Historical Performance Institute IU-JSoM

11/28/2023

Come out to Auer Hall on Friday, Dec. 1st at 8PM for Profs. Dana Marsh & Joanna Blendulf directing the voices, viols, sackbut, cornetto, percussion, and organ of Concentus in HODIE! - Holiday Revelry in the Late Renaissance.

For a repeat performance, presented by Bloomington Early Music in association with musicians of the Historical Performance Institute, we hope to see you at the Monroe County Courthouse on Saturday, Dec. 2nd at 630PM!

11/20/2023

It's the final countdown to December 1 !!

11/16/2023

Come out tonight for our second HPI chamber ensemble concert of the week! The concert will be at 830PM in Recital Hall. We hope to see you there!

11/16/2023

Congratulations to HPI faculty member Hsuan Chang Kitano! She is the producer, music director and harpsichordist on Ensemble Cadenza 21’s “Cadenza 21’,” which is competing for a Best Recording Package Grammy with art director Hsing-Hui Cheng.

11/15/2023

Congrats to Prof. Dana Marsh on two recent performances of Georg Philipp Telemann’s, “Du aber Daniel, gehe hin” TVWV 4:17 with the Washington Bach Consort, as well as recently performing all seven of Bach’s motets (BWV 225-230; 1165)!

11/14/2023

Many congratulations to IU-HP Prof. Liza Malamut and her esteemed colleagues as recipients of the Ruth A. Solie Award from the American Musicological Society for the edited book, _Music and Jewish Culture in Early Modern Italy_ published by Indiana University Press. Bravi! 🥳

11/14/2023

Come out tonight & Thursday night for our HPI chamber ensemble concerts! Both concerts will be at 830PM in Recital Hall. We hope to see you there!

11/12/2023

We hope you can join us for our upcoming Colloquium on Wednesday, November 15th from 11:30 - 12:45, featuring Benjamin Hebbert with his presentation “A Technical History of the Violin.”

Each HPI Colloquium is open to interested persons outside of the JSoM via zoom - please write to [email protected] if you'd like to register.

Following on from last week's talk, we will look more technically at the kind of transformations that happened to the violin family towards the modern idea of the instrument. In today's world we fall into a trap of thinking of violins in baroque, classical and modern forms of setup, and with quite rigid classifications of what each of these mean. The truth of the evolution of the violin is rather different with developments happening at different places at different times. For modern historically informed musicians these developments can create enormous difficulties - it is obviously difficult to afford to own different instruments for different times, places and repertoire, but by presenting a broader idea of the instruments development it is hopefully easier to understand how a musician can overcome compromises rather than finding them an obstacle to musical integrity.

Benjamin Hebbert is a luthier, expert and historian of the violin based in Oxford (UK). He was head of musical instrument making at West Dean College, a curatorial fellow at the Metropolitan Museum of Art, and European Specialist Head of musical instruments for Christies before establishing his own studio. He is well known for his work on the history of the violin and has lectured frequently at lutherie schools and organisations around the world and at conservatoires including the Royal Academy of Music. His blog, which covers many subjects about the instrument elements of historical performance is www.violinsandviolinists.com and his website is www.hebberts.com

11/08/2023

Join Prof. Ingrid Matthews & the IU Baroque Orchestra this Sunday, Nov 12 @ 4PM in Auer Hall for 'Synthesis: Old & New'. We hope to see you there!

11/07/2023

A joyful memory from this past weekend's _tour de force_ HP faculty recital given by Meg Brown Owens (baroque oboe), with Ingrid Matthews, Joanna Blendulf, and Jonathan Oddie. It was a fabulous evening.

Aspiring Baroque oboists: here's your chance to study with the finest. Application deadline is December 1.

11/06/2023

We hope you can join us for our upcoming Colloquium on Wednesday, November 8th from 11:30 - 12:45, featuring Benjamin Hebbert with his presentation “A Material History of the Violin.”

Each HPI Colloquium is open to interested persons outside of the JSoM via zoom - please write to [email protected] if you'd like to register.

In "A Material History of the Violin" we will explore the history of the violin as we know it focussing on a perspective concerned with how, where and why it was made in the period from the late fifteenth to the early eighteenth century more than thinking of the development of a musical repertoire, since this shines a light on how the instrument developed culturally as well as technologically during the first centuries of its use. My talk ranges from the intellectual beginnings of the violin (and simultaneously the viola da gamba) in the Northern Italian court of Isabella d'Este in Ferrara, and somehow reaches the zenith of violin construction in the classical era. The talk will be useful in extending discussions into wider social and cultural dynamics that influence the nature of musical performance of the past.

