JOHN BECK, percussion, (Nosferatu) has been a member of the faculty at the University of North Carolina School of the Arts since 1998, and is a performer with the Winston-Salem and Greensboro Symphony orchestras, Brass Band of Battle Creek, and the Philidor Percussion Group. He is a former member of the United States Marine Band and for 10 years performed regularly with the National and Baltimore Symphonies, Washington and Baltimore Operas, and the Theater Chamber Players of the Kennedy Center. Beck has toured the United States as a xylophone soloist with the Jack Daniel's Silver Cornet Band, Brass Band of Battle Creek, and the New Sousa Band. He has served on the PAS Education Committee, Board of Directors, NC Chapter President, and has presented clinics at state Days of Percussion, PASIC, Midwest, and MENC events. As an educator Beck has also served on the faculties of the Universities of Utah, Colorado, Nevada - Las Vegas, North Carolina - Greensboro, and Florida State. His CD “Shared Spaces” is on the Equilibrium label, and in 2000 his educational video “Ensemble Techniques and Musicianship for Percussionists” was distributed free to all high schools in North Carolina through a state Arts Council Grant.
After continued studies with world renowned harpists, Carlos Salzedo and Alice Chalifoux, Ms. Bartlett, at age sixteen, made her solo debut in Chicago’s Orchestra Hall in a performance of the Handel Harp Concerto which received high critical praise. She graduated with honors from Interlochen Arts Academy and then attended Oberlin Conservatory of Music where she majored in harp and minored in piano. Her harp teachers also include Lucy Lewis, Lucille Lawrence and Susann McDonald.
Subsequently, Ms. Bartlett was invited to perform with many of the world’s leading orchestras including the Detroit Symphony, the New York Philharmonic, the Indianapolis Symphony, the Rotterdam Philharmonic, the Slovac Radio Symphony, the Baltimore Symphony, the Kansas City Philharmonic, the North Carolina Symphony and the Milwaukee Symphony. Having toured America and Europe as a soloist and chamber musician, Jacquelyn has also appeared frequently at American Harp Society Conferences and the World Harp Congress as a speaker and a performer.
Ms. Bartlett currently is a member of the Artist Faculties of the University of North Carolina School of the Arts, Appalachian State University, the University of North Carolina at Greensboro and the Community School of the Arts at Spirit Square in Charlotte, NC. A dedicated and passionate educator, Ms. Bartlett is much sought after as a teacher, chamber music coach and presenter for master classes and seminars.
A champion of chamber music, Ms. Bartlett has worked with some of this generation’s most well known composers such as George Crumb, Alberto Ginastera, Dan Locklair and George Rochberg and she continues to bring new compositions to the concert stage. For ten years, she was the Founder and Artistic Director of SummerMusic in Blowing Rock, NC. Currently she is Artistic Director of Music at St John’s in Valle Crucis, NC and she appears regularly with Mallarme Chamber Players. Her recent World Premiere recording of Dan Locklair’s Concerto for Harp and Orchestra with the Slovak Radio Symphony Orchestra has just been released on NAXOS and has received high, critical praise.
FRANCES BLAKER, recorder (Bach is Back!) Frances Blaker received her Music Pedagogical and
degrees in recorder from the Royal Conservatory of Music in Copenhagen
where she studied with Eva Legêne. She also studied with Marion
Verbruggen in the
Ms. Blaker has performed as a soloist and with various ensembles in the United States, Denmark, England and the Netherlands. She is a member of Farallon Recorder Quartet and the Tibia Recorder Duo and of Ensemble Vermillian. She teaches privately and at workshops throughout the United
States and is an assistant director of the Amherst Early Music Festival, Inc. and a board member of the American Recorder Society.
Ms. Blaker is the author of The Recorder Player's Companion and the "Opening Measures" column in the American Recorder, and a collaborator and performer on the Disc Continuo series of recordings. Her first publication of compositions, Six Duets, was released September 10, 2005.
She can be heard on CD with the Farallon Recorder Quartet and with Ensemble Vermillian, whose debut CD, Stolen Jewels, was released December 2005.
CARLA COPELAND BURNS, flute, (Nosferatu) currently enjoys an active freelancing career with several ensembles including the North Carolina Symphony, North Carolina Opera, and the Carolina Ballet among others. She has performed over 300 concerts with the North Carolina Symphony, including numerous appearances as Principal flute. Since 1995 Burns has served as Piccoloist for the Greensboro Symphony Orchestra, Principal Flute in the Salisbury Symphony, and in the ongoing chamber ensembles Blue Mountain (flute/bassoon) and the Cascade Wind Quintet, a North Carolina Arts Council Touring Roster Ensemble. Burns currently teaches flute at Radford University in Virginia and coaches chamber music at the Chapel Hill Chamber Music Workshop held at the University of North Carolina. She previously served as Principal flute in the Midland-Odessa Symphony and on the faculties of Indiana State University, Mars Hill College, and the Cincinnati-College Conservatory Preparatory Division. Burns holds the Bachelor of Music with Honors from Florida State University, the Master of Music in Flute Performance from the New England Conservatory, and is a Doctoral Candidate in Flute Performance from the University of Cincinnati College-Conservatory of Music (CCM). Burns has recorded with ensembles on the Albany, Centaur, and Klavier labels and has been heard on several editions of NPR’s Performance Today. Her teachers include Nadine Asin, Jack Wellbaum, Carol Wincenc, Lois Schaefer, Charles Delaney and Stephen Preston. www.carlacopelandburns.com
MICHAEL BURNS , bassoon, (Nosferatu, How Low Can you Go?) is the bassoon professor at the University of NC at Greensboro and a Yamaha Performing Artist. His first solo CD Primavera: Music for Bassoon and Piano by Bassoonists was released on the Mark Masters label in 2009 to critical acclaim. He holds the BM degree from the Victoria University of Wellington, New Zealand, the MM from the New England Conservatory, and the DMA from the University of Cincinnati College-Conservatory of Music. He has performed in numerous professional orchestras including the Cincinnati and the New Zealand Symphonies and played Principal in the Midland/Odessa, Richmond and Abilene Symphonies and the Cincinnati Chamber Orchestra. Currently Burns plays principal with the Asheville Symphony, North Carolina Ballet and North Carolina Opera as well as performing frequently with the North Carolina and Greensboro Symphony Orchestras. Prior to UNCG he taught at the Cincinnati College-Conservatory, Indiana State University, and Midland College. He remains active as a solo and chamber performer with numerous recitals and master classes throughout North America, Germany, China and the South Pacific, he is bassoonist in the EastWind Ensemble, the Blue Mountain Ensemble, and the Cascade Quintet. Burns has recorded for the Centaur, CAP, Telarc, EMI, Klavier, and Mark labels. He is also an active composer with many of his pieces being published by TrevCo Music and frequently performed. He is archivist for the International Double Reed Society and was co-host for the IDRS 2003 Conference in Greensboro, NC. For more information please visit: www.michaelburnsbassoon.com
