sung premieres of works by James MacMillan, Richard Danielpour, James Kallembach, and Julia Wolfe. As a choral artist, Ms. Leeds has toured with Helmuth Rilling in Eastern Germany as a member of the Weimar Bach Academy and toured Northern Italy and Southern Germany with the Junges Stuttgart Bach Ensemble under the direction of Hans Christoph Rademann. In the US, she has performed with the Oregon Bach Festival, Handel and Haydn Society, GRAMMY® nominated True Concord, GRAMMY® winning ensemble the Crossing, Gramaphone award-winning ensemble Blue Heron, and this season joins GRAMMY® nominated ensemble Seraphic Fire.

In her hometown of Boston, Ms. Leeds has appeared as a soloist with the Commonwealth Chorale, Cantata Singers, Music at Marsh Chapel, and can be heard on the 2017 Boston Modern Orchestra Project’s recording of Jeremy Gill’s “Before the Wresting Tides”. Ms. Leeds holds degrees from Mannes College of Music and the Boston Conservatory.

Mr. John H. Schneiderman

“Obviously what we’re dealing with here is extreme virtuosity.”

(John Schneider, KPFK)

“Schneiderman’s performance was dazzling. His fluent, unassuming virtuosity was entirely at the service of the music; and the dizzying gigue which closed the work left this listener breathless.”

(Times Colonist, Victoria, BC)

“Few indeed are those who show such versatility and accomplishment on such a range of instruments as does John Schneiderman. He has uncovered an astonishing range of neglected repertoire and brought these seemingly dusty pages to life in creative and refreshing ways. John Schneiderman is an important figure in American plucked string history…a “multiple threat” performer, researcher and pedagogue at the highest level…”

(Eliot Fisk)

Critically acclaimed virtuoso of plucked instruments since age nine, John Schneiderman specializes in the performance practice and repertoire of eighteenth-century lutes and nineteenth-century guitars. Based in California, Mr. Schneiderman is in demand as a soloist and chamber musician collaborating on recordings and performances throughout North America.

Beginning his performance career as a banjo, guitar, bass and fiddle player, the young Schneiderman was a familiar face on the stages of bluegrass and folk festivals throughout California. Mr. Schneiderman studied with British guitar pedagogue and author Frederick Noad, and continued his studies at the Schola Cantorum in Basel, Switzerland, with the great modern pioneer of the baroque lute, Eugen Dombois. Mr. Dombois’ precise and detailed approach to the repertoire continues notably to influence Schneiderman’s interpretations today.

He is a member of Ensemble Galanterie, The Czar’s Guitars, Les Deux Amis, and the Schneiderman-Yamaya Duo. He has performed with the Los Angeles Opera, Los Angeles Chamber Orchestra, Los Angeles Philharmonic, Los Angeles Master Chorale, Los Angeles Baroque Orchestra, Musica Angelica, Seattle Baroque, Philharmonia Baroque Orchestra, Chanticleer, Musica Pacifica, El Mundo and the American Bach Soloists. His extensive discography, much of it rarely or never before recorded lute and guitar music, includes CDs on the Titanic, AudioQuest, Centaur, VGo, Profil:Edition Günter Hänssler and Dorian Sono Luminus labels. Mr. Schneiderman is currently on the faculties of the University of California, Irvine, Irvine Valley College, and Claremont Graduate University, and has been on the faculties of Orange Coast College, California State University, Long Beach and the San Francisco Conservatory of Music.

www.johnschneiderman.com

Dr. Janet Hunt

Professional organist, harpsichordist and music editor. Former director of music and professor at Catholic seminary. Avid singer of sacred Renaissance music and plainchant.

Molly Netter

A versatile and joyous musician, Canadian-American soprano Molly Netter enlivens both old and new music with "clear, beautiful tone and vivacious personality" (NYTimes). Recent season highlights have included the US and Japanese premieres of a new solo work by David Lang conducted by Joe Hisaishi at Carnegie Hall, as well as solo engagements with the Chicago Symphony, GRAMMY Award-winning Boston Early Music Festival, Apollo’s Fire Baroque Orchestra, the New World Symphony, Contemporaneous Ensemble, New York Baroque Incorporated, ACRONYM ensemble, Juilliard415 at Lincoln Center, Musica Angelica Baroque Orchestra, BOP Opera in Montreal, Heartbeat Opera, the Staunton Music Festival, Trinity Baroque Orchestra and NOVUS NY contemporary orchestra.

Molly performs as a soloist and full-time member of the Choir at Trinity Wall Street and appears regularly with TENET Vocal Artists, Variant 6, Clarion Music Society, the Yale Choral Artists, Seraphic Fire, and The Thirteen. Notable chamber performance highlights include inaugural casts of Pulitzer-winning operas Angel’s Bone (Du Yun, 2015) and PRISM (Ellen Reid, 2017).

In addition to her work as a solo and chamber performer, Molly is also an active curator, educator and advocate of new music, regularly commissioning new work by living composers. In Spring 2018, she was a featured curator/performer on Trinity Wall Street’s acclaimed “Time’s Arrow Festival,” programming an eclectic evening of Barbara Strozzi paired with newly commissioned contemporary works. Frequent collaborators include David Lang, Doug Balliett, Amy Beth Kirsten, Alyssa Weinberg, Jessica Meyer, Molly Joyce, and Gemma Peacocke. She is also on faculty for the 2020 Oberlin Baroque Performance Institute.

Molly holds a BM in composition and contemporary voice from Oberlin Conservatory and an MM in early music voice and oratorio from the Yale Institute of Sacred Music where she studied with James Taylor. Between degrees, she taught English in Kyoto, Japan.

Barbara is a GRAMMY-winning ensemble member and soprano soloist performing the music of the Middle Ages through the present era.

As a soloist she has appeared with Masterworks Chorale, Musica Sacra, The Boston Cecilia, Seven Times Salt, 7 Hills Renaissance Wind Band, and Long and Away: A Consort of Viols. As an ensemble member, she performs with the GRAMMY-winning ensemble The Crossing (Philadelphia, PA), Emmanuel Music (Boston, MA), Meravelha Medieval Ensemble (Boston, MA), and Red Shift (Baton Rouge, LA), among others.

She also appears regularly with many of the choirs of religious institutions around Boston; to include Trinity Copley, Church of the Redeemer, and the Cathedral of the Holy Cross.

An enthusiastic supporter of new music, she especially enjoys the opportunity to premiere and record new works. Highlights include recording Gavin Bryars: The Fifth Century (2018 GRAMMY Award for Best Choral Performance), as well as performing the world premieres of Joel Puckett’s I Enter the Earth (with The Crossing, 2015), Karl Henning's From the Pit of a Cave in the Cloud (2015), and Kile Smith’s The Consolation of Apollo (with The Crossing, 2014).

In addition to performing, Barbara serves on the board of the Society for Historically Informed Performance (SoHIP) in Boston, and helps to produce their annual summer concert series. She is also the executive director for Meravelha.

Barbara received her BA in vocal performance from the University of New Hampshire. She currently resides in Boston.

Robert E. Kulp Jr.

Mr. Bryan Lane

Bryan Lane is a lyric tenor with diverse tastes and abilities, a particular passion for early music and professional experience performing choral, chamber, and operatic music. Described as, “a promising tenor…whose high tessitura is delicate and sweetly turned” by the Santa Barbara News Press, he desires to connect with audiences on a deep level through unique repertoire. Bryan is becoming a sought after soloist and ensemble singer. He was recently hired to join the ranks of the Los Angeles Master Chorale as a soloist and ensemble member, and has performed with professional choral groups such as the Santa Fe Desert Chorale. He has a passion for early music and has sung as a featured guest with Seattle Early Dance and Seattle Early Music Guild. Bryan is particularly interested in presenting rare and forgotten works. In 2013 he joined seminal early music group Capella Cordina, under the direction of renown medieval scholar Alejandro Planchart, for the performance of a long-forgotten 11^th century mass setting at the Getty Center in Los Angeles. Bryan has performed leading operatic roles in Purcell’s The Fairy Queen, and Nerone in Monteverdi’s L’Incoronazione di Poppea, and solo oratorio roles in Handel’s Israel in Egypt, Messiah, Arvo Pärt’s Passio, and Claudio Monteverdi’s Vespro della Beata Vergine. In 2014-2015, Bryan performed as a teaching artist with Seattle Opera, as choral scholar/soloist at Epiphany Parish in Seattle and with Seattle early music group Queen City Musicians. Bryan made his studio recording debut in 2014 with Soundiron Instruments improvising and exploring a range of Middle Eastern, Georgian, and American Spiritual vocal styles for the featured exotic vocal library Voice of Gaia: Bryn. He has also composed and recorded for sync-licensing library Moonshine.tv. When not singing, Bryan enjoys performing solo trumpet in a variety of pop and jazz styles. He frequently collaborates with composer/arranger Trevor Welsh for television and film and can be heard on the independent films Chicken Suit and The Sacrifice of Old San Juan by A.K. Hottmann. He recently completed his Artist Diploma in Early Music studying with Nancy Zylstra and also holds a Master’s degree in Vocal Performance from the University of California Santa Barbara, and a B.A. in Music from Westmont College.

The first syllable of my first name is pronounced like saying the name of the letter A to rhyme with "may" and my listed email of communicESHAn@hotmail.com is a pronunciation hint if said as "communication" – but please note that I also have the address of Esha@prodigy.net, so if anything goes wrong with one of them you can use the other.

I am an American who grew up in Honolulu, Hawaii, USA and started playing the viola da gamba at the University of Hawaii after having seen Sarah Mead perform at the Oregon Shakespeare Festival. In more recent years I've been living both in Honolulu and London, UK. I had planned to keep traveling between them and eventually to teach a collegium class at the University of Hawaii, but I had to spend a lot of time in the UK to become eligible for residency, and then the UK Home Office had my passport for nearly two years as part of that process, and THEN the virus hit, so for now I'm only in London.

Pre-virus, I led the occasional viol consort sessions in Honolulu and had a busy schedule of social consort playing (both amateur and professional) at my house in London. I have always welcomed visits from people passing through London from other areas and countries, and invited local musicians so the visitors could have some social playing during the visit. I also held Try a Viol sessions for potential beginners at my London house and performed in the ensembles listed in this profile plus others. Ensemble Tramontana was formed in 2010/11 by five Trinity Laban students (see below) including me, but went on hiatus four or five years later; I revived it in early 2019 and am now the organizer and general director of it and its amateur arm, Greenwich Consort.

I have organized workshops/courses, conferences, and other events – of particular note is the Pan-Pacific Gamba Gathering, held in 2007 at the University of Hawaii's main campus (in Honolulu), which I organized and was the local host of with the help of the Viola da Society of America, other organizations, and an international committee of co-organizers.

Education:
– B.A. in music from the University of Hawaii at Manoa (with plenty of extra courses in English and other fields)
– Postgraduate study in the viol with Alison Crum at Trinity Laban Conservatoire of Music and Dance (in London), working toward an M.A. in Music Education and Performance

Early Music studies with The Vivaldi Project, Oberlin Baroque Performance Institute. Private study with Elizabeth Field, Allison Nyquist, Jane Starkman. Coaching with Caterina Meints.

Dr. Mark Elenko

Andrew Dittman

Andrew Dittman is in his second year as associate conductor of the Denton Bach Choir and has sung with the group since 2006. Andrew holds a master’s degree in choral conducting and bachelor’s degrees in music and computer science, all from the University of North Texas. He also serves as choirmaster for The Chapel of the Cross (Reformed Episcopal Church) in uptown Dallas, and teaches choir, orchestra, and computer science at Chapel's parish school, The St. Timothy School. Andrew, a baritone, has sung as a soloist and chorister in various local groups, including Orpheus Chamber Singers and Orchestra of New Spain. Andrew frequently composes and arranges music, and many of his pieces have been performed by choral and instrumental groups of all levels. Andrew resides in Richardson with his lovely, ever patient wife, Ashley, and their two eternally entertaining boys, John and James.

Rebecca Landell

Rebecca Landell Reed enjoys a varied career performing on multiple instruments playing music from the Renaissance to the 21st century. Although her Bachelor and Master degrees focused on cello performance, she became interested in viola da gamba and baroque cello while studying at Oberlin Conservatory with Darrett Adkins. She developed her early music skills with Catharina Meints and with Michael and Maria Brüssing in the Czech Republic. Ms. Reed’s love for baroque music continued to grow during her Master’s when she had the chance to play Bach’s St. Matthew Passion in Dresden with the Batzdorfer Hofkapelle. While at Rice University studying with Norman Fischer, she connected with the Crumhorn Collective, an eclectic outreach band of Renaissance multi-instrumentalists. Through outreach and acting coaching, she continued to push her boundaries to include staged productions, like her participation with Studio Theatre’s rendition of An Iliad. She won the Wagoner Fellowship in 2013 and studied with Steuart Pincombe in Den Haag, exploring alternate performance venues in house concerts with her husband, photographer Mathias Reed. Ms. Reed currently lives in the Cleveland, Ohio area, teaching cello in Oberlin and Medina, and performing with Apollo’s Fire all over the country. As a member of the Music in Familiar Spaces collective, she enjoys challenging projects that explore new ways of using music to enrich her local community.