Benjamin Hebbert is a luthier, expert and historian of the violin based in Oxford (UK). He was head of musical instrument making at West Dean College, a curatorial fellow at the Metropolitan Museum of Art, and European Specialist Head of musical instruments for Christies before establishing his own studio. He is well known for his work on the history of the violin and has lectured frequently at lutherie schools and organisations around the world and at conservatoires including the Royal Academy of Music. His blog, which covers many subjects about the instrument elements of historical performance is www.violinsandviolinists.com and his website is www.hebberts.com

10/31/2023

This Saturday at 5PM in Ford Hall - join Prof. Meg Owens for a concert of works of Telemann, Couperin, Marais, and more. Joining her will be Profs. Ingrid Matthews, violin; Joanna Blendulf, viola da gamba; and Jonathan Oddie, harpsichord. We hope to see you there!

10/31/2023

This Wednesday at 8PM in Auer Hall - join Prof. Clea Galhano & visiting artist Dr. Rosana Lanzelotte for 'Lundu Brasiliero,' a program of music presented by the Latin American Music Center. We hope to see you there!

10/30/2023

10/27/2023

We hope you can join us for our upcoming Colloquium on Wednesday, November 1st from 11:30 - 12:45, featuring Dr. Rosana Lanzelotte with her presentation “Musica Brasilis - Brazilian music of all times and genres.”

Each HPI Colloquium is open to interested persons outside of the JSoM via zoom - please write to [email protected] if you'd like to register.

Considered one of the best Brazilian harpsichord players, Rosana Lanzelotte has performed at important halls throughout her country as well as in Europe, including the Wigmore Hall (London), Salle Gaveau (Paris) and Carnegie Hall (NY).
She recorded six solo albums, among which Nazareth and The Brazilian Harpsichord, devoted to Brazilian music of the 20th century, pointed out as one of the five best releases of the year. She has recorded the first harpsichord version of the The Seven Last Words by Haydn and the Sonatas by the Portuguese composer Pedro Antonio Avondano. Her extensive research on the composer Sigismund Neukomm led to the album Neukomm in Brazil, nominated for the 2009 Latin Grammy and awarded the Bravo Prize. Holding a PhD in Computer Science, Lanzelotte started Musica Brasilis initiative in 2009, to provide web access to Brazilian music repertoires. The website makes available more than 5,000 music scores among other resources, and is monthly accessed by 45,000 users. In 2006, Rosana has been named Chevalier des Arts et des Lettres by the French government.

10/25/2023

Enjoy this new release from Prof. Nigel North!

Nigel North is one of the finest lute players in our midst today, and his legendary four-CD set, ‘Bach on the Lute’ (Linn records 1994 to 1996) remains unsurpassed in its technical and musical brilliance. Now, he completes his journey with a double CD combining Bach’s original ‘lute works’...

10/25/2023

Prof. Keith Collins played contrabassoon last week with Boston Baroque on Beethoven 9 for director Martin Pearlman’s 50th season. Bravo Keith!

10/24/2023

HPI department chair Dana Marsh directs the first commercial recording from the Washington Bach Consort in over a decade, Myths Contested! Learn more on the WBC website:

https://bachconsort.org/recordings/

10/18/2023

Current IU HPI student & department administrator Sam Motter is very pleased to be playing cornetto on these upcoming 1610 Monteverdi Vespers with the Oriana Singers directed by William Chin in Chicago!

10/18/2023

Prof. Ingrid Matthews joins the Baroque Chamber Orchestra of Colorado this week - sending best wishes from Bloomington!

10/14/2023

We hope you can join us for our upcoming Colloquium on Wednesday, October 18 from 11:30 - 12:45, featuring Javier F. León with his presentation “Afro-Peruvian Music Revival in Zaña, Peru: Reflections on Cultural Activism and How It can Inform Early Music Performance.”

Each HPI Colloquium is open to interested persons outside of the JSoM via zoom - please write to [email protected] if you'd like to register. For more details on this week's Colloquium, see below.