JAMES DOUGLASS, keyboard, (Nosferatu) is assistant professor of collaborative piano and auditions coordinator for the Accompanying and Chamber Music degree program at UNC-Greensboro. He has been involved in diverse genres including chamber music, vocal arts, opera, choral arts, symphonic repertoire, jazz, cabaret, and musical theater. He received the BM and MM in piano performance from the University of Alabama and the DMA in collaborative piano from the University of Southern California where he was a student of Dr. Alan L. Smith; additional studies were with collaborative pianists Anne Epperson and Martin Katz. While at USC he received a Koldofsky Fellowship and the Outstanding Keyboard Collaborative Arts award. Douglass has served on the faculties of Mississippi College, Occidental College LA, USC, and Middle Tennessee State University where he was coordinator of the collaborative piano degree program. In 2003 he began teaching in the summer study program AIMS (American Institute of Musical Studies) in Graz, Austria as the instructor of collaborative piano and a coach in the lieder program with Harold Heiberg. Performances as a collaborative pianist have included recitals and television/radio broadcasts across the United States and in Europe (France, Germany, Austria, Hungary); in master classes given by artists Dawn Upshaw, Carol Vaness, Vladimir Chernov, Norman Luboff, Paul Salamunovich, Natalie Hinderas, Leon Bates. Douglass is an active clinician and a recording with soprano Hope Koehler of John Jacob Niles songs was released on the Albany label in 2008.
RACHAEL ELLIOTT, bassoon (Wagner @200, How Low Can you Go?) is a bassoonist and improviser who performs in a variety of classical and new music settings. As a founding member of the improvising chamber group, Clogs, she has released five albums on Brassland and performed extensively throughout the United States, Canada, Europe and Australia, sharing the stage with musicians and ensembles including Laurie Anderson, Bang on a Can, Bell Orchestre, The National, Terry Riley, Sufjan Stevens and Shara Worden. She has performed in venues such as Joe’s Pub, The Knitting Factory, Merkin Hall and Symphony Space in New York City; the Barbican Centre, Brighton Dome, and London Jazz Festival in England; two consecutive Sydney Festivals; in subterranean caves in Glasgow and Dijon; and on boats in Paris (La Guinguette Pirate on the Seine) and in Rostock, Germany (the Stubnitz on the Baltic Sea).
She has been described as “one of the sharpest executors of new-music currently on the scene” (WQXR) and “the Jaco Pastorius of the bassoon” (The Guardian). Her debut solo CD, “Polka the Elk”, includes five world premiere recordings of new bassoon music by Padma Newsome, Tawnie Olson and David Lang. Other recording credits include albums by Clogs, The National, My Brightest Diamond, Thomas L. Read and a forthcoming album on Canteloupe of Michael Gordon’s “Rushes.”
A champion of new music, Rachael has premiered works by Padma Newsome, Bryce Dessner, Thomas L. Read, Beth Wiemann, Alex Kotch, Paul Lansky and Ingram Marshall, among many others. She has received funding from the American Composers Forum, Chamber Music America, Connecticut Commission on the Arts, Durham Arts Council, Vermont Arts Council and many generous individuals in support of her commissioning, performance and outreach activities.
She teaches bassoon at Duke University, and travels frequently to her native Vermont to perform with the Vermont Contemporary Music Ensemble, Heliand Consort and the Vermont Symphony Orchestra. Her Carolina-based contemporary bassoon ensemble, Dark in the Song, was recently in residence at CMMAS in Morelia, Mexico. This season, the group participates in the recording and world premiere tour of Michael Gordon’s “Rushes,” a monumental new concert-length work for seven bassoons by the renowned Bang on a Can composer.
Rachael received her bassoon performance degrees from Manhattan School of Music (B.M.) and Yale School of Music (M.M.) as a student with Frank Morelli. www.bassoonproject.org
is the Founder and Director of the Vivaldi Project and concertmaster of The Bach Choir of Bethlehem. She has served as concertmaster for leading period instrument ensembles such as the Washington Bach Consort and Opera Lafayette as well as acting as performance-practice coach for modern orchestras such as The National Philharmonic and the Washington Chamber Symphony. She has performed with leading period instrument ensembles such as the Handel & Haydn Society, The New York State Early Music Association, and the Classical Band. A former member of Brandywine Baroque, Field was also a founding member of the Van Swieten Quartet. She performs frequently with the Washington National Opera, and has recorded for Hungaroton, Naxos and the Dorian label. From 1982-1991, she performed and recorded extensively for Deutsche Grammophon with the Orpheus Chamber Orchestra. Field's modern training was done with Oscar Shumsky and Joseph Silverstein, and she holds a doctorate in 18th-century performance practice from Cornell University. Field has coached student & professional performers throughout the U.S. including at the Universities of Maryland, Illinois and Iowa, and the University of Washington. She has held professorships at Sacramento State University of California, the University of California at Davis, and is an adjunct professor at George Washington University. Together with cellist, Stephanie Vial, she directs The Vivaldi Project's Institute for Early Music on Modern Instruments and is a regular guest teacher at The Curtis Institute. Her collaborative DVD with fortepianist Malcolm Bilson, exploring the Historical performance Practice of 18th-century violin/piano repertoire was released in November of 2011. Emanuel Ax describes the DVD as "truly inspiring―a completely lucid and authoritative look at the connections between the great composers and the instruments that they worked with.” He concludes, "In short, I am a fan!"
