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 Marion Verbruggen |
Marion VerbruggenAmsterdam native Marion Verbruggen has earned an international as a master of style on her instrument. Enamored of the recorder at an early age, she studied at the Amsterdam Conservatory and the Royal Conservatory in The Hague with recorder master Frans Brüggen. After completing her diplomas cum laude, she was invited to join the Royal Conservatory faculty. Marion Verbruggen teaches at the Royal Conservatory in The Hague and gives master classes and workshops internationally. As a soloist, Verbruggen plays with prestigious ensembles including Musica Antiqua Köln, The Amsterdam Baroque Orchestra, Tafelmusik, Philharmonia Baroque Orchestra, and The Orchestra of the Age of Enlightenment. Her diverse discography includes music ranging from seventeenth-century Spanish songs and theater music to her own transcriptions of the JS Bach cello suites. She has made numerous recordings for Harmonia Mundi, and recorded the complete cantatas of J.S. Bach with Ton Koopman and The Amsterdam Baroque Orchestra & Choir for the Erato label.
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 Piffaro |
Grant Herried Piffaro, founded in 1980, performs music of the late Medieval and Renaissance periods on a large and varied collection of early wind instruments, augmented by percussion and strings. Modeled after the official civic, chapel and court bands that were the premier professional ensembles from the 14th into the early 17th centuries, Piffaro has pursued the instruments and music of the peasantry and of rustic life as well, combining the two milieu to dramatic effect when appropriate. |
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Venere Lute Quartet |
One of the few professional lute ensembles, members of the Quartet are busy lute professionals in four of America's leading early music centers (Boston, New York, Chicago, and Minneapolis) who share a deep commitment to ensemble playing, lute scholarship, and audience education. Members of the VLQ are Gail Gillispie (soprano lute), Douglas Freundlich (alto lute), Christopher Morrongiello (tenor lute), and Phillip Rukavina (bass lute). Visit http://www.venerelutequartet.com/ for more information. |
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Michael Allsen (lecturer-musicology; concert program notes) is associate professor
of musicology and chair of the music department at University of Wisconsin-Whitewater. He is a trombonist with the Madison
Symphony Orchestra, and has authored the MSO program notes for over 20 years.
Julie Andrijeski (violin; historical dance; Quicksilver)is a lecturer at Case Western Reserve University where she teaches baroque violin and historical dance, and she holds a recurring faculty position at the Baroque Performance Institute at Oberlin Conservatory. She maintains an active freelance performing and recording career and regularly appears with several renowned early baroque groups, includingApollo’s Fire, the Washington Bach Consort, Cecilia's Circle, Spiritus Collective, Quicksilver, and the King’s Noyse. She has recorded on the Dorian, Centaur, Sono Luminus labels. Dr. Andrijeski holds a Doctorate of Musical Arts degree in Early Music from Case Western Reserve University, a B.M. in Violin Performance from the University of Denver, and an M.M. in Violin Performance from Northwestern University..
John W. Barker (lecturer – historian) is Professor Emeritus of History at the University of Wisconsin where, for almost forty years, he taught areas of Mediterranean Medieval history (Byzantium, Crusades, Venice), plus a multimedia course in relations between music and history. He has published widely on both history and music. A passionate record-collector, he has been a staff reviewer with The American Record Guide for over fifty years, he has been an active radio broadcaster in Madison (for WHA/WERN; now for WORT), and he is classical-music critic for Madison’s Isthmus.
William E. Baylis (lecturer – physics) is Professor Emeritus of Physics at University of Windsor, where, among many other physics topics, he taught acoustics of music and tuning and temperament. Dr. Baylis is Honorary President of the Windsor Branch of the Royal Astronomical Society of Canada.
Grammy award winner Cheryl Bensman-Rowe, (soprano; MEMF Artistic Director) is known to both early and new music audiences in this country and abroad. A former member of the Waverly Consort and Western Wind Vocal Ensemble, she has also performed with King’s Noyse, the Folger Consort, The Smithsonian Chamber Ensemble and Pomerium Musices. Orchestral engagements include the New York Philharmonic, Chicago Symphony, Israel Phiharmonic, and the St. Louis Symphony. She has toured extensively in North and South America, Europe and Japan. Appearances include concerts at Lincoln Center, Carnegie Hall, Aspen Festival, Brooklyn Academy of Music, Ravinia, Casals, Mostly Mozart, Wiener Festwochen, and Holland Festival. She has recorded for Nonesuch, ECM, and CBS Masterworks.
