Summer Programs

Baroque Performance Institute Faculty

The Baroque Performance Institute faculty 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 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.
 

portrait of kenneth slowikKenneth Slowik (artistic director; Baroque cello, viola da gamba) is artistic director of the Smithsonian Chamber Music Society. He has made more than 70 recordings on the cello, viol, fortepiano, and baryton, 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.

portrait of mark edwardsMark Edwards (harpsichord), an assistant professor of harpsichord at Oberlin Conservatory, 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.


portrait of michael lynnMichael Lynn (recorder, Baroque flute) is a teacher of recorder and Baroque flute at the conservatory. 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.


portrait of marilyn mcdonaldMarilyn McDonald (Baroque violin), a 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.


photo of Rebecca Landell ReedCellist 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. Reed pursues a diverse professional career, and her credits have included 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 based in Oberlin, Ohio, where she teaches cello and viola da gamba. 


photo of Lisa Goode CrawfordEmerita member Lisa Goode Crawford (harpsichord) is professor emerita of harpsichord at Oberlin Conservatory. 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 Oberlin’s early music program and its summer Baroque Performance Institute. She has recording projects with Vox, Gasparo, and Smithsonian.


portrait of catharina meints Emerita member Catharina Meints (viola da gamba, Baroque cello, treble viol, and pardessus de viole) retired from Oberlin Conservatory in 2020 after a distinguished teaching and performing career. She and her husband, oboist and viol enthusiast, James Caldwell, established the Oberlin Baroque Performance Institute in 1971. 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 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. In the book Piano Playing Revisited: What Modern Players Can Learn from Period Instruments, published by University of Rochester Press, Breitman acknowledges the dilemma of confronting historical repertoire with modern instruments, then shows how to apply insights from period instruments to practical problems on any piano.


photo of Lisa Goode CrawfordLisa Goode Crawford (harpsichord) is professor emerita of harpsichord at Oberlin Conservatory. 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 Oberlin’s early music program and its summer Baroque Performance Institute. She has recording projects with Vox, Gasparo, and Smithsonian.


photo of Mark EdwardsMark Edwards (harpsichord), and assistant professor of harpsichord at Oberlin Conservatory, 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.


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 and Classic Masters. Formerly, she directed and coached early music at the Peabody Institute, 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, and he regularly collaborates with other ensembles. Harris is the artistic director of the Toronto Chamber Choir.


photo of Marilyn McDonaldMarilyn McDonald (Baroque violin) is an Oberlin 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 soloist. McDonald has also recorded on several labels including Virgin Classics and Telarc. (week 2 only)


portrait of catharina meintsCatharina Meints (viola da gamba, Baroque cello, treble viol, and pardessus de viole) retired from Oberlin Conservatory in 2020 after a distinguished teaching and performing 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.


photo of Rebecca Randall ReedCellist 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. Reed pursues a diverse professional career, and has performed and acted in Studio Theatre’s An Iliad, worked with composer Eric Shimelonis on the NPR children’s show Circle Round, and developed educational programs with the Crumhorn Collective. She is currently based in Oberlin, Ohio, where she teaches cello and viola da gamba.


photo of Cynthia RobertsCynthia 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 U.S., 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. (week 2 only)


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.


photo of Beth WenstromBeth Wenstrom (Baroque violin) has performed in such ensembles as ACRONYM, Boston Early Music Festival Orchestra, New York Baroque Incorporated, Trinity Wall Street Baroque Orchestra, Apollo’s Fire and the Orchestra of the Age of Enlightenment. She has taught at Oberlin Conservatory, SUNY Stony Brook, Vassar College, and Cornell University. (week 1 only)

Penelope Jensen (soprano) is an adjunct associate professor of practice music (voice) at Duke University. She has performed with the Los Angeles Philharmonic and San Francisco Symphony, as well as the orchestras of Cleveland, Philadelphia, and others. She has sung with Ars Musica, the Bach Ensemble, and the Smithsonian Chamber Players, and she received the Franz Schubert Prize for excellence in the singing of German art songs from the Franz Schubert Institute in Austria.


photo of Molly NetterA versatile and joyous musician, Canadian-American soprano Molly Netter enlivens complex and beautiful music, both old and new, with “a natural warmth” (Los Angeles Times) and “clear, beautiful tone and vivacious personality" (New York Times). She can be heard on five Grammy Award-nominated albums since 2017 and has performed as a soloist with ensembles such as the Chicago Symphony Orchestra, New World Symphony, the Boston Early Music Festival, Apollo’s Fire, Musica Angelica, Contemporaneous, Juilliard415, Heartbeat Opera, and the Bang on a Can All-Stars. She has been a full-time member of the Choir at Trinity Wall Street since 2015.

Netter is an active performer, curator, educator, and advocate of new music, regularly commissioning new works by living composers. Recent collaborators include David Lang, Julia Wolfe, Amy Beth Kirsten, Doug Balliett, Katherine Balch, Molly Joyce, and Jessica Meyer, among others. Notable chamber performances include the inaugural casts of the Pulitzer Prize-winning operas Angel’s Bone (by Oberlin alumna Du Yun '01, in 2015) and PRISM (Ellen Reid, 2017). She was a featured curator/performer on Trinity Wall Street’s acclaimed 2018 Time’s Arrow Festival, programming an eclectic evening of music by Barbara Strozzi paired with newly commissioned contemporary works. In 2020 she began commissioning an entirely new repertoire for self-accompanied singer and clavicytherium, emphasizing the florid voice, early music vocal techniques, and improvisation as a bridge between style and genre.

Netter earned a BM in composition and contemporary voice from Oberlin Conservatory and an MM in early music voice from the Yale Institute of Sacred Music.


photo of Daniel TaylorDaniel Taylor is one of the most sought-after countertenors in the world. He appears on more than 120 recordings, including a series of recital discs on the Sony label and his Grammy Award-winning recording of Angelheart with Matt Haimovitz, Frederica von Stade, and Jeremy Irons. 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.

Taylor is associate professor of voice and opera and head of historical performance at the 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 Guildhall. He performs in settings all over the world, from stadium performances and televised broadcasts for the queen of England, prime ministers, and other dignitaries to engagements in 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.

Photo of Kathryn AdduciKathryn Adduci is internationally recognized as both a historical and modern trumpet player. She has performed regularly with the Philharmonia Baroque Orchestra, Tafelmusik, American Baroque Soloists, Australian Baroque Orchestra, North Carolina Baroque Orchestra, Bach Collegium San Diego, and many other groups. Formerly the Professor of Trumpet at San José State University, she has taught at a number of other universities, including teaching baroque trumpet and directing the baroque trumpet ensemble at the University of North Texas. Kathryn is currently based in Cookeville, Tennessee. (week 2 only)


photo of Christopher KruegerChristopher Krueger (traverso, recorder) is a member of 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, the Smithsonian Chamber Players, the Handel and Haydn Society, and others.


photo of Michael LynnMichael Lynn (recorder, Baroque flute) has enjoyed a long career as an Oberlin 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.


photo of Priscilla HerreidPriscilla Herreid is principal oboist of Boston Baroque, Tempesta di Mare, the Sebastians, and New York Baroque Inc., and often appears with the Handel and Haydn Society, Trinity Baroque, Philharmonia Baroque, and Venice Baroque. Former director of the Early Music Ensemble at Temple University, Herreid can also be seen playing Renaissance winds with Piffaro, providing live accompaniment to silent films with Hesperus, and singing the Latin Mass in New York City.


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 Haydn Society, Boston Baroque, Trinity Baroque Orchestra, and the American Classical Orchestra. (week 2 only)