Acclaimed Pianist, Leslie Amper, has captivated international audiences with her “stupendous” performances. A winner of the National Endowment for the Arts Solo Recitalist Fellowship Grant, Ms. Amper has been invited to perform on Monadnock Music’s Virtuoso Piano Series, Emmanuel Music solo and chamber music celebrations of Schumann, Beethoven, and Harbison, Pittsburgh Symphony Concerts at the Point, Friday Musicale of Jacksonville, Florida, New Hampshire Music Festival, Harvard University’s Fromm Music Foundation Concerts, as well as in London, England, Strada Italy, and Modling Austria. A member of the Jubilee Trio and the Alcyon Chamber Ensemble, she has recorded for Brave and Neuma Records; her recording of Andrew Imbrie’s Short Story was selected for the international radio broadcast “Art of the States.” Ms. Amper toured the United States with her lecture/piano recital related the Smithsonian American Art Museum’s Exhibition 1934: A New Deal for Artists. Other lecture/recitals related to art exhibitions have been presented at the National Gallery of Art (Cine-Concert in honor of George Bellows), The Phoenix Art Museum (Multiples in French Painting from David to Matisse), and The Frick Art and Historical Society (Off the Pedestal: New Women in the Art of Homer, Chase, and Sargent), and the Museum of Fine Arts Boston (The Sound of Color: Debussy and the Visual Arts; Ann Allen lecturer). Leslie Amper was invited by the cutting edge theater director Peter Sellars to be an onstage pianist playing Scriabin in his American National Theater production in Washington, D.C. of Chekhovʼs A Seagull. Leslie Amper studied at Oberlin College and with Russell Sherman at New England Conservatory. Currently, she teaches at Wheaton College, New England Conservatory Preparatory and Longy School of Music of Bard College.
Violinist Sarah Atwood is completing her Master’s degree at New England Conservatory with Tamara Smirnova, Associate Concertmaster of Boston Symphony Orchestra. Sarah currently holds the position of assistant principal second with the Cape Symphony, and throughout the past year acted as concertmaster of New England Conservatory’s unconducted Chamber Orchestra. Ms. Atwood’s performance experience includes Carnegie’s Perelman Hall with the New York String Orchestra, Carnegie’s Weill Hall in a performance of solo Paganini, and Jordan Hall, as part of many ensembles. First place winner of the 2014 American Protege International Piano and Strings Competition and recipient of the 2013 Presser Award, Ms. Atwood has won both Grand and First Prizes in Boston University’s Solo Bach Competition, in addition to concerto competitions throughout New England. Sarah performs with Emmanuel Music, Cantata Singers, Pro Arte Chamber Orchestra, and substitutes for the New World Symphony. Festivals include Sarasota Music Festival, Yellow Barn Music Festival, and Tanglewood Music Center. Performances as part of summer festival residencies include Rockport Chamber Music Festival and Monadnock Music. As a chamber musician, Ms. Atwood has been on faculty at Arts Ahimsa Music Festival and coached at the Rivers Conservatory. She has also given extensive master classes in schools with her New England Conservatory Ensemble Fellowship quartet, as part of the Virginia Arts Festival.
Michael Beattie has received international attention for his work as a conductor and keyboardist specializing in the music of the Baroque. In 2009 Mr. Beattie debuted at Glimmerglass Opera, conducting Purcell's Dido and Aeneas; in 2011, he conducted Handel's Rinaldo with the Pittsburgh Opera and Chatham Baroque. In 2012, he conducted Handel’s Teseo for the Chicago Opera Theater. For many years Associate Conductor of Emmanuel Music, he has conducted Handel's Ariodante, Bach's St. John Passion, the complete Bachmotets, a recent concert of orchestral music of Haydn and Schoenberg, and more than one hundred Bach cantatas in the weekly series at Emmanuel Church. Mr. Beattie has performed as harpsichordist and organist with the Boston Symphony Orchestra, Boston Baroque, the Handel and Haydn Society, the Mark Morris Dance Group, Boston Lyric Opera, Chicago Opera Theater, Glimmerglass Opera Festival, and the Carmel Bach Festival. In 2009 he toured with Les Violons du Roy. Recent keyboard highlights include concerts with the Chamber Music Society of Lincoln Center, Pegasus Early Music, and Emmanuel Music. As a pianist, he has performed at the Athens, Banff, and Tanglewood music festivals and in Emmanuel’s Chamber Series, surveying the works of Schubert, Schumann, Brahms, Beethoven, and Debussy. World premieres include works by John Harbison, Andrew Imbrie, Earl Kim, and Andy Vores. As a continuo player and vocal coach specializing in music of the Baroque and Classical periods, he has taught at Glimmerglass Opera, Chicago Opera Theater, Pittsburgh Opera, Boston Lyric Opera, Florida Grand Opera. He is Music Director of the vocal master class at the Carmel Bach Festival. He is a founding member and harpsichordist of Favella Lyrica and the baroque chamber ensemble Très. Mr. Beattie’s work with director Peter Sellars included the role of Assistant Conductor (Craig Smith conducted) for Sellars' stagings of the Mozart/da Ponte operas, performed throughout the US and Europe, recorded for television, and released on DVD. As organist for Sellars’s staging of two Bach cantatas featuring Lorraine Hunt Lieberson, he performed at the Mostly Mozart Festival, Lucerne Festival, Barbican Centre, and Cité de la Musique, and recorded for Nonesuch records. Mr. Beattie is a graduate of the Eastman School of Music and Boston University. He is currently a Lecturer at Boston University. He has recorded for KOCH International Classics and Nonesuch records.
Mark Berger, composer/violinist/violist, has performed with many of Boston’s finest ensembles, including the Boston Symphony Orchestra, Boston Pops Esplanade Orchestra, Emmanuel Music, Boston Modern Orchestra Project, Opera Boston, and Boston Lyric Opera. An avid chamber musician, he is a member of Music at Eden’s Edge, the Worcester Chamber Music Society, has a duo partnership “The Two Composers” with pianist/composer Ketty Nez, and has performed with Lydian String Quartet, Radius Ensemble, and Ludovico Ensemble. Mr. Berger has also performed at summer festivals such as Kneisel Hall and Tanglewood, where he was a member of the New Fromm Players, a new music ensemble-in-residence. He has recorded music by Ketty Nez on Albany Records. Mr. Berger’s compositions have been performed locally by the New York New Music Ensemble, Dinosaur Annex, ALEA III, the Worcester Chamber Music Society, Xanthos Ensemble, Music at Eden’s Edge, QX String Quartet, and the Lydian String Quartet, and further afield by the Third Coast Percussion Quartet, Ensemble Permutaciones (Mexico) and the Hellenic Ensemble of Contemporary Music (Greece). He has received awards from the League of Composers/ISCM and ASCAP, and he has received grants from NEFA and the Brannen-Cooper Fund. Mr. Berger studied composition at Boston University and Brandeis, where his principal teachers included Theodore Antoniou, Lukas Foss, David Rakowski, Eric Chasalow, and Martin Boykan. He is on the faculty at Clark University, UMass Lowell, Middlesex Community College, and the Boston University Tanglewood Institute.
Based in Boston, violinist Heather Braun performs as first violinist of the prize-winning Arneis Quartet; the Quartet has recently performed at venues including the Beijing Modern Music Festival, the Modulus Festival in Vancouver, Stanford University’s Lively Arts Series, Aspen Music Festival, Reggio Emilia, Boston University, and Swarthmore College. Ms. Braun also performs as co-concertmaster and soloist with the Orchestra of Emmanuel Music, and was a Lorraine Hunt Lieberson Fellow in 2010-11. Other recent performing highlights include the Frederick Collection recital series, Rockport (MA) Chamber Music Festival, East-West Virtuosi, and the Manchester (VT) Music Festival. Ms. Braun has performed as a soloist with various orchestras in Boston, Milwaukee, Washington DC, and Manchester, VT. Dr. Braun received her Bachelor of Music degree from the Eastman School of Music, studying with Mikhail Kopelman, and completed her Master of Music and Doctor of Musical Arts degrees at Boston University, studying with Peter Zazofsky. While studying at BU, she was twice given the String Department Award and received the Zulalian Foundation Award in 2010. She has collaborated in concert with the Ying Quartet, St. Lawrence String Quartet, Menahem Pressler, Robert Levin, and members of the BU School of Music faculty. Dr. Braun has coached chamber music and violin at the Boston University Tanglewood Institute, Manchester Music Festival, and Apple Hill Center for Chamber Music. She was appointed to the Boston University School of Music faculty in 2014 and to the St. Anselm College faculty in 2016, is a violin and viola faculty member for the Brookline Public Schools Extension Program, and coaches chamber music for the Boston Youth Symphony Orchestra.
Violinist Heidi Braun-Hill has performed with chamber music series presented by Emmanuel Music, Token Creek, Apple Hill, Firebird Ensemble, the Chameleon Arts Ensemble, Winsor Music, Radius Ensemble, and the Warebrook Contemporary Music Festival. Since 1999 she has been a soloist with Emmanuel Music’s Bach Cantata Series and has performed in Peter Sellars/Craig Smith productions in the US and Europe. She has premiered chamber works by Martin Brody, Martin Boykan, Edward Cohen, and Allen Anderson, and has worked closely with composer John Harbison. Ms. Braun-Hill, affliated with many Boston groups and sought after as a concertmaster, has made recordings with various groups on the Arsis, Nonesuch, Naxos, BMOP/sound, and Albany labels. Passionate about arts education, she is a member of the music faculty at Phillips Exeter Academy. She is a graduate of Boston University, where she studied with Peter Zazofsky. Ms. Braun-Hill lives in Boston with her husband, Whitacre Hill, and their two children.