This talk will focus on the ongoing efforts, over the last decade or so of the musicians, poets and activists affiliated with the Afro-Peruvian Museum, a small grassroots institution in the town of Zaña on the northern coast of Peru, and their efforts to revive and recontextualize colonia-era and nineteenth century musical practices. While for the last few centuries Zaña has been largely relegated to a placid rural backwater, during the early part of the colonial period, it was an important administrative hub for the Spanish Crown, having been the first ecclesiastical and political seat of power for the region of Trujillo in the decades predating the elaboration of the Martínez Compañón Codex in the latter part of the 18th century. Because of this forgotten history, Zaña and its residents were largely left out of the Afro-Peruvian musical and dance revival that took place in Peru in the latter part of the 20th century and which focused more explicitly on musical practices from the central and southern regions of the country. These recent initiatives by the Afro-Peruvian museum have sought to reintroduce Zaña into an emerging official narrative of Afro-Peruvian resilience and innovation, not only within Peru but within a larger international context. At the same time, these efforts have brought about new interpretations and questions regarding what it means to make historically informed performances, questions that may be relevant to how we early music performance approaches Latin American repertoire such as that of the Martínez Compañón Codex, a document that has also informed the efforts of the Afro-Peruvian museum.

Javier F. León received his PhD in ethnomusicology at the University of Texas at Austin. He is the Director of the Latin American Music Center of the Indiana University Jacobs School of Music. His work has been published in multiple journals, Latin American Music Review, Selected Reports in Ethnomusicology, Black Music Research Journal, Ethnomusicology Forum and most recently in the volumes Música popular y sociedad en el Perú contemporáneo (2015) and LatinX Voices: Hispanics in Media in the U.S. (2018). His volume A Latin American Music Reader: Views from the South (2016), co-edited with Helena Simonett, won the Bruno Nettl Prize from the Society for Ethnomusicology for outstanding publication contributing to or dealing with the history of the field. He is a specialist on Latin American music and its intersection with cultural policy, archives, heritage safeguarding, the construction of race in nationalist and transnational contexts, and the intellectual history of music research in Latin America. He has served in evaluation panels for a number of institutions including the National Endowment of the Arts, Musical Instrument Museum, the Museum of International Folk Art, the Latin GRAMMY Foundation, and the Comisión Nacional de Investigación Científica y Tecnológica (Chile).

10/11/2023

Over the next few months we'll be offering articles from the HPI annual journal of Historical Performance (Indiana University Press) for temporary free access. Our inaugural release is Professor Ayana O. Smith's, "Race and Representation in Baroque Opera—Some Thoughts on Pedagogy, Scholarship, and Performance." It will be available for free download from Project Muse for the next 30 days! Be sure to take advantage of this rare opportunity!
https://muse.jhu.edu/pub/3/article/890448

Meanwhile, by following the immediate link below you can order a discounted copy of Prof. Smith's newest book, _Inclusive Music Histories: Leading Change through Research and Pedagogy_ (Routledge, 2023)
https://www.routledge.com/Inclusive-Music-Histories-Leading-Change-through-Research-and-Pedagogy/Smith/p/book/9781032113234

Our early music canon traces a narrative of cultural ritual and social representation that reveals national, political, and economic priorities, of both the past and the present—a function not altogether different from historic monuments, or from other culturally bounded architectural spaces, such...

10/06/2023

We hope you can join us for our upcoming Colloquium on Wednesday, October 11 from 11:30 - 12:45, featuring Jonathan Oddie with his presentation “Learning from Froberger: the fantasias and ricercars as a gateway into partitura playing.”

Each HPI Colloquium is open to interested persons outside of the JSoM via zoom - please write to [email protected] if you'd like to register. For more details on this week's Colloquium, see below.

The contrapuntal genres of fantasia, ricercar, canzona and capriccio occupy a central place in the keyboard works of Johann Jakob Froberger (1616-1667), yet these compositions are much more rarely heard in performance today than his suites and character pieces. As Terence Charlston has argued, part of the challenge of these pieces for modern-day performers is their notation, since Froberger followed the example of his teacher Frescobaldi in presenting his contrapuntal works in open score or partitura, with each voice notated on its own staff in a different clef. Though less often practiced today, playing from score was routinely expected from professional keyboardists in the 16th and 17th century. Adriano Banchieri wrote in 1609 that partitura playing was one of the organist’s four essential skills, together with playing intabulations (intavolatura), basso continuo, and improvisation (fantasia).