CHRISTOPHER FISCHER, viola (Chamber Music for the People!) began his musical training at the age of three on the violin. Mr.
Fischer began experimenting with the viola in high school and
immediately fell in love with the instrument, switching at the age of
sixteen. He went on to earn his Bachelor of Music degree at the
University of Missouri, studying with Leslie Perna, followed by a Master
of Music degree from Indiana University under the tutelage of Atar
Shortly after graduating from Indiana University, Mr. Fischer won the position of principal violist and resident string quartet member with the Midland-Odessa Symphony in West Texas. As a member of the Midland- Odessa Symphony’s resident string quartet, Mr. Fischer played quartet recitals on college campuses and in public schools across West Texas. In addition to teaching a private studio, he also joined the faculty of the University of Texas at the Permian Basin as adjunct professor of viola. After a year in Texas, Mr. Fischer joined the New World Symphony in Miami Beach, Florida, conducted by Michael Tilson Thomas.
As both a principal and section player in the orchestra he frequently performed chamber music as a part of the New World Symphony’s chamber series, including a concert with the Borromeo Quartet. He also performed with professional summer orchestras including Spoleto Festival USA, the Missouri Chamber Orchestra, and the Southern Illinois Music Festival. Playing with the International Sejong Soloists, a chamber orchestra based in New York City, he performed nationally televised concerts at the Great Mountains Music Festival in South Korea. Mr. Fischer has worked with many of the world’s leading conductors, including David Robertson, Seiji Ozawa, Franz Welser Möst, Robert Spano, James DePriest, Gerhardt Zimmerman and David Zinman.
In addition to performing full-time as the assistant principal violist with the North Carolina Symphony, Mr. Fischer teaches privately and is on faculty at Saint Mary’s School in Raleigh.
DOVID FRIEDLANDER, violin (Chamber Music for the People!) has been a member of the North Carolina Symphony as Associate
Concertmaster since 2005. He previously held a position in the Columbus
Symphony and was the Assistant Concertmaster of the San Antonio
Symphony. He has also played with the Boston Symphony at the Tanglewood
Music Festival, and regularly with the PittsburghSymphony in concerts
and on tour, with such conductors as Seiji Ozawa, Mariss Jansons, and
In addition to playing with the North Carolina Symphony, Dovid is an active chamber musician in the Raleigh area. He also maintains a full teaching studio and was on the faculty of the Triada Music Festival in 2006 and 2007. Dovid has enjoyed soloing with the North Carolina Symphony each season, including three performances of Hindemith's Kammermusik No. 4 in January of 2009. He has also performed as a soloist with the Brussels Chamber Orchestra during the Crosscurrents Chamber Festival in 2009 and 2010.
Mr. Friedlander studied with Cleveland Orchestra Concertmaster, William Preucil, at the Eastman School of Music and the Cleveland Institute of Music. While at the Cleveland Institute, he won the Jerome Gross award and his string quartet was the recipient of the esteemed Darius Milhaud award.
Dovid plays on a David Burgess violin, made in 1987.
In his review of her recent performance of J. Mark Scearce’s This Thread with the Raleigh Civic Chamber Orchestra, John W. Lambert of the Classical Voice of North Carolina said, “It helped that two superb solo artists were on hand – violinist Brian Reagin, concertmaster of the NC Symphony, and mezzo-soprano Karyn Friedman, whose realization – embodiment, in truth – of the vocal part was one of the most moving things heard hereabouts in years.”
Karyn has performed extensively with the chamber music group Washington Musica Viva, based in Washington, DC. She most recently appeared with them at the Embassy of the Czech Republic as part of the Mutual Inspirations Festival and Dvorak’s 170th birthday celebration. She is currently working on a recording of Dvorak’s Moravian Duets with WMV founder Carl Banner and soprano Elizabeth Kluegel.
A strong proponent of new music, Karyn has been sought after by contemporary composers to perform their works. She was asked to sing Libby Larsen’s Love After 1950 on a concert honoring the composer. She also premiered Two Japanese Songs by Masatoshi Mitsumoto, One or Two Thingsby Lori Laitman, and Mourning Songs by Gregg Wramage. Karyn has performed J. Mark Scearce’s Anima Mundi with both North Carolina Master Chorale and Orchestra Nashville. She can be heard on a CD of Lori Laitman songs, Within These Spaces, which was recently released on Albany Records.
Karyn lives in Raleigh, NC with her husband, bass Gary Poster and their three children.
ELAINE FUNARO, harpsichord (Bach is Back, Happiness is a Harpsichord) is a frequent performer at international early music festivals. She is also the president of Historical Keyboard Society of North America and artistic director of Aliénor, a non-profit organization that sponsors a world-wide competition for new harpsichord music.
Funaro has premiered pieces on five continents, performing in cities including Berkeley, Boston, Amsterdam, Rome, Manchester, and Tokyo. In addition to her many solo recitals, including concerts at the Smithsonian Institution and the Library of Congress, Funaro has played with numerous symphonies and chamber music ensembles. She has recorded for the Centaur, Gasparo, Wildboar, the Classic Concert labels, and most recently Arabesque Records.
She has been a student at Oberlin College, the New England Conservatory of Music, Il Conservatorio Cherubini in Florence, Italy, and the Sweelinck Conservatory in Amsterdam. Her teachers have included Gustav Leonhardt, Ton Koopman, John Gibbons and Lisa Crawford.
JIMMY GILMORE, clarinet (Wagner @ 200) is a native of Dallas, Texas and is recently retired as Principal Clarinetist of the North Carolina Symphony and presently serves as Senior Advisor for the Orchestra. He holds degrees from the Eastman School of Music and the Juilliard School of Music. Mr. Gilmore was formerly a member of the Rochester Philharmonic and the U.S. Military Academy Band at West Point. A faculty member of Duke University and Meredith College, Mr. Gilmore has made numerous appearances as a soloist and recitalist throughout the Southeast. In addition, he has appeared many times as a concerto soloist with the North Carolina Symphony.
