Pianist Leslie Amper, recipient of the NEA Solo Recitalist Fellowship grant, has delighted audiences with her piano recitals in cities across the nation, including Boston, New York, San Francisco and Chicago. She has appeared in concerto performances with the Boston Pops, the New Hampshire Music Festival Orchestra, and the Pittsburgh Symphony. Ms. Amper is a frequent performer in Emmanuel Music’s Chamber Series, and she has also appeared in chamber music concerts at Bargemusic, Eastern Music Festival, Monadnock Music, and in Strada, Italy. Ms. Amper has presented concerts related to art exhibitions at the Boston Museum of Fine Arts, The Frick Art and Historical Society, the Phoenix Art Museum, and the National Gallery of Art. Her recording of Andrew Imbrie’s Short Story was selected for the WGBH “Art of the States,” an international radio broadcast. Ms. Amper also presented the music of Scriabin on stage for Peter Sellars’s American National Theater production of A Seagull. Ms. Amper studied with Russell Sherman and holds faculty positions at Longy School of Music of Bard College, the New England Conservatory, Preparatory, and Wheaton College. She has lectured on music at Currier House at Harvard University, Boston University, and New Hampshire Music Festival, where she is also a regular performer.
Michael Bahmann is equally at home on both the fortepiano and the harpsichord and also occasionally performs on the modern piano and the organ. His teachers include Karl Engel, Mack McCray on the piano, and John Gibbons on the harpsichord. He holds degrees from the Staatliche Hochschule fur Musik und Theater Hannover, the San Francisco Conservatory, and the New England Conservatory. Bahmann is a founding member of Musicians of the Old Post Road with whom he has appeared at the Boston Early Music Festival concert series, and at early music festivals in Indianopolis; Regensburg, Germany; and Mexico City. He has recorded several CD’s for the Meridian label. As a soloist and recitalist he performed at the festivals of Radio France; Koenigslutter, Aix-en Musique, Simiane la Rotonde, and for the Chicago symphony chamber concerts, Bay Chamber Concerts, Museum Concerts of Rhode Island, among others. Bahmann also toured with the baroque orchestra Musica Aeterna of Bratislava, Slovakia. In 2005 he was invited to direct Handels Orlando for the Festival de Antibes. As a longstanding member of Music of the Baroque of Chicago he has recorded several concerti for harpsichord for Fine Arts Radio Network. Michael Bahmann is artistic director of Musica Maris, a concert series dedicated to performing music from the 17th to the 19th centuries on period instruments. He is music director and organist at the United Congregational Church of Little Compton. In his spare time he works as an organ voicer for Fratelli Ruffatti of Padova.
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.
Fortepianist Sylvia Berry, a native of Philadelphia, has performed as a soloist and chamber musician in the US, Canada, The Netherlands, the UK, and Italy. A specialist in late 18th and early 19th century Viennese music, she has become known not only for her exciting performances, but for her engaging commentary about the music and the instruments she plays. A review in Early Music America stated: "… [she] revealed a poetic sensibility and a willingness to draw listeners in with spaces to pause and reflect. These qualities contrasted nicely with up-tempo movements, which were handled with verve,” while her work in an Opera Boston production led Lloyd Schwartz to write in the Boston Phoenix, “Special applause for continuo fortepianist Sylvia Berry, [who played] as if she were one of the actors.” While known primarily as a fortepianist she has also concertized at the harpsichord, clavichord, and organ, playing repertoire from Sweelinck to Schubert. Highlights of past performances include appearances on the Fringe Series of the Utrecht Early Music Festival; the Benton Fletcher Collection at Fenton House (London); “Drive Time Live” on WGBH Radio; the Cambridge Society for Early Music Series; the Connecticut Early Music Festival; the Portland (ME) Early Music Festival; Oberlin Conservatory; Swarthmore College; Bates College; and the Longy School of Music where she presented a lecture recital for the Haydn Society of North America. Ms. Berry studied at the New England Conservatory, the Oberlin Conservatory, and the Royal Conservatory in The Hague.