Two time Grammy® Award nominated harpsichordist Jory Vinikour is recognized as one of the outstanding musicians of his generation. A highly diversified career brings him to the world’s most important festivals and concert halls as recital and concerto soloist, and partner to several of today’s finest artists.

Jory has performed as soloist with Rotterdam Philharmonic, Orchestre de la Suisse Romande, Lausanne Chamber Orchestra, Philharmonic of Radio France, Netherlands Chamber Orchestra, MDR Symphony Orchestra, Moscow Chamber Orchestra, Royal Scottish National Orchestra, with conductors such as Stéphane Denève, Marek Janowski, Armin Jordan, Benjamin Levy, Fabio Luisi, Marc Minkowski, John Nelson, Gordan Nikolic, Constantine Orbelian, Victor Yampolsky, et al.

His debut recording for Sono Luminus, the complete harpsichord works of Jean-Philippe Rameau, was nominated for a Grammy® award, in the category of Best Classical Solo Instrumental Recording in 2013. His follow-up recording, Toccatas (Contemporary American works for harpsichord) received the same honor this year.

Mr. Vinikour has appeared as conductor/soloist with the Hong Kong Philharmonic, Los Angeles Chamber Orchestra, Musica Angelica, Korea Chamber Orchestra, musicAeterna, Juillard415, Alabama Symphony. Jory Vinikour is Artistic Director and co-founder of Great Lakes Baroque in Milwaukee, and is Artistic Director of the early music program at the Rocky Ridge Music Center.

Mr. Frederick Renz

Renz, Frederick (b Buffalo, NY, 27 July 1940). Conductor, harpsichordist and producer. He graduated from SUNY, Fredonia (1962), and from the University of Indiana (MM in conducting 1964, MM and Performer Certificate in harpsichord 1966, doctoral studies completed 1967; SUNY, Mus.D., honoris causa, 2004). He was awarded a Fulbright scholarship to study harpsichord with Gustav Leonhardt in Amsterdam (1967–9). From 1969 to 1974 Renz was keyboardist for the New York Pro Musica Antiqua ensemble.

In 1974, he formed the Early Music Foundation (“a revered institution” – The New York Times) to foster historical performance in New York City by providing services for the early music community (via “New York Early Music Central”), and presenting the performance entity “Early Music New York.” Since its inception, New York Early Music Central produced the first City-wide early music festival in 2004 followed in 2007, 2013, 2015, 2017 and 2019. In association with the Metropolitan Museum of Art, Renz produced and hosted a lecture-demonstration series in 2010, featuring prominent NYC early music ensembles.

Since inception, Early Music New York (EM/NY) is Artist in Residence at the Cathedral Church of Saint John the Divine, NYC. It presents and records music of the 12th through the 18th centuries, including historical dramatic and dance works. Medieval and Renaissance repertoire is performed by a chamber ensemble of voices and instruments without conductor; Renz conducts baroque and classical works with the EM/NY Orchestra of Original Instruments including staged opera with soprano Renée Fleming, appearing in Lincoln and Kennedy Centers among other prestigious venues nationally.

The ensemble’s staged medieval music dramas, such as Daniel and the Lions, Herod and the Innocents, The Play of St. Nicholas, Le Roman de Fauvel, and the complete plays of the Fleury Playbook, have been presented with great success in the USA, Europe and Asia festivals under Renz’s energetic and imaginative direction. Renz has also directed his medieval drama realizations for the men’s vocal ensemble Chanticleer.

For the in-house recording label, Ex cathedra Records, Renz has produced numerous compact discs and DVDs in association with The Metropolitan Museum of Art, NYC. Renz has produced twenty-one commercial titles including other labels.

DISCOGRAPHY:

Ex cathedra Records:

   A Medieval Christmas

   Music of Medieval Love

   A Renaissance Christmas

   Music of Renaissance Love

   A Baroque Christmas

   Music of Venice

   A Colonial Christmas

   Colonial Capers

   A Bohemian Christmas

   Troped Apostolic Mass for Saint Martial, 1029,

      Adémar de Chabannes, 989-1034

   A Dutch Christmas

   A Choir of Angels – DVD

OTHER LABELS:

Lyrichord Discs

   Istanpitta

   Istanpitta II

Foné

   Daniel and the Lions

Musical Heritage (MHS)

   The Play of St. Nicholas

   Salacious Chansons

   Monteverdi: Vespers of 1610

Musicmasters

   Purcell, Excerpts from the “Fairy Queen”

      with Odes & Elegies to Queen Mary

   So Quick, So Hot, So Mad

Nonesuch

   Christesmas in Anglia

I have been an early music enthusiast for over forty years. My favorite period is the 14th – 15th century, and I have spent more time studying the music and poetry of Guillaume de Machaut than of any other early composer. I have also enjoiyed reading the research by Andrew Parrott concerning the "Bach choir" and transposition in the works of the Renaissance, e.g. the Monteverdi Vespers 1610.

I have an abiding interest in writing about music on my blog, Musica Kaleidoskopea.

Charles Rasmussen

Charlie Rasmussen is a cello faculty member and string department co-chair at the Wisconsin Conservatory of Music in Milwaukee. He performs historical cello and viola da gamba with the Wisconsin Baroque Ensemble and New Milwaukee Consort. He is the Instrumental Co-Director at Just Bach and is on the board of directors of Early Music Now.

Mr. Rasmussen has recorded Tommaso Giordani's Cello Duos (Centaur Records, 2020) and 11 Capricci by Joseph Dall'Abaco (Centaur Records, 2018).

Mr. Rasmussen has previously appeared at the Boston Early Music Festival Fringe Series with the New York Continuo Collective, the VdGSA Gamba Gamut and with Sonata à Quattro. He has also performed as principal cellist with Madison Bach Musicians and in multiple early music recitals at the Yale University Institute of Sacred Music. He has appeared with ViolMedium for an Early Music Now performance and in Milwaukee Opera Theatre's production of Monteverdi's L'Orfeo.

Mr. Rasmussen has served on faculty at the Madison Early Music Festival and presented historical performance lecture recitals and masterclasses around the country. He currently teaches viol and consort music at the University of Wisconsin-Whitewater.

Mr. Rasmussen holds a Master of Music degree from the University of North Carolina Greensboro and a Bachelor's degree from Luther College in Decorah, Iowa. He has attended the American Bach Soloists Academy, Phoebe Carrai's Baroque Cello Bootcamp, and the Magnolia Baroque Institute.

Artistic Director of Camerata Mediterranea

Music Director Emeritus of The Boston Camerata

Nicholas Jones, Professor of English at Oberlin College, is a teacher, lecturer and performer in the Bay Area of California. He is the author of a book about Italian madrigal texts, A Poetry Precise and Free. He is a former member of the board of Early Music America. He is active in reviewing musical events in the California Bay Area, and is President of Tactus SF, a Bay Area Renaissance choir, and sings in its tenor section.

He is the translator of 150 madrigals by G. B. Guarini in a book called A Poetry Precise and Free: Selected Madrigals of Guarini (U. of Michigan Press), and his transltion of Jacopo Sannazaro's Arcadia is forthcoming in spring 2025 (also from U. of Michigan). Many of his translations can be found on the Choral Public Domain Library (cpdl.org).

Lenore Karoline Ettinger earned her Master’s in Early Music Vocal Performance at USC under the loving and patient guidance of Adam Gilbert, Rotem Gilbert, and Shelly Fox. There she enjoyed performing with both the Baroque Sinfonia and the Collegium Workshop. She has performed with USC's Baroque Sinfonia at both the Boston and Berkeley Early Music Festivals.

Prior to her studies at USC, Lenore earned a Bachelors degree in Music and Political Science from Loyola University in Chicago under the guidance of Father Charles Jurgensmeister and Kirsten Hedegaard. At Loyola she performed in the Chamber Choir and University Chorus, where she was featured as a soloist. The Political Science seemed to leak into all of her musical studies, where she has taken a particular interest in the relationship between music and women’s social and political standing, something she is continuing to study in her post-graduate life. Lenore has studied voice under Martha Swisher, and Early Music voice in particular under Kirsten Hedegaard, Shelley Fox, and Jennifer Campani.

In addtion to authentic performance of Early Music, Lenore enjoys the fushion of Early Music to other genres such as electronica and rock- as is somewhat popular in Germany.

Lenore also plays the hurdy-gurdy.

Mr. Addi Liu

Patrick C. Dittamo

Patrick Connor Dittamo is a Kansas-based musicologist, composer, and musician, currently a doctoral candidate in musicology at the University of Chicago working on a dissertation on the reproduction of medieval and early modern reed wind instruments in the long twentieth century and the labor of instrument makers.

As a scholar, Patrick is fascinated by the practical mechanics of music-making in the medieval and early modern eras, including the construction of instruments, the development of musical notation, material culture, and the labor conditions of musicians. His editorial reconstruction of Bartolomé de Escobedo’s Missa ad te levavi (c. 1540-41) was premiered by the Grammy Award-winning Kansas City Chorale in 2019 and will be featured on an upcoming recording.

As a composer, Patrick’s compositions take inspiration from the musics of earlier eras, drawing on historical idioms, forms, and textures, and often regaling in a luscious post-minimalist style informed by modal harmony.

When not in Chicago, Patrick lives in Manhattan, Kansas with his better half, tenor Dr. Bryan Pinkall, and their red-footed tortoise, Orpheus.

In 1990, Dr. JoLynn Edwards was a founding faculty member of University of Washington Bothell and Professor of Art History and Interdisciplinary Arts. Promoted to full professor in 2002, she retired in 2014. Her research addressed the European art market of the early modern period. Her most recent publication, “The Conti Sales of 1777 and 1779 and Their Impact on the Parisian Art Market,” came out in 2010. Between 2001-07, she served as director of the Interdisciplinary Arts and Sciences program at UWB. Before academia, she trained and performed as a classical ballet dancer. She taught across a broad range of topics in cultural history and interdisciplinary studies of the ancient and modern periods, both West and East.

Dr. Daniel McCarthy

Dan McCarthy's playing has simply been described as “virtuosic” by Seen and Heard International. He was a part of the first class of baroque violists ever to be accepted into the historical performance program at The Juilliard School, where he was often featured in performances playing violin, viola, viola d'amore, and viola da gamba. Dan has served as section violist with the Wall Street Trinity Baroque Orchestra, concertmaster of the Austin Baroque Orchestra, tenor gambist with Parthenia, and violist with the New York Classical Quartet. He has also performed and toured extensively throughout North America, East Asia, and Europe with Jordi Savall, Masaaki Suzuki, Orchestra of the Age of Enlightenment, and Tafelmusik. He is currently the principal violist of Austin Baroque Orchestra and a core member of ensembles “La Fiocca” and “1685.”

As a modern violist, Dan holds a doctorate in viola performance from the University of Maryland, where he was an active performer in Washington D.C area. There, he gave concerts and lectures at George Washington University, American University, the Library of Congress, and the National Portrait Gallery. Dan also holds other degrees from the University of Michigan, and the Interlochen Arts Academy.

Mr. Stephen T. Martorella

A native New Yorker, Stephen Martorella is currently Minister of Music at the First Baptist Church in America, Providence, Rhode Island; artistic director for South County Chamber Singers, Kingston and an adjunct instructor at Rhode Island College. He has also served as organist for Temple Torat Yisrael, Cranston, and as adjunct instructor at the University of Rhode Island and adjunct assistant professor at Salve Regina College. In 1989, Stephen Martorella was both soloist and conductor with the American Wind Symphony in a joint concert with the Wind Orchestra of the Soviet Army in St. Petersburg’s (formerly Leningrad) October Hall. He has also appeared as soloist in Belfast, London, Paris, and Miami and on live broadcast as part of the Kerkrade summer festival in Netherlands. For more see http://www.firstbaptistchurchinamerica.org/staff/steve-martorella/

Stanley Ritchie

Ms. Beverly Biggs

Harpsichordist Beverly Biggs’ performances have been described as elegant, fiery, sensitive, spirited, and beautifully paced. Beverly holds degrees in performance from Oberlin Conservatory and Southern Methodist University. Her post-graduate work was done with Alan Curtis and Gustav Leonhardt. She has collaborated with violinist Stanley Ritchie, baritone Max van Egmond, conductor Richard Sparks, and many other well-known musicians in the field of early-music. As co-director of both Connoisseur Concerts and Allegro (Spokane, Washington) she co-founded and led the Northwest Bach Festival, Royal Fireworks Concert, Allegro’s Viennese Ball, Music in Historic Homes, and Period Music at The Met.

The founding (now emeritus) Artistic Director of North Carolina's Baroque & Beyond, she is active as a freelance harpsichordist.