Praised for her "unusually intelligent and sensitive playing", Lisa Brooke currently teaches violin at Salem State University, and recently appeared as soloist with New England Classical Singers, the Salem Philharmonic, and the Dessoff Choirs in NYC. While living in NYC, she performed with the Orchestra of Saint Lukes', the NY Pops, the Brooklyn Philharmonic, the American Symphony Orchestra, and the American Composer's Orchestra, and has toured the US, Spain, Japan, Korea and Hong Kong with numerous ensembles. Well versed in the popular genre, Concertmaster posts include CD and concerts with Liza Minnelli's Minnelli on Minnelli, New York Pops, and concerts and CD with Barbra Streisand. In Boston, she has played frequently with the Boston Ballet Orchestra, the Boston Lyric Opera, Emmanuel Music, Pro Arte Chamber Orchestra of Boston, and is a member of the Boston Landmarks Orchestra. Lisa Brooke is principal 2nd violin of Coro Allegro and is concertmaster for the New England Classical Singers. Ms. Brooke performed first violin in a string quartet with Coro Allegro on Why I Awake Early, which she also recorded on the newly released album Awakenings on the Navona label. Brooke has also recorded with Orchestras for Deutsche Grammophon, Sony, Nonesuch and Telarc, and a world premiere of a septet for Opus 1. As a baroque violinist, Brooke has been described as “simple and brilliant in execution” by Fanfare Magazine regarding her Tre’s CD release. In New York, she has performed with the New York Collegium, Concert Royal, Rebel Baroque Orchestra, and the American Classical Orchestra; and attended the Carmel Bach Festival. In Boston, she has played with The Handel and Haydn Society and the Boston Cecilia, and has performed in Philadelphia as concertmaster and soloist with Tempesta Di Mare. She is a member of Foundling Baroque Orchestra, where she has also appeared as soloist with critical accolades. Brooke performed a number of Concerti with Newton Baroque, and live on WGBH radio. Concertmaster positions include The Public Musick in Rochester, NY; BachWorks in NYC; the Concord Chorale; and Millenial Artists. She has performed chamber music with Duo Marrisienne, Amphion’s Lyre, and La Donna Musicale.
Michael Curry, cellist, is originally from New Jersey, and graduated from Harvard and New England Conservatory. His major teachers were David Finckel and Laurence Lesser. He was awarded two fellowships to study at Tanglewood, where he was principal under Ozawa and Rozhdestvensky, and won the Albert Spalding Prize for outstanding string playing. He has performed with the Boston Pops, Boston Lyric Opera, Boston Ballet, Cantata Singers, and Boston Classical Orchestra (principal), and many other organizations. He is frequently heard as solo cellist in Broadway productions at the Opera House and other theaters. As a long-time member of Dinosaur Annex, he premiered dozens of new chamber works by Shapey, Hartke, Weir, Babbitt, and John Harbison, among others. Michael has performed and lectured as a guest at the Salzburg Mozarteum, the Ijsbrekker in Amsterdam, Brown University, and the Central Conservatory, Beijing. He has made chamber music appearances at Weill Hall, the United Nations, and Dumbarton Oaks in Washington, DC, and has recorded for New World, Naxos, Bridge, Albany, and several other labels. At Emmanuel over the course of over 25 years, Michael has been honored to be among those playing in the Sunday Bach Cantata Series, and in many memorable evening concerts. He played continuo with Mark Morris Dance Group in Boston and New York, in the staged production and recording of Bach cantatas with Lorraine Hunt Lieberson in Boston, New York, and Europe, and also participated in Emmanuel’s Brahms, Schubert, Schoenberg, and Beethoven chamber music series.
Alyssa Daly is a freelance hornist and teacher in the Boston area. She received a Master of Music degree from the New England Conservatory and a Bachelor of Music degree from the Cincinnati College-Conservatory of Music. Her primary teachers were Charles Kavalovski, Michael Hatfield, and Steven Gross. Her love of chamber music has led her to perform with the New England Brass, Epic Brass, Boston Chamber Music Society, Chameleon Arts Ensemble, Essex Chamber Music Players, St. Cecilia Chamber Orchestra, and the Cincinnati Chamber Orchestra. She has also appeared on faculty recitals at SUNY Albany and the New England Conservatory. In the orchestra, she has performed with Emmanuel Music, Boston Pro Arte, Boston Modern Orchestra Project, Boston Philharmonic, Portland Symphony, Springfield Symphony, Rhode Island Philharmonic, Nashua Symphony, Granite State Symphony, and the Albany Symphony. In the pits of the ballet and opera she has been heard with Boston Ballet, Cincinnati Ballet, Boston Lyric Opera, Opera Boston, Glimmerglass Opera Company, Opera North, National Lyric Opera, Boston Midsummer Opera, and the Berkshire Opera Company. In a commercial setting Ms. Daly has enjoyed performing with Frank Sinatra Jr., Joni Mitchell, Diana Krall, Aretha Franklin, Johnny Mathis and Josh Groban. One of her favorite places to be heard these days is in the pits of broadway shows in Boston. She enjoyed touring the US and Canada with the broadway favorite, Les Miserables. When at home in Beverly, MA she plays many shows at the award winning North Shore Music Theater. She is the horn instructor at Phillips Exeter Academy and for the Ipswich public schools.
Sarah Darling enjoys a varied musical career that spans many centuries and styles. She holds a variety of leading roles on viola and violin with A Far Cry, the Harvard Baroque Chamber Orchestra, Musicians of the Old Post Road, Boston Baroque, Musical Offering, Les Bostonades, and Gut Reaction, while also performing with the Boston Early Music Festival, the Carmel Bach Festival, Boston Ballet, Antico Moderno, and Grand Harmonie. Sarah has recorded old and new music for Naxos, Linn, Paladino, Azica, MSR, and Centaur Records. She studied at Harvard, Juilliard, Amsterdam, and Freiburg (via the Beebe, Paine, and DAAD grants), and is currently finishing a doctorate at New England Conservatory with Kim Kashkashian. She is active as a teacher and coach, with a special interest in body mechanics and musical rhetoric, and recent guest sessions at Longy, Yale, and Cornell. Sarah has been described as "focused, nuanced, and arresting" (Boston Musical Intelligencer) and praised for “excellent solos” (Boston Globe), “absolute concentration and astonishing precision” (Badischer Zeitung), and “sympathy and spirit” (Hub Review).
Originally from Long Island, New York, Anthony D'Amico is in demand as a freelance musician throughout the New England area. He serves as principal bass of the Boston Modern Orchestra Project and the Boston Philharmonic, and is a member of the Rhode Island Philharmonic and Portland Symphony. He is a frequent colaborator with the Chameleon Arts Ensemble, Emmanuel Music, and the Worcester Chamber Music Society. During the summers he recently served as principal bass of the New Hampshire Music Festival orchestra, and currently participants in the Sebago-Long Lake Chamber Music Festival of Maine and the Landmarks Orchestra of Boston. His recordings of Elliot Schwartz’s Chamber Concerto I with the Boston Modern Orchestra Project and Lisa Bielawa’s Synopsis #4 for solo double bass are both available on the BMOP/Sound label. A versatile artist, Mr. D’Amico’s career routinely encompasses a myriad of styles including symphonic and chamber music, jazz ensembles, and musical theater productions. He is a dedicated educator, and serves on the faculties of the New England Conservatory of Music Preparatory Division, the Walnut Hill School, and The Groton School. Mr. D’Amico is an alumnus of the Hartt School of Music in Hartford Connecticut and the New England Conservatory of Music in Boston Massachusetts.
Flutist Jacqueline DeVoe is an active freelancer in the New England and performs regularly with Emmanuel Music, Cantata Singers, the Rhode Island Philharmonic, Boston Ballet, Boston Classical Orchestra, Alea III, and other ensembles. Ms. DeVoe was principal flutist of the Mexico City Philharmonic, performed with the Vienna Chamber Orchestra, and has presented solo and chamber music concerts in Europe, Mexico, and the US. In addition to two degrees from New England Conservatory, she twice received the Frank Huntington Beebe Fund grant and an Austrian government stipend, completed a diploma at the Hochschule für Musik in Vienna, Austria, and was a Tanglewood Fellow. Her primary teachers were Claude Monteux, John Heiss, and Wolfgang Schulz. Since 1991 Ms. DeVoe has performed with the North Winds Quintet, which presents educational concerts in schools throughout Massachusetts under the auspices of Young Audiences. She has created and directed lecture/chamber music concerts for the Newport Symposium and was an “Artist Teacher” in a collaboration of Young Audiences and NPR’s “From the Top,” which brings gifted young artists into Massachusetts public schools. A faculty member for 22 years at the NEC Preparatory School, she has also taught at Walnut Hill, MIT, Milton Academy, New School of Music in Cambridge, and maintains a private studio. Ms. DeVoe also serves as president of the James Pappoutsakis Memorial Fund, which hosts a flute competition for Boston-area flutists.
Georgia native Gabriela Diaz began her musical training at the age of five, studying piano with her mother, and the next year, violin with her father. Diaz came to Boston to study at New England Conservatory, where she completed her Bachelor’s and Master’s degrees, studying with James Buswell. As a cancer survivor, Diaz is committed to cancer research and treatment. In 2004 Diaz was a recipient of a grant from the Albert Schweitzer Foundation. This grant enabled her to begin organizing a series of chamber music concerts in cancer units at various hospitals in Boston called the Boston Hope Ensemble. Devoted to contemporary music, Diaz has been fortunate to work closely with many significant living composers on their own compositions, namely Pierre Boulez, Magnus Lindberg, Frederic Rzewski, Alvin Lucier, John Zorn, Osvaldo Golijov, Steve Reich, Brian Ferneyhough, Lee Hyla, Hans Tutschku, and Helmut Lachenmann. Diaz is a member of several Boston-area new music groups, including Sound Icon, Ludovico Ensemble, Dinosuar Annex, Firebird Ensemble, and Callithumpian Consort. Diaz can be heard on New World, Centaur, BMOPSound, Mode, and Tzadik records.
