Dubbed a “continuo wizard” by Gramophone (UK), David Morris is a member of Quicksilver and the Galax Quartet. He has performed with Musica Pacifica, the Boston Early Music Festival Orchestra, Tragicomedia, Pacific Baroque Orchestra, Tafelmusik, the Boston Symphony Orchestra, Philharmonia Baroque Orchestra, American Bach Soloists, Musica Angelica, Seattle Baroque Orchestra, the Mark Morris Dance Group, and Seattle’s Pacific Musicworks. He was the founder and musical director of the Bay Area baroque opera ensemble Teatro Bacchino, and has produced operas for the Berkeley Early Music Festival, San Francisco Early Music Society series, and the Amherst Early Music Workshop.
Mr. Morris received his B.A. and M.A. in Music from The University of California in Berkeley, and has been a guest instructor in early music performance-practice at UC Berkeley, UC Santa Cruz, the San Francisco Conservatory of Music, Mills College, Oberlin College, the Madison Early Music Festival, and Cornell University. He has recorded for Harmonia Mundi, New Albion, Dorian, New World Records, Drag City Records, CBC/ Radio-Canada and New Line Cinema.
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, Green Mountain Vespers, Pegasus, 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, and has published an article on medieval liturgy in the Rodopi series Faux Titre.
Julie Andrijeski enjoys both teaching and performing early music and dance. As a full-time Lecturer at Case Western Reserve University, Ms. Andrijeski leads classes in historical performance practices, teaches lessons in baroque violin, and directs the baroque orchestra, chamber, and dance ensembles. Her combined skills in music and dance often culminate in workshops and special teaching engagements at colleges and universities such as the Oberlin Conservatory, Indiana University, Juilliard, the University of Southern California, and the University of Colorado – Boulder. During the summers, Ms. Andrijeski teaches both violin and dance at several festivals including those in Oberlin (BPI), Madison (MEMF), and Vancouver, BC (BIP).
In addition to her teaching positions, Ms. Andrijeski maintains an active performance schedule. She has been invited to play with many diverse early music groups across the nation and regularly appears with the Atlanta Baroque Orchestra (Artistic Director), New York State Baroque (Concertmaster), Quicksilver (Co-Director with Robert Mealy), Apollo’s Fire, Les Délices, the Boston Early Music Festival Orchestra, and The King’s Noyse.
Bruce Dickey is a performer and researcher who has devoted himself since 1975 to the revival of the cornetto. He taught at the Schola Cantorum Basiliensis in Basel (Switzerland) for forty years until 2016 and is founder and co-director of the ensemble Concerto Palatino. As a performer he has made many groundbreaking recordings and has collaborated with most of the leading figures in the field of early music. For his acheivements, the Historic Brass Society awarded him in 2000 the Christopher Monk Award for "his monumental work in cornetto performance, historical performance practice and musicological scholarship." He has published numerous articles on the cornetto and performance practice. In the past few years his project Breathtaking, together with Czech soprano Hana Blažíková has achieved notable critical and popular success around the world.
Tekla Cunningham, baroque violin, viola and viola d'amore, enjoys a varied and active musical life. At home in Seattle, she is concertmaster of Stephen Stubbs' Pacific MusicWorks, principal second violin with Seattle Baroque Orchestra & Soloists, and plays regularly as concertmaster and principal player with the American Bach Soloists in California. She directs the Whidbey Island Music Festival, a summer concert series presenting vibrant period-instrument performances of repertoire ranging from Monteverdi to Beethoven.
She has appeared as concertmaster/leader or soloist with the American Bach Soloists, Baroque Chamber Orchestra of Colorado, Seattle Baroque Orchestra, and Musica Angelica (Los Angeles). She has also played with Apollo’s Fire, Los Angeles Opera, Philharmonia Baroque Orchestra, and at the Carmel Bach Festival, San Luis Obispo Mozart Festival, Indianapolis Early Music Festival, Savannah Music Festival and the Bloomington Early Music Festival. She has worked with many leading directors including Rinaldo Alessandrini, Giovanni Antonini, Harry Bicket, Paul Goodwin, Martin Haselböck, Monica Huggett, Nic McGegan, Rachel Podger, Jordi Savall, Stephen Stubbs, Jeffrey Thomas, Elizabeth Wallfisch and Bruno Weil.