Beverly has performed in concert halls from San Diego to Calgary, Canada; universities throughout the United States; the Boston Early Music Festival Fringe; and a highly interesting fortnight as artist-in-residence in the remote northeast quadrant of Montana. Past research projects include concert life in early America (East and West coasts); baroque wind-band concerts (indoor and outdoor); and twenty concerts for a world exposition in the Pacific Northwest. She is featured on recordings released by Bravura Discs, Aliénor Records, and Arabesque. www.beverlybiggsharpsichord.com

Publications since 2000

“Equal Temperament and Johann Sebastian Bach’s Music,” Ad Parnassum 21 (April 2023): 1-31.

Equal Temperament in the Eighteenth Century: The Ear versus Numbers (Turnhout: Brepols, 2023).

Disinformation in Mass Media: Gluck, Piccinni and the Journal de Paris, RMA Monographs (Abingdon, Oxon and New York: Routledge, 2021).

“The 19^th-century piano and finger-strengthening devices,” The Musical Times 162/1956 (Autumn 2021): 21-39.

“A 1760 dream for better performance standards,” The Musical Times 161/1952 (Autumn 2020): 85-99.

“Distinguishing between dotted notes and notes inégales, The Musical Times (Spring 2020): 61-76.

“Marmontel/[Piccinni] on Neapolitan Opera,” Journal of Music Criticism 3 (2019): 1-17.

“Tartini and the Two Forms of Appoggiature,” Eighteenth Century Music 16/1 (2019): 83-86.

“Pascal Boyer: A Pioneer in Journalistic Music Criticism,” Fontes Artis Musicae (July-September 2018): 146-56.

“A Vindication of Ferdinand Hiller,” Journal of Musicological Research 37/2 (2018): 141-65.

“Reichardt’s Review of Handel Concerts in London,” Handel News, The Newsletter of the Friends of the London Handel Festival, 71 (Jan. 2018): 14-19. Reprinted in The Diapason (July 2018) and the SECM Newsletter 32 (Fall 2018).

“Performance conditions, standards and Bach’s chorus,” The Musical Times (Winter 2017): 55-70.

“Gluck and the Prosodic Appoggiatura,” Journal of Singing 74/2 (Nov/Dec 2017): 143-54.

“Zukunftsmusik/Music of the Future: A Moral Question,” Journal of Musicological Research 36/4 (2017): 311-35.

“Quantz and Agricola: A Literary Collaboration,” Acta Musicologica 88 (2016/2): 127-42.

Music Performance Issues 1600-1900 (Hillsdale, NY: Pendragon Press, 2016).

“The appoggiatura breve* in Domenico Scarlatti’s Sonate” in The Early Keyboard Sonata in Italy and Beyond, ed. Rohan Stewart-MacDonald (Turnout: Brepols, 2016), Speculum musicae series.*

The Complexities of Early Instrumentation: Winds and Brass, Musical Treatises, 3 (Turnhout: Brepols, 2015).

“Fingering and Pedaling in the Bach Era,” The Organ, issue 371 (Spring 2015): 8-17.

“Diderot (Part II) —Temperament and Expressive Intonation,” Music Theory & Analysis 2/1 (2015): 69-93.

“Diderot (Part I) — Authorship and Illusion,” Music Theory & Analysis 1/1&2 (2014): 38-60.

“Notes inégales: a definitive new parameter,” Early Music 42/2 (2014): 273-89.

“The notable significance of C and stroked-C in Bach’s era,” The Musical Times 155/1927 (Summer 2014): 85-96.

“Johann Philipp Kirnberger and the Bach Chorale Settings,” BACH, Journal of the Riemenschneider Bach Institute 45/1 (2014): 34-43.

“Kirnberger and Authorship,” NOTES: Quarterly journal of the Music Library Association 69/4 (June 2013): 688-705.

“The varied reprise in 18th–century instrumental music,” The Musical Times 153/1921 (Winter 2012): 45-61.

“Dilettante and Amateur: Our Evolving Language,” 1650-1850: Ideas, Æsthetics, and Inquiries in the Early Modern Era 19 (2012): 3-29.

“Numbers and Tempo: 1630-1800,” Performance Practice Review: Vol. 17: No. 1, Article 4 (2012). Available at : http://scholarship.claremont.edu/ppr/vol17/iss1/4.

“Johann Philipp Kirnberger versus Friedrich Wilhelm Marpurg: A Reappraisal,” Dutch Journal of Music Theory 17/2 (2012): 91-108.

“Overdotting in Handel’s Overtures Reconsidered,” Göttinger Händel-Beiträge 14 (2011): 229-252.

“Hummel’s Metronome Marks for Mozart and Beethoven,” The Beethoven Journal 26/2 (2011): 14-17.

“Eighteenth-Century Stringed Keyboard Instruments from a Performance Perspective,” Ad Parnassum 9 (April 2011): 75-100.

“The Bach/Scheibe Controversy: New Documentation,” BACH, Journal of the Riemenschneider Bach Institute 42/1 (2011): 1- 45.

“The French Time Devices Revisited,” Dutch Journal of Music Theory 15/3 (Nov. 2010): 169-189.

“What Handel’s Casting Reveals About Singers of the Time,” Göttinger Händel-Beiträge 13 (2010): 141-163.

“Maelzel’s Role in Beethoven’s Symphonic Metronome Marks,” The Beethoven Journal 24/1 (Summer 2009): 14-27.

“Glimpses of the American Organ and Its Use, 1820-1850,” The Tracker 53/4 (Fall 2009): 14-22.

“A Solution for Simple (secco) Theater Recitative,” Journal of Singing 65/4 (March/April 2009): 421-430.

“The Tromba and Corno in Bach’s Time,” Ad Parnassum 6 (October 2008): 7-39.

“The Most Indispensable and Most Pleasing Trill,” The Consort. Journal of the Dolmetsch Foundation 64 (Summer 2008): 90-101.

“How Composers Viewed Performers’ Additions,” Early Music 36/1 (Feb. 2008): 95-109.

“Who Wrote a 1769 Book That is Tied to the Paris Opéra?” Recherches sur la musique française classique 31 (2004-2007): 187-197.

“Intonation Standards and Equal Temperament,” Dutch Journal of Music Theory 12/2 (May 2007): 215-227.

Review of Royal music machines: the music, ed. Marieke Morsman and Bob van Wely (Utrecht: Nationaal Museum van Speelklok tot Pierement, n.d.), Early Music 35/1 (2007): 128-129.

“Distinguishing Between Artificial and Natural Vibrato in Premodern Music,” Journal of Singing 63/2 (Nov./Dec. 2006): 161-167.

Colloquy: “Maniera smorfiosa, a Troublesome Ornament,” Journal of the American Musicological Society 59/2. (2006): 459-461.

“Choral Singing Before the Era of Recordings,” The Musical Times, 147, no.1895 (Summer 2006): 77-84.

“Playing Like Chopin,” International Piano, No. 41 (Sep./Oct. 2005): 24-27.

“Bach’s Lament about Leipzig’s Professional Instrumentalists,” BACH, Journal of the Riemenschneider Bach Institute 36/1 (2005): 67-96.

“A Little More Muscle, Please: Playing the Organ Before the Twentieth Century,” The American Organist, 39/9 (2005): 105-108.

“Mystery in Paris, the German Connection, and More: The Bérard-Blanchet Controversy Revisited,” Eighteenth-Century Music 2/1 (2005): 91-112.

“Good Vibrations,” The Strad 116 (March 2005): 44-49.

“Fasch and the Beginning of Modern Artistic Choral Singing,” BACH, Journal of the Riemenschneider Bach Institute 35/1 (2004): 61-86.

“Clarinets in Beethoven’s Day Had Faulty Keys, Reeds on Top,” The Instrumentalist 58 (May 2004): 16-20.

“Fontenelle’s Famous Question and Performance Standards of the Day,” College Music Symposium 43 (2003): 150-60.

“Editorial Decisions for Ornaments in Bach’s Works,” BACH, Journal of the Riemenschneider Bach Institute 33/2 (2002): 1-14.

“Organ Tempo at the Time of J. S. Bach,” The American Organist 36 (2002): 56-60.

“A re-examination of tempos assigned to the Earl of Bute’s machine organ,” Early Music 30/4 (2002): 584-92.

“Open Strings in Eighteenth-Century Music,” American String Teacher 51/2 (2001): 82-86.

“Pedal Technique in Early Music,” The American Organist 34 (Oct. 2000): 82-85.

“Pitch in the Vocal Works of J. S. Bach,” BACH, Journal of the Riemenschneider Bach Institute 31/1 (2000): 74-95.

“Why Most a cappella Music Could Not Have Been Sung Unaccompanied,” Choral Journal 40 (Feb. 2000): 21-27.

Biography for Lawrence Zukof

Lawrence Zukof (recorder and voice) has performed extensively with numerous renowned professional performing groups. He toured the US and Europe with the Boston Camerata and has been a recorder soloist with Civic Orchestra of Boston, Orchestra New England, the Baroque Orchestra of Holy Lutheran and Trinity Church. He sang regularly with the Pro-Arte Singers, Connecticut’s pre-eminent professional chamber choir, for nearly a decade. As a singer and recorder soloist, Mr. Zukof has also performed with Cappela Cantorum and at the Yale Norfolk Summer Festival, the Yale Center for British Art, and he currently sings with Yale Camerata and the Chamber Chorus.

Mr. Zukof teaches privately and is a regular workshop leader for various chapters of the American Recorder Society, including the Recorder Society of CT, Eastern Recorder Society of CT, Long Island RS, and the New York Recorder Guild. He is a workshop leader fin Maine through the Traveling Teacher Program of the ARS and has been a guest for the Boston, and Ann Arbor MI Recorder Societies. He is on the faculty at Early Music Week at Pinewoods where he was also the program director, 2015-17. Past workshops also include Amherst Early Music Festival, Westminster Choir College, Skidmore College, and Binghamton/Ithaca players.

Recently, Mr. Zukof stepped down as the Executive Director of the Neighborhood Music School (1996-2014), one of the ten largest community arts schools in the country. Before coming to New Haven, Mr. Zukof was the Director of Brookline Music School, MA (1984-1996). He received his Master of Music degree from the New England Conservatory of Music (Boston, MA) in early music and continues his musical journey currently focusing on viola da gamba and violin. www.lawrencezukof.com

Ms. Sara Schneider

After studying musicology at the University of Amsterdam in the Netherlands, Michigan native Sara Schneider put her love of music to work at Classical 89.5, KMFA in Austin, Texas; first as an announcer and producer, and subsequently as Music Director until 2014. From 2014 to 2016, Sara lived in Lübeck, Germany, where she researched and authored a novel, The Eagle and the Songbird.

Starting in 2002, Sara became the producer and host of a weekly early music show on KMFA called Ancient Voices. In 2018, the program was syndicated by the WFMT Radio Network, Chicago, and is now heard on stations across the globe as Early Music Now.

Sara has interviewed numerous early music luminaries, including Ton Koopman, Anonymous 4, Jordi Savall, and the late Gustav Leonhardt. She is a two-time Gracie Award® winner: in 2011 she received the award for her program Michael Nyman: Motion and Emotion, and in 2018 for Her Name Shall Endure, a program about medieval woman of letters Christine de Pizan.

Sara serves on the board of Texas Early Music Project. In her spare time, she enjoys travel, hiking, practicing yoga, and writing historical fiction.

Dina Bash

Assistant Director of Early Music America.

Dr. Jennie Wenstrom

Amanda Markwick

Amanda Markwick received both a double Bachelor’s degree (Modern Flute/French Language and Literature) and a Master’s degree (Early Music) from Indiana University, Bloomington, Indiana, U.S.A. Her flute professors included Kate Lukas, Thomas Robertello, and Barbara Kallaur. Awarded a Huygens scholarship by the Dutch Ministry for Education, Culture, and Science, to attend the Koninklijk Conservatorium in the Hague, The Netherlands, Amanda completed her second Bachelor’s and Master’s degrees in Renaissance, Baroque, and Classical flutes with Kate Clark, Wilbert Hazelzet, and Barthold Kuijken.

Amanda has performed and recorded with, among others, the Indianapolis Baroque Orchestra; the Bach Orchestra of The Netherlands; the Hong Kong Early Music Society; the Rheinische Kantorei and Das Kleine Konzert (Hermann Max); die Hannoversche Hofkapelle; die Lautten Compagney (Wolfgang Katschner); Cantus Thuringia & Capella (Bernhard Klapprott); Elbipolis (Jürgen Groß); and Cantus Cölln (Konrad Junghänel). She is an active member of several chamber music ensembles. With Barcelona Barroc, she has given chamber music and orchestral concerts in The Netherlands, Spain, and Sweden. She plays music of the 16^th century with the Renaissance flute consort The Attaignant Consort. Music of the Renaissance and early Baroque is her focus with the Titans Rising Early Music Ensemble, for whom she is also co-artistic director of the Renaissance projects. With Ensemble Eloquentia and Trio Delta, she performs chamber music of the Classical period. As a member of Il Sussurro, she explores the quiet and nuanced colors of the early Classical flute in combination with clavichord.