Ann Bobo has been one of the busiest freelance flutists in the Boston area for many years. She performs regularly with the Boston Pops Esplanade Orchestra, Boston Musica Viva, the Pro Arte Chamber Orchestra, and the Springfield Symphony. Her work includes nearly all of the major organizations in the New England area, most notably, the Boston Symphony Orchestra (BSO), Boston Lyric Opera (BLO), Boston Chamber Music Society, Rhode Island Philharmonic, Emmanuel Music, and Boston Modern Orchestra Project (BMOP). Bobo is an avid chamber musician and has been included on the rosters of the Rockport Chamber Music Festival, the Celebrity Series of Boston, Winsor Music, Carolina Chamber Music Festival, and the Radius Ensemble. Originally from Long Island, New York, Ann came to Boston to study with former Boston Symphony flutist, Fenwick Smith, at the New England Conservatory. While in school and for some years after, she was a member of the award winning Taiyo Woodwind Quintet which earned awards from the prestigious Coleman and Carmel Chamber Music Societies, and had the privilege of working with renowned composers including György Ligeti, Luciano Berio, John Harbison, and John Heiss. Summers after the conservatory included two years as a fellow at the Tanglewood Music Center as well as tours throughout the United States and Asia with the Boston Pops Esplanade Orchestra. Bobo has performed numerous times on WGBH Radio, and has recorded for RCA Victor, Arsis, and New World Records. Ann maintains a private studio and is on faculty at The Boston Conservatory. When not performing, Ann can be found running around with her husband and two young daughters.
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, is a violin and viola faculty member for the Brookline Public Schools Extension Program, and has coached for the Boston Youth Symphony Orchestras.
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.
Ya-Fei Chuang has appeared at numerous international festivals including Beethoven Festival (Warsaw), European Festival (Stuttgart), Bach Festival (Leipzig), Taipei International Music Festival, and those of Ruhr, Schleswig-Holstein, Gilmore, Ravinia, Sarasota, and Tanglewood. Chuang has collaborated with conductors such as Christoph Eschenbach and Sir Roger Norrington. She has performed chamber music with numerous concert masters and principle players of the Berlin Philharmonic, Cleveland Orchestra, LA Phil, Pittsburgh Symphony, and as duo partner with Clive Greensmith, Kim Kashkashian, and regularly with Steven Isserlis, Robert Levin, and James Buswell. Recent engagements have taken place at the Berlin Philharmonic Hall with the City of Birmingham Symphony Orchestra, with the Malaysian Philharmonic at the National Concert Hall Taipei, at the Queen Elisabeth Hall in London, and in Tel Aviv, Salzburg, Hong Kong, South America and throughout the US. On the forte piano she has performed with Boston Baroque, Orchestra of the Age of Enlightenment, and Philharmonia Baroque. Her upcoming performances include 'Mozartwoche' in Salzburg, at the 'Spectrum Berlin' in the Berlin Philharmonic Hall; and at Verbier Festival, Switzerland, at the Nevada Chamber Music Festival; concerto performances in Boston and in Brazil; duo recitals with Steven Isserlis in Singapore, Taiwan and in the US; solo recitals in Jordan Hall, Boston, at the Mozarteum Salzburg, at the Bach Festival in Eugene, Oregon, and at the International Grieg Piano Competition in Norway, where she will be adjudicating. She has recorded solo, concerto and chamber music works for ECM, Harmonia Mundi, Naxos, and New York Philomusica Records, and the Ruhr Festival has released several of her live recordings, including a solo album as a premium of Fono Forum Magazine. Of her live recording of the Mendelssohn Concerto No. 1, Fanfare Magazine hailed her “delicacy and fluidity of touch…this version now sits at the top of the pile of Mendelssohn Firsts, alongside Perahia, Serkin, and John Ogdon.” Her recording of Hindemith’s chamber music works with Spectrum Berlin was awarded a special prize by the International Record Review. Ya-Fei Chuang gives master classes throughout the US, Europe, and Asia, including annually at the Mozarteum, Salzburg. She is on the faculty of the Boston Conservatory, the NEC Preparatory Division, and am the instructor of the piano performance seminar for the NEC Continuing Education.
Pianist Katherine Chi, firmly established as one of Canada’s fastest rising stars, has performed throughout Europe and North America to great acclaim. “Ms Chi displayed a keen musical intelligence and a powerful arsenal of technique” notes the New York Times. Recent and upcoming performances include her debuts with the San Antonio, Huntsville and Richmond Symphonies, concerto appearances with the Calgary Philharmonic Orchestra, Edmonton Symphony and with I Musici de Montréal, and a Washington, DC recital debut at the National Gallery of Art. Sought after as a concerto soloist of musical and technical distinction, Ms. Chi is noted for the breadth of her repertoire. While hailed for her interpretations of Mozart, she is also acclaimed for performances of major romantic and twentieth century concertos. “… the most sensational but, better, the most unfailingly cogent and compelling Prokofiev’s Third I have heard in years” writes the Globe and Mail. And when Katherine Chi recreated Stockhausen’s landmark work, Mantra, for two pianos and electronics the Boston Globe wrote “when the superb pianists Katherine Chi and Aleksandar Madzar took on the challenge at the Isabella Stewart Gardner Museum on Sunday, it was a welcome opportunity: courtside seats at the creation. Chi and Madzar were ensconced among percussion, microphones, and MIDI controllers … the form unfolding like a venerable suite even as it pushes the modernist envelope.”She has appeared with the Alabama, Calgary, Colorado, Columbus, Edmonton, Grand Rapids, Kitchener-Waterloo, Nova-Scotia, Philadelphia, Quebec, Thunder Bay, Toronto, Vancouver and Victoria Symphony Orchestras, CBC Radio Orchestra, Canada’s National Arts Centre Orchestra, I Musici de Montreal, Manitoba Chamber Orchestra, the Neue Philharmonie Westfalen and Toronto Sinfonia. Festival appearances including Aldeburgh, Banff, Canada’s Festival of the Sound, Launadière, Domaine Forget, Marlboro, Osnabrück Kammermusik, Germany’s Ruhr, Santander Summer Music, and Festival Vancouver.
