Baroque Faculty

 

Sand Dalton, baroque oboe
Stephen Escher, cornetto
Cheryl Ann Fulton, harp
Mara Galassi, harp
Clea Galhano, recorder
Elisabeth Le Guin, baroque cello
Rita Lilly, voice
Anna Marsh, baroque bassoon
Sandra Miller, baroque flute
Justin Montigne, voice
Linda Pearse, Workshop Director, baroque trombone
Mary Springfels, viola da gamba
Peter Sykes, harpsichord
David Wilson, baroque violin

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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Stephen Escher, cornetto

steveheadshotAfter receiving a B.A. degree at Luther College, Stephen Escher did post-graduate work at the University of Iowa. In Europe, Mr. Escher studied in Bologna with cornettist Bruce Dickey and performed with the Taverner Players and The Whole Noyse. He is a founding member of the San Francisco ensemble The Whole Noyse and has performed with numerous ensembles in the U.S., Canada and Mexico including performances with Tesserae and His Majestys Sagbutts and Cornetts. Stephen has made two recordings in London with Andrew Parrott and the Taverner Players for EMI and can also be heard on recordings with the Vancouver Cantata Singers, ABS, Magnificat, Angelicum de Puebla and The Whole Noyse.

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Cheryl Ann Fulton, harp

cafultonRecognized as a leading pioneer in the field of historical harps and a popular performer and teacher of Celtic lever harps, Dr. Cheryl Ann Fulton has enjoyed a wonderful international performing, recording, teaching and scholarly research career since 1984. One of the world’s leading harpists known for her exceptional artistry and expressive style, she performs on triple harp, medieval harp, renaissance bray harp, double action pedal harp and contemporary Celtic lever harps. Her solo recital performed at the John F. Kennedy Center featured five historical harps on one program of which the Washington Post said, “Fulton drew from all of them a serene and delicate sound… remarkable instruments which Fulton played with total skill and reverent affection.”

She earned a BS degree in pedal harp, and an MM and DM in early music/historical harp/musicology from the Jacobs School of Music of Indiana University, Bloomington where during her graduate work she was a dedicated student of Thomas Binkley. Dr. Fulton is a contributing scholar for the latest edition of the New Grove Dictionary of Music and Musicians and authored a chapter for A Performers Guide to Medieval Music (IU Press, 2000). She was awarded the Burton E. Adams Prize for Academic Research for her doctoral thesis on the history of the triple harp. In 1987 she received a Fulbright award for research and performance in Lisbon, Portugal and while there served as principal harpist for Portugal’s leading orchestra, the Orchestre Gulbenkian.

She has performed with many distinguished early music ensembles including Voices of Music, Ensemble Alcatraz, The Galax Quartet, El Mundo, Anonymous 4, Sequentia, American Bach Soloists, American Baroque, The Boston Camerata, Camerata Mediterranea, Chanticleer, etc. She served on the faculty for the Amherst Early Music workshops for over twenty-five years and was the first Director of the San Francisco Early Music Society Medieval Music Workshop. She is the founding President of the Historical Harp Society and is Director for the HHS 2015 Conference.

A versatile recording artist, she can be heard on over thirty albums and soundtracks broadly ranging from medieval, baroque, orchestral, and contemporary music to Celtic music and film scores, on major labels including PolyGram, Deutsche Harmonia Mundi, Koch International Classics, Nonesuch, Erato, Dorian, Gourd Music, and others. Her first solo album, The Airs of Wales, brought her recognition and acclaim as a “genuine virtuosa of her instrument.”

She founded and directs the medieval harp choir Angelorum and they are currently working on a recording of the music of Hildegard von Bingen with Karen Clark and Vajra Voices.

Dr. Fulton is on the faculty of The Thornton School of Music at USC. She is a highly sought after teacher of her Touch and Tone Technique for Harp and has a private studios in the San Francisco Bay Area in Oakland, El Sobrante and Los Gatos, and also teaches via Skype.

When she is not harping, she is playing with, training and showing her two Belgian Tervuren dogs or out riding her two Arabian horses on the trails in the East Bay hills.