In 1964, David Hartman won a supporting role in the original 1964 Broadway production of Hello Dolly. This high point was followed by several films and television projects. Financial success came nearly a decade later when he became the first host of Good Morning America in 1975. He stayed with the show for 11 years, also serving as writer and producer, and helped it become No. 1 during his tenure. He has won several Emmy and journalism awards and is also known for his documentaries.
David Hartman was married to television producer Maureen Downey from
1974 until her death in 1997; they have four children. He currently lives in Durham, NC with his second wife, Mary.
DAVID HEID, piano (Good Music is Scearce) comes to North Carolina after a successful career in New York City as a vocal coach/accompanist. Among the many well-known singers he has performed with are Karen Beardsley, Susan Dunn, Adria Firestone, Carolyn James and Christine Weidinger. A composer, arranger and conduct or, he made his Lincoln Center debut in Alice Tully Hall in 1994. In the summer of 1997, he was heard at both the Darling Harbor Convention Center and the historic Towne Hall in Sydney, Australia. His coaching clients include past Grammy and Tony Award winners.
David is currently a staff accompanist and teaches piano at Duke University as well as being in demand throughout the Raleigh/Durham/Chapel Hill area as a collaborative artist. He has worked with many of the areas leading organizations including Durham Choral Society, NC Symphony, The Chamber Orchestra of the Triangle, The Fletcher Foundation, Opera Company of North Carolina, Theater in the Park, Thompson Theater Summerfest and Long Leaf Opera. He was previously on staff of the renowned Juilliard School in New York City.
Additionally he has worked extensively in gospel music and recorded on a number of Christian labels. He has toured the U.S. and Canada with Jane Syftestad and directed The Voices of St. John's MCC - named in 1997 "The Best Gospel Choir in the Triangle." Their debut CD "Anywhere with Jesus " was nominated for a GLAMA award in the contemporary spiritual category.
EMI HILDEBRANDT, violin (Wagner @ 200) has performed in Japan, Canada, and the United States and is in high demand as a soloist, chamber player, and orchestral performer. She began her violin studies in Japan at the age of 4, utilizing the Suzuki Method. Further studies in Japan led her to a scholarship at Soai University in Osaka where she received her Bachelor of Music degree in 1987, and in Toronto, Canada, she got a scholarship to study at The Royal Conservatory of Music for her Artist Diploma. Emi held a title chair position in The North Carolina Symphony for 3 years from 2000 to 2003 where she had solo parts in Vivaldi’s Four Seasons.
In her spare time, Emi plays weddings with her violinist husband, Udo, who is a member of The North Carolina Symphony. Emi and Udo have a charming home in Raleigh with their three adorable cats.
PENELOPE JENSEN, soprano (Happiness is a Harpsichord) has been soloist with major orchestras across the country. A favorite recitalist, she was awarded the Franz Schubert Prize by the Franz-Schubert-Institut in Austria. For Gasparo Records she has recorded music of the baroque with the Atlanta Symphony, the Cleveland Baroque Soloists, and the Oberlin Baroque Performance Institute where she is a member of the faculty. She teaches voice at Duke University and in her home in Chapel Hill.
BARBARA KRUMDIECK, baroque cello (Bach is back!) grew up in the San Francisco Bay Area where she studied cello with Katherine Scott, Mildred Rosner and Thomas Stauffer. She studied baroque cello with Phoebe Carrai at the Conservatory of Music in Hilversum, The Netherlands. While living in Europe, Barbara performed in France, Germany, and Belgium and recorded two CDs with Concerto Koln. Barbara is a member of many chamber groups, including Ensemble Vermillian which has recorded two CDs of 17th century German chamber music and another CD of 17th century Italian music. Ensemble Vermillian is currently working on a project of 17th century English music. She has also recorded the CPE Bach fortepiano quartets with Andrew Willis, Rebecca Troxler and Gesa Kordes.
PETER LEKX, baroque violin (Bach is back!) is a native of Ontario, Canada and performs regularly on period violin and viola as well as medieval strings. He has performed with the early music ensembles Quicksilver, Cascata, Cambridge Concentus and Music for a While. Known
also for his exciting interpretations of contemporary music on modern
viola, he is an active performer in small chamber ensembles and
orchestras throughout the Midwest and New England. While serving as the
String Department Assistant and a viola Teaching Assistant at Boston
University, Peter won an award in recognition of his performing talents
and dedicated service to Boston University's String Department. Peter
recently completed his Performance Diploma at Boston University where he
studied viola with Michelle LaCourse and baroque violin/viola with Jane
Starkman. He also holds both a Masters degree (Penn State University)
and a Bachelors degree (Wilfrid Laurier University) in Viola
NATHAN LEYLAND, cello, (Wagner@200) attended the Manhattan School of Music, where he studied with Nathaniel Rosen. Before moving to the Triangle, he was principal cellist of the Des Moines Symphony and member of the Pioneer String Quartet. Mr. Leyland has performed as soloist with symphony orchestras in Ohio, New York and Connecticut, and as recitalist and chamber musician in much of the United States. He is currently an active freelancer in North Carolina, performing with the Mallarmé Chamber Players, the Fayetteville Symphony, Tar River Orchestra, Carolina Ballet Orchestra and others. His hobbies include spending time with his family and playing golf.
ROBBIE LINK, violone (Bach is back!) is a performer and teacher on the double bass, cello, electric bass, viola da gamba, and violone. Link performs and records with many period instrument, chamber, jazz, and folk music ensembles and enjoys performing everything from Baroque to Bluegrass. He is instructor of double bass and cello at the Duke University Pre-Collegiate String School and Instructor of Double Bass for Duke University. He also maintains a private teaching studio near Chapel Hill, NC in addition to running Red Hawk Music Co. Link attended the School of Music at Indiana University in Bloomington, Indiana and the North Carolina School of the Arts in Winston-Salem, North Carolina. He has performed with The Bach Sinfonia, North Carolina Symphony, Richmond Symphony, Louisville Symphony, Ensemble Vermillian, and Ensemble Courant as well as with many jazz notables including Maxine Sullivan, Tal Farlow, Mose Alison, Mark Murphy, Carol Sloane, Margaret Whiting, Bobby Enriquez, Joanne Brackeen, and Scott Hamilton
After playing Principal Horn with the North Carolina Symphony for 15 years (1992-2007), Andrew McAfee now focuses on being a mentor through teaching horn at the University of North Carolina at Chapel Hill (UNC) and conducting as the Music Director/Conductor of the Triangle Youth Ballet www.triangleyouthballet.org and the Masterworks Reading Orchestra.