Just a year after her debut recital at the age of nine Katherine Chi was accepted to the prestigious Curtis Institute of Music. She continued studies at the New England Conservatory in Boston, where she received her Master’s degree, Graduate, Artist Diploma and Doctorate. She later studied for two years at the International Piano Foundation in Como, Italy, and at the Hochschule für Musik in Cologne. In 2000, Ms. Chi was named Prize Laureate of the Honens International Piano Competition and was the first Canadian, and the first woman, to win this award. She was also a prizewinner at the 1998 Busoni International Piano Competition. Her debut recording, on the Honens label, features works of Beethoven and Rachmaninoff and a new album is slated for 2014 release.
Cited by the Huffington Post for his “inner sense of creative flow, fueled by an abundance of musical imagination and desire,” harpsichordist Paul Cienniwa has a burgeoning career as a soloist, recording artist, and ensemble player. He strives to bring the harpsichord to new audiences by creating a spiritual communion through focused interpretations intensified by memorized repertoire. His playing of Francis Poulenc’s Concert champêtre was heralded by the New Bedford Standard-Times as “exquisite—no drama, no posturing—just consummate artistry and a superb performance of a marvelous concerto,” and The Boston Musical Intelligencer called his performance of Bach’s Harpsichord Concerto in A Major “a joyous romp.” His recording with Grammy Award-winning uilleann piper Jerry O'Sullivan was named one of the top ten Irish traditional albums of 2010 by The Irish Echo. A frequent chamber music collaborator, he has performed the complete Bach Violin Sonatas with renowned violinist Rachel Barton Pine on Chicago’s WFMT radio and during the 2013 Boston Early Music Festival. As an orchestral continuo player, he plays with the New Bedford Symphony Orchestra and the Rhode Island Philharmonic. A resident of Fall River, Massachusetts, Cienniwa leads an active musical life in southeastern Massachusetts and the Boston/Providence regions. He is Chorus Master of the New Bedford Symphony Orchestra, directs the chorus at Framingham State University, and teaches at the University of Massachusetts, Dartmouth. As organist and conductor, he is music director at First Church in Boston, where he leads the fully professional First Church Choir and can be heard weekly on WERS (88.9 FM) Boston. He was awarded the Doctor of Musical Arts degree in harpsichord from Yale University in 2003. Paul Cienniwa is represented by Concert Artist Cooperative. For more information, visit www.paulcienniwa.com and www.concertartistcooperative.com.
Clarinetist Bruce Creditor enjoys a distinguished career in solo, chamber music and orchestral settings receiving numerous honors, including the Naumburg Award in Chamber Music with the Emmanuel Wind Quintet. A graduate of the New England Conservatory and a student of the late Peter Hadcock, he has performed with the Boston Symphony, Boston Pops and Rhode Island Philharmonic Orchestras, Boston Modern Orchestra Project, the New Hampshire Symphony, Boston Ballet, Cantata Singers and Ensemble, Emmanuel Music, Boston Musica Viva, Collage New Music, the world-renown Grammy Award-winning New England Ragtime Ensemble, Aeolian Chamber Players, as well as with many other orchestras and chamber music ensembles and at numerous festivals. Mr. Creditor was a founding member of Alea III New Music, Emmanuel Wind Quintet, and of the Montage Music Society. He was General Manager of Margun Music—winning a Paul Revere Award from the National Music Publishers Association; and is associated with the Zamir Chorale of Boston. He has given the Boston and New York premieres of works by Schuller, Martino, Wyner, Harbison, Tower, Lerdahl, Ben-Haim, Navok and others; and has recorded for Naxos, Centaur, CRI, GM, Albany, New World, Koch and Neuma. Mr. Creditor also studied with Gino Cioffi and Pasquale Cardillo of the Boston Symphony, was twice a fellow at the Tanglewood Music Center, and is Assistant Orchestra Personnel Manager of the Boston Symphony and Boston Pops Orchestras.
