Baroque Faculty

Sand Dalton, baroque oboe
Yonit Kosovske, harpsichord
Kathleen Kraft, baroque flute
Kati Kyme, baroque violin and orchestra
Eva Legêne, recorder
Rita Lilly, voice
Anna Marsh, baroque bassoon
Linda Pearse, Workshop Director, baroque trombone
William Skeen, baroque cello
Mary Springfels, viola da gamba

Sand Dalton, baroque oboe

dalton sand picSand Dalton began playing the Baroque oboe in 1975 after graduating from the California Institute of the Arts, where he studied modern oboe with Alan Vogel. A year later he made his first instrument and began an extensive and on-going study of historical oboes. Concurrently, he has pursued an active career as a performer and teacher. Over the years he has performed and recorded with many ensembles, including the Philharmonia Baroque Orchestra, Boston Baroque, the Handel and Haydn Society, Magnificat, Portland Baroque Orchestra, Seattle Baroque, and the Pacific Baroque Orchestra of Vancouver, B.C. Sand was described by CBC Radio as “one of the leading Baroque oboists in North America, whose fine instruments are played around the world.” His long experience playing Baroque orchestral and chamber music has provided him with an ideal “laboratory” in which to test and refine his ideas about making good musical instruments.

Sand has been on the faculties of the New England Conservatory, the University of British Columbia, and Longy School of Music and has taught as well at the summer workshops for the San Francisco Early Music Society, Vancouver Early Music Program, Amherst Early Music, and the International Baroque Institute at Longy. In 2007- 2008, while living in Italy, Sand exhibited his instruments and performed throughout Europe.

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Yonit Kosovske, harpsichord

kosovske yonit picYonit Kosovske has performed as a soloist, chamber artist, and artistic director throughout North and South America, Europe, Hong Kong, and Israel. She is at home with vocal and instrumental repertory from the sixteenth to the twenty-first centuries—spanning large and small-scale genres, sacred and secular works, as well as collaborative and interdisciplinary projects. She has performed under the direction of Monica Huggett, Paul Hillier, Marc Duley, Nigel North, Jonathan Cohen, Warren Stewart, Gary Wedow, Stanley Ritchie, Linda Pearse, Veronika Skuplik, and many others. She has collaborated with various chamber ensembles, including the Irish Baroque Orchestra, Irish Chamber Orchestra, Resurgam, Maynooth Chamber Choir, Dundalk Choir, Sestina Early Music Ensemble, ¡Sacabuche!, Lipzodes, Crescendo Berkshires, and many others. She is also a founding member of Canto Romántico with baritone Antonio Santos, which specializes in lesser-known repertoire for voice and fortepiano from early 19th-century Spain. Upon moving from the United States to Ireland in April of 2011, she has joined the faculty as a lecturer and accompanist at the Irish World Academy of Music and Dance at the University of Limerick.

Yonit holds a Doctor of Music degree in Historical Keyboard Performance from the Indiana University Jacobs School of Music and a Master of Music degree in Harpsichord Performance from the San Francisco Conservatory of Music. Her book “Historical Harpsichord Technique, Developing La doucuer du toucher” was published by Indiana University Press in July of 2011. In addition to her work as a performer and pedagogue, playing and teaching old music on modern instruments and new music on older instruments, Yonit plays an active role in the organizing and coordination of events that bring together artists from diverse traditions—such as Baroque Music and Irish Traditional Music—for public and interactive spoken and musical dialogues.

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Kathleen Kraft, baroque flute

kraft kathleen picKathleen Kraft completed studies in flute with Frans Vester at the Royal Conservatory of Music in the Hague, the Netherlands, where she began specializing in Baroque flute with Frans Bruggen. She has performed extensively as a soloist and chamber musician, including concerts for the San Francisco Early Music Society, the J. Paul Getty Museum, the National Flute Convention, the Locronan Festival de Musique in France, and Tage Alte Musik in Regensburg. She has performed with Philharmonia Baroque Orchestra, the CBC Vancouver Orchestra, American Bach Soloists, Concerto Amabile, Sonoma Baroque, and Pacific Baroque Orchestra in Vancouver. She teaches privately in Sonoma county and Berkeley and is former co-director of the San Francisco Early Music Society’s Baroque Workshop at Sonoma State University. Ms. Kraft has recorded with Concerto Amabile and American Bach Soloists. She lives in a secluded paradise in the coastal hills outside of Occidental, California. An expert on California native grasslands, she is active in watershed restoration and native coastal prairie conservation projects.