Chelcy Bowles (MEMF Program Director) is Professor of Music and Director of Continuing Education in Music at the University of Wisconsin-Madison where she directs professional development programs for music teachers and performers and the community adult music education program. She holds a PhD in Music Education and a MM in Music Theory, and has taught music at the elementary, secondary, college, and continuing adult levels. An author and researcher, her work has been published in numerous professional journals and presented at major conferences. She is currently national chair of MENC's Adult and Community Music Education Research Group and serves on the editorial boards of American String Teacher and International Journal of Community Music. A harpist, she is editor and co-author of A Harp in the School: A Guide for School Ensemble Directors and Harpists (2006). She has special interests in historical harp and traditional Irish music, and currently serves as director of the Celtic Studies Program at UW-Madison.
Stefania Buccini (lecturer – literature) is Associate Chair and Professor in the Department of French and Italian at University of Wisconsin-Madison. Her research specialty is 17th- and 18th-Century Italian Literature.
David Douglass (violin; Newberry Consort) is Musician-in-Residence and Director of the Newberry Consort. In addition to his work with the Newberry Consort, he is the founder and director of the King's Noyse, a Renaissance violin band, and frequently performs with such ensembles as the Musicians of Swanne Alley, the Harp Consort, the Parley of Instruments, the Toronto Consort, and the Folger Consort. His playing has been praised by the New York Times for its "eloquence" and "expressive virtuosity." He teaches at many summer early music institutes and workshops, and is a frequent lecturer on early violin technique and repertoire. He has recorded a number of CDs for the harmonia mundi usa, Virgin, Erato, Berlin Classics, and Auvidis/Astrée labels.
Ross Duffin (lecturer – musicology) is Fynette H. Kulas Professor of Music at Case Western Reserve University, where he teaches Medieval, Renaissance & Baroque performance practice, directs the undergraduate and graduate programs in early music, and the Collegium Musicum and the Early Music Singers. He served many years as the host and producer of NPR’s “Micrologus: Exploring the World of Early Music.” A winner of the prestigious Noah Greenberg Award from the American Musicological Society for work of benefit to both scholars and performers, Duffin served as founding Chair of the Committee on Early Music in Higher Education for Early Music America. His most recent book, How Equal Temperament Ruined Harmony (And Why You Should Care), was published by W. W. Norton in 2006.
Paul Flight (conductor; countertenor) is Artistic Director of the California Bach Society, founder and Artistic Director of The Haydn Singers, director of Chora Nova (a Bay Area chamber choir), and former Director of Choral Activities at Smith College. An accomplished countertenor, he sings with many outstanding professional ensembles and performs opera and oratorio internationally. This will be his 8th season as the principal conductor at MEMF.
Ellen Hargis (soprano; Newberry Consort) has built a remarkable career specializing in 17th- and 18th-century music. She appears with many renowned conductors, including Andrew Parrott, Gustav Leonhardt, Paul Goodwin, Jane Glover, and Simon Preston . She appears regularly with The King's Noyse and in recital with lutenist Paul O'Dette, and has performed with The Saint Paul Chamber Orchestra, Portland Baroque Orchestra, Freiburg Baroque Orchestra, the Seattle Baroque Orchestra, the Mark Morris Dance Group, Tragicomedia, The Mozartean Players, and Fretwork. She has performed at many of the world's leading festivals including the Adelaide Festival in Australia, Festival Vancouver, Utrecht Festival (Holland), Resonanzen Festival (Vienna), Tanglewood, and the Berkeley and Boston Early Music Festivals. Her discography of more than 50 recordings embraces repertoire from medieval to contemporary music and boasts the Grand Prix du Disque, the Choc du Monde, and two Grammy nominations for best opera recording.
Grant Herried (lute; guitar; Piffaro; lecturer) performs frequently on early reeds, brass, strings and voice with Hesperus, Piffaro, and My Lord Chamberlain's Consort, and plays theorbo and lute with ARTEK and New York City Opera. He teaches at Mannes College of Music in New York, and directs the New York Continuo Collective. He recently worked as stage director for the Accademia d’Amore baroque opera workshop with Stephen Stubbs, and played theorbo for the Chicago Opera Theater’s production of Monteverdi’s Ritorno d’Ulisse, and Aspen Music Festival’s production of Cavalli’s Eliogabalo, both conducted by Jane Glover. He has created and directed several theatrical early music shows, and he devotes much of his time to exploring the esoteric unwritten traditions of medieval and Renaissance music with the group Ex Umbris.