Amanda has also participated in the Bloomington Early Music Festival, in Bloomington, Indiana, the U.S.A.; the International Harp Convention in Prague, the Czech Republic; the Corso Internazionale di Musica Antica in Urbino, Italy; the Casa de Mateus Festival in Vila Real, Portugal; the Festival Internacional de Musica de Cadaques in Cadaques, Spain; the 3rd Festival Internacional de Música Clásica de Ribadeo, Spain; the Early Music Festival in Utrecht, The Netherlands; the Köthener Bachfesttage, in Köthen, Germany; and the Trigonale Festival der Alten Musik, in Austria. She was invited to perform in the prestigious “Solissimo” series at the Magdeburger Telemann Festtage in 2022.

In addition to maintaining her performing agenda, Amanda is regularly invited as a guest lecturer, most recently with Amherst Early Music in Boston, Massachusetts, USA; at the University of Music and the Performing Arts, in Vienna, Austria; the Conservatorium van Amsterdam, The Netherlands; H.I.P.S.T.E.R. Ireland and the Irish World Academy, both in Limerick, Ireland; Renaissance Workshops, in Berlin, Germany; the Bauhinia Musik Haus in Hong Kong; and the Kuopio Conservatory in Kuopio, Finland. She was on the jury of the 2021 Baroque Flute Competition for the American National Flute Association. In 2013, her article “Advice for Traverso Beginners” was published by “Fluit” magazine in The Netherlands. With Kate Clark, she co-authored The Renaissance Flute: A Contemporary Guide, the first modern handbook for the Renaissance flute, published by Oxford University Press in 2020.

Amanda lives and teaches in Berlin, Germany.

Peter Lim focuses his artistic studies in historical keyboards, and historical oboe, and
historical flutes. He is currently enrolled at The Juilliard School for his master’s degree in harpsichord performance. Lim holds his bachelor’s degree in historical keyboards, historical oboe, and recorder performance at the Historical Performance Department at Koninklijk Conservatorium Brussels. Previously, he attended Oberlin Conservatory of Music in Oberlin, Ohio. Peter Lim was an early music enthusiast since very young age, and continues to explore the revival of the early music of today. He has performed in several masterclasses led by the well-known scholars and performers of the early music world such as Mitzi Meyerson, Benjamin Alard, Olivier Fortin, Charlotte Nediger, Skip Sempe, Jan de Winne, the Flanders Recorder Quartet, and Reine-Marie Verhagen. He was a grand-prize winner of the Korean International Early Music Competition in 2011.

Dr. Lindsey Strand-Polyak

A Pacific Northwest native, Lindsey Strand-Polyak lives a hyphenated life to go along with her hyphenated name: divided between viola and violin; living in Whidbey Island and Los Angeles. This season takes her across the West for concert and festival appearances with Baroque Music Montana, Bach Collegium San Diego, Musica Angelica, Sinfonia Spirituosa, Bitterroot Baroque, Baroque Festival Corona del Mar and the Oregon Bach Festival.

Along the Washington side of the I-5 freeway, catch her in 2022 performing with Byron Schenkman & Friends, the Salish Sea Early Music Festival and as principal violist with Seattle Baroque Orchestra. She also serves on the boards of Early Music Seattle as the SBO liaison and Pacific Northwest Viols.

Down on the SoCal side of ‘The 5,’ she serves as Artistic Director of Los Angeles Baroque, Adjunct Professor of Baroque Violin at Claremont Graduate University, and Artistic Advisor of Kensington Baroque Orchestra. She has previously taught at the Colburn School and was Associate Director of the UCLA Early Music Ensemble from 2011-2015.

A few favorite pre-pandemic musical endeavors include: Artist residencies at Michigan State University, University of Richmond, Northwestern State University of Louisiana, and University of Northern Colorado; and memorable musicking moments performing with American Bach Soloists, Pacific MusicWorks, and in fringe concerts of Boston and Berkeley Early Music Festivals. In the non-baroque world, she has recorded for film and TV scores, and performed with artists across the musical spectrum from Anne Akiko Meyers to Stevie Wonder.

Her pandemic projects have included: exploring nearly the entire three-viol repertory with the Downtempo Divas, practicing the bass viola da gamba, recording a forthcoming studio album, learning wheel-thrown pottery (on instagram @baroquenpottery), and cooking her way through most of Yotam Ottolenghi’s Simple.

Dr. Strand-Polyak holds a PhD/MM in musicology and violin performance from UCLA, studying with Movses Pogossian, Guillaume Sutre and Elisabeth LeGuin.

Praised for her “warm, colorful mezzo” by Opera News, Sophie Michaux has become one of Boston’s most versatile and compelling vocalists. Born in London and raised in the French alps, Sophie’s unique background informs her artistic identity, making her feel at home in an eclectic span of repertoire ranging from grand opera to French cabaret songs.

The current season brings a number of exciting engagements for Sophie including a solo recital of Barbara Strozzi’s vocal music at the Fundazione Cini in Venice, Italy, as well as in Annecy, France, and Boston. She also appears with The Boston Cecilia in their Transcendental Passion, as well as in The Chorus of Westerly’s Spring Pops. She was a featured soloist with Musicians of the Old Post Road in their Christmas Pilgrimage concert, and joined In Stile Moderno for a program of John Dowland lute songs in Boston and Brattleboro, VT.

A consummate singing actor, Sophie is known for her committed portrayals of a wide variety of demanding roles on the opera stage. Sophie recently appeared as Ceres in Boston Early Music Festival’s production of Lalande’s rarely-staged Les Fontaines de Versailles (2020 GRAMMY nominee for Best Opera Recording), garnering acclaim from the Boston Musical Intelligencer for her “astonishing range and flexibility.” She has sung the title roles of La Cenerentola (NEMPAC), Lucretia in The Rape of Lucretia (Opera Brittenica), and Rinaldo (Boston Opera Collaborative) for which she was nominated as Best Female Performer in an Opera for the 2015 Arts Impulse Theatre Awards. Sophie has enjoyed the challenge of interpreting a number of modern and contemporary opera roles, among them Anne in To Hell and Back by Jake Heggie (Boston Opera Collaborative), Mrs. Soames in Our Town by Ned Rorem (Boston Opera Collaborative), Higuchi in Troubled Water by Mischa Salkind-Pearl (Guerilla Opera), and Ceres in The Tempest by Joseph Summer (The Shakespeare Concerts).

A 2019 Finalist in the New York Oratorio Society Competition, Sophie is a sought-after soloist on the concert platform. Recent engagements on the concert platform include the Bach Magnificat (New England Classical Singers) and B Minor Mass (ChoralArt), Beethoven’s Mass in C (Chorus of Westerly), Duruflé’s Requiem (Trinity Church of Boston), Rossini’s Petite Messe Solennelle (Metropolitan Chorale), and many others. Sophie is a proud core member of Lorelei Ensemble, Boston’s groundbreaking professional women’s ensemble. With Lorelei, she has performed alongside the Boston Symphony Orchestra, A Far Cry, and others, and been featured soloist in numerous works from Renaissance polyphony to Björk. She has also sung with Blue Heron and is a frequent professional ensemble member with Boston Lyric Opera. She can be heard on recordings with Blue Heron and is a frequent professional ensemble member with Boston Lyric Opera. She can be heard on recordings with BEMF, Blue Heron, the Lorelei Ensemble, La Cappella Mediterranea, The Revels, and The Shakespeare Concerts.

Sophie belongs to Beyond Artists, a coalition of artists that donates a percentage of their concert fees to organizations they care about. Through her performances, she supports The Ocean Clean Up, 350.org (Climate Change), and Give Directly (Direct Poverty Relief).

Na’ama Lion is well known as a versatile performer on early flutes. She has explored medieval music, playing with “Sequentia”; Renaissance consort music with "Tres doulx"; 18th and 19th century music with numerous groups, including Boston Baroque, Jerusalem Baroque Orchestra, Handel and Haydn Society, Arcadia Players, Grand Harmonie, and more. She is a committed performer of new music, and plays with the crossover group “Rumbarroco”. Na’ama holds a Doctoral degree from Boston University, teaches at the Longy School of Music and directs a chamber music program at Harvard College. Na’ama has recorded for Deutsche Harmonia Mundi, Telarc and private labels.

Claudia Liliana Gantivar

Claudia holds a Master of Arts in Recorder Performance from the Conservatory of Music in Geneva, Switzerland (2004). She has performed and taught in Europe, US and South America. She has recorded with the Ensemble Elyma (Switzerland, 1997), Musica ficta (Colombia, 2007), Esfera Armoniosa; www.esferaarmoniosa.com (Colombia, 2009, and 2015). After moving to the USA in 2009, she collaborated in the Early Music program at the Palm Beach Atlantic University in Florida. In California, she has been a guest conductor at several Recorder Workshops, has served as a member of the faculty of the SFEMS Recorder Workshop, and has played many times as a soloist in the Santa Cruz Baroque Music Festival and with different ensembles in the area like the California Bach Society, the American Bach Soloists, and the Farallon Recorder Quartet. As a teacher, Claudia is part of the faculty in the Community School and Music and Arts in Mountain View.

Pianist Jacqueline Schwab (who also plays some harpsichord and virginals) performs a wide range of music, including her arrangements of vintage American music from the 18th century and on. She has been heard on over a dozen documentaries by Ken Burns, including his Civil War, Thomas Jefferson and Lewis and Clark. She plays for English country dancing with Bare Necessities and has performed (on virginals) with the Boston-area Renaissonics ensemble. She teaches piano improvisation. She is a graduate of New England Conservatory, where she majored in piano improvsation but also studied historical dance reconstruction with Julia Sutton. She has been on the faculty for the New London Assembly, sponsored by Amherst Early Music.

Dr. A Hoffman

Dean A. Hoffman holds degrees in Communications Studies and English from the University of California and a Leverhulme Trust postdoctoral fellowship at University of Dundee, Scotland. A recognized scholar of early modern criminality, he has published in multilingual journals and addressed learned societies both in the USA and the United Kingdom. Dr. Hoffman has also authored auteurist film criticism devoted to iconoclastic directors like Orson Welles and Sam Peckinpah, and has developed a range of original graduate course offerings which explore such subjects as Bakhtin and the Semiotics of Carnival, Cold War Cinema, and the counterterrorist thematics of Pontecorvo’s The Battle of Algiers. Dr. Hoffman is currently Director of North American Affairs for the Occidental Studies Institute.

Alastair Thompson (they or he) does a little bit of a whole lot of different things. As a keyboard player, Alastair was a founding member of Cavalier Consort, devoted to 17th-century English music for viols & organ. Their dance band, Blue Pearmain, plays historically-informed Georgian music for Regency & English country dancers. Other ensembles of which Alastair was a regular or founding member, generally as a continuo player, include Fourscore (trio sonatas with violins in scordatura), Heliotrope Consort, & Patalena. They have also been invited to be a guest artist with Ensemble Musica Humana, Les Enfants Terribles, the Zelenka Project, & the Weckmann Project. The viol consort Long & Away was even kind enough to allow Alastair to play viol with them in a concert that featured music paired with poetry. Alastair often collaborates with Massachusetts-based broken consort Seven Times Salt, having co-programmed two shows with them: a Scottish concert, Rantin’ Pipe and Tremblin’ String, & the Hallowe’en extravaganza The Corners of the Moon. In STS’s A Brave Barrel of Oysters, Alastair reads excerpts (in historical pronunciation) from the diary of Sam Pepys. As for theatrical projects, Alastair co-directed an independent production of the 1659 masque Cupid and Death, & over the years has danced in a variety of baroque operas at Amherst Early Music Festival & Tufts University. They have also in the past served on the boards of the Viola da Gamba Society — New England & the Cambridge Society for Early Music. For fun, Alastair does crewelwork & cryptic crosswords.

Beverly Simmons is a singer, arts administrator, and graphic designer. She earned a DMA in early music performance practice at Stanford University, and currently divides her time between California and Washington, DC. Her career includes stints as a singer, choral conductor, music professor, classical radio announcer, international artist manager, executive director — all specializing in early music — and mother of two. She founded the Case Western Reserve University Early Music Singers, which she directed for 21 years; and she presented early music ensembles and soloists for a quarter-century as founder/manager of the concert series Chapel, Court & Countryside: Early Music at Harkness. A founding board member of Early Music America, she served as executive director from 1993 to 2001, launching Early Music America magazine, as well as award and scholarship programs. She co-founded Quire Cleveland and was executive director for its first decade. Through Ffortissimo Design, she edits and designs books, and creates promotional materials for early music ensembles and organizations. When she was half of the cabaret duo, Rent-a-Yenta, an admirer said, "I've seen worse on Broadway!"

Mr. Evan Buttar

Mr. Lucas Harris

Lucas Harris studied the lute and early music at the Civica scuola di musica di Milano (as a Marco Fodella Foundation scholar) and then at the Hochschule für Künste Bremen. Based in Toronto since 2004, Lucas is the regular lutenist with Tafelmusik Baroque Orchestra and enjoys a busy freelance career with dozens of other ensembles. He is on faculty at the Tafelmusik Baroque Summer Institute, Oberlin Conservatory’s Baroque Performance Institute, and the Vancouver Early Music Festival’s Baroque Vocal Programme. Lucas is also a founding member of the Toronto Continuo Collective (continuo.ca), the Southern Italian folk group known as the Vesuvius Ensemble (vesuviusensemble.com), and the multi-ethnic Lute Legends Ensemble (lutelegends.com). Recordings include a solo CD ‘Baroque Lute Recital’ as well as the duo CD ‘The Bach/Weiss Sonata’ with violinist Geneviève Gilardeau.