An avid chamber musician, Tekla enjoys exploring the string quartet repertoire of the 18th and early 19th century with the period-instrument Novello Quartet, whose abiding interest is the music of Haydn. She is also a member of La Monica, an ensemble dedicated to music of the 17th century, whose concerts have been reviewed as “sizzling”, and praised for their “irrepressible energy and pitch-perfect timing”. With Jillon Dupree, harpsichord, and Vicki Boeckman, recorders, she plays in Ensemble Electra, known for its inventive programs and energetic performances.
She can be heard on recordings with the American Bach Soloists, Apollo’s Fire, Philharmonia Baroque Orchestra, Tafelmusik, Seattle Baroque Orchestra, San Francisco Bach Choir, various movie soundtracks including Disney’s Casanova, La Monica’s recent release The Amorous Lyre, a recording of repertoire of Merula and his contemporaries and the Novello Quartet’s recording of Haydn’s Op. 50 string quartets. This summer she recorded Mozart’s Flute Quartets with Janet See, Laurie Wells and Tanya Tomkins.
Tekla received her musical training at Johns Hopkins University and Peabody Conservatory (where she studied History and German Literature in addition to violin), Hochschule für Musik und Darstellende Kunst, in Vienna, Austria, and at the San Francisco Conservatory of Music, where she completed a Master’s degree with Ian Swenson. She teaches Suzuki violin in both German and English and is on the early music faculty of Cornish College for the Arts.
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.
Keyboardist and conductor Jeffrey Grossman specializes in vital, engaging performances of music of the past, through processes that are intensely collaborative and historically informed. As the artistic director of the acclaimed baroque ensemble the Sebastians, this season Jeffrey directs concerts including Bach’s St. Matthew Passion and Handel’s Messiah from the organ and harpsichord, both in collaboration with TENET Vocal Artists. In recent seasons, Jeffrey has performed with TENET, the Green Mountain Project, the Saint Paul Chamber Orchestra, Quodlibet, the Boston Early Music Festival, and numerous other ensembles across the country. Jeffrey can be heard on the Avie, Gothic, Naxos, Albany, Soundspells, Métier, and MSR Classics record labels. A native of Detroit, Michigan, he holds degrees from Harvard College, the Juilliard School, and Carnegie Mellon University.
Priscilla Herreid plays recorders, period oboes, and a multitude of renaissance wind instruments with some of the finest ensembles in the US and abroad. She appears regularly with Piffaro, The Handel + Haydn Society, Trinity Baroque Orchestra, Hesperus, Tempesta di Mare, Boston Baroque, and The Sebastians, and can often be seen with Portland Baroque, Tenet, Philharmonia Baroque, Ex Umbris, The Waverly Consort, New York Baroque Inc., and The City Musick. Priscilla was part of the onstage band for the Shakespeare on Broadway productions of Twelfth Night and Richard III, starring Mark Rylance. Priscilla's playing has been called “downright amazing” by the Philadelphia Inquirer, and the New York Times has praised her “soaring recorder, gorgeously played...” She is a graduate of Temple University and The Juilliard School.
Greg Ingles attended the Interlochen Arts Academy and went on to graduate from the Oberlin Conservatory. Two days after graduation Greg won the position of Solo Trombone in the Hofer Symphoniker in Hof, Germany. He returned to the United States and completed both a Master’s and Doctoral degree in trombone performance at SUNY Stony Brook, specializing in historic performance. Greg is a member of Piffaro, Quicksilver and Ciaramella and has played with such ensembles as the American Bach Soloists, Chatham Baroque, Concerto Palatino, The Handel and Haydn Society and Tafelmusik. He is Music Director of the Dark Horse Consort, an ensemble devoted to rarely performed brass music of the 17th century. He recently played with the Globe Theater in their Broadway debut. He is currently the Lecturer in Sackbut at Boston University and teaches at the Madison Early Music Festival each summer.
