Faculty for the Baroque Performance Institute include experienced musicians, vocalists, and educators with expertise in period and historical instruments. Many are conservatory faculty in the division of historical performance and members of the Oberlin Baroque Ensemble.
BPI faculty will conduct master classes, ensemble coaching, performance techniques, and dance classes, as well as participate in ensemble and large group recitals.
The Baroque Performance Institute is ideal for students who want a memorable listening and music-making experience that allows them to step back in time to learn, play, and perform the works of Handel, Bach, Telemann, and more.
Kenneth Slowik, artistic director; baroque cello, viola da gamba
Slowik is artistic director of the Smithsonian Chamber Music Society. He has made more than 70 recordings as a cellist, viol player, forte pianist, baryton player, and conductor in repertoire ranging from Monteverdi to Stravinsky. He serves on the faculties of the University of Maryland, the American Bach Soloists Academy, and L’Académie internationale du Domaine Forget. He received the Smithsonian Secretary’s Distinguished Scholar Award in 2011.
Oberlin Baroque Ensemble
Mark Edwards, harpsichord
Assistant professor of harpsichord at Oberlin Conservatory, he has presented solo recitals at numerous major festivals and series, among them the Utrecht Early Music Festival, Bozar, and the Montreal Baroque Festival and Clavecin en concert. He has performed concertos with ensembles including Il Gardellino, Neobarock, and Ensemble Caprice.
Michael Lynn, recorder, baroque flute
Lynn is conservatory professor of recorder and baroque flute. He has performed internationally with such groups as Apollo's Fire, Mercury Baroque, Smithsonian Chamber Players, Boston Early Music Festival, and others. He has given workshops around the country and is well known for his knowledge of historical flutes.
Marilyn McDonald, baroque violin
McDonald, conservatory professor of violin and baroque violin, is a founding member of the Smithson Quartet and the Castle Trio. She plays in the Axelrod Quartet in residence at the Smithsonian Institution. She has toured worldwide as a chamber musician and as a soloist. McDonald has also recorded on several labels including Virgin Classics and Telarc.
Catharina Meints, viola da gamba, baroque cello
The associate professor of viola da gamba and baroque cello at the conservatory has performed and taught throughout her career. She and her husband, oboist and viol enthusiast, James Caldwell, established the Oberlin Baroque Performance Institute. She retired from the Cleveland Orchestra in 2006, after a 35-year career.
Baroque Performance Institute Faculty
David Breitman, clavichord, fortepiano, is associate professor of historical performance at Oberlin Conservatory of Music and directs its historical performance program. He is equally at home with the fortepiano and the modern piano, and enjoys both solo and ensemble playing. Recent seasons have included Beethoven’s Fourth Concerto and Choral Fantasy, and performances at the Cobbe Collection of historical instruments outside of London. (week one only)
Lisa Goode Crawford, harpsichord, is professor emerita of harpsichord at Oberlin Conservatory of Music. Educated at Harvard University, she was one of the first winners of the Erwin Bodky Award for performers of early music. She was key to the development of the Oberlin’s early music program and its summer Baroque Performance Institute. She has recording projects with Vox, Gasparo, and Smithsonian.
Joseph Gascho, harpsichord, organ, is founder of Harmonious Blacksmith. He performs frequently as a soloist, chamber musician, and continuo player and has collaborated with Opera Lafayette, the Washington Bach Consort, and the Orchestra of the 17th Century, among others. He teaches bass continuo at the University of Michigan, and coaches chamber music and coordinates accompanying at the Amherst Early Music Festival.
Julie Andrijeski, baroque violin, baroque dance, is senior instructor and director of baroque music and ensembles at Case Western Reserve University. She leads classes in historical performance practices, teaches baroque violin, and directs the baroque orchestra, chamber, and dance ensembles. She also is artistic director of Atlanta Baroque; codirector of Quicksilver; principal player with Apollo’s Fire; and a member of Les Délices with the Boston Early Music Festival Orchestra, and the King’s Noyse.
Mary Ann Ballard, viola da gamba, plays with the Oberlin Consort of Viols, the Baltimore Consort, Galileo’s Daughters, and Brio. She researches and annotates most of the consort’s programs and has recordings with Dorian, Classic Masters. Formerly, she directed and coached early music at Peabody Conservatory of Music, Princeton University, and the University of Pennsylvania, where she founded the Collegium Musicum.