Andrew has also been a guest soloist, clinician and exhibitor at the Northeast and Southeast Horn Workshops, has been featured with numerous chamber ensembles including the Degas Quartet, Ciompi Quartet, Mallarme Chamber Players, Symphony Winds (school educational programs), and performs regularly with the Carolina Wind Quintet (UNC Faculty.)
Andrew studied conducting for 9 summers with Maestro Harold Farberman at the Conductor’s Institute at the Hartt School in Connecticut, in Bulgaria (with the Varna Philharmonic) and at Bard College in New York. He completed his Master of Music in Orchestral Conducting in May 2009 with Maestro Ransom Wilson at the University of North Carolina School of the Arts. As Music Director/Conductor of the Triangle Youth Ballet in Chapel Hill, Andrew has conducted full orchestral productions of Tchaikovsky The Nutcracker since December 2008 and Sleeping Beauty in May 2008 and March 2009.
The May 2011 edition of The Horn Call, the Journal of the International Horn Society, featured his article “Five Basics for a Horn Embouchure.” His method book titled “The Horn Book, Fundamental and Advanced Techniques for Horn Players”is now in its 6th edition. His website www.hornlessons.org features his CD “A Passionate Horn,” videos and other helpful information on horn playing technique and on NOHAC, the National Orchestral Horn Audition Competition that he hosts at UNC.
SCOTT MACLEOD, baritone (Good Music is Scearce) excels as a diverse and engaging interpreter of new works and seasoned classics. He has appeared in a variety of venues nationally and abroad, including: Opera Omaha, Central City Opera, Opera North, Utah Festival Opera, Mobile Opera, Duluth Festival Opera, Des Moines Metro Opera, Greensboro Opera, Long Leaf Opera, Opera on the James, the Tucson Symphony, the North Carolina Symphony, and the National Symphony of Costa Rica.
Notable opera performances include title roles in Don Giovanni and Gianni Schicchi, Giuseppe in The Gondoliers, Count Almaviva in The Marriage of Figaro, Lord Ruthven in Marschner’s Der Vampyr, the title role in Dallapiccola’s Il Prigioniero, and The Lecturer in Dominick Argento’s A Water Bird Talk. He can also be heard in the role of Apollo in the world-premiere recording of John Eccles’ Semele. Concert work includes Requiem by Brahms and Fauré, Messiah, Carmina Burana, Saint-Seans Christmas Oratorio, and Vaughan Williams’ Dona Nobis Pacem and Five Mystical Songs. He made his Carnegie Hall solo debut in Mendelssohn's Elijah with the New York Chamber Orchestra in March 2009. Upcoming performances include Messiah with the Greensboro Oratorio Society and John Adams’ The Wound Dresser with the North Carolina Symphony.
Dr. MacLeod is a professor of music at High Point University, where he teaches applied voice and conducts department musicals. He lives in Greensboro with his wife Rebecca and two over-loved and under-disciplined dogs.
JOEY O'DONNELL, baroque violin and viola, (Bach is back!) lives in central North Carolina where he has been performing and teaching for the last five years. In recent history he has performed with Seraphic Fire, the nationally-acclaimed chamber choir (early music through contemporary) based in Miami; and with the English Country Dance band Collard Greene, Wild Rose and various Broadway touring shows. He performs with regional early music ensembles, maintains a studio of thirty students, and leads the Meredith College Fiddlers, a reading group for youngsters.
JOHN PRUETT, violin and viola (Happiness is....) is a musician who plays both modern and baroque violin. He is regularly heard in the Carolina Baroque Chamber Orchestra and El Ensamble Barroco de Arequipa in Peru. He holds degrees from the Curtis Institute of Music. John has played principal viola for over 30 years with the Chamber Orchestra of the Triangle soloing on both violin and viola with them. He is also first violin of the Triangle Quartet. For several years he has been organizing orchestras and ensembles of period instruments for Old Salem, the Moramus Choir and Piedmont Chamber Singers. A contemporary music group of baroque instrument players with which he performs named Alienor is planning concerts in the Ukraine later this season.
Other interests have led him to restore the Yadkin Valley Mill in Yadkin County. This mill is a 19th century water powered gristmill.
RICK ROBINSON, bass/ composer (Chamber Music for the People!)and 2010 Kresge Artist Fellow began studying music in Highland Park, MI public schools before he attended the famous Interlochen Arts Academy. He received a Bachelors degree from the Cleveland Institute of Music, where he studied double bass with Larry Angell. While there he won principal chairs for both the Akron and Canton (Ohio) Symphony Orchestras. Mr. Robinson then went on to Boston for graduate studies with Larry Wolfe at the New England Conservatory. In 1986 he won the Haddonfield (N.J.) Symphony Solo Competition, performing the Bottesini B-minor Concerto. While in Boston he served as Principal Bass of the Portland (Maine) Symphony Orchestra, Assistant Principal Bass of the Boston Pops Esplanade Orchestra and as a regular substitute with both the Boston and Detroit Symphony Orchestras. Mr. Robinson was famously offered a permanent position in DSO without audition in 1989. He brought CutTime Players together in 1995 and began transcribing and arranging 100+ classical and jazz standards.
Robinson eventually began composing and conducting with the premiere of his Symphony Of Brotherhood: I HAVE A DREAM in 2003. His grand symphonic work Essay No. 1 (After Sibelius) was premiered by DSO in 2006. Read a 2007 DSO article about him. His other works, launching his NEW band Simfonica, may be sampled here. Also known as Mr. CutTime, he enjoys running, cycling, dancing and sailing.