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Kati Kyme, baroque violin and orchestra

kyme kati picKatherine Kyme has been a member of Philharmonia Baroque Orchestra since its inaugural season, and frequently performs as concertmaster and as soloist. Additionally, Kyme is a founding member of the American Bach Soloists, frequent guest concertmaster of Musica Angelica, and has been a member of the Arcadian Academy, the Streicher Trio and the prize-winning Sierra and Artaria Quartets. In 2006, Kyme and three Philharmonia colleagues founded the New Esterházy Quartet with the mission of performing and recording all of the quartets of Franz Joseph Haydn; they are the first group in North America to perform the cycle on period instruments. The NEQ has recently begun a second Haydn cycle paired with music by students of Haydn, such as Beethoven, and composers who dedicated to Haydn, such as Mozart.

In addition to an active performance schedule, Kyme has participated in dozens of recordings with Philharmonia and scores of CDs with the American Bach Soloists. She has recorded 4 CDs with New Esterházy Quartet.

Kyme is baroque violin instructor and orchestra leader at the SFEMS Baroque Workshop. Since 1998, she has been the conductor of the String Preparatory Division of the California Youth Symphony, leading 160 students every Sunday in string orchestra masterpieces. This June, Kyme and NEQ will lead the third annual Classical Workshop sponsored by the San Francisco Early Music Society (SFEMS).

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Eva Legêne, recorder

legene eva picEva Legêne, recorder virtuosa, is known throughout Europe, North America, Australia, and Asia for her remarkable performances. Born in the Netherlands as member of the third generation in a large family of musicians, Eva Legêne studied with Frans Brüggen, and taught at the Sweelinck Conservatory in Amsterdam. After her marriage to a Danish mathematician she taught at the Royal Danish Academy of Music in Copenhagen for over a decade. In 1985 she became professor of music at Indiana University Jacobs School of Music, Early Music Institute in Bloomington IN, and director of the annual Recorder Performer’s Seminar, and Summer Recorder Academy. In 2009 she retired from Indiana University and now divides her time between Europe and the US. She continues concertizing and teaching master classes in Europe, Asia, and the United States. In collaboration with the faculty of the Composition Department of Toho Gakuen School of Music in Tokyo, she instigated and helped organize the Japanese New Music Festival at Jacobs School of Music that took place in October 2013.

Eva Legêne is a frequent guest at international Early Music Festivals and appeared in concert with many renowned early music artists such as Frans Brüggen, Hopkinson Smith, Bruce Dickey, Sigiswald, and Barthold Kuijken, John Gibbons, Arthur Haas, Jacques Ogg, and her colleagues at Indiana University. She regularly tours the US with gambist Wieland Kuijken.

As a soloist for contemporary music she premiered Bernhard Heiden’s Concerto for Recorder with the Minneapolis Chamber Orchestra, and performed Steve Stucky’s Concerto for Recorder and Orchestra (Etudes) with the New Music Ensemble at Jacobs School of Music in Bloomington. She premiered and recorded Gerald Plain’s Recorder Concerto with the Cleveland Chamber Symphony Orchestra (2007), and premiered several of her arrangements for recorder of solo pieces such as Per Noergaard’s Libra, Don Freund’s Day Dream (2012), and Hiroshi Ninomiya’s Tirade (2013).

She has published several articles on the recorder and related historical issues, and was editor of the Recorder Education Journal. She has recorded for radio and television in Europe, the US, Australia, Canada, and Asia, and for the labels Telefunken, Denon, Focus, and Rondo Records. A recording with music by Telemann with Michael McCraw (bassoon), the late Washington McClain (oboe), and Corey Jamason (harpsichord), will soon be released by Focus Records. Her most recent concert tours have brought her to China, Japan, and the US.