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, Pro Arte Chamber Orchestra, and Boston Classical Orchestra (co-principal), and others. He is a frequent solo cellist at the Colonial Theater and Opera House. As a long-time member of Dinosaur Annex, he has premiered dozens of new chamber works by Shapey, Hartke, Weir, Babbitt, and our own John Harbison, among others. Mr. Curry 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. He has recorded for New World, Naxos, Bridge, Albany, and several other labels. At Emmanuel over the course of 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.
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.
Joseph Demko is an active performer throughout New England, and currently holds the positions of second horn in the Albany (NY) Symphony Orchestra, second horn in the Atlantic Symphony Orchestra, and fourth horn in the Plymouth Philharmonic. He also regularly performs with the Boston Philharmonic Orchestra, Opera Saratoga, New Haven Symphony, New Hampshire Music Festival, Emmanuel Music, Rhode Island Philharmonic, Tucson Symphony, and many others. He can be heard on many recordings with the Albany Symphony Orchestra, including the Grammy® award-winning recording of Conjurer by John Corigliano on the Naxos label. Demko is also an active music educator, and teaches horn in the Wellesley Public Schools. He is on the faculty at the Dana Hall School, and also maintains a private studio. He holds a Bachelor of Music degree from the New England Conservatory of Music, where he studied with Daniel Katzen and Richard Mackey of the Boston Symphony Orchestra. He also studied both horn and conducting with Sylvia Alimena of the National Symphony Orchestra. Mr. Demko started playing horn in the Alexandria, VA public schools, and currently resides in Haverhill, MA with his wife, Carly, and his Jack Russell Terrier “Q”.
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, violist, has distinguished himself as an active performer and pedagogue. Dr. Doña serves on the faculty of Boston University, where he serves as Assistant Chair of the String Department, Coordinator of String Chamber Music, and Lecturer of String Pedagogy and String Literature. Dr. Doña is violist of the prizewinning Arneis Quartet. Performances with Arneis include appearances at the Beijing Modern Music Festival, Music on Main (Vancouver) and Stanford University’s Lively Arts series. Daniel’s performances have been broadcast on CBC Radio 2, WGBH and WCLV. Dr. Doña also performs regularly with the Orchestra of Emmanuel Music, is Principal Violist of the Marsh Chapel Collegium and Assistant Principal Violist of the New Bedford Symphony Orchestra. He is also on the faculty of the Dana Hall School of Music and coaches chamber music for the Boston Youth Symphony Orchestras and Project STEP. He has presented guest masterclasses at the University of Connecticut, Northwestern University Music Academy and Miami University. Dr. Doña pursues interdisciplinary projects with a passion; 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. He has coached with members of the Muir, Juilliard, Brentano, Emerson, and St. Lawrence string quartets, as well as Donald Weilerstein and Raphael Hillyer. An enthusiastic advocate of new music, he has commissioned and premiered works by Aaron Travers and Orianna Webb. He has attended programs at the Banff Centre, Aspen Music Festival, Juilliard Quartet Seminar, Deer Valley Music Festival, Apple Hill Center for Chamber Music, and ENCORE School for Strings. 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 the Boston area with groups including Emmanuel Music and the Boston Philharmonic, where she serves as principal second violin. As a member of the Arneis Quartet she has appeared in Stanford’s Lively Arts Series, Music on Main in Vancouver, the Beijing Modern Music Festival in China. Arneis has also performed in Boston and New York and at summer festivals in Aspen, The Banff Centre in Canada, Stanford University, and Deer Valley, UT and were the Fellowship Quartet at the Apple Hill Center for Chamber Music and the inaugural winners of the John Lad prize, awarded by the St. Lawrence String Quartet at Stanford University. With Emmanuel Music she has appeared in the Chamber Music and Solo Bach series and was a 2005-2006 Lorraine Hunt Lieberson Fellow. Ms. Drucker has been coached by members of the Muir, St. Lawrence, Brentano, Emerson, and Juilliard quartets and has studied with Peter Zazofsky and Mark Rush. 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.
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 Kate 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.