SUZANNE ROUSSO, viola, (Artistic Director) was trained at the Curtis Institute of Music, The Eastman School and New England Conservatory earning a Bachelor and Master of Music degrees in viola performance. Some of her teachers included Eugene Becker, Max Aronoff, Heidi Castleman and Walter Trampler. In her early career she held orchestral positions around the country including with the Chattanooga Symphony and Opera, The Amarillo (TX) Symphony, The New Mexico Symphony, Spoleto Festival and the Santa Fe Opera. From 1989-2001 Ms. Rousso was principal violist of the Greensboro Symphony and performed regularly with the North Carolina Symphony. Additionally, from 1999-2006 she was a faculty member and performer at Eastern Music Festival where she also served as personnel manager.
Ms. Rousso was appointed Director of Education for the North Carolina Symphony in May 1999 where she oversaw all aspects of the Symphony's education program including the statewide education concerts, Youth Concerto Competition, Peace College Chamber Music, Pre-concert Conversations and the Young People's Concerts. During her tenure she established the Young Strings of the Triangle, a program providing free private string instrument lessons to under-served children and the annual Maxine Swalin Outstanding Music educator award.
In late 2006, she was appointed Director of Operations and Education of the Portland (Maine) Symphony, where she oversaw the search for a new music director resulting in the appointment of Maestro Robert Moody and established radio broadcasts of the PSO on Maine's public radio station, MPBN. While in Maine, she performed as a member of the Vermont Symphony, PortOpera, Opera Boston and the Portland Chamber Orchestra.
Ms. Rousso returned from Maine to North Carolina in the summer of 2008 to become the Artistic Director of the Mallarmé Chamber Players, where she also performs as a violist. In 2009, she received a Regional Artist grant from The United Arts Council of Raleigh and Wake County that assisted her in purchasing a baroque viola and has enjoyed learning and playing historically-informed performance. She attended the Amherst Early Music Festival in July 2012 where she appeared as a guest artist with the Amherst Faculty and is a member of the newly-formed North Carolina Baroque Orchestra.
Suzanne has recently become a board member of Arts NC, an arts advocacy organization and is also the Vice President of the Board for the American Federation of Musicians, Local 500.
J. MARK SCEARCE, composer (Good Music is Scearce) is one of North Carolina's most recognized and performed composers. Recipient of the 2010 Raleigh Medal of Arts and the 2009 International Ramond and Beverly Sackler Prize in Music Composition, Scearce has sixty active titles in his catalogue, including musical settings of more than two hundred texts by forty poets. Scearce’s many works for orchestra, band, chorus, opera, chamber, and ballet have been performed throughout North America, Europe, Asia, and the Pacific. The recipient of five advanced degrees in music, philosophy and religion, including the doctorate in composition from Indiana University, Scearce has won six international music competitions and his music is available on seven commercial recordings. Having taught on the music faculties of the Universities of Hawaii, North Texas, and Southern Maine, he is presently Director of the Music Department at NC State where he is a tenured professor in the College of Design. www.jmarkscearce.com
LEDA SCEARCE, soprano (Good Music is Scearce) has been featured in leading roles with the National Opera Company, Hawaii Opera Theatre, Long Leaf Opera Festival, Triangle Opera, the Ohio Light Opera Company and Whitewater Opera Company, and has appeared as concert soloist with orchestras including the North Carolina, Toledo and Honolulu Symphonies. An active proponent of new music, Ms. Scearce has given world premiere performances of works written for her with the Berkeley Contemporary Chamber Players, Nashville Chamber Orchestra, Orchestra Nashville, Mallarmé Chamber Players, the American Chamber Music Festival and Chamber Music Hawaii. A winner of the Birmingham Opera Vocal Competition, Ms. Scearce has also been a Regional Finalist in the Metropolitan Opera National Council Auditions. Ms. Scearce is a graduate of Indiana University with both bachelors and masters degrees in vocal performance.
In 2004, Ms. Scearce completed a Master of Science degree in Speech-Language Pathology with advanced training in voice rehabilitation at the Massachusetts Eye and Ear Infirmary. She is currently Performing Voice Specialist and Director of Performing Voice Programs and Development at the Duke Voice Care Center, where she provides voice evaluation and rehabilitation therapy to singers with vocal injuries, and Adjunct Assistant Professor of the Practice of Music in the Duke University Music Department. Ms. Scearce is a frequent speaker on the topic of the singing voice at national and international voice conferences, including the American Academy of Otolaryngology, the Voice Foundation, the National Association of Teachers of Singing, the International Conference on the Physiology and Acoustics of Singing, and the McIver Lecture in Vocal Pedagogy.
ERIC SCHWARTZ, composer (Nosferatu) has studied composition at the Cleveland Institute of Music, New York University, and both the Interlochen and Aspen Summer Music Festivals. Past teachers have included Margaret Brouwer, Donald Erb, George Tsontakis, and Randy Woolf. Primarily interested in a synthesis of musical archetypes, Schwartz is always at work on a variety of genre bending projects. Formative influences include an amalgamation of the glam metal of the late 80's, and the baroque intellectualism of Arnold Schoenberg. His music has been performed at various venues throughout New York City, from The Knitting Factory to Merkin Concert Hall, as well as such far flung places as Bucharest, Romania and Thunder Bay, Ontario. He has received awards and grants from Meet the Composer, ASCAP, The Society for New Music, The Puffin Foundation, The Cleveland Chamber Symphony, and The Ohio Federation of College Music Clubs. Schwartz has served on the faculties of New York University, Hunter College, and the Lucy Moses Music School, and is the artistic director of the Brooklyn, NY based experimental music group Forecast Music (forecastmusic.org). He was recently appointed Resident Composer for the Los Angeles based Tonoi contemporary music ensemble's 2007-2008 season. His debut CD "24 Ways of Looking at a Piano", named one of the top classical CDs of 2005 by All Music Guide, is available now from Centaur Records (http://www.centaurrecords.com). His music is also available on Capstone Records, and Trace Label (France), and is published by Staunch Music (UK) and Lovebird Music (US).
