Baroque Music Workshop
June 30 - July 6, 2013

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 Hayden 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.

Website: http://www.baroqueoboes.com Email: dalton@rockisland.com

Adam Knight Gilbert, Recorder
Adam Knight Gilbert has performed and recorded on historical woodwind instruments as a member of Ensemble for Early Music, Waverly Consort, Piffaro, and is co-director of the ensemble Ciaramella. He received Fulbright and Belgian American Education Foundation Grants for study in Belgium, and completed his Ph.D. in Performance Practice at Case Western Reserve University. He has taught musicology on the faculty of Stanford University and the University of Southern California, where he is currently Associate Professor of Musicology and Director of the Early Music Program. A recipient of the 2008 Noah Greenberg Award, he specializes in historical improvisation and compositional techniques, the music of Henricus Isaac, musical symbolism, the bagpipe, and fifteenth-century chansons.

Kathleen Kraft, Baroque Flute
Kathleen 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.

Katherine Kyme, Baroque Violin
Katherine 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 second annual Classical Workshop sponsored by the San Francisco Early Music Society (SFEMS).

Rita Lilly, Soprano
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 been a 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.

Critics' reviews:
"The performance by soloist Rita Lilly was most notable for its strength, clarity and virtuosity," Robert Haskins (Chorus Magazine)
"Rita Lilly's performance was excellent. Her personality blossomed in contrasting sets of lyric songs…with coloratura all beautifully rendered," James R. Oestereich (NY Times)
"The best songs were the simplest and quietest, especially the plaintive solos by The Waverly Consort's soprano, Rita Lilly," Richard Taruskin (NY Times)
"Rita Lilly deserves to be singled out: She is a soprano of strong voice and a fine bell-like tone." David Bratman (SF Chronicle)
"Rita Lilly gave special pleasure in the Vaillant," Bernard Holland (NY Times)
"Rita Lilly's pure, silvery voice, with its minimal vibrato, was extraordinary"…Beverly Wilcox (SF Classical Voice)
"Rita Lilly has a strong, cutting voice of considerable freshness that easily soars throughout the hall." Jason Victor Serinus (SF Classical Voice)
"As Euterpe, Rita Lilly was stellar, her vocal quality pure and light but with plenty of color"….Michael Zweibach (SF Classical Voice)

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.

Linda Pearse, Baroque Trombone
Linda Pearse joins SFEMS Baroque Workshop with 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.

William Skeen, Baroque Cello
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.

Mary Springfels, Viola da Gamba

For most of her adult life, Mary Springfels has devoted herself to the performance and teaching of early music repertoires. She earned her stripes performing with many influential pioneering ensembles, including the New York Pro Musica, the Elizabethan Enterprise, Concert Royal, and the Waverly Consort. For twenty years she directed the innovative Newberry Consort and can be heard on dozens of recordings. In 2006, Mary moved to the mountains of New Mexico, where she is active in the formation of an intentional community called the Wit's End Coop. She continues to teach and perform extensively. This year's activities have included solo appearances with Sonoma Bach and the Phoenix Bach Festival. She will be teaching at The Texas Toot, the SFEMS Renaissance and Baroque Weeks, The Pinewoods Early Music Week, the VDGSA 50th Conclave, and the Rio Rico Viol Week. She will be playing with Viols of Houston and the Folger Consort later in the year.

Peter Sykes, Harpsichord
Peter Sykes performs widely on the organ, harpsichord, clavichord, and fortepiano as a soloist and as an ensemble musician. With Christa Rakich he created "Tuesdays With Sebastian," an independent two-year benefit concert series in which he and Ms. Rakich performed the entire keyboard works of Johann Sebastian Bach for the organ, harpsichord, and clavichord in thirty-four recitals in five Boston-area locations in the 2003-04 and 2004-05 concert seasons. He appears regularly in concert and on recordings with Boston Baroque. In March 2004 he was given the honor of performing the dedication recital on the newly restored 1800 Tannenberg organ in Old Salem, North Carolina, a performance featured on the nationally broadcast television show "CBS Sunday Morning." In November 2005 he performed the inaugural recital on the newly restored 1866 Koehnken organ in the Isaac Wise Temple in Cincinnati.

Sykes's solo recordings include J.S. Bach's complete Leipzig Chorales recorded on the Noack organ of the Langholtskirkja in Reykjavik, Iceland, and music of Reger recorded on a Steinmeyer organ in Altoona, Pennsylvania. His recording of his organ transcription of Holst's orchestral suite The Planets was named Best of 1996 by Audio Review, called a "Super CD" by Absolute Sound in 1999, and garnered accolades in every review. He appears on the Cambridge Bach Ensemble recording The Muses of Zion, performing organ works of Tunder and Buxtehude on the Fisk meantone organ of Wellesley College; on the Music from Aston Magna recording of Handel's oratorio The Triumph of Time and Truth, containing Handel's first known organ concerto; on a recording of the organ concerto Cymbale of Julian Wachner; and on the Grammy-nominated Boston Baroque recordings of Handel's Messiah, Bach's B-Minor Mass, and Monteverdi's Vespers. Just released is a recording of Bach's harpsichord partitas on the Centaur label.

As an ensemble musician Skyes has performed with Musica Antiqua Kö ln, Ensemble Project Ars Nova, the King's Noyse, the New England Bach Festival, Winsor Chamber Music, Mistral, Aston Magna Festival, Chameleon Ensemble, the Van Swieten and Borromeo Quartets, Cantata Singers, New England String Ensemble, and the Portland Chamber Music Festival. He was a member of the continuo team for the Boston Early Music Festival opera productions of Cavalli's Ercole Amante, Conradi's Ariadne, and Lully's Thesée and Psyché, and now directs its Keyboard Day mini-festival of performances on clavichord, harpsichord, and fortepiano.

He holds degrees from the New England Conservatory, where he studied with Gabriel Chodos, Blanche Winogron, Mireille Lagacé, Robert Schuneman, and Yuko Hayashi, and Concordia University in Montreal, where he studied with Bernard Lagacé. In 1978 he was winner of the Chadwick Medal from the New England Conservatory for outstanding undergraduate achievement. He was the 1993 laureate of the Erwin Bodky Award for excellence in early music performance. In May 2005 he received the Outstanding Alumni award from the New England Conservatory for career achievement since graduation. In May 2011 Sykes was honored by the St. Botolph Club Foundation with its Distinguished Artist Award, a major gift awarded annually to an artist who has demonstrated outstanding talent and an exceptional diversity of accomplishment; previous recipients include painter Edward Hopper, poets Elizabeth Bishop and Stanley Kunitz, sculptor Alexander Calder, and writers George V. Higgins, Annie Dillard, and Sissela Bok. The award letter characterized him as "one of the major musical intellects and imaginations of our time." He is Associate Professor of Music and Chair of the Historical Performance Department at Boston University, Director of Music at First Church in Cambridge, Congregational, a member of the faculties of the Longy School of Music and the New England Conservatory, and a founding board member and current president of the Boston Clavichord Society.
www.petersykes.com