In 2011 Lucas began graduate studies in choral conducting at the University of Toronto with the help of a prestigious SSHRC research award. He was named the new Artistic Director of the Toronto Chamber Choir just after graduating in 2014. Lucas has been a guest music director for the Pacific Baroque Orchestra, the Ohio State University Opera Program, Les voix baroques, and the Toronto Consort.

Applauded for his “gleaming trumpet work” (Hyde Park Herald) and “dazzling virtuosity” (Grunion Gazette), the American trumpeter Justin Bland is a versatile musician, performing on both historical and modern trumpets. He specializes in early music, most notably in difficult high-register music for Baroque trumpet. Before formally studying Baroque trumpet, Justin won first prize in multiple historical instruments divisions of the National Trumpet Competition. As a highly sought-after solo/principal Baroque trumpeter, Dr. Bland has performed with several leading ensembles in North America including American Bach Soloists, Apollo’s Fire, Bach Collegium San Diego, Boston Baroque, Handel and Haydn Society, Washington Bach Consort, and many others. He has also played in South America with Ensamble Barroco de Bogotá.

Justin continues to perform as both a soloist and ensemble musician, combining ongoing North American engagements with new collaborations with leading Baroque ensembles in Denmark as well as in the rest of Scandinavia and Europe. In Europe he has played Baroque trumpet with Akademie für Alte Musik Berlin, Arte dei Suonatori, Göteborg Baroque, Händelfestspielorchester Halle, Les Arts Florissants, Wrocław Baroque Ensemble, and many more. Justin also plays recorder, and has performed with ensembles including Croatian Baroque Ensemble, Enghave Barok, Finnish Baroque Orchestra, NivalisBarokk, and Orkester Nord.

As a modern trumpeter, Justin has experience performing in orchestras, wind ensembles, jazz ensembles, pit orchestras for opera and musical theater, British brass bands, and numerous chamber ensembles. Before beginning his college career, he was principal trumpeter of the DC Youth Orchestra and had the opportunity to tour Japan as a trumpet soloist. He also performed regularly with the Prince George’s Philharmonic while in high school. More recently, he as appeared as a soloist with the South Dakota Symphony, the Firelands Symphony, and the Las Vegas Sinfonietta.

In addition to be being a trumpeter, Justin is also a countertenor and has sung with Apollo’s Fire and Opera Cleveland. While in Ohio, he was an alto section leader in the chamber and chancel choirs at Trinity Cathedral in downtown Cleveland and was the countertenor with Cantores Cleveland (now Contrapunctus). In addition, Justin briefly served as a bass section leader at Church of the Covenant in Cleveland. Justin also plays recorder.

Justin earned his DMA in trumpet performance from the University of Nevada, Las Vegas. He received his MA in early music performance practices from Case Western and his BM in trumpet performance from the University of Maryland. His primary trumpet teachers include Chris Gekker, Barry Bauguess, Steven Hendrickson, Steven Trinkle, and Justin Emerich. He has studied voice with Delores Zeigler, Ellen Hargis, and Aaron Sheehan. As a graduate assistant, Justin taught courses in ear training and music appreciation, and was a harpsichord tuner.

“It [the Baroque trumpet] is more difficult to play than its modern counterpart, but it’s a fascinating and arresting sound. The trumpet part in the second [Brandenburg] concerto is famous for its fiendish difficulties, and Justin Bland played it with aplomb.” (Edmonton Journal)

“The orchestra brought out the pulsy organ-grinder quality in the first movement of Concerto 3, but it was [Brandenburg] Concerto 2 that was the real show-stopper. Justin Bland, on Baroque trumpet, trilled his way nearly effortlessly through one of the most difficult parts in the repertoire, the highest notes piercingly clear above the orchestra.” (Post-Bulletin)

“Og så er det jo spændende, om bassanger og trompet står distancen i den lange arie “The trumpet shall sound.” Men her var ingen slinger. Med stor og fast stemme sang Lucas Bruun de Neergaard den pompøse tekst om opstandelsen på den yderste dag, ledsaget af en klangskøn baroktrompet, udført af Justin Bland. Herligt!” (Viborg Stifts Folkeblad)

“Skilled [Baroque trumpet] players can play the notes of the harmonic series with such instruments. A very refined embouchure is needed to “lip” or flatten or sharpen the impure harmonics of the notes of the 11th and 13th harmonics. The most virtuosic could use such techniques to produce certain chromatic notes outside this series…Justin Bland made such skills seem effortless…” (Classical Voice of North Carolina)

“Onstage, the performers exhibited an astonishing level of virtuosity, both as an ensemble and in solos…Justin Bland, with a heraldic trumpet that lacked valves or keys, produced beautiful sounds in a work by Johann Melchior Molter.” (Grunion Gazette)

“A good trumpet player is hard to find, and an excellent one harder still. It’s again still rarer to find a great player of the baroque trumpet, since the instrument is considerably harder to play than its modern counterpart (smaller embouchure, no valves) and this may explain why Justin Bland is so darn busy and why he plays with, well, basically everyone.” (The WholeNote)

“Add in the splendors of Baroque trumpets (with Justin Bland delivering nuanced playing in “The trumpet shall sound,”)…and our cup runneth over with highlights.” (Greg Hettmansberger, writer for Madison Magazine)

“…trumpeter Justin Bland displayed dazzling virtuosity in the solo cantata [“Jauchzet Gott in allen Landen”]…”(Grunion Gazette)

“In these performances, trumpeter Justin Bland alternated between instruments, playing a modern valved trumpet in the Saint-Saëns and a valveless “natural” trumpet, for a better blend with two flutes in a wind chorus, in the d’Indy octet.

In both pieces, Bland ably reined in volume and brightness, keeping his instrumental lines within the fabric of ensembles rather than blaring over them – a peril that explains the scarcity of trumpet parts in chamber works with strings.” (music critic Clarke Bustard)

Dr. Ruben Valenzuela

Dr. Alice M Chuaqui Baldwin

Named as one of Early Music America’s Emerging Artists of 2021, harpsichordist Alice M. Chuaqui Baldwin is known for her vivid and exciting interpretations of Baroque music. Praised by The Register-Guard (Eugene, Oregon) for her “masterful solo performances” and “brilliant” playing, Alice specializes in 17th-century Italian repertoire as a soloist, while her expertise as a continuo artist runs the gamut of the Baroque and Classical periods.

As the founder and director of La forza delle stelle | Baroque Orchestra, a period-instrument orchestra based in New York City and northern New Jersey, Alice is passionate about infusing old music with new life and fresh ideas. She is also driven to increase access to and awareness of historical performance practice and runs a YouTube channel called “Exploring Early Music with Dr. Alice Chuaqui Baldwin,” in addition to the position she holds as the Visiting Assistant Professor of Keyboard and Music History at the University of Wyoming.

Alice was the featured young artist in the January 2019 issue of Early Music America magazine and was interviewed as part of their “Early to Rise” series. She has also had the great fortune to perform with many of today’s luminaries in the field of early music, including concerts with His Majestys Sagbutts & Cornetts, Masaaki Suzuki, Rachel Podger, Matthew Halls, Monica Huggett, Paul O’Dette, Robert Mealy, Craig Hella Johnson, and Helmuth Rilling. She spent several summers working as a continuo artist at the Oregon Bach Festival and has also been a member of the continuo team at the Tafelmusik Baroque Summer Institute.

Alice holds a doctorate in harpsichord from Indiana University, where she studied with Elisabeth Wright and Jacques Ogg. She has also studied Baroque music in a variety of settings outside of academia, including being a Phyllis and Charles Rosenthal Fellow at the inaugural Juilliard at the Piccola Accademia program in Montisi, Italy; twice attending the Tafelmusik Winter Institute; and participating in the American Bach Soloists Academy.

In addition to her early music pursuits, Alice is also an active performer of new music. She has premiered several works, both on piano and harpsichord. Most recently, she performed in the world premiere of the septet Equi-Nox (2021)–written by her husband, composer Nicolas Chuaqui–as part of the Become New Music concert series in New York City.

Mr. Jeremy Rhizor

Jeremy Rhizor plays the baroque violin and founded the Academy of Sacred Drama, an organization inspired by Baroque academies that champions the performance and research of sacred drama. Noted for playing “virtuosically but with fluid grace” by The New York Times, Jeremy performs with early music organizations throughout North America such as Aureas Voces in Nova Scotia, Alchymy Viols in Indiana, Ensemble VIII in Texas, Mountainside Baroque in Maryland, the Washington Bach Consort in Washington, DC, and Bach Vespers, Brooklyn Baroque, and the American Classical Orchestra in New York. He is currently exploring the relationship between music and prayer and is learning about user interface design. Jeremy lives in North Salem, NY.

MARTIN BERNSTEIN has been heard with numerous ensembles across the world, in venues ranging from 17th-century Italian palazzos to modern art museums in Reykjavik to the concert halls of New York City. Bernstein began studying recorder at age five, first with Charles Sibirsky and later with Nina Stern. At 18, he left New York City to study at the Royal Conservatoire of the Hague with Reine-Marie Verhagen and Han Tol. Bernstein holds the third prize from the 2019 Moeck/SRP International Recorder Competition, widely recognized as the world's most important recorder competition. His other honors and awards include: first prize in Piffaro's 2013 Young Performers Competition in Philadelphia, PA; first prize in the under-22 category at the 2014 Internationele Prijs Mieke van Weddingen in Leuven, Belgium; an appearance on U.S. National Public Radio's "From The Top" program for young classical musicians in 2015; a 2016 National YoungArts gold finalist scholarship; and second prize in the 2017 international young talent search hosted by Maurice Steger and the Malaysian Philharmonic Orchestra. Bernstein serves on the faculty at various American early music festivals and workshops. He currently studies history and philosophy at Harvard University.

Professor Emeritus (harpsichord, organ, performance practices, Assistant Director of Early Music Studies), College of Music, University of North Texas, Denton (1982-2009).

Former Associate Organist/Choirmaster, Memorial Church, Harvard (1972-79); teaching fellow in harpsichord, Eastman while working on DMA in organ (1979-1982). Recent activities include writing part of the preface to the new edition of Grigny's Premier Livre d'Orgue (Leupold Editions). Concerts include both organ and harpsichord in many venues in the US; Bach, St. Matthew Passion, continuo I; continuo in many other area concerts; continuo for two operas with The Dallas Opera. Steering Committee (Workshops), 2017 AGO Regional Convention in Dallas. Director of Music, Trinity Presbyterian Church, Denton (2010-Aug. 2023); board member, UNT Retirees Association; board member, New Texas Symphonia, Tyler, TX. Happily retired and newly married in 2020.

Mr. Anthony Martin

Ms. Corlu Collier

Director, Oregon Coast Recorder Society

Prof. Mark Kroll

For up-to-date details, please see Mark Kroll's website: www.markkroll.com

During a career spanning more than five decades, Mark Kroll has performed throughout North and South America, Europe, the Middle East and Asia, winning critical praise for his expressive playing and virtuosity. His extensive list of recordings includes works of J.S. Bach, C. P. E. Bach, Handel, D. Scarlatti, Duphly, Balbastre, Schubert, and Biber; three critically acclaimed CDs of contemporary American harpsichord music; a Grammy-nominated recording of Henri Dutilleux’s Les Citations with the Boston Symphony Chamber Players (he served as harpsichordist of the Boston Symphony Orchestra for 30 years); a recent CD of the harpsichord music of Vittorio Rieti; and the complete pièces de clavecin of F. Couperin.

Kroll has also distinguished himself as a scholar and teacher. He has published important editions of the music of Hummel, Geminiani, F. Scarlatti and Avison, and eight books: Ignaz Moscheles and the Changing Musical World of Europe; Johann Nepomuk Hummel: A Musician and His World (also published in a second English edition, and in Slovakian translation); Bach, Handel and Scarlatti: Reception in Britain, 1750-1850; Playing the Harpsichord Expressively (also translated into French); The Cambridge Companion to the Harpsichord; The Boston School of Harpsichord Making; a facsimile edition of Johann Nepomuk Hummel: A Complete Theoretical and Practical Course of Instructions on the Art of Playing the Piano Forte; and The Beethoven Violin Sonatas.

Kroll has taught and given master classes throughout the world, and is Professor emeritus at Boston University, where he served as founder and chairman of the Department of Historical Performance for 25 years. He has also taught at MIT, the University of California, and Northeastern University. Mark Kroll is a founding member of Early Music America, and in 1981 was one of the three founders of the Boston Early Music Festival.

Dr. David Lasocki

Retired music reference librarian from Indiana University. Researcher of early woodwind instruments, especially the recorder and flute. Publisher of e-books, mostly about early music, and e-editions of early music.