Daniel Doña has distinguished himself as an active performer and pedagogue. Daniel serves on the viola faculty of Boston University alongside his duties as Assistant Chair of the String Department, Coordinator of String Chamber Music, and Lecturer of String Pedagogy and String Literature. He has also taught at the Boston University Tanglewood Institute String Quartet Workshop and the Apple Hill Center for Chamber Music. Dr. Doña is a member of the prizewinning Arneis Quartet. Performance highlights include appearances at the Beijing Modern Music Festival, Music on Main (Vancouver) and Stanford University’s Lively Arts series as well as broadcasts on CBC Radio 2, WGBH and WCLV. Dr. Doña also performs regularly with the Orchestra of Emmanuel Music and other ensembles in the Boston area. He has presented guest masterclasses at the University of Connecticut, Swarthmore College, Northwestern University Music Academy and Miami University. Dr. Doña pursues interdisciplinary projects with a passion. In 2014 he received a Humanities Enhancement Project Award from the Boston University Center for the Humanities to curate a concert series exploring relationships between poetry and music. As a member of the Banff Festival Quartet he performed in collaboration with dancers, presenting Hans van Manenʼs Grosse Fuge and a world premiere of Heather Myersʼs Dedications. An enthusiastic advocate of new music, he has commissioned and premiered works by Aaron Travers and Orianna Webb. Dr. Doña received his AB in Philosophy from the University of Chicago, where he was awarded the inaugural David Fulton Award for excellence in instrumental performance. He received his MM in Viola Performance from the University of Oklahoma where he studied with Matthew Dane (viola) and Felicia Moye (violin). At Boston University he studied with Michelle LaCourse, Steven Ansell and Ed Gazouleas. He received his PD and DMA from BU and was a two-time recipient of the String Department Award.
Rose Drucker is a versatile freelance violinist performing throughout New England with groups including Emmanuel Music, Rhode Island Philharmonic and the Boston Philharmonic, where she serves as principal second violin. An avid chamber musician and founding member of the Arneis Quartet she has appeared in Stanford’s Lively Arts Series, Music on Main in Vancouver, and the Beijing Modern Music Festival. Arneis has performed in Boston and New York and at summer festivals in Aspen, The Banff Centre in Canada, Stanford University, and Deer Valley, UT and as the Fellowship Quartet at the Apple Hill Center for Chamber Music. They were inaugural winners of the John Lad prize, awarded by the St. Lawrence String Quartet at Stanford University. With Emmanuel Music she has appeared as concertmaster and soloist and performed in the Chamber Music and Solo Bach series. In 2005-2006 she was a Lorraine Hunt Lieberson Fellow. Ms. Drucker has performed with members of the Vermeer and Muir Quartets and studied with Peter Zazofsky and Mark Rush. Prominent chamber coaches include members of the Muir, St. Lawrence, Brentano, Emerson, and Juilliard quartets. She holds degrees from Boston University and the University of Arizona.
Eran Egozy, clarinet, called “sensitive and energetic” (Boston Musical Intelligencer), leads the dual life of entrepreneur and musician. He is the co-founder and chief technical officer of Harmonix Music Systems, which developed Guitar Hero, Rock Band, The Beatles: Rock Band, Dance Central, and the recently announced Fantasia: Music Evolved (to be published by Disney in 2014). In 2008, Eran and his business partner were named to Time Magazine’s list of the 100 most influential people in the world. In 2009, they received Fortune Magazine’s “40 under 40” award, and in 2010, they were honored with USA Network’s “Character Approved” award. Eran holds degrees in electrical engineering and music from MIT, where he conducted research on combining music and technology at the MIT Media Lab. He studied clarinet with Jonathan Cohler and William Wrzesien. Recent performances include an appearance as Guest Artist on the radio show From The Top and recitals at the newly built Shalin Liu Performance Center in Rockport. Eran is the clarinetist for the Boston-based chamber music group Radius Ensemble.
Second violinist and a founding member of the Lydian String Quartet, Judith Eissenberg is Professor of the Practice at Brandeis University, where she has been on the faculty since 1980. With the Lydian String Quartet, she has won numerous international prizes, including the Naumburg Award for Excellence in Chamber Music. She has also commissioned new works, recorded, and toured extensively in the United States and abroad, performing on period and contemporary instruments. With an expertise in chamber music, she has played, in the Boston area, with the Boston Chamber Music Society, The Boston Conservatory Chamber Players, Emmanuel Music, and others. Ms. Eissenberg is co-founder and was for many years, co-director of Music From Salem, a chamber music festival in upstate New York; is on the faculty of the Chamber Music Conference and Composers' Forum of the East; and coaches chamber music at The Boston Conservatory. At Brandeis, she founded and directs MusicUnitesUS, an intercultural and cross-disciplinary residency program whose mission is to further the understanding and appreciation of diverse cultures through music, and enjoys teaching Intro to World Music as well as Chamber Music. Ms. Eissenberg has a deep interest in exploring the ways the creative arts can play a role in peace-building and social transformation.
Joan Ellersick, viola, studied at Indiana University with Georges Janzer and received her Bachelor in Viola Performance from Boston University where she worked with Bernard Kadinoff. After graduating from BU, Ms. Ellersick lived in Michigan for 14 years, serving as assistant principal viola of the Grand Rapids Symphony, playing frequently with the Detroit Symphony, and teaching viola at Calvin College. Since returning to her native Boston, she has appeared with the Boston Symphony Orchestra, Boston Pops Esplanade Orchestra, Boston Modern Orchestra Project, Cantata Singers, Chamber Orchestra of Boston, Opera Boston, and Emmanuel Music. An active chamber musician, she has been a member of Music at Eden's Edge and was a founding member of the Somerset Quartet and Mackinac Trio. She was violist of the Van Swieten Quartet, an ensemble specializing in performing music of the classical era on period instruments, in residence at Longy School of Music. Ms. Ellersick teaches lessons for Boston Youth Symphony Orchestras’ Intensive Community Program, taught for many years at St Mark’s and Fay Schools in Southboro, MA and coaches the viola sections of the Boston Youth Symphony Orchestras.
Nathaniel Farny plays viola with many Boston area groups. He is an extra player with the Boston Symphony, and plays with the Boston Modern Orchestra Project and the Orchestra of Emmanuel Music. He is a faculty member of the Cambridge School of Weston and the Intensive Community Program of Boston. During the summers he has served as a chamber music coach at the Interlochen Adult Chamber Music Camp and played in the orchestra of the Crested Butte Music Festival in Colorado. He received his Doctorate of Musical Arts from Boston University in 2010, where he studied with Steven Ansell.
Sarah Freiberg is a tenured member of the Handel and Haydn Society, which just celebrated its 200th anniversary. She has performed with Boston Baroque, the New York Collegium, Philharmonia Baroque Orchestra (San Francisco), Portland Baroque (Oregon), Seattle Baroque, the Boston Early Music Festival, Blue Hill Bach, and Arion (Montreal). As a corresponding editor for STRINGS magazine, she has contributed dozens of articles and reviews on a wide range of subjects. Ms. Freiberg edited the long forgotten Guerini cello sonatas for both PRB Productions and Broude Brothers, and recorded both Guerini and Laurenti cello sonatas for Centaur. As well as teaching in the Historical Performance department at Boston University, she is Chair of Strings at the Powers Music School in Belmont and teaches at the Amherst Early Music Festival. Sarah received her D.M.A. and M.M. degrees from the State University of New York at Stony Brook, and holds degrees from the San Francisco Conservatory, Brown University and the Mozarteum in Salzburg, Austria. Ms. Freiberg can be heard on numerous recordings. Her website is: http://www.sarahfreiberg.com
Double bassist Katherine Foss is an active classical performer in the Boston and New England area, appearing with ensembles such as the Orchestra of Indian Hill and Pro Arte. She began performing with Emmanuel Music in the fall of 2011, serving in both continuo and orchestral roles. Originally from Milwaukee, Wisconsin where she performed with groups including the Milwaukee Symphony Orchestra, Milwaukee Ballet, and Madison Symphony Orchestra, Ms. Foss moved to Boston in 2008 to enroll in the New England Conservatory’s master’s program. While at NEC, she studied with Boston Symphony bassist Todd Seeber. She has traveled far and wide for music, attending summer orchestra festivals in Japan, Austria, and British Columbia. Kate also enjoys performing in musicals, often appearing in pit bands on upright and electric bass in several of Boston's theaters.
Along with his work as cellist with the Lydian String Quartet since 2002, Joshua Gordon has been a recent guest of the Apple Hill Center For Chamber Music, Boston Baroque, Boston Chamber Music Society, Boston Jewish Music Festival with pianist Donald Berman, Chameleon Arts Ensemble, Emmanuel Music, North Country Chamber Players, Portland Chamber Music Festival, Rockport Chamber Music Festival, Smith College Players, Williams College Players, and the Apple Hill, Da Ponte, and Ying quartets. His duo with with Randall Hodgkinson has been described as “insightful and impassioned” by The New Yorker, and their New World recording, Leo Ornstein: Complete Works For Cello and Piano, was named one of the top 10 classical recordings of 2007 by the All Music Guide. With the Lydians he can be heard on critically acclaimed recordings of quartets by Martin Boykan, Mohammed Fairouz, John Harbison, Vincent Persichetti, and their newest recording on Centaur of Beethoven’s late quartets released in 2012. He has been resident cellist for the Composers Conference at Wellesley College since 1989, and was appointed an Artist Member of the Worcester Chamber Music Society in April of 2012. He is on the music faculty of Brandeis University and has his own website at joshuagordoncello.com.