Edith Hines (violin; music for dance) is a freelance performer on Baroque and modern violins and is a member of Ensemble SDG, the Madison Bach Musicians, and the Wisconsin Chamber Orchestra. She recently joined the faculty of Ripon College as adjunct instructor of violin and directs an early music ensemble through the UW Division of Continuing Studies. Dr. Hines holds degrees in violin performance from the Cleveland Institute of Music, New England Conservatory, and UW-Madison and a B.A. in mathematics from Case Western Reserve University.
Greg Ingles (sackbut; Piffaro) is in demand as a free-lance sackbut player performing with such period instrument ensembles as New York Collegium, Tafelmusik, Concerto Palatino, Early Music New York, the Orchestra of the Renaissance and American Bach Soloists. He is Music Director of Spiritus Collective, an ensemble devoted to rarely performed brass music of the 17th century. In addition to being a member of Piffaro, Greg is also a member of the early wind band, Ciaramella, set to record their debut CD with Naxos this summer. Greg received his Bachelor of Music degree in trombone performance from Oberlin Conservatory and is a doctoral candidate for a DMA at the State University of New York at Stony Brook. He is also professor of trombone at Hofstra University.
Joan Kimball (historical winds; Piffaro) is artistic co-director and a founding member of Piffaro, The Renaissance Band, a world renowned early music ensemble that tours extensively throughout the U.S., has a yearly concert series in Philadelphia,, and performs frequently at early music festivals in Europe.
She gave full time to early music performance in 1980 after a number of years as an educator. She teaches recorder and early winds to children and adults, and is on the music faculty of The Philadelphia School, an elementary and middle school, where she has a full roster of private recorder students and recorder ensembles. Her teaching work also includes bagpipe, recorder and double reed classes at summer music workshops and festivals. Joan collaborates with instrument maker Joel Robinson of New York City on the construction of Medieval and Renaissance bagpipes. In addition to her recordings with Piffaro on Deutsche Grammophon, Dorian Recordings and Piffaro Records, she can also be heard on Vanguard Classical, Eudora and Vox Amadeus.
James Lattis (lecturer – history of astronomy) is Director of The Space Place at University of Wisconsin-Madison. He is the author of Between Copernicus and Galileo: Christoph Clavius and the Collapse of Ptolemaic Cosmology (University of Chicago Press).
Judith Malafronte (mezzo-soprano; Newberry Consort) has won several top awards in Italy, Spain, Belgium, and the USA, including the Grand Prize at the International Vocal Competition in Hertogenbosch, Holland. She has appeared with numerous orchestras and oratorio societies, and has sung at the Tanglewood Festival, the Boston Early Music Festival, the Utrecht (Holland) Early Music Festival, and the Spoleto Festival. She is a frequent guest artist with Philharmonia Baroque Orchestra, the Newberry Consort, the Boston Museum Trio, and the Harp Consort. Her operatic performances have included the title role in Georg Frideric Handel's Serse at the Göttingen Festival, Scarlatti's L'Aldimiro at the Berkeley Festival, Dido and Aeneas with Mark Morris Dance Group (singing both Dido and the Sorceress), and Nero in Monteverdi's L'Incoronazione di Poppea for the Aston Magna Festival. She has also sung leading roles at the opera houses of Lyon (Tamerlano), Liège, and Montpellier (Il Ritorno di Ulisse).
Robert Mealy (violin; Quicksilver) was described by the New Yorker as "New York's world- class early music violinist." He has recorded over 50 cds on most major labels, ranging from Hildegard of Bingen with Sequentia, to Renaissance consorts with the Boston Camerata, to Rameau operas with Les Arts Florissants. Mr. Mealy frequently performs at international music festivals; he has also toured with the Mark Morris Dance Group and accompanied Renée Fleming on the David Letterman Show. In New York he is a frequent leader and soloist with the New York Collegium, ARTEK, the Clarion Society, and Early Music New York. He also serves as concertmaster for the Boston Early Music Festival Orchestra. He is a director of the new ensemble Quicksilver, and a member of the medieval ensemble Fortune's Wheel, the Renaissance violin band the King's Noyse, and the 17c ensemble Spiritus. Mr. Mealy was recently appointed Lecturer at Yale University, where he directs the Yale Collegium and teaches courses on rhetoric and performance. He was recently appointed to the early music performance faculty of the Juilliard School. In 2004 he received Early Music America's Binkley Award for outstanding teaching at both Harvard and Yale.
Eric Miller (viol; beginning gamba) performs regularly on viola da gamba and baroque cello with early music groups in the Madison area, including the Madison Bach Musicians and the Wisconsin Baroque Ensemble. He is currently completing his master's degree in modern cello performance at the University of Wisconsin-Madison and holds a B.M. in music education from Northern Illinois University.