Ms. Judith B. Klotz

Member of La Spirita consort of viols www.laspiritaviols.org

Founding Board member of Guild for Early Music serving central NJ and Eastern Central Pennsylvania: www.guildforearlymusic.org

Dr. Alexander Silbiger

Mr. Michel Sherman

Michel Sherman, a Los Angeles-area resident, was born in France. He studied classical guitar with Miroslav Jesic in New York, participated in numerous master classes, and continued learning on his own. In the late 1960s he studied the Renaissance lute with Joseph Iadone, and Medieval/Renaissance/Baroque music performance with the New York Pro Musica Antiqua. Later, he studied lute with Paul O’Dette and Patrick O’Brien, and also learned to play the vihuela (16th century Spanish lute).

Michel has lived in the United States, Pakistan, Thailand, and his native France. He has played for international film festivals, theater, art galleries, weddings, radio, films, and house concerts.

He also composes contemporary classical music for guitar and lute. He studied composing with Mike Garson and Constance Demby. His innovative first album, The Earth Speaks, contains original guitar and lute music interwoven with sounds of nature. It has been praised as dreamy, evocative, and a magical mystery tour.

Michel’s new CD, Melodia, features guitar classics from Europe and Latin America.

Currently, Michel is
~ Giving performances for professional organizations, arts/music/film festivals, weddings, and at private homes.
~ Arranging his compositions for ensembles
~ Writing music for guitar, lute, and vihuela

Find out more at www.EnchantingGuitar.com.

Founder of Bennington Baroque, Sandra Mangsen is a musicologist and harpsichordist who has retired to North Bennington after a long career in the Don Wright Faculty of Music, at the University of Western Ontario in London, Ontario, where she co-directed the Early Music Ensemble and served as Associate Dean of Graduate Studies in Music. She studied harpsichord at McGill University and was awarded the Ph.D. in Music from Cornell University in 1989. She has performed widely as a harpsichordist, including memorable concerts with Jaap Schroeder and Mary Cyr, and has served as president of the Midwestern Historical Keyboard Society (now merged with its counterpart, SEHKS, to form the Historical Keyboard Society of North America). She currently serveson the Board of the Westfield Center for Historical Keyboard Studies. Her musicological research focuses on historical performance practice and reception history; articles have appeared in Early Music, Performance Practice Review, Music & Letters and elsewhere. Her book entitled Songs without Words: Keyboard Arrangements of Vocal Music in England, 1560–1760 Society was published in 2016 by the University of Rochester Press (Boydell & Brewer).

Dr. Barbara Jackson

Mr. Allan J. Dean

Trumpet Professor Emeritus, Yale School of Music. Directed a student cornetto and sackbut ensemble at Yale. Performed on modern trumpet with St.Louis Brass, Summit Brass and Yale Brass Trio. Early groups, Calliope and New York Cornets and Sacbut. Now retired and playing mostly jazz.

Joy Ryan organizes and hosts baroque ensembles in her home and hosts house concerts and recitals by young early music artists. She is an amateur harpsichord continuo player. A retired U.S. Justice Deapartment trial attorney, Joy now promotes and supports early music as a full-time activity.

Professor Emeritus at the Florida State University College of Music and former Coordinator of Music History and Musicology, received the B.M. degree in clarinet performance from the College-Conservatory of Music in Cincinnati and the B.S. in Music Education from the University of Cincinnati. He earned an M.A. in Musicology with a minor in Philosophy from the University of New Mexico and the Ph.D. in Musicology with minors in Music Education and English Literature from the University of Hamburg, in Hamburg, Germany.

In addition to teaching music history and musicology-related courses, Professor Kite-Powell directed the FSU Early Music Ensemble, a group that often exceeded fifty graduate and undergraduate students divided into ensembles of brass, woodwind, and string instrumentalists, and the select vocal group, Cantores Musicæ Antiquæ.

His publications include:

* the definitive study of The Visby (Petri) Organ Tablature of 1611, Heinrichshofen's Press in Wilhelmshaven, Germany, 1980. (digital copy at: https://www.academia.edu/42217807/The_Visby_Petri_Tablature_from_1611, published by

the reconstruction of Hugo Leichsenring's important dissertation on Church Music in Hamburg during the Reformation* (Berlin, 1922), published by Wagner Publishers, Hamburg, Germany, 1982; digital copy at: https://www.academia.edu/44757682/Hamburgische_Kirchenmusik_im_Reformationszeitalter

**A Performer's Guide to Renaissance Music, editor of and contributor to both the 1994 first edition (Schirmer Books) and the 2007 expanded and revised second edition (Indiana University Press.

a translation and edition of Michael Praetorius's Syntagma Musicum III, published by Oxford University Press in 2004;

an article entitled "Notating–Accompanying–Conducting: Intabulation Usage in the Levoca Manuscripts," in the Journal of Seventeenth-Century Music, Vol. 1, Spring 2021.  https://sscm-jscm.org/jscm-issues/volume-27-no-1/notating-accompanying-conducting/

an article entitledMichael Praetorius's Organ works: The Notation Conundrum Revisited, In Organists' Review, March, 2021, pp. 25-31. Digital copy at:  https://www.academia.edu/44703598/Michael_Praetoriuss_Organ_works_The_Notation_Conundrum_Revisited

an article entitled "Michael Praetorius: In His Own Words, Early Music America Magazine* 10/1 (Spring 2004): 26-29. Digital copy at: https://www.academia.edu/42218676/Michael_Praetorius_In_His_Own_Words

In 2011 a book chapter entitled "Performance Forces and Italian Influence in Michael Praetorius's Syntagma Musicum III" was published as vol. 5 in the series Ligaturen: Musikwissenschaftliches Jahrbuch der Hochschule für Musik, Theater und Medien, Hannover, 115-32, Hildesheim: Georg Olms.  https://www.academia.edu/42212176/Performance_Forces_and_Italian_Influence_in_Michael_Praetoriuss_Syntagma_Musicum_III_1

The revised and expanded edition of A Performer's Guide to Seventeenth-Century Music, edited by J. Kite-Powell, was released by Indiana University Press in 2012.

On his retirement, over twenty colleagues and former students from across the country contributed to a book entitled "Hands-On" Musicology: Essays in Honor of Jeffery Kite-Powell,"* published in 2012 (see http://www.steglein.com/Books/books.php).

In 2019 his article, "Michael Praetorius's Variable Options on Performance" was published in the journal De musica disserenda, No. 2: https://www.academia.edu/42212165/MICHAEL_PRAETORIUSS_VARIABLE_OPINIONS_ON_PERFORMANCE

His chapter entitled “German Organ Tablature” will appear in  Tablature: Alternate music notations 1300-1750, John Griffiths, editor. Turnhout, Belgium: Brepols Publishers, Summer, 2023.

a paper deliverat the a conference in Edinburgh, Scotland entitled “The Relationship between the Instrumentälischer Bettlermantl and the Syntagma Musicum of Michael Praetorius: AS and MPC compared," 1997. Digital copy at: https://www.academia.edu/42212456/_The_Relationship_between_the_Instrument%C3%A4lischer_Bettlermantl_and_the_Syntagma_Musicum_of_Michael_Praetorius_AS_and_MPC_compared_

* a paper delivereed at a conference in Hamburg Germany, 1995 "The Hieronymus/Anonymous Question in the Visby (Petri) Tablature." Digital copy at: https://www.academia.edu/42273397/The_Hieronymus_Anonymous_Question_in_the_Visby_Petri_Tablature_1

——–
Dr. Kite-Powell has been an invited lecturer at international conferences in Göteborg, Sweden, 1994, Hamburg, Germany, 1995, Edinburgh, Scotland, 1997 (where he was the keynote speaker), and Wolfenbüttel, Germany, 2008.

He has been a clinician at workshops around the Southeast and has taught at the Amherst Early Music Institute.

Professor Kite-Powell served as president of Early Music America (1998-2001), treasurer of the Society for Seventeenth-Century Music (1997-1999), and president of the Southern Chapter of the American Musicological Society (1992-1994).

Other activities include service for several years (through 2010) on the editorial board of the Seventeenth-Century Society's Web Library of Seventeenth-Century Music, and he served (2010-2012) on the American Musicological Society Performance Committee, and organized the events for the convention in San Francisco in November, 2011. He also served on the Advisory Board of Early Music America Magazine for several years.

Honors and awards include:

Travel to Collections grant from the NEH, 1992
President's (FSU) Foundation Grant, 1992-1993
Teacher Incentive Award, 1994
Early Music America's Thomas Binkley Award for Outstanding Achievement by a Collegium Director; presented at the Boston Early Music Festival, June 2003

Festschrift: Hands-On" Musicology: Essays in Honor of Jeffery Kite-Powell, published in 2012.

Selections from his ensembles' concerts can be heard at:
https://www.youtube.com/user/jtkp1/videos?view=0&sort=p&flow=grid

Online research links:

https://independent.academia.edu/JefferyKitePowell?from_navbar=true

I am an amateur recorder player; in my other life I teach political science and environmental studies at Suffolk University–at least, I did until I retired in 2016. I still teach an occasional course.

Beverly R. Lomer is an independent scholar with research interests in gender and early music. She has taught courses in Women's and Gender Studies and Gender and Music at Florida Atlantic University. She is currently involved in an open scholarship project with the International Society of Hildegard von Bingen Studies in which Hildegard's entire Symphonia [transcriptions and translations with scholarly commentary] is digitized and available for free download to all. She is also a recorder player with a special interest in performing from original Renaissance and late medieval notation.

Nancy Tooney was introduced to the joy of recorders by Patsy Rogers in the 1990's and she then moved on to study recorder with virtuoso Rachel Begley. Currently she is deep into learning mensural notation and playing from old music manuscripts under the patient tutelage of Valerie Horst and mavens at the Amherst Early Music Festival. After a long stint as a professor of biochemistry and an academic administrator, she escaped academe and was then employed for several years as business and concert manager by the Dessoff Choirs in NYC. She has served on the boards of three early music groups — Amherst Early Music, Music Before 1800 and Gotham Early Music Scene, NY (GEMs). Nancy also likes to write. In addition to preparing program notes for the Recorder Orchestra of NY, she has had a few articles and reviews published in Recorder Society of LI and NY Recorder Guild newsletters as well as in the American Recorder Society magazine.

Professor emerita of Music, Univ. of Calif., Irvine
Special field: Italian Baroque vocal music, esp. in Rome

Retired Music Professor from UC Riverside. Long-time Collegium director, editor of the complete vocal works of Hieronymus Praetorius (in progress) and author of articles on Hamburg sacred music in the 17th century, especially the Praetorius family of organist-composers.

More can be seen on the UC Riverside Music Department website, although a bit out of date.

Will Ayton, the youngest of four children, was born in 1948 in Kansu province, China, of missionary parents. He received a BME from Shenandoah Conservatory of Music, a MME from New England Conservatory of Music, and a DMA in composition from Boston University. He currently lives with his wife, Nancy, in Providence Rhode Island. He is a retired professor of music, occasionally performs in various Early Music ensembles, composes for a variety of musical media, and attempts to be a husband

Dr. Nancy Garlick

Nancy Garlick is a recorderist and member of The Wild Geese Trio, the Dowland Consort and The Crozet Quartet, and The Shenandoah Valley Bach Festival. Performs in east coast of USA and Europe. Formerly on music faculty of the University of Virginia and The College of Wooster. Co-Director of the Shenandoah Recorder Society, a chapter of The American Recorder Society.

B.A. Pomona College; M.A. and Ph.D. University of California, Berkeley. Director of Music Programming & Facilities and Professor of Music, Pomona College since 1983.

Born in Flushing, Queens, NYC. Studied music at the University of Vermont and Trinity College of Music, London. Degree in Botany, from UVM. Currently live in South Texas, teach Chemistry and work as a Respiratory Therapist at Valley Baptist Medical Center. Play recorder, hapsichord, viola da gamba.

Independent musicologist. M.A. in musicology, New York University. Past-President of American Musical Instrument Society (AMIS); associate editor of AMIS Journal. Senior Editor (articles on musical instruments and their makers) for Grove Dictionary of American Music (2013) and Grove Dictionary of Musical Instruments (2014). Also active in Society for American Music (SAM) serving on committees and (formerly) as archivist. Exhibits researcher for Smithsonian Institution. Also 25 years as computer scientist for U.S. Naval Research Laboratory, Washington DC.

B. Mus. Piano, Conservatory of Music of University of Missouri at Kansas City, 1960

M.A. Music (Organ) San Francisco State University 1964

Candidate D.M.A. Performance Practice Organ, Stanford University, 1971

D.D.S. Dugoni School of Dentistry, University of the Pacific 1978, rprivate practice in dentistry Berkeley 1978-2005, etired from dental practice 2005

Organist First Unitarian Church of Berkeley 1979-84

Instruments played: Organ, Harpsichord, modern Piano

Currently doing occastional organ recitals. last one at Unitarian Universalist Church of Berkeley 2016

Avocational recorder player and singer. President of Amherst Early Music Fesitval and also Oratorio Society of New York.