While Froberger’s autographs lie slightly outside the mainstream of Italian partitura — produced by hand for his patron in Vienna rather than printed with movable type for publication — their meticulously clear and visually beautiful notation provides modern musicians with an ideal entry point into this neglected discipline. Following a short historical overview of partitura playing and its context, Dr. Oddie will give a practical introduction to the skills that are required to tackle pieces in this notation, and conclude by considering what playing from open score can teach us as modern-day interpreters of early music.

Jonathan Oddie is Visiting Assistant Professor of Early Keyboards at the Indiana University Jacobs School of Music. A versatile performer on multiple keyboard instruments, he is in demand across the United States as a soloist and collaborator on harpsichord, fortepiano and continuo organ. As a chamber musician, he performs regularly with Gallery Concerts Seattle, Philadelphia Chamber Music Society, Oregon Bach Festival, Boulder Bach Festival, the Seattle Series, and Salish Sea Early Music Festival. As an orchestral musician he performs regularly with the Seattle Symphony and Portland Baroque Orchestra, and he has been a featured harpsichord soloist with orchestras including Portland Baroque Orchestra, the Northwest Sinfonietta and Saratoga Orchestra of Whidbey Island.

Dr. Oddie studied piano and harpsichord performance at the Jacobs School, where his teachers included Elisabeth Wright, Jean-Louis Haguenauer and Edmund Battersby. He completed his doctoral studies in musicology at the University of Oxford, where his thesis investigated the music of the English composer Orlando Gibbons and its relationship to 17th-century music theory. He has published articles and reviews in the journals Early Music and Historical Performance, and is the recipient of awards including a Performer's Certificate from the Jacobs School and a Frank Huntington Beebe Fellowship.

10/02/2023

We hope you can join us for our upcoming Colloquium on Wednesday, October 4th from 11:30 - 12:45, featuring Liza Malamut with her presentation Planning a Program from Start to Finish: The Music of Sophie Elisabeth, Duchess of Brunswich-Lüneburg.

Each HPI Colloquium is open to interested persons outside of the JSoM via zoom - please write to [email protected] if you'd like to register. For more details on this week's presenter, see below.

Liza Malamut is adjunct lecturer in music in historical trombones at the Indiana University Jacobs School of Music. She regularly appears as a trombonist, educator, and presenter throughout the United States and abroad. She is artistic director of The Newberry Consort, a Chicago-based organization that creates accessible and historically informed performances of Medieval, Renaissance and Baroque music. She is also a founding member of Incantare, an ensemble of violins and sackbuts formed to highlight music of lesser-known and marginalized composers and their contemporaries in early modern Europe. Malamut has performed with Trinity Baroque Orchestra, Mercury Chamber Orchestra, Tafelmusik, Opera Atelier, the Handel and Haydn Society, Dark Horse Consort, Boston Camerata, Piffaro, the Folger Consort, Opera Lafayette, TENET, Apollo’s Fire, and many other ensembles. Her playing can be heard on the Musica Omnia, Naxos, Hyperion, New Focus Recordings, and George Blood Audio labels. She has performed at international venues around the world, including Carnegie Hall, Washington National Cathedral, the BAM Center, Warsaw Philharmonic Hall, and the Chiesa di San Rocco. A passionate teacher and researcher, Malamut has presented master classes, lecture recitals, and papers at conferences and institutions throughout the country. Her academic work was supported by an American Dissertation Completion Fellowship from the American Association of University Women, and she is a coeditor and contributor for the recently published book Music and Jewish Culture in Early Modern Italy: New Perspectives with Rebecca Cypess and Lynette Bowring (Indiana University Press). Malamut earned a Bachelor of Music in Trombone Performance degree from the Eastman School of Music, where she studied with John Marcellus, and a Master of Music degree from Boston University, where she studied with Don Lucas. She earned a Doctor of Musical Arts in Historical Performance from Boston University, where she studied with Greg Ingles. Her dissertation, a method book for modern trombonists, integrates historical techniques with mainstream playing and introduces 88 solo etudes for trombone transcribed from historical sources.

09/27/2023

Prof. Joanna Blendulf opens the San Francisco Early Music Society season with Ensemble Mirabile. Cheering them on from Bloomington!

Join Joanna Blendulf and Ensemble Mirable for the opening concerts of SFEMS’ 47th season—and discover Baroque buried treasure!

