DONGMYUNG AHN

DONGMYUNG AHN

 

Period violinist Dongmyung Ahn is a performer, educator, and scholar, whose interests span from the twelfth to eighteenth centuries. She is co-founder of Guido’s Ear and regularly performs with the Sebastians, TENET, Early Music New York, Pegasus, Green Mountain Vespers, Clarion, and Bach Vespers. She has also played the rebec in the The Play of Daniel at the Cloisters. A dedicated educator, Dongmyung is the director of the Queens College Baroque Ensemble and has taught music history at Vassar College and Queens College. She is a Ph.D. candidate in musicology at the Graduate Center, CUNY, where she was a recipient of the Chancellor’s Fellowship and published an article on medieval liturgy in the Rodopi series Faux Titre.

 

DANIEL ELYAR

DANIEL ELYAR

 

Daniel Elyar is an active performer and recording artist and has specialized in baroque performance practice in Europe and North America for over twenty years. Mr. Elyar has performed and recorded with ensembles in North America and Europe such as Tafelmusik, the Utrecht Baroque Consort, Concerto d’Amsterdam, Teatro Lirico, Concerto Palatino, Les Arts Florissants, the Boston Early Music Festival Orchestra, the New York Collegium, The King’s Noyse, The Newbury Consort, Ensemble REBEL (NYC), NY State Baroque, Tempesta di Mare, Philomel, Bach Festival of Philadelphia, Clarion Players and Choir (NYC) and the Trinity Baroque Orchestra on Wall street. Mr. Elyar is happily a founder member of the Franklin Quartet, the Delaware Valley’s only Period Instrument string quartet. Mr. Elyar has taught for over fifteen years at the Settlement Music School in Philadelphia and is full-time faculty staff there. From 2014 to 2016 Mr. Elyar directed the Renaissance Collegium at Temple University.

 

JEFFREY GROSSMAN

JEFFREY GROSSMAN

 

Jeffrey Grossman’s extensive musical activities include frequent performances as a harpsichordist, chamber organist, and conductor. As co-artistic director of the acclaimed baroque ensemble the Sebastians, Jeffrey has music directed operas by Monteverdi and Purcell in collaboration with dell'Arte Opera Ensemble and the Connecticut Early Music Festival. In addition to frequent performances with the Sebastians, he has performed in recent seasons with numerous groups, including the St. Paul Chamber Orchestra, Juilliard Baroque, New York Baroque Incorporated, the Bach Players of Holy Trinity, and Gotham Chamber Opera. Jeffrey can be heard on the Gothic, Naxos, Albany, Métier, and MSR Classics record labels. A native of Detroit, Michigan, he holds degrees from Harvard College, the Juilliard School, and Carnegie Mellon University.

www.jeffreygrossman.com

 

HANK HEIJINK

HANK HEIJINK

 

Lutenist Hank Heijink (pronounced Hey-ink) has played all over the world with leading ensembles such as the Amsterdam Baroque Orchestra, European Union Baroque Orchestra, Orchestre d’Auvergne, TENET, Mark Morris Dance Group and the Wooster Group, among others. He is in high demand as an accompanist on theorbo, lute and guitar, and his playing has been described as “eloquent” (Wall Street Journal) and “deft and sensitive” (New York Times). He can be heard on TENET's recent CD “A Feast for the Senses” and on Green Mountain Project’s live recording of Claudio Monteverdi’sVespers of 1610. Mr. Heijink holds a performance degree from The Hague’s Royal Conservatory (the Netherlands), as well as a degree in computer science, and a PhD in social sciences. When not playing lute, he writes software for the iPhone.

PRISCILLA HERREID

PRICILLA HERREID

 

Priscilla Herreid plays all manner of early wind instruments with Piffaro, The Waverly Consort, Hesperus, and Ex Umbris. She has played early oboes and recorder with Trinity Baroque Orchestra (NYC), Handel + Haydn, Philharmonia Baroque, Portland Baroque, Venice Baroque (IT), Juilliard Baroque, the Sebastians, Mercury, and Tempesta di Mare. Herreid recently played for the Shakespeare on Broadway productions of Twelfth Night and Richard III, and made her fourth appearance at the annual Festival Dans les Jardins de William Christie. She directed the Early Music Ensemble at Temple University for two years, and has taught classes on early winds and Renaissance sacred polyphony at the Madison (WI) Early Music Festival. Herreid is a graduate of Temple University and The Juilliard School.

 

INGRID MATTHEWS

INGRID MATTHEWS

 

Ingrid Matthews is well established as one of the premier baroque violinists of her generation. She won first prize in the Erwin Bodky International Competition for Early Music in 1989, and was a member of  Toronto’s Tafelmusik Baroque Orchestra before founding the Seattle Baroque Orchestra with Byron Schenkman; she served as its Music Director from 1994 to 2013. Matthews has performed extensively around the world with many of today’s leading early music ensembles, appearing as a soloist and/or guest director with groups including the New York Collegium, the Australian Brandenburg Orchestra,the Bach Sinfonia (Washington DC), Ars Lyrica (Houston), Musica Angelica (Los Angeles), New Trinity Baroque (Atlanta), and numerous others. Matthews has won high critical acclaim for a discography ranging from the earliest Italian violin music through the Sonatas and Partitas of J.S. Bach (“the finest complete set of these works,” according to Third Ear’s Classical Music Listening Companion). She has taught at Indiana University, the University of Toronto, Oberlin College, the University of Washington, the University of Southern California/Los Angeles, and the Cornish College of the Arts in Seattle. She also plays jazz and swing styles and is active as a visual artist. www.ingridmatthews.com