DMITRY SITKOVETSKY, violin and conductor (Wagner@200) is an artist whose creativity defies categorising. He has built up an active and successful career as a violinist, conductor, arranger, chamber musician & festival director. Born in Baku, Azerbaijan, he grew up in Moscow studying at the Moscow Conservatory and after his emigration in 1977, at the Juilliard School in New York. Sitkovetsky has performed as a soloist with a number of the world’s leading orchestras including the Berlin, New York and LA Philharmonic Orchestras, Leipzig Gewandhaus, Concertgebouw Orchestra, all of the major London orchestras, NHK, Chicago, Philadelphia and Cleveland orchestras. He has performed at a number of high-profile festivals including Salzburg, Lucerne, Edinburgh, Verbier, Istanbul, Newport, and the IMG Tuscan Sun and Napa Valley Festivals.
Sitkovetsky has built a flourishing career as a conductor. In 1996, he was appointed Principal Conductor and Artistic Advisor of the Ulster Orchestra for five years, in 2001, was appointed Conductor Laureate, and from 2002-2005 held the position of Principal Guest Conductor of the Russian State Orchestra. From 2006 – 2009, he was the Artist-in-Residence at the Orquesta Sinfonica de Castilla y Leon (Spain) a position that involved conducting, solo playing, touring, chamber music and masterclasses. In 2003, Sitkovetsky was appointed Music Director of the Greensboro Symphony Orchestra, a position he holds to this day. As a guest conductor, he has worked with leading orchestras including the London & Royal Philharmonic Orchestras, Academy of St Martin in the Fields, BBC, San Francisco, St. Louis, Seattle and Dallas Symphony Orchestras, Ensemble Orchestral de Paris, Santa Cecilia and the St Petersburg Philharmonic.
Sitkovetsky is also the founding director of the New European Strings Chamber Orchestra (NES CO), established in 1990, which is comprised of distinguished string players from Eastern & Western Europe. Since his successful transcription of Bach’s Goldberg Variations for string trio, he has transcribed more than 30 works mostly for string orchestra by Haydn, Beethoven, Brahms, Dohnanyi, Bartók, Tchaikovsky, Shostakovich, Stravinsky and Schnittke. He has been a member of ASCAP since 1985 and his transcriptions are published by Doblinger, Sikorski and Schirmer.
Between 1983 and 2002 Sitkovetsky was the Artistic Director of a number of music festivals including the Korsholm Music Festival in Finland (1983-1993 and 2002), Seattle International Music Festival (1992-1997), “The Silk Route of Music” Festival in Baku, Azerbaijan (1999) and worked with a diverse range of artists such as Argerich, Ashkenazy, Bashmet, Davidovich, Harrell, Kissin, Maisky, Ohlsson, Penderecki, Repin, Schnittke and Shchedrin. In May 2007, Sitkovetsky was the Artist-in-Residence at the Bodensee Festival in Germany where he performed a wide variety of activities: soloist, conductor, chamber musician, recitalist, masterclasses and conducted the NES Chamber Orchestra in residence.
He has an active and varied recording career with an extensive discography which includes all the major violin concerti, numerous chamber music works as well as orchestral recordings that he’s conducted. In July 2010, Hänssler Classic released a boxed set of the complete Mozart Violin Sonatas with Antonio Pappano and Konstantin Lifschitz. The same label, recently released Sitkovetsky’s string orchestra transcriptions of works by Shostakovich and Stravinsky with the NES CO as well as Piano Trios of Rodion Shchedrin and Peteris Vasks (Hänssler). His most recent concerto release is Dutilleux’s L'Arbre des Songes with the Concertgebouw Orchestra and Mariss Janssons (Concertgebouw Live). Forthcoming releases include a new recording of the Goldberg Variations for String Trio to celebrate the 25th anniversary of the transcription.
Sitkovetsky’s increasing involvement in contemporary music shows a keen interest in performing new repertoire. He premiered the violin concerti written for him by John Casken (1995) and Krzystof Meyer (2000) and often performs works by Dutilleux, Penderecki, Schnittke, Pärt and Shchedrin who has written several works for Sitkovetsky both as violinist and conductor. In 2005, he performed two major works by John Corigliano - his Second Symphony and the Red Violin Suite in a play/conduct concert. Sitkovetsky’s latest premiere was The Gifts of the Magi written by Jakov Jakoulov after O’Henry’s famous story and narrated by Peter Coyote with the Greensboro Symphony. He also played a unique solo recital of contemporary music at the Verbier Festival in 2009 with a programme by Schedrin, Vasks, Auerbach and Ali-Zadeh.
BONNIE THRON, cellist (Chamber Music for the People!) joined the North Carolina Symphony as principal cellist in 2000. Previously she was a member of the Peabody Trio, in residence at the Peabody Institute, during which time the group won the Naumberg chamber music competition.
Early in her career Ms. Thron was assistant principal cellist of the Denver Symphony for a season and she played and recorded with the Orpheus Chamber Ensemble. In the summers she plays in the Sebago Long Lake Music Festival in Harrison, Maine. She also has a long history with the Apple Hill Chamber Players as a guest artist and chamber music coach and was involved in the group’s first Playing for Peace tour to the Middle East in 1991.
Ms. Thron has performed concertos with the North Carolina Symphony, the Orpheus Chamber Ensemble, the Juilliard Orchestra, the Panama National Orchestra, the Vermont Symphony Orchestra, and various other orchestras in her home state of New Hampshire.
She received Bachelors and Masters degrees from the Juilliard School. Her teachers include Lynn Harrell, Harvey Shapiro, Norman Fischer and Elsa Hilger. Ms. Thron also received a BSN from Johns Hopkins School of Nursing and worked as a nurse for several years as a nurse at Johns Hopkins Hospital and as a case manager in home care nursing during which time she was a cello teacher at the Baltimore School for the Arts.
Rebecca Troxler, flute (Happiness is....) has been on the faculty of the Duke University Music Department since 1981. She received her training at the North Carolina School of the Arts and the Juilliard School of Music. A specialist on historic flutes, she was flutist with the Mozartean Players, with whom she recorded two volumes of Haydn trios on the Arabesque label. Her recording of the flute sonatas of the sons of J.S. Bach was released on the Centaur label. She has performed as soloist with Orpheus Orchestra and Magnolia Baroque Festival.