Violinist Rose Mary Harbison is a founding member of Emmanuel Music, Boston, with whom she has performed many cantatas on their Sunday Cantata Series, and the Beethoven Violin Concerto, the Fantasy for Violin and Piano, the Piano Trio in Eb, the Violin Partita in D and other works on their Evening and Chamber Series. Recent performances include Bach’s D minor Partita (Boston), Harbison’s Crane Sightings (Tanglewood), and Schoenberg’s Phantasy (Los Angeles). Recent projects include her highly acclaimed recording of John Harbison’s Violin Concerto (Koch International), and a recording of Schoenberg’s Violin Concerto, with the Tanglewood Music Center Orchestra, soon to be released on Koch. She has appeared as soloist with the Oakland, Milwaukee, and Pittsburgh Symphonies, and has worked directly with many composers, including Aaron Copland and Roger Sessions. With Rudolph Kolisch she founded the Kolisch Ensemble, and continues to be an advocate for his performance practice, presenting seminars at the Tanglewood and Aspen music festivals. Ms. Harbison taught at Brandeis University and MIT, was named a Scholar at the Radcliffe Institute and was winner of an Ingram-Merrill Award. With John Harbison she is co-Artistic Director of the annual Token Creek Chamber Music Festival. She has completed, with physicist Jack Fry, a documentary video to accompany the forthcoming book on Professor Fry’s groundbreaking research into the acoustical properties of the world’s finest violins. They presented their work, “Solving the Stradivarius Secret,” at the Boston Museum of Science on March 25th 2009. Ms. Harbison will be featured in Emmanuel Music’s Lindsey Chapel Series in March 2015, presenting Bach Partita No. 2 in D minor, BWV 1004.
Ronald Haroutunian is an active performing artist in the New England area. His positions include extra bassoon with the Boston Symphony, principal bassoon with the Rhode Island Philharmonic, Boston Pops Esplanade Orchestra, Boston Modern Orchestra Project, Boston Classical Orchestra, Pro Arte Chamber Orchestra, as well as performances with Boston Ballet and Boston Lyric Opera. He has been on tour and recorded with the Boston Symphony Orchestra, Boston Modern Orchestra Project, and has toured with Boston Esplanade Pops. Mr Haroutunian has served as Principal Bassoon with Hartford Symphony, New Hampshire Symphony, and has taught at Hartt College of Music. He currently teaches bassoon at Boston University, University of Connecticut, MIT, Tufts, and NEC Prep. His principal teachers include Matthew Ruggiero, Sherman Walt, and Louis Skinner.
A native of Ohio, oboe player Jane Harrison earned a Bachelor of Music degree at Ohio Wesleyan University. She attended the Cleveland Institute of Music, where she studied with John Mack, and later received her Master of Music degree from the Manhattan School of Music, where she studied with Elaine Douvas. In addition to Emmanuel Music, where she has performed for many years, she is a member of Arcadian Winds, a wind quintet specializing in contemporary music. An active free-lancer, she has appeared with the Boston Lyric Opera, The Cantata Singers, Opera Boston, ProArte Chamber Orchestra, Portland Symphony Orchestra, the Boston Pops Esplanade Orchestra and the New Hampshire Music Festival as English horn soloist. She has participated in several commercial recordings and radio broadcasts. Ms. Harrison is on the faculty of Wellesley College, the Boston Youth Symphony Orchestras, and the All-Newton Music School.
Noriko Futagami Herndon, viola, enjoys a distinguished career as a versatile and prolific soloist, orchestral and chamber musician. She is Principal Violist for the Albany Symphony, an ensemble with numerous world premier performances and recordings, and plays with their Dogs of Desire contemporary ensemble as well as the New Jersey Symphony. Now living in the Greater Boston area, she serves as Assistant Principal Violist for the Boston Philharmonic Orchestra. Her dynamic virtuosity, combined with a passion for new music, has led to collaborations with the Boston Ballet Orchestra, Boston Modern Orchestra Project, Boston Musica Viva, Radius Ensemble and Winsor Music Chamber Series.
Inspired by a photograph of Sgt. Pepper's Lonely Hearts Club Band, Whitacre Hill began his studies of the horn at the age of nine with Prowell Seitzinger in Hummelstown, Pennsylvania. Study of the horn continued at the Eastman School of Music, the Music Academy of the West, and Northwestern University. Mr. Hill currently lives in Dorchester with his wife, violinist Heidi Braun-Hill, and their two children Adelaide and Finnis, and performs in a wide range of ensembles in the Boston area, including Emmanuel Music, Chameleon Arts Ensemble, Boston Modern Orchestra Project, Boston Philharmonic Orchestra, Boston Pops, Cantata Singers Orchestra, Rhode Island Philharmonic and Portland Symphony Orchestra. Summers are spent at the New Hampshire Music Festival. Mr. Hill is a frequent participant in John and Rosie Harbison's Token Creek Chamber Music Festival near Madison, Wisconsin.
Violinist Randy Hiller earned the BS degree from Harvard University and the MBA and PhD in applied mathematics from MIT. He has studied violin with Sarah Scriven and Roger Shermont, and chamber music with Raphael Hillyer, Eugene Lehner, and Leon Kirshner. He was the concertmaster of the Concord Orchestra from 1999 until 2005, and is a current member of the Lexington Symphony. Mr. Hiller is a founding director of the Lexington Chamber Music Center, Inc. a non-profit focused on training middle and high school students in classical chamber music and presenting outreach concerts at area hospitals and retirement homes. He also serves as immediate past president of the board of Project STEP, a Boston-based program designed to provide string instrument training to talented minority children.
Betsy Hinkle, violinist, pursues dual careers as a performer and innovative music educator. She is the founder and director of the Boston Public Quartet and the non-profit musiConnects, which provides free access to holistic and in-depth music education and performance in the neighborhoods of Boston. Read more about the Boston Public Quartet and musiConnects at www.musiconnects.org. Ms. Hinkle received an M.M. from The New England Conservatory and B.M. from Florida State University, both in violin performance. She has performed with the Boston Ballet Orchestra, the Orchestra of Emmanuel Music, and the Boston Classical Orchestra, and has served as concertmaster for several area orchestras. With the BPQ she has performed at the Harvard Musical Association, in the Lark Chamber Music Series, and in many Boston venues such as Emmanuel Church.
Pianist Brett Hodgdon is a collaborative artist, vocal coach, and conductor living in Boston, Massachusetts. Equally comfortable as chamber musician and vocal collaborator, he has performed for audiences at Jordan Hall, the Kennedy Center, Wolf Trap Opera Company, Tanglewood Music Center, and the Aspen Music Festival, as well as performing in the Emmanuel Music Chamber Series. Away from the recital stage, Mr. Hodgdon is on the music staff at the Boston Lyric Opera, after having been an Emerging Artist at the company. Mr. Hodgdon recently joined the faculty at the University of Connecticut as Director of the Opera Theater. This year he will make his UConn conducting debut with Britten's Albert Herring. He is the rehearsal pianist for Emmanuel Music’s Bach Cantata Series. A doctoral candidate in collaborative piano at the New England Conservatory, Mr. Hodgdon’s research centers in French art song of the mid-twentieth century.
Pianist Randall Hodgkinson, Grand Prize winner of the International American Music Competition sponsored by Carnegie Hall and the Rockefeller Foundation, has performed with orchestras in Atlanta, Philadelphia, Buffalo, Boston, Cleveland and abroad in Italy and Iceland. He is an artist member of the Boston Chamber Music Society, and he performs the four-hand and two-piano repertoire with his wife, Leslie Amper. Mr. Hodgkinson's festival appearances include Blue Hill (Maine), BargeMusic, Chestnut Hill Concerts (Madison, Connecticut), Seattle Chamber Music Festival, and Santa Fe Chamber Music Festival, and he has performed regularly in the Emmanuel Music Chamber Series. His recordings include solo works by Roger Sessions and Donald Martino for the New World label, chamber music with the Boston Chamber Music Society for Northeastern Records, and the Morton Gould Concerto with the Albany Symphony for Albany Records. Mr. Hodgkinson is currently on the faculty of the New England Conservatory and the Longy School of Music of Bard College.
Flutist Vanessa Holroyd holds a bachelor’s in literature from Yale University, a master’s in flute performance from McGill University, and an Artist Diploma from the Longy School of Music of Bard College. Her teachers include Geralyn Coticone, Robert Willoughby, Timothy Hutchins, Michael Parloff and Elssa Green. She was a prizewinner in the 2002 National Flute Association’s Young Artist Competition, receiving the award for best performance of Dan Welcher’s “Florestan’s Falcon,” commissioned for that competition; and was the 2004 recipient of Chamber Music America’s “Residency Partnership Grant.” Ms. Holroyd performs with Emmanuel Music, the New Bedford Symphony Orchestra, and Arcadian Winds, a Boston-based woodwind quintet specializing in contemporary music. Other collaborations include the Boston-based chamber group Ensemble Poema, and recitals with pianist Joy Cline Phinney throughout New England and by invitation at festivals in the British and American Virgin Islands. She is on the faculty of Philips Exeter Academy and serves as the school’s concert series manager; she also serves on the faculty of the Boston Youth Symphony Orchestra. She has performed and taught as a guest faculty artist at the Apple Hill Center for Chamber Music in Nelson, NH since 2007. Ms. Holroyd also co-owns and operates the music agency Music Management in Belmont, MA. She lives in Jamaica Plain, MA with her husband and two children.