Nancy Granert is the organist at Boston's Emmanuel Church. She is also organist for Boston Jewish Spirit, Organist in Residence at Harvard’s Memorial Church, and teaches organ privately. The Harvard University Choir has released five CDs on which she is heard as accompanist and in solo performance. Ms. Granert spent three summers in Spain pursuing scholarly studies of Iberian organ music. Her interest in this area has taken her to Mexico several times to see and play many historic instruments, and where she has also taught courses in the interpretation of Spanish organ music. She has given several organ recitals in Tokyo and Nagoya, and participated in the International Organ Festival held in Nagoya and Shirakawa. She served as Dean of the Boston chapter of the American Guild of Organists from 1988-90, and as Treasurer for the National Convention held in Boston in June, 1990. Ms. Granert received her education at Oberlin College, studying organ with Garth Peacock and harpsichord with David Boe and William Porter. In 1976 she received the Master of Music degree from the New England Conservatory of Music, studying under Yuko Hayashi. Her early education in organ and church music was with Margaret Budd, now of Baltimore.
John Grimes (d. August 8, 2013) has distinguished himself as a freelance timpanist/percussionist in New England. Based in Boston, he performs regularly with Boston Ballet, Boston Baroque, Boston Lyric Opera, Cantata Singers, Emmanuel Music, the Handel and Haydn Society, and the Portland Symphony. He has performed with the Miami Philharmonic, San Diego Symphony, Orquesta Sinfonica de Venezuela, the Opera Company of Boston, Singapore Symphony, and the Boston Symphony. A member of Boston Conservatory’s percussion department faculty for the past eight years, Mr. Grimes developed a popular team-taught percussion master class series featuring traditional and innovative presentations by members of the percussion/marimba faculty and guests. In August 2009, Mr. Grimes was invited by “El Sistema” to return to Venezuela, the scene of his first position as an orchestral timpanist. It was an emotional “home-coming” for him, where he conducted timpani/percussion master classes, performed in concert, and conducted percussion ensembles at the annual Festival de Percusion de los Llanos. In July 2010, Mr. Grimes toured as timpanist with the Star Wars in Concert orchestra throughout the US and Canada. In November 2010, he co-presented a lecture-demonstration on the development of the Baroque and early Classical timpani at the annual Percussive Arts Society International Conference in Indianapolis.
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.
Pianst 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 throughout North America, Europe and Japan and has performed in many prestigous 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, Tokyo’s Yamaha Hall and the Théâtre du Châtelet in Paris. The Washington Post has caller her a pianist “with unusual skill and sensitivty to the music and the singer” and the Boston Globe has praised her “virtuoso accompaniment…super-saturated with gorgeuos colors”. In September of 2006 she became the associate director of the innovative Graduate Vocal Arts Program at the Bard College Conservatory of Music, working in tandem with the artistic director, the internationally acclaimed American soprano Dawn Upshaw. Other collaborations with Dawn Upshaw include master classes and a recital at the Britten-Pears Young Artist Program at the Aldeburgh Music Festival, and appearances at the International Vocal Arts Institute in Virginia, the University of Wyoming, Edward Pickman Hall at the Longy School of Music and the Richard B. Fisher Center for the Performing Arts at Bard College. Since 1995 she has taught at the Tanglewood Music Center, where she is also the coordinator of the Vocal Studies Program. There she has worked with some of today’s most exciting young singers and collaborative pianists, and assisted Maestros James Levine, Seiji Ozawa and Robert Spano in major operatic and concert productions. A former resident of the Boston, Massachusetts area, she was a frequent performer on WGBH radio, and performed with such groups as the Florestan Recital Project, the Handel and Haydn Society and Emmanuel Music. In addition she was the pianist and music director of the critically acclaimed Cantata Singers Chamber Series, creating programs devoted to rarely-heard works of art song and vocal chamber music. She was formerly on the faculties of the Hartt School of Music, the New England Conservatory of Music and Boston Conservatory. Miss Iwama earned a Bachelor of Music degree at the Oberlin Conservatory of Music and her Master’s at the State University of New York at Stony Brook where she studied with Gilbert Kalish. She also attended the Salzburg Music Festival, the Banff Music Center, the Music Academy of the West and the Tanglewood Music Center, where she worked with such artists as Margo Garrett, Martin Isepp, Graham Johnson, Martin Katz and Erik Werba. She has served previously on the music staffs of the Steans Institute at the Ravinia Festival and the Boston Symphony Orchestra. Miss Iwama can be heard on CD on the Well-Tempered label, with baritone Christópheren Nomura in Schubert’s Die Schöne Müllerin, and on two ISMM discs devoted to French mélodies and the songs of Schumann with tenor Ingul Ivan Oak. The Reckless Heart, a collaboaration with Kendra Colton of English and America song, was released in the spring of 2015. Kayo Iwama 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.