Award-winning violinist Daniel S. Lee enjoys a varied career as a soloist, leader, collaborator, and educator. Praised for his “ravishing vehemence” and “soulful performance” (New York Times), he has appeared as a soloist and leader with Early Music New York, Freiburg Baroque Orchestra, Quodlibet Ensemble, and Yale Schola Cantorum, among others. As the core violinist of the Sebastians, the critically-acclaimed period ensemble that he founded and co-directs, he won the Audience Prize at the 2012 Early Music America Baroque Performance Competition, and was a finalist of the 2011 York Early Music International Competition. A piccolo violin specialist, he has performed as a soloist in Bach’s Brandenburg Concerto No. 1 and Cantata 140, and has given the modern-day premiere of his own transcription of Johann Pfeiffer’s concerto. He has studied at the Juilliard School (B.M.), Yale School of Music (M.M. and Art.Dip.), and University of Connecticut (D.M.A), and has given lectures and masterclasses at Connecticut College, Manhattan School of Music, Purchase College (SUNY), University of Kansas, and University of North Carolina at Chapel Hill. He was recently appointed as a faculty member at Yale School of Music. www.danielslee.com.
One of America’s leading historical string players, Robert Mealy has recorded and toured a wide variety of repertoire with many ensembles both here and in Europe, including Les Arts Florissants, Tafelmusik, Sequentia, the Boston Camerata, and the American Bach Soloists. Mr. Mealy is principal concertmaster at Trinity Wall Street and the orchestra director of the Boston Early Music Festival Orchestra; he received a Grammy for his work with the festival. A devoted chamber musician, he co-directs the acclaimed 17th-century ensemble Quicksilver. He recently completed a series of concerts surveying the obbligato sonatas of J.S. and C.P.E. Bach in Washington at the Smithsonian, and directed and programmed a series of medieval programs exploring secular lyric for TENET. Committed to education as well as performing, he directs Juilliard’s Historical Performance program, where he joined the faculty in 2009. From 2003 to 2015 he taught at Yale University, directing the postgraduate Yale Baroque Ensemble and the Yale Collegium Musicum. Prior to that, he taught at Harvard for over a decade and founded the Harvard Baroque Chamber Orchestra. In 2004, he received Early Music America’s Binkley Award for outstanding teaching and scholarship. He has recorded over 80 CDs on most major labels.
Scott Metcalfe directs the vocal ensemble Blue Heron and has been guest director of the Green Mountain Project and TENET (New York), the Handel & Haydn Society (Boston), Emmanuel Music (Boston), the Tudor Choir and Seattle Baroque, Pacific Baroque Orchestra (Vancouver, BC), and Quire Cleveland. He plays violin as a member of Les Délices (dir. Debra Nagy) and elsewhere. He has taught at Harvard University, Boston University, Boston Conservatory, and Oberlin Conservatory, is the author of essays on the performance of English sacred music in the 16th and 17th centuries, and is at work on a new edition of the songs of Gilles Binchois. Metcalfe holds degrees from Brown and Harvard. He grew up in Vermont and calls the Green Mountains home; he presently lives in Boston.
With a repertoire that spans from the early renaissance through to contemporary music and free improvisation, Norwegian lute and guitar player Solmund Nystabakkis known for his versatility and uncompromising musicianship. In recent years his main focus has been on solo music for lute and theorbo, as well as on the vocal repertoire of the renaissance and early baroque. Solmund is a member of NeoN (New Ensemble of Norway), Rank Ensemble (FI), the Finnish Baroque Orchestra and the Belgian baroque ensemble Scherzi Musicali, and has worked with conductors like Hannu Lintu, Nicholas Kraemer and Fabio Biondi. In 2011 he co-founded the duo White Sparrow with Canadian mezzo-soprano Debi Wong, a collaboration that has quickly won international acclaim. Solmund currently teaches at the Metropolia University of Applied Sciences and the Sibelius Academy in Helsinki. He has also composed music for several plays.
Alex Opsahl studied recorder with Peter Holtslag and Daniel Bruggen at the Royal Academy of Music, and cornetto with Bruce Dickey at the Schola Cantorum Basiliensis. Alex has performed with the Amsterdam Baroque Orchestra under Ton Koopman, the Orchestra of the Age of Enlightenment, Boston Early Music Festival, the Green Mountain Project, the Oslo Opera and Glyndebourne Opera. She recorded Vivaldi’s Concerto in C Minor, RV 441, with the Norwegian period orchestra Barokkanerne, and recently recorded the JD Berlin Cornetto Concerto with the Norwegian Baroque Orchestra.