Jesse Irons, violin, is a founder of A Far Cry, a self-conducted string orchestra, and has appeared in concert across the United States and Europe, as well as in Kazakhstan, Kyrgyzstan, and Singapore. His playing has been described as "insinuating" by the New York Times, and he's pretty sure they meant it in a good way. Before completing his studies at New England Conservatory, he received undergraduate and graduate degrees from Baltimore’s Peabody Conservatory, serving as graduate assistant in chamber music. His mentors include Pamela Frank and Nicholas Kitchen. Mr. Irons enjoys exploring music outside the classical mainstream, and has performed with Yo-Yo Ma and the Silk Road Ensemble as well as with the cutting-edge new music ensemble Alarm Will Sound. His baroque-violin-playing alter ego appears with the Handel and Haydn Society, Boston Baroque, and numerous small ensembles around Boston, including the recently formed quintet Gut Reaction.
Etsuko Ishizuka, violin, is a graduate of the Tokyo University of the Arts and was a member of the Tokyo Philharmonic Orchestra. Over the years in New England she has played with Glimmerglass Opera and Handel & Haydn Society. Currently she plays with Emmanuel Music, Rhode Island Philharmonic and Boston Baroque.
American pianist Kayo Iwama has concertized extensively with singers such as Kendra Colton, Rufus Müller, Christòpheren Nomura, Lucy Shelton and Dawn Upshaw, Lucy Shelton, Christòpheren Nomura, Rufus Müller and Kendra Colton throughout North America, Europe and Japan and has performed in many prestigious venues including the Walter Reade Theater at Lincoln Center, Weill Recital Hall at Carnegie Hall, the Morgan Library, Boston’s Jordan Hall, the Isabella Stewart Gardner Museum, Seiji Ozawa Hall at Tanglewood, the Kennedy Center, the Ravinia Festival, the Aldeburgh Music Festival, Tokyo’s Yamaha Hall and the Théâtre du Châtelet in Paris. The Washington Post has called her a pianist “with unusual skill and sen-sitivtysensitivity to the music and the singer” and the Boston Globe has praised her “virtuoso accompaniment…super-saturated with gorgeous colors.”. Ms. Iwama is the associate director of the innovative Graduate Vocal Arts Program at the Bard College Con-servatory of Music, working in tandem with the artistic director, Dawn Upshaw. Since 1995 she has taught at the Tanglewood Music Center, where she is also the coordinator of the Vocal Studies Program. In previous years she was associated with the Steans Institute of the Ravinia Festival and the Boston Symphony Orchestra. A former resident of the Boston area, she was a frequent performer there in concert and on WGBH radio. Ms.Miss Iwama holds degrees from the Oberlin Conservatory of Music and the State University of New York at Stony Brook where she studied with Gilbert Kalish. She is married to pianist Frank Corliss and has two children.
Born in Bucharest, Romania, bassoonist Adrian Jojatu began his studies at the George Enescu Music School. He has won several national competitions and at the age of 17 he was invited as principal bassoonist in Rome and Lanciano Summer Music festivals in Italy where he also performed at the summer residence of Pope John II. At age of 18 he had his debut as soloist with the W.A Mozart bassoon concerto KV 191 with the George Enescu Philharmonic in Bucharest. Mr. Jojatu graduated from the Academy of Music in Bucharest, was appointed assistant principal bassoonist of the Radio Chamber Orchestra. He received a full scholarship for his Masters and Doctoral degree from Boston University, where he studied with Matthew Ruggiero, former assistant principal bassoonist of Boston Symphony. Mr. Jojatu is the founder of Mozarteum Woodwind Quartet and in 1995 won the Aria Concerto Competition at Boston University. As a prize, The Mozarteum was invited to perform the Sinfonia Concertante KV 297 by W.A. Mozart with the Boston Pops conducted by Keith Lockhart. That same year, Mr. Jojatu released his first CD of the Mozart Bassoon Concerto KV191 under the Euromusic Label with the George Enescu Philharmonic and conductor Ronald Feldman. In 2006, Mr. Jojatu was appointed principal bassoonist with the State Symphony Orchestra of Mexico with Music Director Enrique Batiz. During his tenure in Mexico he performed as a soloist with the Guatemala National Philharmonic and in 2011 performed as soloist with the Guanajato Philharmonic, Monterrey Philharmonic, Chihuahua Symphony Orchestra and the State Symphony Orchestra of Mexico and gave several master classes in Mexico. Since 2008 he has been invited every year to give a solo recital at the Newton Public Library. Last season, the Boston Pops invited him to play as principal bassoon under the direction of Keith Lockhart. Mr. Jojatu has performed with orchestras such as Boston Pops, Boston Lyric Opera, Boston Modern Orchestra, Boston Ballet, Boston Classical, Indian Hill Orchestra, and Rhode Island Philharmonic. He is a great admirer of Mozart and Beethoven and loves cycling and photography.
Cellist Agnes Kim, described as a "hair-raising performer" in The Boston Musical Intelligencer after her performance with award-winning Arneis Quartet, has actively performed as a recitalist, chamber musician, and orchestral player. She currently serves as a principal cellist in Haffner Sinfonietta and Hwaum Chamber Orchestra of Boston, and plays for Boston Philharmonic Orchestra. She was a founding member of Trio Eca and Haffner Chamber Players. Her performance as member of Korea-based Trio Sol was broadcasted national widely on MBC in Korea. Ms. Kim was winner of the Artist International Audition and a recipient of John Lad Prize, Aldo Pariot Scholarship, Eric Von Baeyer Scholarship, and prizes from International Chamber Music Ensemble Competition and Ibla Grand Prize. She has collaborated in concerts with Marc Johnson, Peter Zazofsky, Michelle LaCourse, Ursula Holliger, and St. Lawrence String Quartet. Ms. Kim received Doctor of Musical Arts from Boston University where she was a student of Leslie Parnas. Born in Pennsylvania, USA, and raised in Busan, Korea, she was trained at Busan High School of Arts and holds degrees from Peabody Institute of Johns Hopkins University and New England Conservatory where she studied with Steven Kates and Yeesun Kim. She participated in Aspen Music Festival, Chamber Residency and Master Classes at Banff Center, Apple Hill Center for Chamber Music, Emerging Quartet and Composers Program at Deer Valley Festival, St. Lawrence String Quartet Seminar, Juilliard Quartet Seminar and Encore School for Strings.
A graduate of the New England Conservatory of Music, Christopher Krueger was a student of James Pappoutsakis. He has performed as principal flutist with the Boston Symphony, the Boston Pops and Boston Pops Esplanade Orchestra, the Orpheus Chamber Orchestra, the Opera Company of Boston, Boston Ballet, Boston Musica Viva, and Cantata Singers, among other organizations, and was a founding member of the Emmanuel Wind Quintet, winners of the 1981 Walter W. Naumburg Award for Chamber Music. Currently he is a member of Collage New Music, Emmanuel Music, and performs frequently as principal flutist with Cantata Singers and other organizations in Boston. In the mid-1970's, Mr. Krueger became interested in historical performance. His career as a Baroque flutist has taken him throughout the United States, Europe, Eastern Europe, and Australia. He has been a soloist on the Great Performers Series and Mostly Mozart Festival at Lincoln Center, the Philadelphia Bach Festival, Tanglewood, Ravinia, the Berlin Bach Festival, the City of London Festival, and the Lufthansa Festival of Baroque Music, as well as in France, Belgium, Italy, and Poland. He is a member of the Bach Ensemble and the Aulos Ensemble, and is principal flutist with the Handel and Haydn Society and Boston Baroque. Christopher Krueger has conducted and been a soloist with the Handel and Haydn Society and Emmanuel Music, and his recordings can be heard on Sony, DG, Decca, EMI, Nonesuch, Pro Arte, CRI, Telarc, Koch, and Centaur. Mr. Krueger has served on the faculties of the New England Conservatory of Music, Boston University, Wellesley College, the Longy School of Music, Oberlin's Baroque Performance Institute, and the Akademie für Alte Musik in Brixen/Bressanone, Italy.
Robert Levin has performed throughout the United States, Europe, Australia, and Asia, appearing with the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Mon treal, Philadelphia, Toronto, Utah, and Vienna on the Steinway; and with the Academy of Ancient Music, the English Baroque Soloists, the Handel and Haydn Society, the London Classical Players, the Orchestra of the Age of Enlightenment, and the Orchestre Révolutionnaire et Romantique on period pianos. Renowned for his improvised cadenzas in Classical period repertoire, Robert Levin has made recordings of a wide range of repertoire for DG Archiv, Decca/London, Deutsche Harmonia Mundi, ECM, Hänssler, New York Philomusica, Philips, and SONY Classical. His recordings include Bach’s complete keyboard concertos, the six English Suites, and both books of the Well-Tempered Clavier (Hänssler Edition Bachakademie); a Mozart concerto cycle with Christopher Hogwood and the Academy of Ancient Music for Decca/Oiseau Lyre; the Beethoven concertos with Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique for DG Archiv; and the complete piano music of Dutilleux for ECM. A passionate advocate of new music, Robert Levin has commissioned and premiered a large number of works, including Joshua Fineberg’s Veils (2001), John Harbison’s Second Sonata (2003), Yehudi Wyner’s piano concerto Chiavi in mano (Pulitzer Prize, 2006), Bernard Rands’ Preludes, (2007) and Thomas Oboe Lee’s Piano Concerto (2007). Robert Levin appears frequently with his wife, pianist Ya-Fei Chuang, in duo recitals and with orchestra, and with violist Kim Kashkashian. A noted Mozart scholar, Mr. Levin’s completions of Mozart’s Requiem and other unfinished works have been recorded and performed throughout the world. In 2005 his completion of the Mozart C-minor Mass, commissioned by Carnegie Hall, was premiered there and has since been widely heard in the United States and Europe. After more than a quarter century as an artist teacher at the Sarasota Music Festival he succeeded Paul Wolfe as Artistic Director in 2007. A member of the American Academy of Arts and Sciences and the Akademie für Mozartforschung, he is President of the International Johann Sebastian Bach Competition (Leipzig, Germany). From 1993 to 2013 he was Dwight P. Robinson, Jr. Professor of the Humanities at Harvard University.