Oboist Barbara LaFitte is a familiar face on the Boston music scene. She is the principal oboist in the Boston Ballet Orchestra and Boston Classical Orchestra, and holds the English horn position in the Boston Pops Esplanade Orchestra. She is also a regular performer in Emmanuel Music’s Bach Cantata Series, where she performs Bach’s sacred works that include oboe; she is also a member of the cutting-edge Boston Modern Orchestra Project. She can be heard on two 2010 Grammy-nominated recordings: Boston Modern Orchestra Project’s Dreamhouse, by Stephen Mackey, and Danilo Perez’s highly-acclaimed jazz recording, Providencia. Ms. LaFitte is a professor in the woodwinds department at Boston’s Berklee College of Music, where she developed an innovative oboe studio, coaches contemporary chamber ensembles, and founded the Berklee Contemporary Symphony Orchestra.
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.
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.
Violist Jonina Allan Mazzeo originally hails from Salem, Oregon, but has lived in Massachusetts since 2000. After graduating magna cum laude from Wellesley College, Ms. Mazzeo studied with Marcus Thompson at the New England Conservatory, where she earned a Master of Music in viola performance. She has performed in orchestras in the United States, Canada, Germany, Austria, New Zealand, and Australia, and has been a member of the Albany and Atlanta Symphony Orchestra and the Atlantic Symphony Orchestra, where she held the Sandra Shaw chair. In addition to her appearances with Emmanuel Music, Ms. Mazzeo has performed with the Boston Modern Orchestra Project, Sol y Canto, and Son de las Americas mariachi. She has collaborated with composers John Harbison, Steve Reich, Liza White, and Dan VanHassel. As a member of the Fens Trio (flute, viola, and harp), she won second prize in the 2008 International Chamber Music Ensemble Competition. Ms. Mazzeo studied chamber music with members of the Concord, American, and Borromeo String Quartets, and has participated in the Spoleto Festival USA, the Aspen Music Festival, and as a fellow at the Tanglewood Music Center.
Richard Menaul (1953-2013) enjoyed a wide-ranging career as a free lance horn player and teacher in the Boston area. In addition to Emmanuel Music, he was a member of the Boston Ballet Orchestra, the Boston Pops Esplanade Orchestra, Boston Baroque, the Handel and Haydn Society, and had served as principal horn of the Opera Company of Boston and the Albany Symphony Orchestra. He appeared regularly with the Boston Symphony Orchestra and also performed with the Syracuse and Pittsburgh symphony orchestras. Concert tours have taken him to more than fifteen countries on four continents, and to thirty-eight of the fifty states. He has played under the direction of Seiji Ozawa, Bernard Haitink, Andre Previn, Michael Tilson Thomas, Colin Davis, and James Levine among others. He was born in Chicago and grew up in Poughkeepsie, New York. Mr. Menaul received a Bachelor of Music degree from Ithaca College and a Master of Music degree from Northwestern University. His teachers included Dale Clevenger, John Covert, and Joseph Singer. He taught at Boston University.
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.
Mary Ruth Ray (1956-2013) (viola) was an internationally known performer who received critical acclaim throughout the United States, Europe and Russia. As violist of the Lydian String Quartet, she was awarded prizes at competitions in France, England and Canada, and was a 1984 winner of the Naumburg Award for Excellence in Chamber Music, resulting in debuts at Carnegie Hall, Alice Tully Hall and the Library of Congress. Ms. Ray performed as guest artist with the Fromm Series at Harvard University, the Boston Symphony Orchestra, the Boston Modern Orchestra Project, the Bard Music Festival, Apple Hill Chamber Players, Boston Musica Viva, and Juneau Jazz and Classics, and was invited to present a featured concert/demonstration of the Bach Cello Suites for the 13th International Viola Congress. She was a recording artist with CRI, Nonesuch, Centaur, Harmonia Mundi, New World, and Tzadik Records. Mary Ruth ("U.V.") Ray was a faculty member at Brandeis University from 1980 to 2013, teaching viola and chamber music, and was appointed Chair of the Music Department at Brandeis in 2005.
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.
Dylan Sauerwald is quickly becoming known as a distinctive continuo player, soloist, and music director across the US and Canada. He won the first place title in chamber music at the Concours de Musique du Canada 2009 and was a finalist at the Montréal Baroque CBC⁄Galaxie chamber music competition 2007, both with Ensemble la Félicité. A versatile player, Dylan has been featured on WGBH radio performing on lautenwerck as part of the "Bach's keyboard journeys" event. He appears on harpsichord, organ and lautenwerck in the upcoming world premiere recording of David Funck's 1677 collection Stricturae Viola de Gambicae on New Focus recordings, and he can be heard on harpsichord and fortepiano in an upcoming series of recordings of regency-period dance music with Ensemble ad Libitum. Dylan has a special interest in early opera; he is founding co-director of Helios Early Opera, a project devoted to reviving seldom-performed baroque operas with innovative modern stagings. Dylan has been music director and harpsichordist for Helios' critically acclaimed productions of Cavalli's Artemisia, Charpentier's David et Jonathas, and Telemann's Pimpinone. He has also directed Boismortier's Don Quichotte chez la Duchesse with Ensemble la Félicité and serves as repetiteur for Tafelmusik's summer opera institute with Opera Atelier. He will direct Ensemble Musica Humana's staged production of Hildegard von Bingen's Ordo Virtutum in April 2014. Dylan can be heard regularly playing with Emmanuel Music, Cambridge Concentus, Sonnambula, Ensemble ad Libitum, Ensemble Musica Humana and Canzonare. He lives in Boston and holds a BMus in early keyboard performance from McGill University and an MMus from Boston University.