Lucas Harris, lute, theorbo, baroque guitar, performs with the Canadian-based Tafelmusik Baroque Orchestra and Chamber Choir, where he is a faculty member of its summer institute. He is the founder of the ‘pluck band’ known as the Toronto Continuo Collective and the Southern-Italian folk group known as the Vesuvius Ensemble. He regularly collaborates with other ensembles. Harris is the recently appointed artistic director of the Toronto Chamber Choir.
Cynthia Roberts, baroque violin, is on the faculty of the Juilliard School in the baroque violin, historical performance, and baroque chamber music programs. She is concertmaster of the New York Collegium, Apollo’s Fire, and Concert Royal. She is a frequent recitalist and appears regularly with Tafelmusik and the American Bach Soloists, and is a principal player in the Carmel Bach Festival. She has recorded on Sony Classical, Analekta, BMG/Deutsche Harmonia Mundi, and others.
Jane Starkman, baroque violin, baroque viola, is a lecturer in music, baroque violin and historical performance at Boston University. She has performed with a variety of groups throughout the United States and abroad, including the Cologne Chamber Orchestra, Capella Clementina, Handel and Haydn, Boston Baroque, the Smithsonian Chamber Players, and others. She also teaches at Wellesley College and has been a guest musician at the Massachusetts Suzuki Festival and New England Conservatory of Music.
Penelope Jensen, soprano, is an adjunct associate professor of practice music (voice) at Duke University. She has performed with such major orchestras as Los Angeles Philharmonic, Cleveland, Philadelphia, and San Francisco Symphony, among others. She has sung with Ars Musica, the Bach Ensemble, and the Smithsonian Chamber Players. She received the Franz Schubert Prize for excellence in the singing of German art songs by the Franz Schubert Institute in Austria.
Nancy Zylstra, soprano, has a varied repertoire as an early music specialist and has appeared in concerts throughout the United States and Europe. Among the groups she's performed with include American Bach Soloists, Amsterdam Baroque Orchestra, Tafelmusik, and Portland Baroque Orchestra. She has taught voice at Cornish College of the Arts and Pacific Lutheran University.
Christopher Krueger, traverso, recorder, is on the faculty of the New England Conservatory. He performs on both modern and historical instruments, and has been a soloist and ensemble member with a number of early music organizations. He is the principal flutist with the Boston Early Music Festival Orchestra, Mostly Mozart On Original Instruments, the Handel and Haydn Society, and others.
Gonzalo Ruiz, baroque oboe, is on the faculty at the Juilliard School in its historical performance and baroque chamber music programs. An active chamber musician, he has performed as a principal oboist and concert soloist with most of the leading period instrument groups in the United States. He is noted for his expertise in historical reed-making techniques, with his work on permanent display in the Metropolitan Museum of Art. (week two only)
Marc Schachman, early oboe, is currently on the faculty of the Boston University School of Music, where he is a lecturer in music, baroque oboe, and historical performance. Considered one of the world’s leading performers on early oboes, Schachman is a founding member of some of America’s foremost period instrument chamber groups, including the Aulos Ensemble (1973), Amadeus Winds (1983), and the Helicon Winds (1994). He has given workshops and master classes at the Juilliard School, the Curtis Institute of Music, and other institutions throughout the United States. (week one only)
Andrew Schwartz, baroque bassoon, is a soloist, chamber musician, and orchestral player. He is a member of the New York Chamber Soloists and has performed with a range of artists and groups, from Winton Marsalis to the Metropolitan Opera Orchestra. He is principal bassoon with the Handel and Hadyn Society, Boston Baroque, Trinity Baroque Orchestra, and the American Classical Orchestra. He has given solo performances in Alice Tully Hall in Lincoln Center, the Morgan Library, and Jordan Hall.
John Thiessen, baroque trumpet, is an adjunct faculty member in historical performance at the Juilliard School. He serves as principal trumpet and soloist with American Bach Soloists, Tafelmusik, Philharmonia Baroque Orchestra, Juilliard Baroque, Trinity Baroque Orchestra, Boston Early Music Festival, and Early Music Vancouver. (week two only)