Bassoonist Jensen Ling is an active orchestral and chamber musician in the New England area. He has performed with the Orchestra of Emmanuel Music, Cantata Singers, the Boston Ballet Orchestra, New Bedford Symphony, Albany Symphony, Symphony New Hampshire, and the Boston Philharmonic. Jensen studied at New England Conservatory and Boston University with Boston Symphony bassoonists Gregg Henegar and Richard Ranti, and with Palm Beach Opera bassoonist, Michael Ellert, prior to moving to Boston. For the past several summers, Jensen has served as the Young Artists Orchestra Program Manager at the Boston University Tanglewood Institute as well as serving as a member of the chamber music faculty.
Violinist Danielle Maddon is well known to New England audiences for her vibrant playing and broad experience as a soloist, concertmaster, recitalist, chamber and orchestral musician. Performing on both modern and period instruments, Ms. Maddon has appeared in venues including Carnegie Hall, Vatican City, and Tokyo’s Suntory Hall, in repertoire spanning four centuries. Critics have hailed her playing as “magnificent,” “stunning,” “masterful,” and “heartfelt.” She performs with Boston Baroque, Emmanuel Music, the Boston Pops, the Boston Musica Viva, the Handel and Haydn Society, Cantata Singers, the Boston Cecelia, and other groups. Ms. Maddon was twice awarded full fellowships to both the Tanglewood Music Center and the Los Angeles Philharmonic Institute, winning concertmaster posts for conductors Kurt Masur, Michael Tilson-Thomas, Leonard Slatkin, and Sir Charles Grove. For four seasons, she was concertmaster of the Tallahassee Symphony. Ms. Maddon performed for two years as a first violinist in the Singapore Symphony Orchestra, and tutored violin students at the National University of Singapore. As concertmaster and soloist for the New England Philharmonic under Richard Pittman, she has performed twelve violin concertos by modern masters including Berg, Harbison, Dutilleux, and Lutoslawski. On March 2, 2014, she premiered a new violin concerto by Bernard Hoffer, commissioned by the New England Philharmonic and written for her.
Clarinetist Rane Moore enjoys an active performing schedule at home and abroad. An enthusiastic interpreter of contemporary repertoire, she is a member of Talea Ensemble, Callithumpian Consort, and Sound Icon. Ms. Moore has given numerous premieres of new works and appeared with Boston Musica Viva, Firebird Ensemble, Ludovico Ensemble, International Contemporary Ensemble (ICE), East Coast Contemporary Ensemble (ECCE), Brave New Works, Guerilla Opera, Milwaukee's Present Music, and the Bang on a Can All-Stars. Recent festival appearances include Kingston Chamber Music Festival, Wien Modern, Newport Jazz Festival, Sacrum Profanum in Krakow, and Rockport Chamber Music Festival. As an orchestral musician she has performed with the Boston Modern Orchestra Project, Vermont Symphony, Lexington Symphony, and the Orchestra of Emmanuel Music. She is a frequent guest with Boston-based chamber music groups Radius Ensemble and Vento Chiaro. Ms. Moore has recorded for Tzadik, Gravina Música, Mode, Bridge, Parma, Navona, and New World records and holds degrees from Indiana University and the University of California at Berkeley. Boston-area critics have praised her "enthralling," "tour-de-force," and "phenomenal" performances.
Cellist Lynn Nowels’ musical upbringing took place in the oldest youth orchestra in the United States: the Portland, Oregon Youth Philharmonic. Following scholarship studies with Eva Heinitz and Denes Zsigmondy at the University of Washington and work with Joseph Gingold and Leonard Rose at the Blossom Festival, the Cleveland Orchestra’s chamber music fellowship program, she joined the Boston and New England music scenes where her very first engagements were playing Bach Cantatas with Craig Smith at Emmanuel Church. She later performed in the early Peter Sellars/Craig Smith opera collaborations, played a great deal of new music at Brandeis University, was a Monadnock Music chamber and orchestra musician, and helped found the Artemis String Quartet which specialized in the quartets of Shostakovich. In addition to Emmanuel Music, she currently plays with organizations that include the Cantata Singers and Ensemble, Pro Arte Chamber Orchestra, and The Orpheus Singers. Her Boston mentors for chamber music were Eugene Lehner and Eric Rosenblith, and her summers are now filled with chamber music, performing with the International Musical Arts Institute in Maine, Music at Eden’s Edge on Boston’s North Shore, and in the Pacific Northwest. Ms. Nowels has served on the faculties of Wheaton College and the Waldorf School of Lexington. She maintains a private teaching studio and is a faculty member at the ArtsAhimsa Music Festival in Lenox. She has recorded for the CRI and New World labels.
Karen Oosterbaan enjoys an active career as a violinist and Alexander Technique teacher in the Boston area. As a professional violinist, she performs with the Orchestra of Emmanuel Music, Pro Arte Orchestra, Cantata Singers, Spectrum Singers, and National Lyric Opera. She has appeared as a concerto soloist with the Cambridge Symphony Orchestra, and she continues to perform with a variety of chamber groups throughout New England. She performs with the Winchester Chamber Players every year. At New England Conservatory and Longy School of Music of Bard College, she teaches lessons and classes in the Alexander Technique. She has presented many workshops on integrating the Alexander Technique with performing at Boston Symphony Orchestra, “Inside the Music Series,” Guildhall School of Music, London, and Longy School of Music. During the summer, she is the Music Director of Point CounterPoint, a chamber music camp in Vermont, where she teaches and performs. In addition to her home studio, she teaches violin and chamber music at Winchester Community Music School. She completed her Master of Music degree in violin performance at the New England Conservatory with honors, her Graduate Diploma in Violin Performance at Longy School of Music at Bard College with distinction, and her Bachelor of Music, summa cum laude, from Blair School of Music at Vanderbilt University. Violin studies with James Buswell IV, Cornelia Heard, Paul Kantor, and Janet Packer. Chamber music studies with members of the Blair, Borromeo, Cleveland, and Lydian String Quartets.
Oboist Peggy Pearson is a winner of the Pope Foundation Award for Outstanding Accomplishment in Music. Lloyd Schwartz, who received the 1994 Pulitzer Prize for Criticism, called her “my favorite living oboist.” Peggy has performed solo, chamber, and orchestral music throughout the US and abroad. She is solo oboist with the Emmanuel Chamber Orchestra, an organization that has performed all of the cantatas of Johann Sebastian Bach. She is also a member of the Bach Aria Group. According to Richard Dyer of the Boston Globe, “Peggy Pearson has probably played more Bach than any other oboist of her generation; this is music she plays in a state of eloquent grace.” Ms. Pearson is the founding director of, and oboist with, Winsor Music, and also a founding member of the chamber group La Fenice. She has toured internationally and recorded extensively with the Orpheus Chamber Orchestra, and has appeared with the Boston Symphony Orchestra, St. Paul Chamber Orchestra, and the Orchestra of St. Luke’s as principal oboist, the Chamber Music Society of Lincoln Center, and Music from Marlboro. In addition to her freelance and chamber music activities, Ms. Pearson has been an active exponent of contemporary music. She was a fellow of the Radcliffe Institute in contemporary music, and has premiered numerous works, many of which were written specifically for her. As artistic director of Winsor Music, Inc., Ms. Pearson organized the Winsor Music Consortium (a project to commission works for oboe) and has premiered over 20 works in her chamber music series. She has been on the faculties at Songfest, the Tanglewood Music Center (Bach Institute), Boston Conservatory, MIT, the Conservatory of Music (University of Cincinnati), Wellesley College, the Composers Conference at Wellesley College and the Longy School of Music of Bard College. She is currently on the faculty of the Bach Institute, a collaboration between Winsor Music, Emmanuel Music and Oberlin College.
Paul Perfetti, a Boston resident, performs on baroque trumpet with Boston Baroque, the Handel and Haydn Society, Aston Magna, Boston Bach Ensemble, Portland Baroque (Oregon), Early Music New York, Millenial Arts Productions (NY), and Collegium Musicum Bach (Mexico). Recordings with Boston Baroque on Telarc include, among others, J.S. Bach: Complete Orchestral Suites, Mass in B minor (2000 Grammy nominee), Mozart’s Requiem (1995 Robert Levin completion) and Handel’s Messiah (1992 Grammy nominee), and the Grammy-nominated Monteverdi’s Vespers of 1610 (on cornetto). Other recordings include Haydn’s Lord Nelson Mass with Banchetto Musicale (Arabesque), and Bach’s Christmas Oratorios with the Boston Bach Ensemble (Titanic). In 2004 Mr. Perfetti lectured on baroque and natural trumpets at the Boston Museum of Fine Arts musical instrument collection, and has been engaged to record some of these instruments to document these rare trumpets. He has been principal trumpet with the national touring company of Les Miserables since 1998. He has been a frequent performer with Emmanuel Music, Opera Company of Boston, Boston Academy of Music, Boston Pops Orchestra, Boston Philharmonic, and Boston Musica Viva. He performed with Yo Yo Ma and Boston Musica Viva in a BBC production, "A Month at Tanglewood." Mr. Perfetti holds a Bachelor of Music in trumpet performance/composition from the University of Wisconsin and a Master of Music in trumpet performance "with distinction" from the New England Conservatory of Music. His principal teachers were Michael Galloway and Charles Schlueter (Boston Symphony). He studied baroque trumpet with Friedemann Immer (Michaelstein, Germany).
