2016 Baroque Workshop Faculty
Linda Pearse, Workshop and Artistic Director, baroque trombone
David Wilson, baroque violin
William Skeen, baroque cello and viola da gamba
Sandra Miller, traverso
Clea Galhano, recorder
Sand Dalton, baroque oboe
Bruce Dickey, cornetto
Anna Marsh, baroque bassoon
Rita Lilly, voice
Drew Minter, voice
Peter Sykes, harpsichord
John Lenti, lute and theorbo
Linda Pearse, Workshop and Artistic Director, sackbut
Linda 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.
David Wilson, baroque violin
David Wilson, baroque violin, has performed extensively with period instrument ensembles in the United States and Europe, including Philharmonia Baroque Orchestra, American Bach Soloists, and as concertmaster with Jubilate, the North Carolina Baroque Orchestra, and Pacific Bach Project. An avid chamber musician, he plays regularly with Ensemble Vermillian and Magnificat, and he is a founding member of Archetti, Florilegia, the Galax Quartet, and other ensembles. A co-founder of the Bloomington Early Music Festival, he performs regularly at the Boston Early Music Festival and the Berkeley Early Music Festival. He has taught baroque violin at Indiana University, where he earned the Doctor of Music degree in Early Music, and he holds degrees in violin from Bowling Green State University in Ohio and The Catholic University of America in Washington, D.C.
His interests outside of music include cosmology, zymurgy, and science fiction (and he would love to discover a science fiction novel about a homebrewing cosmologist). In recent years he has performed and recorded classical music of India and the Ottoman Empire with Lux Musica (East Meets West Music and Golden Horn Records), contemporary music with the Galax Quartet (Innova Recordings), and 18th century concerti with Archetti (Centaur Records). He is the author of Georg Muffat on Performance Practice, published by Indiana University Press.Back to top
William Skeen, baroque cello and viola da gamba
William 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 starting in 2013, 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.
Sandra Miller, baroque flute
Sandra Miller had an early fascination with the music of Johann Sebastian Bach that ultimately led her to the baroque flauto traverso, upon which she is widely regarded to be one of the finest performers of her generation. Trained at the North Carolina School of the Arts and the Curtis Institute of Music in the conservatory curriculum traditional for woodwind players, she chose—instead of the path leading to membership in a symphony orchestra—to settle in New York City, where she leads an active musical life, appearing in a variety of chamber music performances, solo recitals, and orchestral concerts. Ms. Miller was winner of the Concert Artists Guild Competition, the Erwin Bodky Competition for Early Music, and of a Solo Recitalist’s Fellowship from the National Endowment for the Arts. She is frequently invited to perform and record with many well-known period-instrument ensembles, touring throughout the United States and in Canada, South America, Europe and Asia.
For many years Professor (now Emerita) of Music at the Purchase College Conservatory of Music (SUNY), Ms. Miller has also taught at the Mannes College of Music, in CUNY’s doctoral program, at the New England Conservatory of Music, and as Kulas Visiting Artist at Case Western Reserve University. She currently serves on the faculty of the Historical Performance Program at the Juilliard School of Music. Her solo recordings include the complete Bach flute sonatas and, on six- and eight-keyed classical flutes, the three Mozart concertos.
Clea Galhano, recorder
Brazilian recorder player Clea Galhano is an International renowned performer of early, contemporary and Brazilian music. Galhano has performed in the United States, Canada, South America and Europe as a chamber musician, collaborating with recorder player Marion Verbruggen, Jacques Ogg, Belladonna, Lanzelotte/Galhano Duo, Galhano/Montgomery Duo, Kingsbery Ensemble, and Blue Baroque Band. As a featured soloist, Galhano has worked with the Saint Paul Chamber Orchestra conducted by Christopher Hogwood, Nicholas McGegan and Emmanuelle Haim, World Symphony, Milwaukee Baroque and Lyra Baroque Orchestra.
Among other important music festivals, Ms. Galhano has performed at the Boston Early Music Festival, the Tage Alter Music Festival in Germany and at Wigmore Hall in London,Weill and Merkin Hall in New York and Palazzo Santa Croce in Rome, always receiving acclaimed reviews. Ms. Galhano was featured in 2006 in the Second International Recorder Congress in Leiden, Holland and in 2007 at the International Recorder Conference in Montreal and the American Recorder Festival in 2012. She gave two recitals at Weill Hall/ Carnegie Hall receiving great reviews.
