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 a host of lesser-known, but nonetheless excellent, Baroque composers.
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, fortepianist, 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.
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, the 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 harpsichord and basso 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, the Boston Early Music Festival Orchestra, and the King’s Noyse.
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, chorus master, 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 artistic director of the Toronto Chamber Choir.
Cellist and gambist Rebecca Landell Reed’s “luminous” (Cleveland.com) and “notable” (The New York Times) sound elicits a range of expression “from classically evocative to Hitchcock horrifying” (Washingtonian). Her solo appearances include performances with Apollo’s Fire, Atlanta Baroque Orchestra, Vermont Symphony Orchestra, Three Notch’d Road, and Batzdorfer Hofkapelle. Rebecca pursues a diverse professional career, such as performing and acting in Studio Theatre’s An Iliad, working with composer Eric Shimelonis on the NPR children’s show Circle Round, and developing educational programs with the Crumhorn Collective. She is currently based in Oberlin, Ohio, where she teaches cello and viola da gamba.
Cynthia Roberts, Baroque violin, is a faculty member of the Juilliard School, The Curtis Institute of Music, and the University of North Texas. She has appeared as soloist, concertmaster, and recitalist throughout the US, Europe, and Asia. She performs with the Boston Early Music Festival Orchestra, Tafelmusik, the Trinity Baroque Orchestra, and the Carmel Bach Festival. Her recording credits include Sony, CPO, and Deutsche Harmonia Mundi.
Jane Starkman, Baroque violin, Baroque viola, is a lecturer in music, Baroque violin and historical performance at Boston University. She has performed with 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.
Molly Netter, soprano, enlivens complex and beautiful music with a voice described as “crisp and clear, white yet warm” (Seen and Heard International). As a soloist, Netter has performed with Julliard415 at Lincoln Center and toured internationally in Japan, Singapore, and Burma under Masaaki Suzuki. Hailed for her “command of the stage with a full range of Baroque stage conventions” (Early Music America), Netter has performed at the Boston Early Music Festival, Trinity Wall Street, and with the Yale Schola Cantorum under Nicholas McGegan, David Hill, and Simon Carrington. Netter has premiered numerous works by David Lang, Simon Emmerson, Ran Duan, and Sven-David Sandström at the Kennedy Center, Yale School of Music, Oberlin Conservatory, and the Stuttgart Festival under Helmuth Rilling. With a wide range of repertoire, Netter has performed as soloist with Yale Opera and Cantata Profana based in New Haven, the Clarion Music Society, Heartbeat Opera, and Experiments in Opera in New York City, and recently toured Northern Germany as vocalist with the Triple Point jazz trio. Netter earned a Bachelor of Music in composition and contemporary voice from Oberlin Conservatory and a master’s degree in early music voice from the Yale Institute of Sacred Music where she studied with James Taylor. Between degrees, she taught English in Kyoto, Japan.
Daniel Taylor is one of the most sought-after countertenors in the world. He appears on more than 120 recordings which include Bach Cantatas/Monteverdi Choir/Gardiner/Deutsche Grammophone Archiv/SDG; Handel’s Messiah with the Montreal Symphony/Nagano/Universal, Kammerchor Stuttgart/Bernius/Carus, Handel and Haydn Society/Christophers/Coro, American Bach Soloists/Thomas/Koch, and Tafelmusik/Taurins/Bravo Television; and Bach’s B Minor Mass with the Ensemble Orchestral Paris /Nelson /EMI Virgin and with the Kammerchor Stuttgart/Bernius/Carus. Taylor is featured on an extraordinary series of recital discs on the Sony label and his recording of Angelheart with Matt Haimovitz, Frederica von Stade, and Jeremy Irons won a Grammy. Taylor’s professional operatic debut was at the Glyndebourne Festival followed by his North American operatic debut at the New York Metropolitan Opera. He has also appeared on two soundtracks for Cirque de Soleil: ‘TORUK - Avatar’ (title role) and ‘TOTEM’/Universal.
Taylor is associate professor of voice and opera and head of the Historical Performance Area at the Faculty of Music, University of Toronto. He has given guest master classes at the Royal Academy of Music in London, Beijing Conservatory, Royal College of Music, University of Vienna, and at the Guildhall. Taylor performs in numerous settings all over the world—from stadium performances and televised broadcasts for the Queen of England, Prime Ministers, and Governor Generals to opera houses, concert halls, and intimate house concerts. Taylor was awarded the Queen’s Jubilee Medal for his outstanding contribution to Canada’s cultural community. He is artistic director and conductor of the choir and orchestra of the Theatre of Early Music and of the Trinity Choir.
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 are the American Bach Soloists, the Amsterdam Baroque Orchestra, Tafelmusik, and the 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 has been the principal flutist with the Boston Early Music Festival Orchestra, Mostly Mozart On Original Instruments, the Smithsonian Chamber Players, the Handel and Haydn Society, and others.
Margaret Owens, Baroque oboe, is an adjunct faculty member in historical performance at Indiana University and at Peabody Institute of Johns Hopkins University. She appears regularly with North America’s baroque orchestras, including American Bach Soloists, Folger Consort, Handel and Haydn Society, and Washington Bach Consort, as well as at the Charlotte Bach Akademie, Amherst, and Staunton Music Festivals.
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.
Brian Shaw, Baroque trumpet, is associate professor of music at the Lousiana State University School of Music and is adjunct Baroque trumpet faculty at the Eastman School of Music. He performs regularly as principal Baroque trumpet with Spire Baroque (Kansas City), Santa Fe Pro Musica (NM), NY Baroque Incorporated (NY), La Follia (TX), Tempesta di Mare (PA); principal (modern) trumpet of the Baton Rouge Symphony, co-principal trumpet of the Dallas Winds, and has appeared recently as soloist, guest principal, and section trumpet with the Hong Kong Wind Philharmonia, St. Louis Symphony Orchestra, Kansas City Symphony, Boston Early Music Festival, and the English Concert.