Violinist Dianne Pettipaw is an active freelance musician performing with orchestral and chamber music groups in the Boston area. She holds the position of principal second violin with the Boston Ballet Orchestra, which has included solo performances in 1991, 2004, 2006, and 2011. She has also performed in BBC productions of ballet choreographed for dance and solo violin. She performs regularly with Emmanuel Music, including the weekly Bach cantatas, the Emmanuel Concert Series, and performed with the Orchestra of Emmanuel Music on its 2005 European tour. She performs regularly with the Cantata Singers Orchestra, the Handel and Haydn Society, Pro Arte Chamber Orchestra, and the Boston Pops Esplanade Orchestra, which has included cross-country tours and as well as five tours in Japan. Ms Pettipaw regularly plays chamber music and in violin-and-piano recitals in Boston and Brookline, MA. She has taught violin in her studio since 1970. Ms Pettipaw studied at Boston University with Roman Totenberg and Raphael Bronstein.
Hailed by The New York Times as “imaginative and eloquent” and dubbed “a local hero” by the Boston Globe, cellist Rafael Popper-Keizer maintains a vibrant and diverse career as one of Boston’s most sought-after artists. He is principal cellist of the Boston Modern Orchestra Project, Emmanuel Music, and the Boston Philharmonic Orchestra, and a core member of some of New England’s most celebrated chamber groups, including the Chameleon Arts Ensemble, Winsor Music, the Ibis Camerata, and Monadnock Music. His 2003 performance with the Boston Philharmonic of the Saint-Saëns Concerto in A minor was praised by the Globe for “melodic phrasing of melting tenderness” and “dazzling dispatch of every bravura challenge.” More recent solo appearances include Strauss’ Don Quixote, with the Boston Philharmonic and Beethoven’s Triple Concerto with Emmanuel Music. Mr. Popper-Keizer has been featured on close to two dozen recordings, including the premieres of Robert Erickson’s Fantasy for Cello and Orchestra, Thomas Oboe Lee’s tone poem Eurydice, Yehudi Wyner’s De Novo for cello and small chamber ensemble, Malcolm Peyton’s unaccompanied Cello Piece, and major unaccompanied works by Kodaly and Gawlick. As an alumnus of the New England Conservatory, Mr. Popper-Keizer studied with master pedagogue and Piatigorsky protégé Laurence Lesser. At the Tanglewood Music Center he was privileged to work with Mstislav Rostropovich, and was Yo-Yo Ma’s understudy for Strauss’ Don Quixote under the direction of Seiji Ozawa. His prior teachers include Stephen Harrison, at Stanford University, and Karen Andrie, at the University of California at Santa Cruz.
Hailed as a “superb cellist” and as “sonorous and panoramic” in The Boston Globe, David Russell maintains a vigorous schedule both as soloist and as collaborator in the US and Europe. He was appointed to the teaching faculty of Wellesley College in 2005 and currently serves as Director of Chamber Music. He is a busy performer in the Boston area, making regular appearances with such ensembles as Pro Arte Chamber Orchestra, the New England String Ensemble, Cantata Singers and Ensemble, and Emmanuel Music. He served as Principal Cello of Opera Boston from 2006 to 2011. A strong advocate and performer of new music, Russell has performed with such ensembles as Boston Modern Orchestra Project, Firebird Ensemble, Music on the Edge, Dinosaur Annex, and the Fromm Players at Harvard. Recent projects include recordings of works by Eric Moe, Lee Hyla, Tamar Diesendruck, Chen Yi, and Roger Zahab, premieres of Laurie San Martin’s Cello Concerto with the Fort Worth Symphony, Eric Moe’s “Mud Wrestling at the O.K. Corral” for cello and piano, and new works for solo cello by Andrew Rindfleisch, Sam Nichols, and John Mallia. Recordings on Tzadik, Centaur, CRI, Albany Records, and New World Records
Roy Sansom, recorder, has performed with the Boston Symphony Orchestra, Boston Pops Orchestra, New World Symphony in Miami, BEMF Orchestra, New York City Opera and (most proudly) Emmanuel Music. Roy composes for the recorder, scores for films, and makes recorders at the Von Huene Workshop.
Charles Sherman has played organ continuo regularly with Emmanuel Music for the Sunday morning Cantata Series since 1993. He is recognized as one of the leading harpsichord soloists and continuo players in the country and has been called a "fluent virtuoso" by the Los Angeles Times. Since 1997, he has been a member of Philharmonia Baroque Orchestra and Musica Pacifica. Previously, as a member of the Aulos Ensemble (NY) for many years, he toured regularly throughout North America and overseas, and recorded extensively. He has also performed with such acclaimed ensembles as the Philadelphia Orchestra, American Baroque (SF), Musica Angelica (LA), Handel & Haydn Society and Emmanuel Music (Boston), St. Luke's Chamber Ensemble, and Concert Royal (NY), and at well-known music festivals, including Marlboro, Saratoga, the New England Bach Festival, the Boston and Berkeley Early Music Festivals, and Aston Magna. Mr. Sherman holds degrees in History and Musicology from The University of Chicago and in Harpsichord Performance from the Juilliard School, where he studied with Albert Fuller. He is one of today's leading exponents of the art of basso continuo realization and frequently teaches master classes on Baroque accompaniment. His recordings appear on the Dorian, Musical Heritage Society, Koch International, and BMG labels.
An eloquent communicator both on and off the concert stage, pianist Russell Sherman continues to astonish critics and audiences with his grace, imagination and poetry. As author of the book Piano Pieces (2006), a compilation of vignettes and anecdotes from his experiences as pianist and teacher, he has been praised as an ingenious virtuoso and an insightful master. Mr. Sherman has performed with major orchestras internationally, and is the first American to record Beethoven’s complete piano sonatas and the five piano concertos. Bernard Jacobsen, in Fanfare, called the Beethoven sonatas project “a set for the ages.” In recital, Russell Sherman has appeared in celebrated series and at renowned festivals and venues around the world. Mr. Sherman is a prolific recording artist. Anthony Tommasini, in the New York Times (1999) praised Mr. Sherman’s 1990 recording of Liszt’s Transcendental Études, “Several impressive recordings of Liszt’s ‘Transcendental Études’ prove that these audaciously difficult works are actually playable and triumphantly pianistic. But none make Liszt’s visionary understanding of what the piano could do more palpable and exciting than Russell Sherman’s extraordinary 1990 recording.” Mr. Sherman has recorded works by Gershwin, Brahms, Chopin, Schubert, Grieg, Schumann, Debussy, Bach, and additional works by Liszt. Mr. Sherman also performs and records work of modern and contemporary composers, among these are the complete piano works of Schoenberg as well as pieces he has commissioned from Schuller, Helps, Perle, and Shapey. Russell Sherman was born in New York, began piano studies at age six, and by eleven was studying with Eduard Steuermann, pupil and friend of Ferruccio Busoni and Arnold Schoenberg. He graduated from Columbia University at 19 with a degree in the humanities. He was Visiting Professor at Harvard University and is currently a Distinguished Artist-in-Residence at the New England Conservatory. At age 84, Sherman continues to explore, and to merit the title “a thinking man’s virtuoso.”
Bebo Shiu has recently earned his doctoral degree to become the first and the only DMA Double Bass graduate under Edwin Barker at Boston University. In 2012, Bebo made his concerto debut in Panama City in association with the sixth annual Alfredo Saint Malo Music Festival while teaching lessons and coaching chamber groups. He won first place in the 2010 Bass Coalition Solo Competition in Winchester, Virginia and was the String Division winner in the 2006 Entergy Young Texas Artists Competition in Conroe, Texas. He maintains his tenured member status with the Austin Symphony Orchestra while freelancing and teaching in Boston. Bebo has performed with the New World Symphony, San Antonio Symphony, Boston Symphony Orchestra, Boston Pops Orchestra, Boston Pops Esplanade Orchestra, and the Singapore Symphony Orchestra. He performs locally with the Boston Ballet, Emmanuel Music, Boston Cecilia, Boston Modern Orchestra Project, Odyssey Opera, Metropolitan Chorale, Masterworks Chorale, Boston Philharmonic Orchestra, Portland Symphony Orchestra, Back Bay Chorale, Cantata Singers, Zamir Chorale, Boston Lyric Opera, Harvard Choruses, and the Monadnock Music Festival. He has collaborated for chamber works with the New England Chamber Players, Juventas Music, Alea III, and Radius Ensemble. Bebo has been awarded numerous fellowships to attend the Aspen Music Festival, Eastern Music Festival, and the Tanglewood Music Center. Dr. Shiu currently serves as the visiting lecturer of Double Bass at Bridgewater State University.
Oboist Jennifer Slowik is currently principal oboe with the Boston Modern Orchestra Project (BMOP), assistant principal oboe at the Orchestra of Indian Hill, and a member of Emmanuel Music, where she was a recipient of the 2009/10 Lorraine Hunt Lieberson Fellowship. She has been featured in the Dame Myra Hess chamber music series in Chicago, the Phillips Collection series in Washington, DC, and as a member of the wind quintet Southspoon Winds. Ms. Slowikwas awarded a grant from the Midori Foundation's Outreach Program to present a series of chamber music master classes in New York public schools. Recent highlights include the world- and US premieres of Tod Machover's multi-media opera Death and the Powers at the Sally Garnier Theater in Monte Carlo and the Chicago Opera Theater, Opera Boston's production of Zhou Long's Pulitzer-Prize winning Madame White Snake, and composer Livia Lin's Ju for solo oboe, composed for Ms. Slovik. Ms. Slowik has recorded Thomas Oboe Lee's Persephone for oboe and strings as well as Lisa Bielawa's Synopsis #10: I Know This Room So Well, for solo English horn, both on the BMOP Sound label.