STEPHANIE VIAL, baroque cello (Bach is back!) is the Assistant Director of the Vivaldi Project. A sought-after chamber musician and soloist, Vial has performed with many of North America's period instrument ensembles including such groups as Quebec's Les Violons du Roy, the Atlanta Baroque Orchestra, and the Apollo Ensemble. She has recorded for the Dorian Label, Naxos, Hungaroton, and Centaur Records. Fanfare Magazine, in a review of the Naxos recording of Quantz flute sonatas, gives "a particular bow to Stephanie Vial, who manages to make each cello intervention a delight to the ear." Vial received her training on the modern cello at Northwestern University with Alan Harris, followed by a Master's Degree at Indiana University with Tsuyoshi Tsutsumi. She holds a doctorate in 18th-century performance practice from Cornell University where she studied with John Hsu. Her book, The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical “Period,” published in 2008 by the University of Rochester Press' Eastman Studies in Music Series, was praised by Malcolm Bilson as "inspired scholarship" and "essential reading." Vial has taught at Cornell University, Duke University, and is currently an adjunct faculty member at the University of North Carolina at Chapel Hill. Together with Elizabeth Field, she directs The Vivaldi Project's Institute for Early Music on Modern Instruments and is a regular guest teacher at The Curtis Institute.
DAVID WILSON, baroque violin (Bach is back!) has performed extensively with period instrument ensembles in the United States and Europe, including Philharmonia Baroque Orchestra, Portland Baroque Orchestra, and Los Angeles Baroque Orchestra, and as concertmaster with Jubilate Baroque Orchestra, the California Bach Society, Apollo Baroque Orchestra, the Dayton Bach Society and Ensemble Musical Offering.
An avid chamber musician, he performs with Magnificat, the Albany Consort, Ensemble Vermillian, and Lux Musica, and he is a founding member of Florilegia, Ensemble Seicento, Aurora Baroque, and the Galax Quartet. A co-founder of the Bloomington Early Music Festival, he performs regularly at the Boston Early Music Festival, the Berkeley Early Music Festival, and the San Luis Obispo Mozart Festival. He has taught Baroque violin at Indiana University, where he earned the Doctor of Music degree in Early Music, and he holds degrees in violin from Bowling Green State University in Ohio and The Catholic University of America in Washington, D.C. He is the author of Georg Muffat on Performance Practice, published by Indiana University Press.
BRENT WISSICK, baroque cello and viola da gamba (Bach is back!) is the Zachary Taylor Smith Distinguished Term Professor in the Department of Music at UNC-CH, where he has taught cello, viola da gamba and chamber music since 1982. A member of Ensemble Chanterelle and principal cellist of the Atlanta Baroque Orchestra, he is also a frequent guest with American Bach Soloists, Folger Consort, Boston Early Music Festival, Concert Royal, Dallas Bach Society, Vancouver Early Music Festival and Collegio di Musica Sacra in Poland. With these ensembles has recorded for the Centaur, Albany, Koch, Radio Bremen, Bard and Dux labels as well as in the soundtrack for the Touchstone film "Casanova". His online video article titled "The Cello Music of Bononcini" can be viewed in the peer-reviewed Journal of Seventeenth-Century Music" and several of his teaching videos are posted on the website of the Viola da Gamba Society of America. He served as president of that society from 2000 through 2004 and chaired its international Pan-Pacific Gamba Gathering in Hawaii during the summer of 2007.
In addition to teaching cello at UNC, he directs its Cello Choir, Viol Consortand Baroque Ensemble, also teaching classes in Historical Performance Practices and String Methods for Music Education Students; as well as team-teaching a First-Year Seminar in the Physics of Music with Laurie McNeil, chair of the Physics Department. He also serves as mentor of the Kenan Music Scholars and is chair of the String Area.
His current research and performance interests include the cello
music of Benjamin Britten, Chopin’s Cello Music on period instruments
and French Gamba Music. A graduate of the Crane School of Music at
Potsdam College in NY and of Penn State (MM cello, 1978), he also
studied with John Hsu at Cornell University and was an NEH Fellow at
Harvard in the 1993 Beethoven Quartet Seminar. He has taught at the
College of St Scholastica in Minnesota (1978-82), Chautauqua Institution
and the 1997 Aston Magna Academy at Yale; and has presented lectures,
master classes and recitals at schools, colleges and workshops
throughout North America, Europe, Asia and Australia.
JACQUELINE SAED WOLBORSKY, violin (Chamber Music for the People!) is the Acting Principal Second Violin of the North Carolina Symphony. Before coming to North Carolina, Jacqueline was a member of the Charleston Symphony and an adjunct professor of violin at the College of Charleston. She has been a featured soloist with the North Carolina Symphony and the Brussels Chamber Orchestra. Jacqueline received first prize, the audience choice award and a solo performance at the South Carolina Philharmonic Competition and was honored with the Russel Award at the Coleman International Chamber Music Competition in Pasadena, CA.
She has had the pleasure of performing for Nobel Peace Prize winner Eli Weisel in Chicago, Il., the late Itzhak Rabin's family in Jaffa, Israel, and in 2001, for the Vice President of the United States and other high government officials in Washington D.C. Jacqueline has spent past summers at the Verbier Festival in Switzerland, on the faculty of the Eastern Music Festival in Greensboro, in the Chautauqua Symphony in New York, at the Norfolk Chamber Music Festival in Connecticut, at the Steans Institute for Young Artists in Highland Park, Il., at the Rome Festival in Italy, the Thessaloniki Festival in Greece, Keshet Eilon in Israel and the Weathersfield Music Festival in Ludlow, VT. She was invited by the Verbier Orchestra and Chamber Orchestra on separate occasions to tour several European Countries with Joshua Bell, James Levine and the late Mstislav Rostropovich. She has also had the honor of working with Kurt Masur, members of the Tokyo, Vermeer and Cleveland String Quartets, Yuri Bashmet, Bill Preucil, Claude Frank, Miriam Fried and Joseph Silverstein. Mrs. Wolborsky received her Bachelors of Music from the Oberlin Conservatory with renowned professors Roland and Almita Vamos and her Masters of Music from the Cleveland Institute of Music under the tutelage of distinguished professor, Donald Weilerstein.
She is a proud mama to adorable twin toddlers, Chloe and Cameron.