Of his New York début the reviewer for The New York Times wrote “The harpsichord can seem a genteel instrument, but Peter' Wolf's debut recital. . . at Carnegie Recital Hall was about as thrilling as gentility can be. With this performance Mr. Wolf established himself as one of the finest harpsichordists before the public today.” Since then, he has performed widely across the United States both as soloist and as a member of various ensembles.

Peter graduated magna cum laude in music from Harvard and received his Ph.D. in music history from Yale. In his “spare” time, he collects stamps and he and his wife, Rachel Doggett, have bred champion Cardigan Welsh Corgis for the past twenty years, Their youngest, Tiger, has recently earned his Gold level Grand Championship in the show ring..

Goldwin Smith Professor of Mathematics

Cornell University

Biography in Marquis "Who's who in the World"

Born in London and raised in Rhodesia, Murray Somerville was University Organist and Choirmaster at Harvard for thirteen years. Trained as organist and conductor in Germany, at Oxford (where he was Organ Scholar of New College), in New York and Boston (DMA from NEC), he also directed the Winter Park Bach Festival while serving the Cathedral of St. Luke in Orlando (where he founded the Orlando Deanery Boychoir.) Having co-founded the Harvard Baroque Chamber Orchestra with Robert Mealy, after leaving Boston he also co-founded Music City Baroque, a period performance ensemble in Nashville, TN, with George Riordan and Karen Clarke. He has recorded and appeared widely as choral conductor and solo organist, and has recently adding harpsichord continuo playing to his resume, as a member of Catawba River Baroque in upper South Carolina, where he now lives.

Musicologist and early keyboard player Rebecca Cypess is Associate Professor of Music at the Mason Gross School of the Arts, Rutgers University. Her publications include the book Curious and Modern Inventions: Instrumental Music as Discovery in Galileo's Italy (University of Chicago Press, 2016), as well as numerous articles and book chapters on the history, interpretation, and performance practices of music in 17th- and 18th-century Europe. She is also co-editor of the two-volume Word, Image, and Song (University of Rochester Press, 2013) and Sara Levy's World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin (University of Rochester Press, 2018). Her current book project is "Resounding Enlightenment: Music as an Instrument of Tolerance in the World of Sara Levy."

As a performer she concertizes regularly in the northeast, and, with her ensemble, The Raritan Players, she is exploring music in late 18th-century salons. The group's first recording, In Sara Levy's Salon, was released by Acis Productions in 2016.

Cypess holds a BA from Cornell, where she studied with Malcolm Bilson; an MMus in Harpsichord from the Royal College of Music (London); an MA in Jewish Studies from Yeshiva University; and an MA, MPhil, and PhD from Yale University.

Monica Hultin

Monica Hultin is a longtime Early Music enthusiast who received her Bachelor of Music in voice at the Dessautels Faculty of Music at the University of Manitoba in 2020. She participates in various choirs, attends early music workshops, works with her small early music choral ensemble, This Merrie Companie, and plays music and volunteers with the Winnipeg Early Music Society. She is also studying Medieval Music online with Medieval Music Besalu.

Now semi retired from performing, Judith Kay spent three decades as a unique singer-guitarist specializing in her own self-described TastyJazz™, a multifarious mix of swing-era jazz, Brazilian bossa nova, original and unusually fun and eclectic songs, hand-picked for catchy harmonies, everlastingly sweet melodies and/or lyrical wittiness.

Jazz great John Pizzarelli has called her a "singular sensation." WNYC radio announcer Jonathan Schwartz said "Judith Kay is wonderful" and the late Brazilian composer Billy Blanco wrote that she is "one of our very special people, interested in the music of Brazil".

Judith Kay's ChamberJazz™ Ensemble toured the greater Delaware Valley from 1991 till 2003. The core group consisted of Judith's guitar and vocals, along with the inimitable Philadelphia vibraphonist Tony Miceli;other stellar group members over the years include bassist Chris Berg, pianist Ron Thomas,bassoonist Chuck Holdeman, and trumpet player John Swana.

During this time Judith wrote and arranged exclusively for the group, over a hundred special arrangements. She has also written for string quartet and even handbells! Her commission (with lyricist Cecilia Vore) "Waiting for the Rain" for the Berkshire Chorale of Reading, Pennsylvania was debuted in the spring of 2003, then performed live in New York City by the vocal group C4, in June of 2008.

Judith begin to study Portuguese in the mid-80s and later travelled to Brazil several times to research the history and rhythmic styles of Brazilian popular music.This became the basis for a course which she taught at the University of Delaware called "The Brazilian Sound".

During the span of her career, she was fortunate to be aided in every way by her late husband/manager/photographer David A. McClintock [see sidebar story on him]. With his help as producer, Kay released six albums, as soloist or leader of her own group, on her own Tasty label. David passed away in 2008.

In 1997, along with McClintock and Arden resident Neal Van Duren, Judith was cofounder of the Arden Jazz Gild, a society devoted to the promotion and preservation of American jazz. During its two-year existence, the Gild presented five sold-out live music events featuring first-class Philadelphia area musicians, in addition to an international series featuring renowned New York guitarist Howard Alden.

Judith Kay was born Judith Kay Cordes, daughter of the late Kenneth L. Cordes, a chemical engineer who worked for DuPont, and Margaret Arnott Cordes, a special ed school teacher who played the piano and had once studied at Eastman School of Music. With her two sisters she grew up in the Wilmington, Delaware area. As a youngster, Judith began guitar lessons at age 11. By the time she was 14 she was composing her own music, and knew she wanted to be a professional musician. At 15 she was a late-start at the piano, but did the best she could, practicing her way through high school so that she could pass keyboard exams to get into music school.

In Philadelphia, following music theory/composition courses at Hartt College of Music and Temple University, Kay studied guitar with Bob DiNardo and Pat Martino. She worked on ear training and music theory privately with Donald Rappaport of the Academy of Vocal Arts, Philadelphia.. In 1979 she received a special grant from the National Endowment for the Arts to study big-band arranging with the late great Manny Albam. She subsequently took a focused summer seminar in arranging at Eastman School of Music which was led by both Albam, and the noted arranger, Rayburn Wright. In the 1980s she was awarded two Individual Artist Fellowships from the Delaware Division of the Arts – one in jazz performance as well as composition.

Judith Kay was stricken with thoracic outlet syndrome in the early 90s, a form of Repetitive Strain Injury, and since then, has endured a 20 year struggle with this intermittently painful and debilitating chronic condition. At one point she was unable to play her beloved guitar for 5 years. In spite of this she has continued to teach and perform (albeit, at times, as vocalist sans guitar), and is now a public proponent of the education of/assistance for musicians dealing with this dreaded condition, which afflicts thousands all over the United States, and the world. Click here to learn about Guitarists and Repetitive Strain Injury (RSI).

A new area of interest for Judith in the last decade has been Early Music – particularly the Medieval/Renaissance period. Between 2004 and 2011 she has received numerous grants from the Delaware Division of the Arts to sing this rich and under-appreciated music at workshops led by well-known groups like Western Wind, the San Francisco Early Music Society, and Chorworks in Washington DC, led by the celebrated tenor/conductor Philip Cave at the Washington National Cathedral. Perhaps down the road a mixture of Early Music and Jazz will show up on a Judith Kay recording – don't be surprised!

After a forced hiatus from the performing world 2007-2011, Judith Kay is thrilled to be now reemerging… with a new recording in the offing and a fresh look on the website. Arden Soirée, a new house concert series, was launched in spring 2012. Meanwhile she goes on as a sought-after Delaware Valley private teacher of guitar, voice and music theory at her home studio in Arden, Delaware. Click here to learn more about her classes for guitar, voice, and theory.

SHOWS

Here is a partial list of past memorable performance venues for soloist Judith Kay or Judith Kay's ChamberJazz™ Ensemble:

Staatliche Hochschule für Musik, Trossingen, Germany
Brazilian American Cultural Institute, Washington DC
Bethlehem Guitar Festival, Moravian College
The Philadelphia Art Museum, Philadelphia, PA
Hagley Museum, Wilmington, DE
Mt Gretna Playhouse, Mt Gretna, PA
Mid-Atlantic Chamber Music Society
Smithbridge Winery, Chadds Ford, PA
Commerce Square, Philadelphia, PA
Longwood Gardens, Kennett Square, PA
Artscape – Baltimore's Festival of the Arts
The Great Auditorium, Ocean Grove, NJ
IDB Bank, Washington, DC
Freedom Plaza, Washington, DC
Performing Artist Series, Univ. of Delaware, Newark, DE

Amateur viola d'amore player
former webmaster for International Viola d'amore Society, e.V.

Enjoy early baroque scordatura sheet music and various alternative tunings, minor composers, including anonymous.

Teachers: Heidi Leisinger (Basel: violin/viola), Dan Thomason, Adriana Zoppo (Los Angeles: VdA), Tom Georgi/TBSI (Toronto: VdA).
Instruments: 7/7 roundback Paul Hilaire 1950, 7/7 flatback Devin Hough commissioned 2007, 6/6 flatback Olivia Pelling/Phil White commissioned 2014; tourte baroque bow Pieter Affourtit, clip-in baroque bow Stephen Marvin.

Luthier at Perrin and Associates Fine Violins in Baltimore, Maryland. Specializing in offering historical and contemporary baroque violins, violas,cellos and bows at affordable prices for young professionals. Enthusiastic amateur baroque violinist.

Patrice Connelly

Australian gamba player and musicologist, resident in Queensland. Participant at many VdGSA past Conclaves; winner of the 2009 & 2017 Leo Traynor Competition for new viol music, and audience prizewinner in 2017. Founder of the Australian Viola da Gamba Society in 2000. Workshop organiser and teacher in Australia, and (now) occasional performer. Editor of over 220 editions of music for viols through Saraband Music, and publisher of The Saraband Simpson, A Tempest in a Glass of Water and Ganassi's Regola Rubertina. Editions and compositions also published by Dovehouse Editions, PRB Productions and VdGS (Gt Britain). President of the Early Music Society of Queensland from 2018 to 2023. Cat lover and genealogy obsessive. PhD candidate & tutor at University of Queensland.

Nikša Gligo (Split – Croatia, 1946) is full professor at the Department of Musicology, Music Academy of the Zagreb University and ordinary member of the Croatian Academy of Arts and Sciences. His main reserach fields are contemporary music, the terminology of music and the semiotics of music. Worth mentioning is his contribution to the standardization of Croatian music terminology and his research of Croatian contemporary music. He has published the books and articles in Croatia and abroad. He is laureate of numerous prizes.

A retired teacher of English language and literature, I now write and lecture on English opera of the 17th and 18th century and coach singers in the pronunciation of Middle and Early Modern English.

I have written a book about the famous Dutch baritone Max van Egmond (available on the website www.julieandfransmuller.nl) and my (published) PhD dissertation was on Henry Purcell's Dioclesian. It was published by the Edwin Mellen Press in 1990.

We became great-grandparents in 2017!

I work with kids in music school. We play early music on recorders, flutes, crumhorns and viola da gamba

David Simmons Wood is EMA’s Programs Director and joined the EMA staff in 2015. David is an Advanced Instructor at Kansas State University’s School of Music, Theatre, and Dance where he is Director of Early-Music Ensembles and Marketing Director. He teaches courses in music theory, history of rock & roll, world music, historical performance practice, and others. He is the founder and artistic director of Blue Earth Camerata, a period vocal ensemble in Manhattan, KS.

David holds degrees from Kansas State University (B.M. Voice) and the University of North Texas (M.M. Choral Conducting and Voice), and he studied early-music ensemble direction at the Historical Performance Institute of Indiana University’s Jacobs School of Music. He previously served as the Music Director/Program Content Coordinator for WFIU Public Media in Bloomington, IN, home of the nationally syndicated radio program Harmonia Early Music.

David’s performing career has included appearances with The Dallas Bach Society, The Orchestra of New Spain (Dallas), The New York Baroque Dance Company, The New York Baroque Orchestra, Texas Choral Artists, and Fenix de los Ingenios, as well as performances at the Boston, Indianapolis, and Bloomington Early Music Festivals. He was also a founding member of Ishallyn Ensemble for Early Celtic Music.

I just wanted you to note that I am a Senior – is there a discount? ( please delete this as a biography).

MM in Guitar performance now specializing in lute and viola da gamba in Denver, Colorado. Eager to meet players interested in professional performance.

Born in Toronto and raised in western Canada, Stephen studied music education at McGill University (B.Mus., M.A.) and the University of Toronto (B.Ed.) before completing a Ph.D. in music history at the University of Washington. His dissertation topic was William Young, Englander", Chamber Musician to the Archduke of Innsbruck: A biographical sketch and an edition of his music for violins and viols. Currently semi-retired in western Canada, previously taught at Agnes Scott College in Decatur, Georgia. Published editions of music by William Young and John Moss. Current research focus is the lute music of Vincenzo and Michelangelo Galilei.

Started to play the viola da gamba while living in Spain and studying guitar, moved to Basel then to Germany, earned a degree from the Hochschule für Musik und darstellende Kunst, Hamburg (DML Viola da Gamba), performed with various ensembles (Odhecaton in Madrid, Musica Viva Mölln, Tempora Mutantur in Kiel, Musica Poetica under the direction of Jörn Boysen, among others).