Michael Sponseller is recognized as one of the outstanding American harpsichordists of his generation. Since his training at the Oberlin Conservatory of Music and the Royal Conservatory of Music in The Hague, Mr. Sponseller has had a highly diversified career which brings him to festivals and concert venues all around as recital and concerto soloist, and partner to several of today’s finest musicians. He appears regularly as harpsichordist and continuo organist with many of America’s baroque orchestras and chamber groups such as Bach Collegium (San Diego) and Les Délices. He is heard on many recordings from Delos, Centaur, Eclectra, Vanguard Classics, RMAP and Naxos. Behind the scenes, Michael has been a regular presence in the orchestra pit for several productions of Handel’s operas Alcina, Amadigi, and Ariodante, as well as Rameau operas, including performing as repetiteur for the Netherlands Opera production of Castor et Pollux, conducted by Christophe Rousset. At home, Michael is a regular presence at Boston’s Handel and Haydn Society and Emmanuel Music, where he has performed over 90 works in their Bach Cantata Series. Mr. Sponseller also teaches continuo and figured bass at the Longy School of Music of Bard College, and is artistic director of Ensemble Florilège.
Thomas Stephenson has been an active freelance bassoonist in Boston for most of his career. He has performed with the Orchestra of Emmanuel Music since 1975, where he has played numerous Handel operas and oratorios, Mozart operas, symphonies, and chamber music and works of many other composers including the entire cycle of Bach cantatas under Craig Smith. He has also performed on a number of Emmanuel Music collaborations, including Mark Morris’s setting of Handel’s L’Allegro, il Penseroso ed il Moderato; and Bach cantatas staged by Peter Sellars and featuring Lorraine Hunt Lieberson. Mr. Stephenson has also performed with many of Boston’s prominent musical organizations, including the Boston Symphony, Boston Lyric Opera, the Opera Company of Boston, the Cantata Singers, the Handel and Haydn Society, the Pro Arte Chamber Orchestra, and the Boston Ballet Orchestra. His discography includes recordings on Koch, Nonesuch, and AVIE labels. He played his first Bach cantata under John Harbison when he was an MIT undergraduate, and heard wonderful performances of many Bach cantatas by the Cantata Singers under his direction, which set him on a course for life.
Daniel Stepner joined the Lydian String Quartet as first violinist in 1987. A Professor of the Practice on the faculty at Brandeis University, Mr. Stepner is also Artistic Director of the Aston Magna Festival, which gives concerts in the Berkshires, at Bard College, and at Brandeis. As a touring musician, he has played in 11 countries in Western Europe and the former Soviet Union, and throughout Australia and the United States. He has performed and recorded a wide repertoire on period and contemporary instruments. In addition to the Lydian String Quartet's many recordings, he has recorded chamber music by Buxtehude, Bach, Marais, Rameau, Vivaldi, Telemann, Mozart, Schubert, Charles Ives, Harold Shapero, Irving Fine, Yehudi Wyner, David Rakowski and Yu-Hui Chang. His recent CD releases also include the Sonatas and Partitas of J.S. Bach (along with his transcription of the Chromatic Fantasy and Fugue), the Late Beethoven Quartets (with the Lydian String Quartet) and an album of 20th Century masterworks for solo violin, including music of Bartók, Hindemith, Ysaÿe and Perkinson. Stepner studied with Steven Staryk in Chicago, Nadia Boulanger in France, and Broadus Erle at Yale.
Boston based cellist and baroque cellist praised for playing “with maturity and panache,” Cora Swenson Lee began her studies in Chicago at the age of four. Her most influential teachers have been Eastman School of Music professor Alan Harris, Chicago Symphony member Richard Hirschl, and long-time cellist of the renowned Vermeer Quartet, Marc Johnson. Ms. Swenson Lee holds a Bachelor Degree in Cello Performance with highest distinction from the Eastman School of Music (2010) and a Masters Degree in Cello Performance from Boston University College of Fine Arts (2012). An avid chamber musician, Ms. Swenson Lee performs regularly as a member of Boston Baroque and Trio Speranza. She has performed in venues across the United States and internationally, including appearances at the San Francisco Early Music Society, Trinity Church and Jordan Hall in Boston, Quigley Chapel and DePaul University in Chicago, and Odori Park in Sapporo, Japan, with former Vienna Philharmonic concertmaster Werner Hink and principal clarinetist Peter Schmiedl. A passionate educator, Ms. Swenson Lee runs a small private studio in Boston, and along with her colleagues in the Boston Public Quartet, is part of the new Celebrity Series of Boston initiative Artists in Community, which brings free concerts and school presentations to several Boston communities. Ms. Swenson Lee has participated in master classes by musicians including Steven Isserlis, Malcolm Bilson, and Pamela Frank. She has performed under conductors including David Zinman, Fabio Luisi, Leonard Slatkin, and Nicholas McGeegan. She has also worked with artists such as James Dunham, Rachel Barton Pine, Larry Combs, the Vermeer Quartet, the Ying Quartet, Pacifica Quartet and members of the Metropolitan Opera Orchestra.
Lee Wadenpfuhl is a freelance artist in the Boston Area. He received his undergraduate degree in horn performance in his hometown from the University of Houston in 2004, followed by a masters at the New England Conservatory in 2006. He has studied with Bruce Henniss, Roger Kaza (both of the Houston Symphony), and Jay Wadenpfuhl (Boston Symphony) each for two years. Lee has appeared as a soloist with the Houston Sinfonietta, Civic Orchestra of Boston, and the Boston Landmarks Orchestra. Lee has become a member of the Bangor Symphony, Atlantic Symphony, New Bedford Symphony, Rhode Island Philharmonic, and is currently Principal Horn of the Cape Cod Symphony. He also frequently plays with the Boston Symphony, Boston Pops, Boston Ballet, Boston Lyric Opera, the Boston Modern Orchestra Project, Boston Philharmonic, Richmond Symphony, and the Sydney Symphony in Australia. Lee comes from a very musical family, most of which are horn players and music educators. His father was his beginning horn teacher and Lee finished up his studies with his 2nd cousin Jay Wadenpfuhl, who held the position of 3rd horn in the Boston Symphony from 1981 to 2010.
Praised by critics for "livewire intensity" and for both "delightfully effective" and “memorably demonic” playing, violinist Katherine Winterstein enjoys a wide range of musical endeavors, as a chamber musician, orchestral musician, soloist, and teacher. She holds a Bachelor of Music Degree from the Eastman School and received her Master’s Degree from Boston University’s School for the Arts. Ms. Winterstein has performed on numerous series, such as Washington DC’s Embassy Series and the McIntire Chamber Music Series at the University of Virginia. She is a member of the Hartt String Quartet, the Mount Auburn String Quartet, and additionally appears regularly with the Craftsbury Chamber Players, Boston-based Chameleon Arts Ensemble, and Providence-based Aurea Ensemble. She has appeared as soloist with several orchestras including the Wintergreen Festival Orchestra, the Champlain Philharmonic, the Boston Virtuosi, and the Vermont Symphony. Ms. Winterstein is the concertmaster of the Vermont Symphony, the assistant concertmaster of the Portland Symphony, and she performs regularly with the Handel and Haydn Society, Boston Baroque and the Boston Modern Orchestra Project. She has served on the performance faculty of Middlebury College in Vermont since 2002, and joined the faculty of the Hartt School of Music in September of 2011.
Lena Wong, violin, is a graduate of the University of Wisconsin and studied at the Royal Academy of Music in London. She was a member of the Florida Philharmonic and the Honolulu Symphony before moving to Boston. Ms. Wong performs with Emmanuel Music, Boston Modern Orchestra Project, Cantata Singers, Boston Classical Orchestra, Boston Lyric Opera and the Boston Ballet Orchestra. On period violin, she performs and records with Boston Baroque and the Handel and Haydn Society.
Christoph Wolff is Adams University Professor at Harvard University. Born and educated in Germany, he studied organ and historical keyboard instruments, musicology and art history at the Universities of Berlin, Erlangen, and Freiburg, taking a performance diploma in 1963 and the Dr. Phil. in 1966. He taught the history of music at Erlangen, Toronto, Princeton, and Columbia Universities before joining the Harvard faculty in 1976 as Professor of Music; William Powell Mason Professor of Music, 1985-2002; and Adams University Professor, 2002-. At Harvard he served as Chair of the Music Department (1980-88, 90-91), Acting Director of the University Library (1991-92), and Dean of the Graduate School of Arts and Sciences (1992-2000). Recipient of various international prizes, several honorary degrees, he holds an honorary professorship at the University of Freiburg and memberships in the American Academy of Arts and Sciences, the American Philosophical Society, and the Sächsische Akademie der Wissenschaften. He currently serves as Director of the Bach-Archiv in Leipzig and President of the Répertoire International des Sources Musicales. He has published widely on the history of music from the 15th to the 20th centuries. Bach: Essays on His Life and Music (Cambridge, 1991), Mozart's Requiem (Berkeley, 1994), The New Bach Reader (New York, 1998), and Johann Sebastian Bach: The Learned Musicia (New York, 2000--translated into eight languages) are his most recent books.
Randall Zigler began his bass studies as a high school student in St. Louis, Missouri, and attended Oberlin College, where he received undergraduate degrees in bass performance and mathematics. He has since received a Master of Music degree from Boston University, and continues to freelance as an orchestral and chamber musician throughout New England. Recently appointed principal bass of the New Haven Symphony Orchestra, Mr. Zigler is also principal of the New Hampshire Symphony Orchestra and performs regularly with the Rhode Island Philharmonic and New Bedford Symphony Orchestra, among others.