Recorder Faculty

2019 Recorder Workshop Faculty 

Week I – Heaven and Earth
July 7 – 13, 2019

Malachai Komanoff Bandy
Saskia Coolen
Rotem Gilbert
Hanneke van Proosdij
Gwyn Roberts
Recorder Orchestra director: Rotem Gilbert

Week II – Shadows and Light
July 14 – 20, 2019

Joan Kimball
Peter Maund
Rotem Gilbert
Lisett Kielson
Hanneke van Proosdij
Recorder Orchestra director: Hanneke van Proosdij

Rotem Gilbert, Workshop Co-Director

EMA_YP_Jun_6 (164 of 305)Rotem Gilbert is a native of Haifa, Israel and a founding member of Ciaramella, an ensemble specializing in music of the 15th and 16th centuries. Ciaramella has performed throughout the United States, in Belgium, Germany, and Israel, and released a CD on the Naxos Label, and two recordings with Yarlung Records. Their CD Dances on Movable Ground earned five stars by the British magazine Early Music Today and was picked the Editor’s Choice, lauded for its “expressive fluidity and rhythmic vitality”. Rotem was a member of Piffaro (1996-2007), and has appeared with many early music ensembles in the United States and in Europe including recent appearances with Voices of Music in the Bay Area and Utopia Early Music in Salt Lake City. Rotem has been featured as a soloist for the Pittsburgh Opera, the LA Opera, Musica Angelica and the Los Angeles Philharmonic. After studies on recorder with Nina Stern at Mannes College of Music in New York, she earned her solo diploma from the Scuola Civica di Musica of Milan where she studied with Pedro Memelsdorff. She earned her doctorate in Early Music performance practice at Case Western Reserve University with Ross Duffin. Rotem is an Associate Professor of Practice at USC Thornton School of Music, teaching musicology courses in Early Music, Renaissance notation seminars, Renaissance and Baroque Performance Practice and directing Early Music ensembles. She leads USC students for a summer course in Paris on music, culture and art. Rotem received the 2012 Dean’s Award for Excellence in Teaching at USC and is the joint recipient (with Adam Gilbert) of Early Music America’s 2014 Thomas Binkley Award for “outstanding achievement in performance and scholarship by the director of a university or college early music ensemble.” She has been a regular faculty member of early music workshops and is the co-director of SFEMS Recorder Workshop in the Bay Area. Rotem can be heard on the Deutsche Grammophon’s Archiv, Passacaille, Musica Americana, Dorian, Naxos and Yarlung labels.

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Hanneke van Proosdij, Workshop Co-Director

Hanneke van Proosdij is renowned for the elegance, virtuosity, and expressiveness of her playing. She performs regularly as soloist and continuo specialist and is principal early-keyboard player with Philharmonia Baroque Orchestra, Festspiel Orchester Goettingen and has appeared regularly with Hesperion XX, Concerto Palatino, Magnificat, American Bach Soloists, Concerto Koln, Chanticleer, LA Phil, Dallas Symphony, Gewandhaus Orchester and the Arcadian Academy. She received her solo and teaching diplomas from the Royal Conservatory in The Hague where she studied recorder, harpsichord and composition. Together with her husband David Tayler, Hanneke cofounded and co-directs Voices of Music. With more than forty million viewers worldwide, Voices of Music is the most popular Early Music ensemble in the United States. Hanneke is a cofounder of the Junior Recorder Society, and directs, together with Rotem Gilbert, the SFEMS Recorder Workshop. She has recorded over 100 discs for Magnatune, BIS, Koch, Musica Omnia, Carus, AVIE, Accent and Delos. Hanneke teaches recorder at UC Berkeley and has been guest professor at Stanford, Oberlin, Indiana University Jacobs School of Music, University of Wisconsin and the University of Vermont. Hanneke enjoys reading books and hiking.

 

Malachai Komanoff Bandy

A native of Los Angeles, Malachai Komanoff Bandy has amassed a professional performance record on some twenty instruments spanning over 800 years of music history. He graduated cum laude with Distinction in Research and Creative Work from Rice University’s Shepherd School of Music with double bass and music history degrees. In recent years, Malachai has performed as a violist da gamba and violonist with various ensembles in the U.S. and Europe, including The Orpheon Consort, Ars Lyrica Houston, and Ciaramella. He is also a featured soloist in Bear McCreary’s scores to the films 10 Cloverfield Lane (yaylı tanbur, 2016), Welcome Home (viol, 2018), and Emmy-winning title theme for the STARZ television series DaVinci’s Demons (viol, 2013), and the videogame God of War (nyckelharpa, 2018). After completing a Wagoner Fellowship-funded individual course of viola da gamba and organological study with José Vázquez in Austria, Spain, and Switzerland, Malachai began graduate studies in Historical Musicology as a Provost Fellow at the USC Thornton School of Music in 2015. He is currently in the final stages of creating the first comprehensive aural catalog of the Orpheon Foundation’s fifty historical violas da gamba (Duino, Italy) with the support of a Presser Graduate Award (2016). His present scholarly interests include topics pertaining to number symbolism in the North-German baroque, as well as viola da gamba technique, repertoire, instrument design, and iconography.