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Rita Lilly, voice

lilly rita picRita Lilly is familiar to audiences in oratorio, recital, and opera, but most notably for her performances of baroque and early music. She has been lauded by The New York Times for “possessing a voice of strength, clarity, and virtuosity” and by the S.F. Classical Voice for “having a pure, silvery voice with plenty of color.” She is a native New Yorker and has appeared as a featured soloist with the American Boychoir, American Classical Orchestra, American Symphony Orchestra, ARTEK, Bachworks, Bach Aria Group, Clarion Music Society, Collegium Antiquum, Concert Royal, REBEL, Trinity Church Concerts at One Series, and the New York Consort of Viols, among others. As the soprano soloist of the Waverly Consort, she toured throughout the US and abroad. She has been featured on live broadcasts on New York’s WNYC, WNCN, National Public Radio, and Radio-Canada. She made her N.Y. Weill Recital Hall debut in Pergolesi’s Stabat Mater with Collegium Antiquum and has toured with harpsichordist Anthony Newman.

Since coming to the San Francisco Bay Area, Ms. Lilly has performed as soloist with Albany Consort, American Bach Soloists, AVE, Bay Choral Guild, Berkeley Early Music Festival, California Bach Society, Chora Nova, City Concert Opera, Magnificat Baroque Ensemble, Musicsources, Santa Cruz Baroque festival, S.F. Concert Chorale, S.F. Renaissance Voices, and Sacramento Baroque. Her recordings include three with the Waverly Consort on EMI; Handel and Vivaldi’s Dixit Dominus with the American Boychoir on Musical Heritage; Scarlatti’s St. Cecilia Mass on Newport Classic; Sowerby’s Medieval Poem on Naxos; a German Baroque Christmas with American Classical Orchestra on Musicmasters and Orff’s Carmina Burana with the S.F. Concert Chorale. She has recently become Music director of Lafayette Christian church in Lafayette, Ca. and maintains an active vocal studio in the Bay Area.

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Anna Marsh, baroque bassoon

marsh annaAnna Marsh performs regularly on her five historical bassoons from the Renaissance through the Classical periods. She is currently principal bassoonist in Tempesta di Mare and Opera Laffayette and has also appeared often with Tafelmusik, Ensemble Caprice, Opera Atelier, Seattle Baroque, The National Cathedral, and the Washington Bach Consort. She has also appeared with Handel and Haydn Society, Atlanta Baroque, Musica Angelica, Ensemble Voltaire, Apollo’s Fire, Foundling Orchestra, Americantiga, Chicago Opera Theater, the Hollywood Bowl, Banff Centre for the Arts, Musica nel Chiostro, the Bloomington Early Music Festival, Sante Fe Pro Musica, Aradia Ensemble, Indianapolis Museum of Art, and others. Anna has also taught or given master classes at the Hawaii Performing Arts Festival, the Eastman School of Music, the Los Angeles Music and Art School, the Albuquerque Double Reed Workshop (now the Western Baroque Music Festival); she also teaches privately. She co-directs the group Ensemble Lipzodes, which has toured Brazil, Ecuador, and the US and has recorded two CDs. Anna has been a concerto soloist with the Arion Orchestre Baroque, The Dryden Ensemble, Foundling Orchestra, Americantiga Orchestra, the USC Early Music Ensemble, and the Indiana University Baroque Orchestra. She has also worked in the library and/or in administration at the Los Angeles Philharmonic, the Washington National Gallery of Art, Museum of the City of New York, and the Weyerhauser Technology Center. She has recorded for Centaur, Avie, Naxos, the Super Bowl, Analekta, ATMA and the 2012 Grammy nominated recording of Handel’s Israel in Egypt with Trinity Wall Street Choir and orchestra on Musica Omnia.

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Linda Pearse, Workshop Director, baroque trombone

pearse linda picLinda Pearse has over fifteen years of professional experience as a sackbut player, experience in multi-media and interdisciplinary genres, and an interest in research in historical brass literature and performance practice. She currently teaches early trombones at Indiana University’s Early Music Institute and is Assistant Professor of Music at Mount Allison University in Canada. She holds a Doctor of Music degree from Indiana University, and a Master’s of Music degree in Early Music from the Schola Cantorum in Basel, Switzerland.