Galhano studied in Brazil at Faculdade Santa Marcelina, the Royal Conservatory (The Hague), and the New England Conservatory of Music in Boston, earning a Fulbright scholarship and support from the Dutch government. As an advocate of recorder music and educational initiatives, she served for six years on the national board of the American Recorder Society and was featured many years as teacher and soloist at Suzuki and AOSA conferences. Among other important grants, Galhano was the recipient of the prestigious McKnight fellowship in 2013 and MSAB artist initiative in 2014.
A popular teacher and ensemble director, Galhano regularly conducts workshops across the United States, Europe and Brazil. Currently, Galhano is the Executive Artistic Director of the St. Paul Conservatory of Music, and she is on the faculty of Macalester College.
Ms. Galhano has recordings available on Dorian, Ten Thousand Lakes and Eldorado labels and is the Music Director of the Recorder Orchestra of the Midwest.
Sand Dalton, baroque oboe
Sand 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.
Bruce Dickey, Cornetto
Bruce Dickey is one of a handful of musicians worldwide who have dedicated themselves to reviving the cornetto – once an instrument of great virtuosi, but which lamentably fell into disuse in the 19th century. The revival began in the 1950s, but it was largely Bruce Dickey, who, from the late 1970s, created a new renaissance of the instrument, allowing the agility and expressive power of the cornetto to be heard once again. His many students, over more than 30 years of teaching at the Schola Cantorum Basiliensis, have helped to consolidate and elevate the status of this once forgotten instrument. For his achievements the Historic Brass Society awarded him in 2000 the prestigious Christopher Monk Award for “his monumental work in cornetto performance, historical performance practice and musicological scholarship.” In 2007 he was honored by British conductor and musicologist Andrew Parrott with a “Taverner Award” as one of 14 musicians whose “significant contributions to musical understanding have been motivated by neither commerce nor ego.”
In the course of his long career as a performer and recording artist he has worked with most of the leading figures in the field of early music, including the legendary pioneers of historically informed perfomance, Gustav Leonhardt, Frans Brüggen and Nikolaus Harnoncourt. He was a member for over ten years of Jordi Savall’s Hesperion XX, and has frequently and repeatedly collaborated with Ton Koopman, Monica Huggett, Philippe Herreweghe and many others. Of special importance has been his long-time friendship and collaboration with Andrew Parrott, and in more recent years with Konrad Junghänel.
Bruce Dickey can be heard on countless recordings. His solo CD (“Quel lascivissimo cornetto…”) on Accent with the ensemble Tragicomedia was awarded the Diapason d’or. His second solo CD, entitled “La Bella Minuta”, was released on the Passacaille label in 2011.
In addition to performing, Bruce Dickey is much in demand as a teacher, both of the cornetto and of seventeenth-century performance practice. In addition to his regular class at the Schola Cantorum he has taught at the Royal Conservatory in The Hague, the Accademia Chigiana in Siena, and the Early Music Institute at Indiana University, as well as master classes in the United States, Canada, Europe and Japan. He is also active in research on performance practice, and has published, together with Michael Collver, a catalog of the surviving cornetto repertoire, and, together with trumpeter Edward Tarr, a book on historical wind articulation. In 1997, together with his wife Candace Smith, he founded Artemisia Editions, a small publishing house which produces editions of music from 17th-century Italian convents.
In 1981, Bruce Dickey moved to Italy, partly to be closer to the origins and source materials for his instrument and its music. He currently lives with his wife and daughter in a country house, surrounded by vineyards, outside of Bologna, home of the original Concerto Palatino.
Anna Marsh, baroque bassoon
Anna 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.
Rita Lilly, voice
Rita 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.