David Morris (viol; cello; Quicksilver) has performed with Tafelmusik, Philharmonia Baroque Orchestra, and American Bach Soloists, and the King's Noyse among others. He is a member of Musica Pacifica and the Sex Chordae Consort of Viols and founder and musical director of the Bay Area baroque opera ensemble Teatro Bacchino. Mr. Morris has been a guest instructor in early music performance-practice at UC Berkeley, UC Santa Cruz, the San Francisco Conservatory of Music and Mills College.
Christopher Morrongiello (lute; Venere Lute Quartet), a former British Marshall Scholar, is a graduate of the Mannes College of Music, the Royal College of Music, and the University of Oxford. In 1996 the Marco Fodella Foundation awarded him a scholarship for studies at the Scuola Civica di Musica of Milan, and in 2006 the Lute Society of America conferred upon him the first Patrick O'Brien LSA Seminar Lectureship. An expert on Elizabethan and Jacobean music, Christopher is currently preparing an edition of Daniel Bacheler's complete works for solo lute. His musical portrait of the Elizabethan muse and songstress Penelope Devereux, created for soprano Emily Van Evera (My Lady Rich, Avie 0045), has been greeted with much critical acclaim. Christopher directs the Bacheler Consort and teaches lute and related plucked-fretted instruments in Long Island, New York.
Christa Patton (harp; Piffaro), in addition to being a member of Piffaro, has performed in the US, Mexico, Europe and Japan with New York's Ensemble for Early Music and Ex Umbris. Also a baroque harpist, Christa has appeared with Tafelmusik, Toronto Consort, Seattle Baroque Orchestra, ARTEK, Apollo's Fire, the New York City Opera, and the Wolf Trap Opera Company. A former Fulbright scholar, Christa studied the Italian baroque harp at the Civica Scuola di Musica in Milan, Italy with historical harp specialist, Mara Galassi. She can be heard on the Dorian, Lyrachord, and Helicon labels.
Paul Rowe (baritone; MEMF Artistic Director) is Professor of Voice at the University of Wisconsin Madison. He has performed with many of the leading American musical organizations including the Boston Symphony Orchestra conducted by Seiji Ozawa at Symphony Hall in Boston and Carnegie Hall in New York, American Ballet Theater at the Metropolitan Opera and Kennedy Center, and Musica Sacra at Carnegie Hall and Alice Tully Hall. He has appeared as well with the Baltimore Choral Arts Society, Smithsonian Chamber Players, the Alabama and Arkansas symphony orchestras, the Folger Consort, and the Ensemble for Early Music, among many other groups. As a member of the Waverly Consort, Mr. Rowe toured the United States, the Far East and South America and participated in the Consort's regular series at Alice Tully Hall and the Cloisters in New York. In addition, he performed for two years as a member of the New York Vocal Arts Ensemble, touring the U. S. and Yugoslavia and recording two discs: the Quartets of Haydn and Trios of Mozart, and a disc entitled Listen to the Mockingbird, featuring songs of Stephen Foster and other American music.
Michael Shank (lecturer – history of science) is a Professor in the Departments of History of Science and Integrated Liberal Studies at University of Wisconsin-Madison. His research interests are in the physical sciences (and their analogues and contexts) before 1700, with special interests in late medieval natural philosophy and astronomy. Additional related interests include science and the medieval university, science and early printing, and Piero della Francesca.
Aaron Sheehan (tenor; Newberry Consort) has recorded and toured with the Theater of Voices, and has frequently been engaged as a soloist with ensembles like the Handel and Haydn Society and the Boston Early Music Festival. Aaron teaches voice at Wellesley College and Brown University.
Priscilla Smith (recorder; Piffaro) has performed with The Waverly Consort, Early Music New York, Istanpitta, Ex Umbris, and the Alpha Omega Ensemble. As a member of Piffaro, she has made appearances at festivals throughout the United States and Europe, and has collaborated with such groups as the Concord Ensemble, Capilla Flamenca, Psallentes, The Crossing, and ARTEK. A graduate of Temple University, Priscilla was a student of Louis Rosenblatt, former English hornist of the Philadelphia Orchestra. Priscilla holds the position of solo soprano at the Church of St. Agnes in New York City. This season featured two Piffaro cd releases, collaborations with Parthenia, Vox Vocal Ensemble, and The Newberry Consort, festival appearances in Hawaii, Seattle, Houston, and Pittsburgh, and the premiere and recording of pieces by Matthew Greenbaum and Mena Hanna, featuring her as soprano with the Cygnus Ensemble and Momenta Quartet.