The Russian-American pianist Sergey Schepkin has performed around the globe, from the United States to Russia, to Japan, to New Zealand. He made his Carnegie Hall recital début in 1993 (at Weill Recital Hall) to an enthusiastic reception from the audience and The New York Times, and has performed on the Great Performers Series at Lincoln Center, Celebrity Series of Boston, LACMA and Maestro series in Los Angeles, at the Metropolitan Museum of Art, Kennedy Center for the Performing Arts, St. Petersburg Grand and Chamber Philharmonic Halls, the Sibelius Academy in Helsinki, and the Sumida Triphony Hall in Tokyo, among many other venues and series. Schepkin’s discography includes major works by Bach (the complete Well-Tempered Clavier, the Partitas, Italian Concerto, French Overture, and two recordings of the Goldberg Variations), Brahms (complete late piano works), Mussorgsky, Rachmaninoff, Debussy, and Schnittke. He is a recipient of numerous prizes and awards, and his concerts and recordings have garnered critical acclaim from The New York Times, The Boston Globe, The Boston Herald, The Boston Phoenix, the Boston Musical Intelligencer, Los Angeles Times, The Washington Post, BBC Music Magazine, International Piano, Gramophone, Fanfare, and Musicweb-International. Schepkin’s repertoire extends from late Renaissance to the present day and includes several hundred piano and chamber works. Born in St. Petersburg, Russia, Schepkin studied piano at the St. Petersburg Conservatory with Alexandra Zhukovsky and Grigory Sokolov. He made his orchestral debut with the St. Petersburg Academic Symphony Orchestra in 1984. After his move to the US in 1990, he studied with Russell Sherman at New England Conservatory (NEC), where he earned an Artist Diploma in 1992 and a Doctor of Musical Arts degree in 1999. Since 1993, he has taught piano at the NEC School of Preparatory and Continuing Education; since 2003, he has also served as Associate Professor of Piano at Carnegie Mellon University in Pittsburgh. He has presented lecture-recitals and master classes at NEC, UCLA, Oberlin, the San Francisco Conservatory, MIT, Longy, Duquesne, the Norwegian Academy of Music, and other institutions of higher learning. Sergey Schepkin is a Steinway Artist.
Charles Sherman has played organ continuo regularly with Emmanuel Music for the Sunday morning Cantata Series since 1993. He has had a long and distinguished career as harpsichord soloist and chamber musician. He currently performs with the chamber ensemble Musica Pacifica (San Francisco) as well as the period instrument orchestras Philharmonia Baroque (San Francisco) and Musica Angelica (Los Angeles).
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.”
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.
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.
Peter Sykes is Associate Professor of Music and Chair of the Historical Performance Department at Boston University, where he teaches organ, harpsichord, performance practice, and continuo realization. He performs extensively on the harpsichord, clavichord, and organ, and has made ten solo recordings of organ repertoire ranging from Buxtehude, Couperin, and Bach; to Reger and Hindemith; as well as his acclaimed organ transcription of Holst’s The Planets. Newly released recordings include the complete Bach harpsichord partitas on the Centaur label, and soon to be released include an all-Bach clavichord recording and the complete Book I of the Well-Tempered Clavier. In addition to his role as the Music Director of First Church in Cambridge, Sykes performs and records with Boston Baroque and Aston Magna. A founding board member and current president of the Boston Clavichord Society, he is the recipient of the Chadwick Medal (1978) and Outstanding Alumni Award (2005) from the New England Conservatory; the Erwin Bodky Prize (1993) from the Cambridge Society for Early Music; and the Distinguished Artist Award from the St. Botolph Club Foundation (2011).
