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.
Elizabeth Blumenstock, baroque violin, is a frequent soloist, concertmaster, and leader with the American Bach Soloists, the Philharmonia Baroque Orchestra, and the Italian ensemble Il Complesso Barocco. She is also a member Musica Pacifica, Ensemble Mirable, the Arcadian Academy, and Trio Galanterie. Ms. Blumenstock has a large and rich discogrphy, and teaches baroque violin at the University of Southern California. (week two only)
Mary Anne 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 the Vesuvius Ensemble. He regularly collaborates with other ensembles. Harris is the recently appointed artistic director of the Toronto Chamber Choir. (week two only)
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.
Beth Wenstrom, baroque violin, is the string coach for the baroque ensemble at SUNY Stony Brook, and co-founder of the ACRONYM Ensemble and the award-winning Wayward Sisters. As soloist and concertmaster, she has played with Trinity Wall Street Baroque Orchestra, New York Baroque Incorporated, Sebastian Chamber Players and Quodlibet Ensemble. (week one only)
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.
Suzie LeBlanc, soprano, Early Music Vocal Coach at McGill University, LeBlanc began her career replacing Emma Kirkby in the Consort of Musicke and from there, continued to specialize in early repertoire. Co-artistic director of Le Nouvel Opéra in Montreal, she received the Order of Canada and four honorary doctorates for her prolific and widely acclaimed performances of early music. She appears on over 60 recordings in repertoire ranging from early to contemporary music.
Max van Egmond, baritone, solist and recording artist, he is Emeritus Professor at the Sweelinck Conservatory in Amsterdam and has been on the faculty of the Early Music Festival in Vila Real, Portugal and the Academy of the American Bach Soloists, San Francisco. During 32 summers in succession, Van Egmond has been associated with the BPI at Oberlin, OH. He received a Knighthood from the Queen of the Netherlands and was made an Honorary Doctor of McGill University in Montreal. (week 2 only)
Matthew Robertson, chorus master, organist, is the Founder and Artistic Director of the DC-based, all-star ensemble The Thirteen Choir. With The Thirteen, Robertson has led the ensemble in residencies at Yale University, Bowling Green State University, Eastern Illinois University, and many more. The Thirteen's growing discography includes five albums, of which one of the most recent, Radiant Dark, reached #28 on the iTunes Classical Charts.
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.
Geoffrey Burgess, baroque oboe, a member of the Paris-based opera company Les Arts Florissants, Geoffrey has also given concerts with leading early music groups in throughout Europe, Australasia and the US. His book, The Oboe (Yale University Press) written in collaboration with the late Bruce Haynes, was voted an outstanding achievement by the American Music Instrument Society. He has served as principal oboe with the Washington Bach Consort, and collaborated with leading artists such as Elizabeth Futral, Julianne Baird. Dr. Burgess currently teaches at the Eastman School of Music.
(week two only)
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 has been the principal flutist with the Boston Early Music Festival Orchestra, Mostly Mozart On Original Instruments, the Handel and Haydn Society, and others. (week two only)
Sandra Miller, traverso, an active soloist and chamber musician, has performed and recorded with numerous ensembles including the American Bach Soloists, American Classical Orchestra, Clarion Society orchestra, Boston's Handel & Haydn Society, and Tafelmusik. Founding member and Associate Director of the ensemble Concert Royal and Professor Emerita at the Purchase College Conservatory of Music (SUNY), she is currently on the faculty of the Historical Performance Program at the Juilliard School of Music in New York City. (week one only)
Kathryn Montoya, baroque oboe, appears with a variety of orchestral and chamber music ensembles including the Boston Early Music Festival Orchestra, Tafelmusik, the Wiener Akademie, Pacific Musicworks, and Apollo’s Fire among others. Recent projects include the Globe’s Tony award-winning productions of Twelfth Night on Broadway, concerts and master classes in Shanghai, and the Boston Early Music Festival's tour and Grammy award-winning recording of Charpentier's La couronne de fleurs - La descente d’Orphée aux enfers.
(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. (week two only)
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)