A Professor of Music at Indiana University and co-principal cellist and principal viola da gamba player of the Portland Baroque Orchestra, Joanna has performed and recorded with leading period instrument ensembles including Pacific MusicWorks, Pacific Baroque Orchestra, American Bach Soloists, Apollo’s Fire Baroque Orchestra, Bach Collegium San Diego, and the Washington Bach Consort. Joanna performs and records with the Catacoustic Consort, Ensemble Mirable, Music of the Spheres, Nota Bene Viol Consort, Trio Pardessus, and Wildcat Viols.

Come hear this MVP of the Baroque in “Beyond Bach and Handel: More Baroque Gems,” on September 29–October 1!

And don’t forget, with our “pay what you can” ticketing system, YOU get to choose how much you pay for your tickets—it’s that simple!

Get your tickets now at sfems.org.

09/21/2023

Hugely looking forward to our first two HPI concerts of the 2023-4 school year this upcoming weekend!

On Saturday, September 23rd @ 8PM in Auer Hall, Joanna Blendulf will direct the voices, viols, lute, cornetto, and sackbut of Concentus in a program featuring the music of William Byrd, commemorating the 400th anniversary of the composer's death.

The following day, Sunday September 24th @ 4PM in Auer Hall, Ingrid Matthews directs the IU Baroque Orchestra playing music by Graupner, Telemann, W.F. Bach, Hasse, and C.P.E. Bach.

We hope to see you there!

09/15/2023

Excited for Prof. Kris Kwapis! Wish we could all be there 😀

Kris Kwapis shares about the “Treasure Trove for Trumpet” within Bach's Cantatas before our season opening concert, Shout for Joy! See it on the PBO blog at https://bit.ly/3rbaR0E

“My preparation process for this piece is similar to all pieces with voices: text, text, text! Even though the trumpet doesn’t speak the words as clearly as a singer, the text often provides not only a narrative inspiration in terms of telling a story based on the text, but is an essential guide to shaping phrases.…”

09/13/2023

We are pleased to welcome Victoria, one of our fantastic incoming students this fall semester!

Victoria Klaunig is currently pursuing her Master’s in baroque violin at Indiana University’s Jacobs School of Music studying with Ingrid Matthews. Raised in San Antonio by German parents, she previously earned her Bachelor’s degree in violin performance from the University of North Texas, studying with Dr. Felix Olschofka, Eunice Keem and Cynthia Roberts (baroque violin). After earning her Bachelor’s degree, Victoria studied baroque violin at the Royal Conservatory of The Hague with Ryo Terakado.

Victoria has performed professionally with many period instrument ensembles including the Dallas Bach Society, Lumedia Musicworks, American Baroque Opera Company, and in a side-by-side project with the Orchestra of the 18th Century. She has also attended several baroque summer courses including the Oberlin Baroque Performance Institute and the St. Andrews Summer Baroque Course in Scotland. In addition to the violin, Victoria enjoys performing chamber music on the viola, and has studied harpsichord as an elective.

Victoria is also passionate about teaching; she is registered to teach Suzuki Book One and Two and has been teaching private and group violin & viola lessons for the past 5 years.

09/08/2023

We hope you can join us for our upcoming Colloquium on Wednesday, September 13th from 11:30 - 12:45, featuring Laurie Stras with her presentation “Questi esercizi mi sono di molto gusto”: Early modern women, teaching and learning music.

Each HPI Colloquium is open to interested persons outside of the JSoM via zoom - please write to [email protected] if you'd like to register. For more details on this week's Colloquium, see below.

Suor Maria Celeste Galilei is the most famous daughter of the convent of San Matteo in Arcetri. In October 1630, she wrote to her father, telling him that she had been given the responsibility of teaching four girls to sing chant, as well as the taking daily responsibility for the Divine Office in the choir. She says that the jobs are enjoyable, “questi esercizi mi sono di molto gusto,” but what did they entail, and what were her resources? Most of what we understand about Renaissance music pedagogy relates to structured learning in choral institutions or comes from publications by male musicians that both advertise and monetise their individual teaching methods. However, like many nuns of her generation and status, Suor Maria Celeste would have had to devise her curriculum from the materials she had to hand: the breviary, any music books owned by the convent, and whatever institutional or personal memory could contribute. Using a unique record of music from San Matteo, the Biffoli-Sostegni manuscript (B-Br 27766), and documents relating to the convent’s musical life, we can hypothesise the skills Suor Maria Celeste needed to pass on to her young charges, and how the manuscript’s repertoire might have fostered their learning. This material can also be used to introduce twenty-first century singers to the soundworld of the early modern Italian convent.