Boston-based director Nathan Troup maintains a body of work that spans standard operatic repertoire, premieres of new works of music theatre, and his uniquely curated projects of multidisciplinary theatre. Recent engagements include musical assistant to choreographer Jessica Lang on her company’s story ballet The Wanderer set to Schubert’s Die Schöne Müllerin at the NextWave Festival at the Brooklyn Academy of Music; The Song of the Mud: Music of World War I for the Museum of Fine Arts, Boston; and his recent productions of The Rape of Lucretia and Mohamed Fairouz’s Sumeida’s Song garnered recognition as Best of Boston 2014 by ArtsImpulse for direction, design and overall production. He’s worked with the companies of Guerrilla Opera, Emmanuel Music, The Glimmerglass Festival, Wolf Trap Opera, Fort Worth Opera, Boston Lyric Opera, the Castleton Festival, and Des Moines Metro Opera. He has served on the faculties of the New England Conservatory and Boston University’s Opera Institute, and as artist-inresidence at Webster University and Viterbo University. Mr. Troup recently directed Stravinsky’s The Rake’s Progress at The Boston Conservatory where he currently serves as Associate Director of Opera Studies, and is on the directing staff of the Des Moines Metro Opera Apprentice Artist Program. From 2004-2007, he was a staff member at Emmanuel Music, in addition to singing in the choir. More recently, he assisted on the group’s 2014 production of A Little Night Music. nathantroup.com
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.
Ian Watson is one of today's most versatile musicians, working at the highest levels as an operatic and symphonic conductor; period-instrument specialist; and virtuoso harpsichord, organ, and pianist. Ian has had a career-long passion for opera, working first as a vocal coach, répétiteur and conductor at Glyndebourne, and subsequently conducting countless performances of over fifty operas throughout England, notably at Sadler's Wells, Scottish Opera and the Royal Festival Hall; and internationally at Bremen, Kassel, Giessen, Wiesbaden, Darmstadt, Komische Opera, Berlin, Germany, and many houses in France and Scandinavia. He was appointed a Principal Conductor with the Darmstadt State Opera in Germany in repertoire ranging from Monteverdi and Handel to Richard Strauss's Elektra and Janacek’s Macropoulos Case. Watson has appeared as soloist or conductor with the London Symphony, London Philharmonic, and Royal Philharmonic Orchestras; Scottish Chamber, English Chamber, Polish Chamber, Irish Chamber, and Stuttgart Chamber Orchestras; Bremen Philharmonic, Rhein-Main Symphony Orchestra, Academy of St. Martin in the Fields, Handel and Haydn Society, English Baroque Soloists, and The Sixteen, amongst many others. He was invited to be the assistant conductor, organ and harpsichord soloist and continuo player for Sir John Eliot Gardiner’s Bach Cantata Pilgrimage, performing all Bach’s Cantatas on the correct liturgical day in places where Bach lived and worked. He has also been featured on more than 200 recordings and film soundtracks including Amadeus, Polanski’s Death and the Maiden, Restoration, Cry the Beloved Country, Voices from a Locked Room, and BBC‘s David Copperfield. In 2014 Watson will direct the Baroque Band in Chicago; the Handel and Haydn Society in Boston; record Beethoven Violin Sonatas and the Triple Concerto on period instruments; and conduct Beethoven's Ninth in Mechanics Hall in Worcester and Northampton, MA with Arcadia Players. He is now Music director at First Parish in Lincoln and Artistic Director of their Live in Lincoln Center concert series.
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.
Esther Ning Yau Pianist Esther Ning Yau, native of Hong Kong, is currently a faculty member of the Collaborative Piano Department at Longy School of Music of Bard College, and the Preparatory and School of the Continuing Education departments at New England Conservatory. In the summer, Yau is also a member of the Piano Faculty at International Music Academy in Cremona (Italy) and previously, Regensburg (Germany).An active soloist and chamber musician, Yau’s performances have brought her to numerous concert venues world-wide, including Jordan Hall in Boston, Merkin Concert Hall in New York, Museum of Arts in Puerto Rico, Giovanni Arvedi Auditorium in Cremona, National Concert Hall in Taipei, Esplanade in Singapore and Government House in Hong Kong. As founding member of New Piano Quartet, Innonet Trio and Duo Anime, Yau is featured frequently at the Longy Septemberfest, Harvard-Epworth Church Concert Series, WCRB Live at Copley, First Night Boston, Newport Symposium Chamber Music Concert and Bar Harbor Music Festival. Yau holds a double Master’s Degree in Piano Performance and Collaborative Piano from New England Conservatory of Music, where she studied with Patricia Zander and Irma Vallecillo. She has received fellowships from International Institute of Vocal Arts in Italy, UCLA Song Festival, Aspen Music Festival, Music Academy of the West and Yellow Barn Music Festival. She has also worked as a staff pianist at Boston Conservatory and Meadowmount School of Music.Apart from her musical duties, Yau is currently serving as a member of the New England Conservatory Alumni Council.
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.