Regarded for nearly three decades as one of the world’s finest countertenors, Drew Minter grew up as a boy treble in the Washington Cathedral Choir of Men and Boys. He continued his education at Indiana University and the Musikhochschule of Vienna. Drew has appeared in leading roles with the opera companies of Brussels, Toulouse, Boston, Washington, Santa Fe, Wolf Trap, Glimmerglass, and Nice, among others. A recognized Handel specialist, he has performed frequently at the Handel festivals of Göttingen, Halle, Karlsruhe, and Maryland. He has sung with many leading Baroque orchestras, including Les Arts Florissants, The Handel and Haydn Society, Philharmonia Baroque Orchestra, and Freiburger Barockorchester, and been a guest at festivals such as Tanglewood, Ravinia, Regensburg, BAM’s Next Wave, Edinburgh, Spoleto, and Boston Early Music. Other orchestra credits include the Philadelphia Orchestra, the San Francisco Orchestra, and the St. Paul Chamber Orchestra. Drew was a founding member of the Newberry Consort, TREFOIL, and My Lord Chamberlain’s Consort, and has sung frequently with ARTEK and the Folger Consort. He has made over 60 recordings on Harmonia Mundi, Decca/London, Newport Classics, Hungaroton, and other labels.
Drew has directed much opera during the past twenty five years, as artistic director of Boston Midsummer Opera (of which he was the founding director), Goettingen Handel Festival, and many professional and university companies. Having given many masterclasses in the acting of baroque opera and in singing, he has been on the faculty of Amherst Early Music both as a voice teacher and opera director since 1989, and he teaches voice, chorus and opera at Vassar College.
Peter Sykes, harpsichord
Peter Sykes is Associate Professor of Music and Chair of the Historical Performance Department at Boston University, where he teaches organ, harpsichord, clavichord, performance practice, and continuo realization, Music Director of First Church in Cambridge, and instructor of harpsichord in the Historical Performance Department of the Juilliard School in New York City. He performs extensively on the harpsichord, clavichord, and organ, including recent appearances in London, Paris, Amsterdam, Berlin, Sao Paulo, and Leipzig, and has made ten solo recordings of organ repertoire including his acclaimed organ transcription of Holst’s “The Planets.” Newly released is a recording of the complete Bach harpsichord partitas on the Centaur label, and an all-Bach clavichord recording on the Raven label; soon to be released will be the complete Bach obbligato violin sonatas with Daniel Stepner. He also 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). He is the newly elected President of the Westfield Center for Historical Keyboard Studies.
John Lenti, lute and theorbo
John Lenti’s performances as a soloist and chamber musician on theorbo, renaissance lute, baroque lute, archlute, and baroque guitar across the United States and abroad have been described as “a joy to behold” (Seattle Times) and praised for their “nuanced beauty and character” (Gramophone). He regularly deploys his “unusually big sound” (Third Coast Digest) in all of the various early music concert series, in opera pits, churches, libraries, theaters, Grange halls, and living rooms all over the place, the Boston, Berkeley, Indianapolis, and Salish Sea Early Music Festivals, and with, among others over the years, American Bach Soloists, Bach Collegium San Diego, Carmel Bach Festival, Catacoustic Consort, Farallon Recorder Quartet, Haymarket Opera, The I-90 Collective, Magnificat, Magnolia Baroque Festival, Mercury Baroque, Mr. Jones and the Engines of Destruction, La Monica, the Los Angeles Philharmonic, Musica Pacifica, Newberry Consort, New World Symphony, Opera Omnia, Portland Opera, Pittsburgh Opera, Seattle Opera, and Seraphic Fire. He enjoys nothing so much as making music on tour with the I-90 Collective, Ostraka, Sacro Profano, and Wayward Sisters. His recording credits include “Division” with Ostraka, “And I remain: three love stories,” with soprano Linda Tsatsanis, chamber music of Matthew Locke with Wayward Sisters, and work as a sideman with La Monica, Seattle Baroque, and Portland Baroque Orchestra. When not practicing one or another of the many historical plucked, fretted string instruments upon which he is expected to do something “adroit” (Washington Post) any given week, he may be found at home in Seattle with his family, trying occasionally to find time to practice while enjoying parenthood, cooking, and clawhammer banjo. He is a graduate of the North Carolina School of the Arts and Indiana University, and he studied lute with Nigel North, Jacob Heringman, and Elizabeth Kenny. Great musical help and inspiration have come at crucial intervals from Ronn McFarlane, Ricardo Cobo, Pat O’Brien, and Dr. Walter Gray.