Laurie Stras is Professor Emerita of Music at the University of Southampton and director of the ensemble Musica Secreta. She is a passionate advocate for female-voice polyphony in the fifteenth to seventeenth centuries. She is currently preparing a Cambridge Element on the Biffoli-Sostegni manuscript, San Matteo in Arcetri, and Suor Maria Celeste Galilei, for which she has been awarded a Leverhulme Emeritus Fellowship in 2023-2024. Her monograph, Women and Music in Sixteenth-Century Ferrara (CUP, 2018) won the 2019 Otto Kinkeldey Award from the American Musicological Society, and in 2020 she was named a Corresponding Member of the society.

09/07/2023

The Call for Proposals for Bloomington Early Music Festival 2024, Early Music in Exile, is open! Submissions are due by September 15th. Please visit the link below for more details.

BLEMF 2024Early Music in ExileCall for Concert ProposalsBeginning in 2022, our annual festival has centered on an exploration of under-represented groups in early music making. BLEMF 2024: Early Music in Exile is the third of these thematically focused festivals. Our 2024 festival programming will e...

09/01/2023

We hope you can join us for our upcoming Colloquium on Wednesday, September 6th from 11:30 - 12:45, featuring Tim Braithwaite with his presentation ‘I am Become Such a Singer as you would Wonder to Heare Me': Descant pedagogy and practice in two sources from sixteenth-century Britain.

Each HPI Colloquium is open to interested persons outside of the JSoM via zoom - please write to [email protected] if you'd like to register. For more details on this week's Colloquium, see below.

‘Quhat is contrapunt?’ asks the author of the late sixteenth-century manuscript treatise referred to as the ‘Scottish Anonymous Treatise on Music.’ Indeed, the contents of the work throws the relevance of this question into sharp relief for scholars and performers alike who cultivate an interest in the musical activities of the sixteenth century, painting a distinctly cacophonous picture of unquestionably oral traditions. Just under twenty years later, Thomas Morley provides a very different perspective on the role of vocal extemporisation in a post-reformation society. These sources offer a tantalising glimpse into the colourful world of traditions of extemporised singing, both inside the church and out, and an in-depth comparison of the two yields a wealth of information on pedagogy, as well as the differences in function, structure, and values of a practice which underpinned musical life in the sixteenth century. While Morley discusses extemporisation primarily as a necessary step towards the act of composition, with only a few disapproving hints as to other uses of the skill, the Scottish source is a fundamentally practical document, teaching extemporisation as an essentially performance-based skill. Reflected in this historical division of purpose, I suggest that we can determine two goals for the continued focus on ‘historically informed’ improvisation; firstly, that students can better understand the musical language and syntax of notated repertories, and secondly that researchers and performers might be better equipped with the practical and theoretical skills necessary to explore those elements of music-making which may be considered to be ‘improvisatory.’

Having read Music at Royal Holloway University of London, Tim Braithwaite continued his studies in Early Music Singing and Early Music Theory at the Royal Conservatoire in The Hague. Tim currently teaches Renaissance counterpoint and historical solmisation at Amsterdam Conservatoire and historical singing at the Royal Conservatoire in The Hague. As a performer, Tim enjoys a regular concert schedule, appearing both as a soloist as well as with a number of leading ensembles within the field of 'Early Music' including Amsterdam Baroque, Vox Luminis, and De Nederlandse Bachvereniging. In 2023, Tim became the assistant artistic director of Ca****la Pratensis, a Netherlands-based ensemble which specialises in the performance of Renaissance polyphonic repertoire from historical notation.

08/21/2023

As the fall semester begins, it’s worth taking a look back at the dizzying array of teaching and performance engagements our amazing faculty have participated in over the summer, including Amherst Early Music Festival, Staunton Music Festival, Cincinnati Classical Guitar Workshop, Cleveland Classical Guitar International Festival, Boston Guitar Festival, Eichstätt Festival in Germany, Lute Society of America Festival, White Water Early Music Workshop, Saint Savin Early Music Festival in France, Port Townsend Early Music Festival, Berwick Academy, Oregon Bach Festival, Early Music Vancouver, Carmel Bach Festival, Charlotte Bach Festival, Philharmonica at Tanglewood, Caramoor, Newport Classical Music Festival, producing new recordings, and more!

08/20/2023

Huge congratulations to Paulina Francisco (DM, 22) for her very distinguished and brilliant work with Les Arts Florissants - William Christie!