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Mara Galassi, harp

Mara GalassiMara Galassi graduated from the Civica Scuola di Musica di Milano and the Pesaro Conservatory of Music with honors. She studied pedal harp with Luciana Chierici, David Watkins, and Emmy Huerlimann, performance practice with harpsichordist David Collyer and lutenist Patrick O’Brien and musicology with Michael Morrow in London. She served as principal harpist for the Teatro Massimo Opera House in Palermo, Italy.

Currently, she lives in Milano, where she teaches historical harps at the Accademia Internazionale della Musica di Milano. She also teaches at the ESMUC in Barcelona. As a musicologist she has done extensive research in the field of historical harps.

She develops her activities as soloist and as a member of the most famous early music ensembles in Europe: Concerto Vocale (dir. René Jacobs), Concerto Italiano (dir. Rinaldo Alessandrini), Mala Punica (dir. Pedro Memelsdorff), Concerto Soave (dir. Jean Marc Aymes).

She has recorded for Tactus, Symphonia, Ricordi, Harmonia Mundi, Opus 111; Arcana. For Glossa, she recorded Il viaggio di Lucrezia a solo album of Italian baroque music for harp”, Les Harpes du Ciel with Gabriella Bosio, harp duets from the second half of the 18th Century for two single action pedal harps, The Microcosm Concerto, music by Georg Friedrich Handel for Welsh triple harp, Erard harp and keyboard instruments, and the Concerto alla Harpa e Flauto by Wolfgang Amadeus Mozart for Harmonia Mundi France, with the Freiburger Barockorchester. She played in the art film “Voluptas Dolendi I gesti del Caravaggio” (ArtFILM, Fondazione Marco Fodella, 2010) with actress and dancer Deda Cristina Colonna.

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Clea Galhano, recorder

IMG_Clea soloBrazilian 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.

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 Elisabeth Le Guin, baroque cello

Le Guin headshotOne of the foremost and internationally respected Baroque cellists in the United States, Elisabeth Le Guin has been praised for the vigor and sensitivity of her ensemble playing. Music dates back to her early childhood. First introduced to the world of classical music in elementary school, LeGuin’s musical choices were the violin, the clarinet or the cello. “Everyone played the violin or the clarinet, and I was in this phase of wanting to be different, so I played the cello.” From this desire-to-be-unique decision emerged the cellist of the award-winning Artaria String Quartet, founding member of Philharmonia Baroque Orchestra, cellist of Trio Galatea and a key player in Foundling, “a full of surprises, unexpected twists and turns” all-female string group with a social mission of bringing public awareness to issues affecting women and children. She appears in numerous recordings on the Koch, Virgin, Harmonia Mundi, and Klara labels. LeGuin received a doctorate in historical musicology at Berkeley in 1997 and currently teaches at UCLA where she is an Associate Professor of Musicology and Director of Undergraduate Studies. Her academic interests are eclectic but connected by an over-arching interest in music as an embodied practice. She has published on Luigi Boccherini (online,in ECHO: a music-centered journal); on New Age music (in repercussions and in the New York Times); on Debussy (in Beyond Structural Hearing?, California, 2004); and on the relations between 17th-century riding and music-making (in Kingdoms of the Horse, Palgrave, 2004). Her 2002 essay on Luigi Boccherini, published in JAMS, won the 2003 Einstein Award for Best Journal Article from the American Musicological Society. It is said that LeGuin is “a joy to read.” Her book Boccherini’s Body: an Essay in Carnal Musicology, published by the University of California Press appeared in May 2005, just in time for the 200th anniversary of the composer’s death. Martha Feldman praised LeGuin’s book saying “it is an adventure in new forms of musical analysis, with a beguilingly passionate, yet rigorous style of philosophical introspection. Her book explodes old analytical paradigms, attending to the technologies and erotics of musical performance in ways some have wanted to do but none have achieved. This book will catapult LeGuin to stardom.”

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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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Sandra Miller, baroque flute

SMiller-3Sandra 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.

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Justin Montigne, voice

unnamedJustin Montigne – singer, voice teacher, and registered yoga teacher – teaches workshops, classes, and private lessons in the Bay Area and around the country. Justin’s interest in the free and easy alignment of body and instrument led him to yoga, which helped revolutionize his singing and teaching. He hopes to share the same tools he discovered with singers and players everywhere.

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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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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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Peter Sykes, harpsichord

SykespartPeter 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.

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David Wilson, baroque violin

dwilsonDavid 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.

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