After studies at the Schola Cantorum Basiliensis with Charles Toet, Pearse embarked on a professional career as a trombone chamber, soloist, and orchestral player. She has performed with the Malaysian Philharmonic in Kuala Lumpur, the Macau Orchestra in China, the Basel Symphony Orchestra in Switzerland, the Stuttgart Opera House Orchestra, the Stuttgart Philharmonic (Germany), and the Kwazulu Natal Philharmonic in South Africa.

Pearse is the winner of two Canada Council of the Arts Grants to Performing Musicians (2008 and 2009), and with her ensemble ¡Sacabuche! she won the 2009 Early Music America Collegium Musicum competition. Recent ¡Sacabuche! concerts include a performance and lecture at the Historic Brass Symposium in NY in July 2012, and a twelve-concert multi-program tour to Beijing China with the inter-disciplinary program “Matteo Ricci: His Map and Music.” In addition, she has recently been awarded a fellowship that provides generous support for ¡Sacabuche!’s next large-scale interdisciplinary project “Venetia 1500″ (premiere scheduled September 29, 2013). Upcoming ¡Sacabuche! activities include a West Coast Tour in October 2013 and a recording of Italian Motets with Trombone. Her research has been published in the Journal of the Society for Ming Studies and her work on seventeenth-century Italian motets with trombone is under contract for publication with A-R Editions. She has given master classes at Beijing University, China, the University of Wisconsin-Madison, Vincennes University and Indiana University. She is also a certified Alexander Technique teacher.

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William Skeen, baroque cello

skeen william picWilliam plays principal cello in Philharmonia Baroque Orchestra, American Bach Soloists, Musica Angelica, and Marin Baroque. He also performs with Portland Baroque Orchestra and Voices of Music, where he is featured in numerous high-definition YouTube videos. In addition to performing with almost every baroque orchestra on the west coast. Mr. Skeen is a sought-after chamber musician. He plays with the New Esterhazy Quartet, the Grammy-nominated ensemble, El Mundo, and La Monica. William has been a viola da gamba soloist with the Dallas Symphony under Jaap van Zweden, and continuo cellist with the Los Angeles Philharmonic, conducted by Gustavo Dudamel. He has toured to Colombia, Peru, Brazil, and across North America as principal cellist in John Malkovich’s theater productions.

His teaching duties include Adjunct Professor of Baroque Cello and Viola da Gamba at University of Southern California, co-director of the SFEMS Classical Workshop, and the American Bach Soloists Academy, as well as the SFEMS Baroque Workshop. William holds a Bachelor of Music degree from the Cleveland Institute of Music, working with Alan Harris, and a Master of Music degree from U.S.C., studying with Ronald Leonard.

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Mary Springfels, viola da gamba

springfels mary picMary Springfels is an American player of the viola da gamba, a highly respected professor, and director of early music programs.

She purchased her first viola da gamba while attending UCLA and began studying with the New York Pro Musica’s Judith Davidoff. She went on to join the New York Pro Musica herself, then studied with Dutch Baroque gambist Wieland Kuijken for a year.

At the suggestion of the Chicago musicologist Dr. Howard Mayer Brown, she was appointed in 1982 as musician-in-residence at the Newberry Library and given the task of organizing an early music concert program. This led to her co-founding The Newberry Consort in 1986, one of America’s best and most versatile Renaissance music groups, which has become ensemble-in-residence at the Newberry and at Northwestern University.

She remains director of the Newberry Consort. She has also played with the New York Pro Musica and the Waverly Consort as well as many other U.S. and European ensembles and is a founding member of the ensembles Elizabethan Enterprise and Les Filles de Sainte-Colombe.

She has recorded for the Harmonia Mundi USA label as member of the Newberry Consort, as a soloist in a set of Stradella solo cantatas (with Christine Brandes and Paul O’Dette) and in solo instrumental works with recorder player Marion Verbruggen. She has also appeared on the Decca, Columbia, Nonesuch, and Titanic labels.

Springfels believes in getting close to the audience, literally by performing in smaller venues, but also by teaching and educating them about the music and the theories behind performance of early music. Therefore, she is frequently found at workshops and conferences. Academically, she has taught at Duke University, the University of North Carolina at Chapel Hill, the University of Chicago, and the Northwestern University School of Music.

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