Peter Maund

Peter Maund studied percussion at the San Francisco Conservatory of Music and music, folklore, and ethnomusicology at the University of California, Berkeley. A founding member of Ensemble Alcatraz and Alasdair Fraser’s Skyedance, he has performed with early and contemporary music ensembles including the American Bach Soloists, Anonymous 4, Chanticleer, Hesperion XX, Musica Pacifica, Pacific MusicWorks, Philharmonia Baroque Orchestra, the Texas Early Music Project, and Voices of Music, among others. He is the author of “Percussion” in A Performers Guide to Medieval Music, Indiana University Press, 2000.  He has served on the faculty of the University of California, Berkeley as well as in workshops in the US, Canada, and Great Britain. Described by the Glasgow Herald as “the most considerate and imaginative of percussionists” he can be heard on over 60 recordings.

Saskia Coolen

Saskia Coolen studied the recorder with Kees Boeke and Walter van Hauwe at the Sweelinck Conservatory in Amsterdam, as well as musicology at the University of Utrecht. For many years, she has been a member of La Fontegara and Camerata Trajectina, which have given numerous concerts at home and abroad. She has also played in the Taverner Players, the orchestra of the Nederlandse Bachvereniging, the Freiburger Barockorchester, the Gabrieli Consort, Tragicomedia, the King’s Consort, and other major ensembles and chamber music groups throughout Europe.

In 1994 she founded Ensemble Senario, which focuses on Baroque chamber music in which the recorder is featured as a major instrument. With her own Recorders Foundation she works in the field of multi-disciplinary music theatre. Saskia Coolen gives courses and master-classes throughout Europe and America, and she teaches at the Conservatorium van Amsterdam.

 

Joan Kimball

Joan Kimball, artistic co-director and a founding member of the ensemble, gave herself full time to early music performance in 1980 after a number of years as an educator.  In addition to her devotion to the study and performance of historical winds and to her work with Piffaro, Joan continues to feed her passion for education.  She teaches recorder and early winds to children and adults, is on the music faculty of The Philadelphia School, an elementary and middle school, where she has a full roster of private recorder students and recorder ensembles, and organizes Piffaro’s educational programs.  She has  run a residency program at a Philadelphia public elementary school where she taught recorder and percussion to third graders.  In addition, Joan travels and gives bagpipe, recorder and double reed classes at music workshops and festivals around the country, including the Madison Early Music Festival and Amherst Early Music Festival.  As an important corollary to performing on these instruments, she is a maker of double reeds for Renaissance shawms, dulcians and capped winds, and collaborates with instrument maker Joel Robinson of Portland OR on the construction of Medieval and Renaissance bagpipes.

 

Lisette Kielson

Based in Central Illinois Lisette Kielson performs as soloist, chamber musician, and orchestral player throughout the Midwest at Bach and Early Music Festivals, College Artist Series, and with, among others, Lyric Opera of Chicago (stage band soloist), Chicago Opera Theater, Haymarket Opera Company, Music of the Baroque, Chicago’s Bach Week Festival, and with many Chicago-area early music ensembles, including Chicago Recorder Quartet. Affiliate Instructor at Bradley University, Lisette directs the Collegium Musicum and performs with the faculty new music ensemble. Past President of the American Recorder Society, Lisette serves on the faculty of the Whitewater Early Music Festival and as Music Director of the ARS Chicago Chapter and teaches at workshops throughout the country, including most recently at Amherst Early Music Festival, Columbia Gorge Early Music Retreat, Next Level Recorder Retreat, and at workshops in Ann Arbor, Madison, and San Diego. Lisette holds Bachelor and Master Degrees from Indiana University and a post-master’s Diploma from Royal Conservatory of The Hague, Netherlands. She has recorded with Centaur Records as well as with her own label. Read more at LEnsemblePortique.com.

 

Gwyn Roberts

Gwyn Roberts is one of America’s foremost performers on recorder and baroque flute, praised by Gramophone for her “sparkling technique, compelling musicianship, and all-around excellence.” She is also co-founder and -director of Philadelphia Baroque Orchestra Tempesta di Mare, hailed by the Miami Herald as “the model of a top-notch period orchestra.” Now in the 17th season of its Philadelphia Concert Series, Tempesta di Mare tours from Oregon to Prague, recently released its 12th CD on the British label Chandos, and reaches audiences in 56 countries around the world with broadcasts of live performances.

Roberts’ soloist engagements include Portland Baroque Orchestra, Recitar Cantando of Tokyo, Washington Bach Consort and the Kennedy Center. In addition to Chandos, she has recorded for Deutsche Grammophon, Dorian, Sony Classics, Vox, PolyGram, PGM, and Radio France. Her latest solo recordings include the Fasch Recorder Concerto in F, Bach’s Concerto in G after BWV 530, and Sonatas by Francesco Mancini. She enjoys collaborating with living composers, recently recording James Primosch’s Sacred Songs and Meditations with the 21st Century Consort for Albany Records.

Roberts studied recorder and baroque flute at Utrecht Conservatory in the Netherlands with Marion Verbruggen, Leo Meilink and Marten Root. She loves teaching, with recent masterclasses at the Curtis Institute of Music, Hartt School of Music, and Oregon Bach Festival. She is Professor of Recorder and Baroque Flute at the Peabody Conservatory, Director of Early Music Ensembles at the University of Pennsylvania, and directs the Virtuoso Recorder Program at the Amherst Early Music Festival.

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San Francisco Early Music Society