SCOTT METCALFE

SCOTT METCALFE

Scott Metcalfe is musical and artistic director of Boston's Blue Heron and music director of New York City's Green Mountain Project (Jolle Greenleaf, artistic director), and has been guest director of TENET (New York), the Handel & Haydn Society (Boston), Emmanuel Music (Boston), the Tudor Choir and Seattle Baroque, Pacific Baroque Orchestra (Vancouver, BC), Quire Cleveland, the Dryden Ensemble (Princeton, NJ), and Early Music America's Young Performers Festival Ensemble. Metcalfe also enjoys a career as a baroque violinist, playing with Les Délices (dir. Debra Nagy), L'Harmonie des Saisons (dir. Eric Milnes), and other ensembles. When not playing or directing, he is at work on a new edition of the songs of Gilles Binchois and teaches vocal ensemble repertoire and performance practice at Boston University.

DEBRA NAGY

DEBRA NAGY

Debra Nagy, recorder and double reeds, is in demand as a soloist and collaborative musician on both coasts.  One of the country's top baroque oboists, Debra is the founder and director of Les Délices, whose debut CD was named "One of the Top Ten Early Music Discoveries of 2009" by NPR's Harmonia. Debra maintains her interests in late-medieval music as a member of Ciaramella, and is a regular guest artist with the Newberry Consort and Blue Heron. Debra received her doctorate from Case Western Reserve University, where she has directed the Collegium in programs spanning the 14th-17th centuries and taught Medieval and Renaissance notation. She makes her home in Cleveland, OH, which awarded her a 2010 Creative Workforce Fellowship.

 

DANIEL SWENBERG

DANIEL SWENBERG

Daniel Swenberg specializes in historical plucked strings: Renaissance and Baroque lutes, theorbos, Baroque and 19th century guitars, and Baroque mandolino—and yes, it takes a lot of time to tune them. He performs regularly throughout North America with ensembles such as Artek, Rebel, the Metropolitan Opera, the Carmel Bach Festival, Mr. Jones & the Engines of Destruction, Ensemble Viscera, New York City Opera, Opera Atelier/Tafelmusik, Catacoustic Ensemble, the Four Nations Enmble, Apollo’s Fire, the Green Mountain Project, and with soprano Nell Snaidas. He has accompanied Renee Fleming and Kathleen Battle at Carnegie Hall. Daniel received awards from the Belgian American Educational Foundation (2000) for a study of 18th century chamber music for the lute, and a Fulbright Scholarship (1997) to study in Bremen, Germany, at the Hochschule für Künste (studying with Stephen Stubbs and Andrew Lawrence King). He studied previously with Pat O’Brien at Mannes College of Music, receiving a Masters Degree in Historical Performance (Lute).
 

 

ANNE TROUT

ANNE TROUT

 

Bassist Anne Trout performed, recorded and toured with most of the prominent early ensembles in North America for many years.  She is especially proud to be a long-time member of Aston Magna and to have been an active member of Handel & Haydn Society during the Hogwood years.  Often praised for her spirited and stylish continuo playing, she is sought not only for her experience but for her interest in new collaborations which this season include Blue Hill Bach, Vivaldi Project and Four Nations.  Anne serves on the faculties of Longy School of Music of Bard College and Boston College.  She has recently been named baroque consultant for L'Archet Concert Group and performed on its series this season with the American Classical Orchestra.  

EMILY WALHOUT

EMILY WALHOUT

 

Emily Walhout grew up playing the cello and piano, but it was not until college that she discovered her love for Baroque bass lines. At Oberlin Conservatory she took up Baroque cello and viola da gamba, thus launching an active career in early music. She was a founding member of La Luna, an ensemble of two violins and continuo devoted to music of the 17th century, and from 1987 through 2004, she was a member of the King’s Noyse. She has played viola da gamba, lirone, or principal violin for the Boston Early Music Festival, Emmanuel Music, the Handel and Haydn Society, Seattle Baroque, Portland Baroque, New York Collegium, Trinity Consort (Portland, Oregon), Les Violons du Roy, Les Boreades (Montreal), and the Montreal Baroque Festival. Current chamber ensembles include the Carthage Consort of Viols and Les Delices. She has toured as a chamber musician throughout North America and Europe, and has recorded extensively with the Boston Camerata, La Luna and The King’s Noyse. Her playing has been described as “soulful and expressive” by the New York Times.

 

CHARLES WEAVER

CHARLES WEAVER

 

Charles Weaver performs on early plucked-string instruments both as a recitalist and as an accompanist. Chamber music appearances include Quicksilver, Early Music New York,  Piffaro, Chamber Music Society of Lincoln Center, the Folger Consort, Blue Heron, Musica Pacifica, and the Boston Early Music Festival Chamber Ensemble. He is on the faculty of the Juilliard School, where he teaches Historically Informed Performance on Plucked Instruments. In 2016, he was the assistant conductor for Juilliard Opera’s production of Cavalli’s La Calisto. He also works with the New York Continuo Collective: an ensemble of players and singers exploring seventeenth-century vocal music in semester-length workshop productions. He has taught at the Lute Society of America Summer Workshop, the Madison Early Music Festival, and the Western Wind Workshop in ensemble singing. He is associate director of music at St Mary Church in Norwalk, Connecticut, where he specializes in Renaissance polyphony, and where he teaches Gregorian chant and Renaissance music theory to children.