For over 25 years, violinist RACHEL HURWITZ has been active in the San Francisco Bay Area's historical performance community, performing regularly with such ensembles as the American Bach Soloists, Philharmonia Baroque Orchestra, California Bach Society, Jubilate Baroque Orchestra, San Francisco Bach Choir, Marin Baroque, and the Albany Consort. As a modern violinist, Ms. Hurwitz serves as Principal Second Violin for the San Francisco Opera Center Orchestra, and completed six national tours with San Francisco Opera's Western Opera Theater. A native of Eugene, OR, Ms. Hurwitz has been a member of the Oregon Bach Festival Orchestra for 34 years, and has performed with the Oregon Bach Festival Baroque Orchestra since its inauguration in 2014. She holds degrees from Oberlin College and the San Francisco Conservatory of Music.

Ms. Roberta Rayno

Ms. Rebecca Cole

Rebecca Cole inhabits both modern and baroque violin worlds. As a modern player, she is a member of the Emmy-award winning Nashville Symphony Orchestra, and she is an active chamber musician. In the baroque world, she recently returned from the 2014 American Bach Soloists Academy, where she was a participant. She is a former member of Music City Baroque, Nashville’s period-instrument ensemble. Ms. Cole has made frequent appearances as soloist with Music City Baroque, and has performed annually at Bachanalia (Nashville’s annual concert celebrating J.S. Bach), and on WPLN. Her baroque playing has been described as, “thoughtful and interesting,” and “extremely expressive.” The San Francisco Examiner called the CPE Bach Trio Sonata performance at the 2012 American Bach Soloists Academy in Action concert “the show stealer”. Ms. Cole has participated in the American Bach Soloist’s Academy, the Vancouver Early Music Programme, the Tafelmusik Baroque Summer Institute, and the Oberlin Baroque Performance Institute, where she performed on the faculty recital series. As a modern player, Ms. Cole performed at the Oregon Bach Festival, under the baton of Helmuth Rilling, for 18 years, and participated in the Internationale Bach Akademie in 1994, at Maestro Rilling’s request. Ms. Cole was the Principal Second Violin of the Peter Britt Festival for 12 years. Solo appearances include the Oregon Bach Festival, the Peter Britt Festival, the Oregon Coast Festival, and the Occidental-CalTech Orchestra Her modern-violin orchestral experience includes tenure in the Louisville Orchestra, as well as performing regularly with the Los Angeles Opera Orchestra, and the Los Angeles Chamber Orchestra. She began her professional career as Assistant Concertmaster of the Tulsa Philharmonic, Ms. Cole has published articles in Strings Magazine and American String Teachers’ Association Magazine. Previously, she inhabited the universe of professional road bicycling coach, having held an Expert Level Coaching License with USACycling.

I am professor of music emeritus at the University of Notre Dame in South Bend, Indiana.

Praised as “…a refined and elegant performer” (Boston Musical Intelligencer), Dr. Paula Maust enjoys a diverse musical career that combines her distinct interests in performance, pedagogy, and scholarship. As a harpsichordist and organist, she performs extensively as a soloist and collaborative keyboardist. Dedicated to edgy concert programming that connects historical people and events to contemporary social issues, she is a co-director of Burning River Baroque and Musica Spira. Other collaborations include performances with the Washington Bach Consort, Tempesta di Mare, the Virginia Symphony Orchestra, the Baltimore Baroque Band, and numerous chamber ensembles. She has also been an accompanist at the Oberlin Baroque Performance Institute and the Amherst Early Music Festival. Recent solo appearances have been on the Baltimore Bach Marathon, the Lycoming College Series, and the UMBC professional series.

Since 2016, she has been a faculty member at the University of Maryland, Baltimore County, where she teaches courses in music theory, music history, keyboard skills, and applied keyboard lessons. Additionally, she teaches theory courses at the Johns Hopkins University and the Peabody Institute. Equally committed to scholarship and performance, her primary research focus is on expanding the canon and telling the stories of the first early modern women to take the stage as professional musicians. Her DMA thesis focused on the reception history of women singing Restoration-era mad songs, and her upcoming project "The Ugly Virtuosa" explores the myriad ways women on the early modern stage were vilified for their physical appearances, gender non-conformity, and purported sexual immorality. Her work to expand the music theory canon can be seen on www.expandingthemusictheorycanon.com.

Paula completed her DMA in 2019 at the Peabody Institute, where she was the recipient of the prestigious Dean's Fellowship. She has MM degrees in harpsichord and organ from Peabody and the Cleveland Institute of Music, respectively. While at CIM, she also completed the Early Music Certiﬁcate through the joint program at Case Western Reserve University. Paula is a 2009 graduate of Valparaiso University, where she graduated summa cum laude with the BM degree in Church Music and was an associate scholar in Christ College, the interdisciplinary honors college. Her teachers have included Adam Pearl, Webb Wiggins, Todd Wilson, and Lorraine Brugh. Further information can be found at her website: www.paulamaust.com.

A native of Hong Kong, Marilyn Fung graduated from the Eastman School of Music, the Juilliard School, and received her Doctor of Musical Arts degree from the University of Michigan. She is a member of the Windsor Symphony, Nota Bene Baroque Players, Bach Collegium Fort Wayne and performs with many other orchestras and chamber groups in southwestern Ontario, Michigan and Indiana. She has participated in the Bloomington Early Music Festival, the Grand River Baroque Festival and the Ann Arbor Academy of Early Music series. She is a founding member of Michigan Baroque, performed with Scaramella, Burning River Baroque, New Comma Baroque, Wisconsin Baroque Ensemble, Indianapolis Baroque Orchestra, Generation Harmonique, the Bach Institute at Valparaiso University, Milwaukee’s Ensemble Musical Offering, Spire Chamber Ensemble in Kansas City, Cardinal Consort of Viols, Talisker Players and the Waterloo-based Greensleaves, with which a CD “Polish Popular Music of the 17^th Century” was released in 2009.

Recorderist and baroque oboist specializing in music of the Renaissance and Baroque. Graduate of New England Conservatory of Music.

Studied musicology and Early Music Performance at University of Kentucky (PhD 1978)

Directed Collegium Musicum at University of Kentucky and at California State University, Long Beach (20 years)

Retired and living in Chapel Hill, NC, performing on Renaissance winds

Itinerant countertenor in the Washington, D.C., area, singing with Cantate Chamber Singers and various professional church choirs on occasion.

Tracy Hoover is Co-Founder and CFO of non-profit Groover Labs, a collaborative tech hub in Wichita, KS that fosters regional startup activity and product prototyping. Her early career was spent working as a software engineer for Hewlett-Packard prior to becoming a full-time parent. Tracy and her husband Curt Gridley created the Gridley Family Foundation in 2000, and have donated extensively to local and national non-profits. She sits on the boards of the Wichita Art Museum, the Ulrich Museum at Wichita State University, and Downtown Wichita. An accomplished knitter, Tracy is also a talented amateur player of the viola da gamba and is the treasurer of the Viola da Gamba Society of America. She and Curt have two grown children, Henry and Fiona.

Mr. Rod Hemphill

Ms. Helen-Jean Talbott

Helen-Jean Talbott started playing recorders and flutes at age 8 and never stopped. She is a summa cum laude graduate of the University of Maryland with B.S. and M.S. degrees in Agronomy. After lengthy careers as a scientist for the U.S. Department of Agriculture and Director of Credit Policy MIS for a major financial company, she pursued music full time, earning her Master of Music degree in recorder performance at The Peabody Conservatory of The Johns Hopkins University in 2009. The Washington Flute Society selected her flute and guitar composition Canzona for the 2004 Flute Fair composers’ concert, and in 2013 she won the Recorder Orchestra category for the ARS is 75! Composition Competition held by the American Recorder Society. Her flute and piano music is published by Falls House Press, and her recorder music is published by Peacock Press. In addition to composing music, she performs medieval and renaissance music with Consort Anon. Her performance venues include Amherst Early Music and the Maryland Renaissance Festival. Helen-Jean also performs music for worship services and concerts at St. Matthew's United Methodist Church in Bowie, Maryland. For information on compositions and performances please visit HJTalbott.com.

Dr. Julia Harlow

Faculty, College of Charleston

Teacher of organ, harpsichord

Early Music Ensemble: La Belle Musique, which showcases music of Baroque women composers; Spartina Consort, music of Renaissance and Baroque

Thirty years of performing with Tragicomedia and Les Arts Florissants, among

others, countless recordings on major labels, and her unique status as the world’s

leading authority on the lirone have made Erin Headley preeminent in the field

of early music. She reintroduced the instrument and its Roman repertoire to the

world with her ensemble, Atalante, whose first CD was awarded a Diapason

D’Or in 2015.

Erin’s work was generously funded by the Arts and Humanities Research

Council UK (2007– 2012) with a post-doctoral fellowship at the University of

Southampton. In 2013 she was musician in residence at Villa I Tatti, Harvard

University’s Center for Italian Renaissance Studies in Florence. Iain Fenlon (Early

Music Journal) said of her work: “Erin Headley must be congratulated for

bringing together musicianship and scholarship in a way that is a

milestone,…truly revelatory; a more powerful and persuasive advocacy for these

pieces could hardly be imagined.“

Atlanta native Evan Few has established himself as a leader in his generation of historical performance specialists, having studied and performed repertoire ranging from Monteverdi to Gershwin on period instruments. An assertive, collaborative instrumentalist, he is equally adept in settings large and small, and his affiliations include some of the most esteemed, and some of the newest, early music ensembles across Europe and the Americas. Evan is a core member of Apollo’s Fire and the Carmel Bach Festival; co-Concertmaster and Artistic Administrator of the Atlanta Baroque Orchestra; frequent guest with Bach Collegium Japan and Chatham Baroque; and co-founder of Filament, a chamber group established in Philadelphia in 2019.

Evan completed his principal violin studies at Oberlin College as a pupil of Marilyn McDonald, and pursued further training in string quartet performance at Rice University, with founding members of the Cleveland and Concord Quartets, and in baroque violin at the Koninklijk Conservatorium Den Haag, with Elizabeth Wallfisch and Kati Debretzeni. He has participated in the making of numerous recordings available from Accent, CPO, Deutsche Harmonia Mundi, and Zig-Zag Territoires. His violin was built for him in 2010 by Matthieu Besseling of Amsterdam, modeled after early Stradivarius examples; he plays with baroque bows by Luis Emilio Rodriguez Carrington (2011) and Thomas Pitt (2016), and a classical bow by Stephen Marvin (2011).

Ms. Marisa Rubino

Mr. David R. McGown

B.A. Music, Virginia Tech, 1979

B.S. Mechanical Engineering, Virginia Tech, 1982

Majored both in Music and Mechanical Engineering in college, specifically recorder and cornetto. Founding member of the New River Consort in Blackburg, VA. performing several concerts over a 3 year period. Played in Renaissance street band in Busch Gardens, Williamsburg, VA. Fell out of playing for 30 years while pursuing engineering career and other interests, and returned to music seriously in 2010. Very active playing with a number of local amateur/semi-professional groups, performing in public concerts and church services both in ensemble and as a soloist in the Washington, DC area. Have directed sessions and performances of the Washington Recorder Society. Board member of Washington Recorder Society. President of Capitol Early Music, a Washington D.C. non-profit organizing concerts and workshops by early music professionals for local amateur early musicians. Teach recorder privately to local amateurs. I am actively studying with Gwyn Roberts and John Tyson on recorder, with masterclass instruction from Saskia Coolen, Bart Spanhove, Reine-Marie Verhagen, Han Tol, and Joris Van Goethem. Music focus is on recorder from all periods, including 19^th century Csakan.

Historical musicologist. Specialist in 16th, 17th, and 18th-century music from New Spain (Mexico) and the Iberian peninsula. Associate Professor, Musicology, Northwestern University. PhD (2006), University of Chicago. Frequent collaborator with performance ensembles on concerts of colonial Latin American music. Academic coordinator of the Seminario de música en la Nueva España y el México Independiente (MUSICAT) at UNAM in Mexico City.

David Hildner

Dr. David K. Wilson

An

Archives: Individuals

Veteran broadcaster, writer, producer, narrator, concert host, panelist. Creator/Producer/Host of "Baroque&Before" for WFMT Chicago; Owner/Producer/Host of "The Spanish Hour," founded September 2010, distributed via Public Radio Exchange.

Recent graduate of IU Jacobs School of Music Historical Performance Institute-Early Music Voice Masters Program Worked as a Choral Scholar at Trinity Episcopal Church Bloomington for 2 years Currently living in the South Hills region of Pittsburgh

Founder and Director of Cantorae St. Augustine, a women's a cappella ensemble specializing in chant and music of Colonial Florida. Performing on Celtic harp, as well as organ. Workshop presenter on chant and a cappella repertoire.

Recent graduate of IU Jacobs School of Music Historical Performance Institute-Early Music Voice Masters Program

Worked as a Choral Scholar at Trinity Episcopal Church Bloomington for 2 years

Currently living in the South Hills region of Pittsburgh