John Chappell Stowe (harpsichord; lecturer) is Professor of Organ and Harpsichord at the University of Wisconsin-Madison School of Music. Before moving to Wisconsin, he was Professor of Organ and Church Music at Houghton College, Houghton, NY and also served as Visiting Associate Professor of Organ at the University of Iowa for the 1993-94 academic year. He graduated from Southern Methodist University and Eastman School of Music, studying organ with Robert Anderson and Russell Saunders. Dr. Stowe holds the Doctor of Musical Arts degree and Performer's Certificate from the Eastman School and was the first-place winner in 1978 of the National Open Organ Playing Competition of the American Guild of Organists. Since joining the faculty at UW-Madison, Dr. Stowe has held the posts of Associate Director of the School of Music (1990-93) and Director of Graduate Studies (1996-99, 2005-06). From 1998 to 2004, he served the American Guild of Organists as National Vice President. In addition to organ and harpsichord, his instructional activities currently include improvisation, continuo playing, organ design and literature, and coaching the UW-Madison Early Music Ensemble.
Marion Verbruggen (recorder; Quicksilver) has earned an international as a master of style on her instrument. She studied at the Amsterdam Conservatory and the Royal Conservatory in The Hague with recorder master Frans Brüggen, teaches at the Royal Conservatory in The Hague, and gives master classes and workshops internationally. As a soloist, Verbruggen plays with prestigious ensembles including Musica Antiqua Köln, The Amsterdam Baroque Orchestra, Tafelmusik, Philharmonia Baroque Orchestra, and The Orchestra of the Age of Enlightenment. Her diverse discography includes music ranging from seventeenth-century Spanish songs and theater music to her own transcriptions of the J.S. Bach cello suites. She has made numerous recordings for Harmonia Mundi, and recorded the complete cantatas of J.S. Bach with Ton Koopman and The Amsterdam Baroque Orchestra & Choir for the Erato label.
Lyssandra Walsh (soprano; beginning voice) is pursuing a Masters degree in vocal performance at University of Wisconsin–Madison. She graduated with her Bachelors of Music in Music Education with a double concentration in violin and voice from the Crane School of Music in Potsdam, New York.
Barbara Weiss (harpsichord; Quicksilver), has performed at the Boston, San Antonio and Berkeley Early Music Festivals, and at Winnipeg Folk Festival. She has taught at the Oberlin Baroque Performance Institute, the Madison Early Music Festival, the Indiana University Recorder Performers Seminar, and the Indiana University Recorder Academy. She has served on the faculties of the University of Minnesota, Concordia College, and as visiting professor of harpsichord at Oberlin Conservatory. She served as music director of the opera company Ex-Machina, and as staff at the Chicago Opera Theater. Ms. Weiss has performed with the Newberry Consort, the New International Trio, King's Noyse, Apollo's Fire, The Washington Bach Consort, Piffaro and Tempesta di Mare. She has recorded on Dorian, Flying Fish and Harmonia Mundi USA.
Robert Wiemken (historical winds; Piffaro), a French hornist for many years before turning to early music and period instrument performance, is now a multi-instrumentalist, focusing on the recorders and double reed instruments of the late Medieval through the Baroque periods, most notably the Renaissance shawm and dulcian, or curtal, and the Baroque bassoon. He is currently co-director of Piffaro, and also directs the early music ensembles at Temple University’s Esther Boyer College of Music in Philadelphia. He has performed with numerous ensembles, including New York’s Ensemble for Early Music, the Grande Band, the Boston Early Music Festival Orchestra, the Philadelphia Classical Symphony, Brandywine Baroque Orchestra and others. He has recorded on the Newport Classics, Deutsche Grammophon Archiv Produktion, Dorian Records, Vanguard Classics, Windham Hill, Pasacaille and Eufoda labels. He is also a noted reed maker, specializing in the double reeds of the medieval through Baroque periods.
Tom Zajac (historical winds; Piffaro) is a multi-instrumentalist specializing in wind instruments of the medieval and Renaissance periods, and is a member of Piffaro as well as his own group, Ex Umbris. He is a frequent guest artist with the Folger Consort, Hesperus, and the Yale University Collegium, and has recorded and performed both in the U.S. and throughout the world with many of the leading American early music ensembles. Tom has performed on the sound track of several PBS documentaries for Emmy award-winning producer and composer Brian Keane, including Ric Burn’s New York: A Documentary, last fall’s special on the French and Indian wars, The War that Made America, and a special on the history of the Supreme Court that aired in January. He teaches at Wellesley College and at workshops throughout the U.S.
| Liberal Studies & the Arts | UW-Madison Continuing Studies |
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Last updated:
April 21, 2009
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2009 Artists-in-Residence:
