Juilliard Historical Performance Celebrates its Fifth Season in 2013-2014


Guest Artists Include Early Music Specialists Arcangelo, William Christie, Richard Egarr, Fretwork, Christopher Hogwood, London Haydn Quartet, Manfredo Kraemer, Nicholas McGegan, and Jordi Savall, Plus Juilliard Faculty Members Monica Huggett and Robert Mealy

Start Date

Wednesday, July 10, 2013

Press Release Images

William Christie (Photo by Denis Rouvre)
William Christie (Photo by Denis Rouvre)
Jordi Savall (Photo by Richard Termine)
Jordi Savall (Photo by Richard Termine)
Richard Egarr
Richard Egarr
London Haydn Quartet (Photo by Benjamin Harte)
London Haydn Quartet (Photo by Benjamin Harte)
Fretwork (Photo by Chris Dawes)
Fretwork (Photo by Chris Dawes)


Juilliard Historical Performance, the School’s graduate-level full-tuition scholarship program for early music, celebrates its fifth performance season with a full schedule of concerts at Juilliard, throughout NYC, and beyond in 2013-2014, performed by its student period-instrument ensemble Juilliard415, faculty ensemble Juilliard Baroque, and a roster of distinguished visiting guest artists. Among those artists returning to Juilliard are William Christie, Richard Egarr, and Jordi Savall. Guest artists Arcangelo, Fretwork, Christopher Hogwood, the members of the London Haydn Quartet, Manfredo Kraemer, and Nicholas McGegan also will augment Juilliard Historical Performance’s curriculum with coachings, master classes, and special seminars. Faculty members Monica Huggett and Robert Mealy continue to lead concerts.

Artist-in-residence and artistic advisor, violinist Monica Huggett, opens the performance season when she leads Juilliard415 musicians in a chamber music concert featuring select Mozart string quintets on Tuesday, September 24 at 8 PM in Juilliard’s Paul Hall.

Director of Juilliard Historical Performance, Robert Mealy, leads Juilliard415 on Monday, October 21 at 8 PM in Alice Tully Hall in a program of French dance suites by Bach, Telemann, and Rameau. Tickets are $20, and available online, via CenterCharge, or at the Alice Tully Hall Box Office beginning September 23. $10 student and senior tickets are available that same day, only at the Alice Tully Hall Box Office.

A popular guest conductor with the Juilliard Orchestra, Nicholas McGegan, music director of the Philharmonia Baroque Orchestra in San Francisco, conducts Juilliard415 in a program entitled, “Dresden and Berlin: Celebrating Two Courts,” Monday, November 4 at 8 PM in Alice Tully Hall. The concert is designated as Juilliard’s annual tribute to late philanthropist Jerome L. Greene. The program features rarely performed music by composers from Bohemia: Jiří Antonin (Georg Anton) Benda, Jan Dismas Zelenka, Johann George Pisendel, and C.P.E. Bach. A highlight of the program will be Benda’s Violin Concerto in G Major (New York premiere) and will feature a soloist selected through a Juilliard’s concerto competition some weeks prior. Tickets are $20; available September 23 online, via CenterCharge, or at the Alice Tully Hall Box Office. $10 student and senior tickets are available that same day, only at the Alice Tully Hall Box Office.

Juilliard415 continues its collaboration with Juilliard Opera in a fully-staged, period-instrument production of Handel’s Radamisto, directed by James Darrah and conducted by Julian Wachner, on Wednesday, November 20 and Friday, November 22 at 8 PM with a 2 PM matinee on Sunday, November 24 in Juilliard’s Peter Jay Sharp Theater. This will be the second early music opera presented by Juilliard since the Historical Performance program began performances in September 2009. Tickets are $30; available October 16 online at www.juilliard.edu/radamisto, via CenterCharge, and at the Janet and Leonard Kramer Box Office at Juilliard. $15 student and senior tickets are available that same day, only at the Juilliard Box Office.

Juilliard415 has been invited back to perform for The Bohemians (New York Musicians Club) 107th annual concert series at the Kosciuszko Foundation (15 East 65th Street) on Monday, December 2 at 8 PM. Founded in 1907 by pianist Rafael Joseffy, The Bohemians is an exclusive NYC-based society comprised of musicians and music lovers whose objectives include furthering the cause of music and musicians, advancing the careers of young musicians, and supporting the Musicians’ Foundation – a tax-exempt charitable organization aiding professional musicians in need. Free tickets for the concert are available to current club members. Guests are welcome. $20 general admission; $10 for students at the door on the night of the concert. Information at www.the-bohemians.org.

Violinist Monica Huggett leads Juilliard415 on Monday, December 9 at 8 PM in Alice Tully Hall in Beethoven’s Symphony No. 1, marking the first time that Juilliard415 musicians will be coached on a large-scale Beethoven work for performance. Johannes Matthias Sperger’s Concerto No. 18 in C Minor with second-year Juilliard Historical Performance bassist, Pippa Macmillan, also is programmed. Mozart’s Overture to The Marriage of Figaro and concert aria, Bella mia fiamma…Resta o cara, completes the program. Tickets are $20; available September 23 online, via CenterCharge, or at the Alice Tully Hall Box Office. $10 student and senior tickets are available that same day, only at the Alice Tully Hall Box Office.

A first-time collaboration by Juilliard415 and the Saint Thomas Choir of Men and Boys, conducted by Richard Egarr, features works by Handel and Purcell on Thursday, January 30 at Saint Thomas Church (1 West 53rd Street at Fifth Avenue, NYC). The program features two Coronation Anthems by Handel: Zadok the Priest and The King Shall Rejoice, as well as Purcell’s Hail! Bright Cecilia, Z.328. John Scott is organist. Tickets at $75 (Prime), $55 (Preferred), $40 (Standard), and $30 (Student/Senior) are available at www.saintthomaschurch.org/music/concerts.

Jordi Savall makes his annual appearance at the School leading Juilliard415 on Monday, February 24 at 8 PM. (Venue and ticket information to be announced.) The program features suites from Matthew Locke’s The Tempest and Henry Purcell’s The Fairy Queen, with spoken texts from the Shakespeare originally included in Robert Schumann’s Dichtergarten für Musik. The guest concertmaster for the program will be violinist Manfredo Kraemer. Mr. Kraemer was one of the founders of Concerto Köln, and from 1986-1991, was a member of Musica Antique Köln. He frequently performs with Mr. Savall and others. They perform the same program on the Miami Bach Society’s series on Wednesday, February 26 at 8 PM at the Miami Beach Community Church. For more information, visit miamibachsociety.org.

A centerpiece of Juilliard415’s programming this season offers the rare opportunity to hear both St. John and St. Matthew Passions. The ensemble is joined by Trinity Wall Street Choir with Juilliard faculty member and conductor Gary Thor Wedow leading J.S. Bach’s St. Matthew Passion in Alice Tully Hall on Monday, March 17 at 7:30 PM. The soloists will feature Juilliard singers, and alumnus Timothy Fallon will be the Evangelist. Tickets are $20; available September 23 online, via CenterCharge, or at the Alice Tully Hall Box Office. $10 student and senior tickets are available that same day, only at the Alice Tully Hall Box Office. The ensembles also perform the work at the Juilliard in Aiken festival www.juilliardinaiken.com in Aiken, South Carolina, just prior, as part of a southern tour that includes concerts in Aiken, South Carolina on Friday, March 14, and at Spivey Hall in Morrow, Georgia on Sunday, March 16. www.spiveyhall.org/events/bach-st-matthew-passion.

For the fourth time in as many seasons, Juilliard415 collaborates with the Yale Institute of Sacred Music and distinguished conductor Masaaki Suzuki for performances of major period choral works. This season, Juilliard415 and Yale Institute of Sacred Music singers are led by Bach specialist Suzuki in J.S. Bach’s St. John Passion. Performances take place on Friday, April 4 at 7:30 PM in Alice Tully Hall and on Saturday, April 5 at 8 PM in Woolsey Hall at Yale University, New Haven, CT. Mr. Suzuki makes his Alice Tully Hall debut with the April 4th concert. Tickets for the Alice Tully Hall concert are $20; available February 3 online, via CenterCharge, or at the Alice Tully Hall Box Office. $10 student and senior tickets are available that same day, only at the Alice Tully Hall Box Office.  Ticket information for the Yale University concert to be announced, www.yale.edu.

William Christie returns to conduct Juilliard415 in two concerts off-campus - at the Metropolitan Museum of Art in the intimate Vélez Blanco Patio on Friday, April 11 at 7 PM and at Corpus Christi Church on the Music Before 1800 series on Palm Sunday, Sunday, April 13 at 5 PM. They perform French Baroque chamber music including works by Clérambault and Couperin on the April 11th concert, and Charpentier’s Actéon with singers on the April 13th concert. Tickets for the Met Museum concert at $90 (includes admission to the museum) are available at www.metmuseum.org/events. For more information on single tickets for the Corpus Christi Church concert, available August 20, call (212) 666-9266 or go to www.mb1800.org. $10 student rush tickets may be purchased at the door.

Two concerts by Juilliard415 with Monica Huggett survey the sonata repertoire of iconic 17th century violinist-composer Arcangelo Corelli, featuring his Opus 5 violin sonatas in addition to several trio sonatas and concerto grosso. The performances take place at Madison Avenue Presbyterian Church (921 Madison Avenue, NYC) on Friday, April 25 at 7:30 PM and Sunday, April 27 at 3 PM. Additional information to be announced, www.mapc.com.

The ensemble wraps up its regular performance season on Tuesday, May 6 at 6 PM, when members of Juilliard415 perform chamber music in their debut appearance on Miller Theatre’s Pop-Up Series. Information to follow later, www.millertheatre.com.

“Wednesdays at One” at Holy Trinity Lutheran Church

Juilliard Historical Performance musicians continue their free lunchtime series at nearby Holy Trinity Lutheran Church (65th Street and Central Park West, NYC) this season. The four concerts in the series – October 30, December 18, February 12, and May 7all on Wednesdays at 1 PM – feature chamber music on period instruments in the 109-year-old church, home of the celebrated Bach Vespers series. These hour-long concerts are free, no tickets are required. The series is an extension of Juilliard’s longtime, free lunchtime performance series that takes place during the school year on Wednesdays in Alice Tully Hall.

Juilliard Baroque

Juilliard Baroque members perform in Paul Hall at Juilliard on Thursday, January 23 at 8 PM. The concert features violinist Robert Mealy, oboist Gonzalo Ruiz, bassoonist Dominic Teresi, and harpsichordist Jeffrey Grossman, an alumnus of the program. They perform trio and solo sonatas by G.F. Handel, both C.P.E. and his father J.S. Bach, and Jan Dismas Zelenka, a 17th-century Czech composer. FREE tickets to the January 23 concert will be available on January 9 at the Janet and Leonard Kramer Box Office at Juilliard. An encore performance takes place, Sunday, January 26 at 3 PM, as part of the annual concert series at Yale University’s Collection of Musical Instruments. This longtime and distinguished series of concerts presents performances of music in its historical context and often using appropriate examples from the Collection that have been restored to playing condition. Information to come, http://www.yale.edu/musicalinstruments/events.htm.

This same program is presented a third time by Renaissance and Baroque of Pittsburgh on Saturday, March 15 at 8 PM in that city’s Synod Hall. Tickets range from $10-$35. For further information, please visit: www.rbsp.org/.

On Monday, May 5, Juilliard Baroque will perform on the Virginia Arts Festival. For further information, please visit vaartsfestival.org.


Residencies continue to be an important part of Juilliard’s Historical Performance Program and give Juilliard musicians a chance to work closely with a ‘who’s who’ list of early music specialists.

This season, Richard Egarr joins William Christie and Jordi Savall as Juilliard Historical Performance Visiting Artists who have ongoing and regular relationships with the School. Mr. Egarr begins his series of week-long residencies working closely with students in the classroom and studio, giving harpsichord lessons, coaching chamber music, moderating seminars, and holding master classes.

Christopher Hogwood, conductor, musicologist, and keyboardist, is in residency at Juilliard from Monday, October 21 – Thursday, October 24 and offers chamber music coaching plus special seminars on the music of Corelli.

Nicholas McGegan returns to Juilliard to lead a public master class on Wednesday, October 30 at 5 PM in Juilliard’s Paul Hall. 

Fretwork, the celebrated viol consort, leads a master class and coaching session on Wednesday, November 13.

Arcangelo, the up-and-coming young ensemble led by artistic director Jonathan Cohen, a close associate of William Christie, comes to Juilliard for the first time and provides a day of coaching on Tuesday, November 19.

London Haydn Quartet, one of the most respected ensembles specializing in historically-informed performance of the classical repertoire, was last at Juilliard in the 2011-2012 season, and they return for a coaching day on Monday, January 20.

Fabio Biondi, who comes to Juilliard almost annually, leads master classes on Monday, February 17 and Tuesday, February 18

With the exception of the Nicholas McGegan public master class on October 30th, these residencies and coachings are working sessions and are not open to the public.

Ticket and Box Office Information

Tickets for Juilliard Historical Performance concerts on October 21, November 4, December 9, March 17, and April 4 are $20 at the Janet and Leonard Kramer Box Office at Juilliard, through CenterCharge at (212) 721-6500, or online www.juilliard.edu/historical. $10 student and senior tickets are available only at the box office. All other concerts and events are FREE, but tickets are required and available about two weeks prior to the concerts. Please check Juilliard’s public calendar of events for additional information and updates at www.juilliard.edu/fallhistorical and www.juilliard.edu/springhistorical.

About Robert Mealy, Director of Juilliard Historical Performance

Robert Mealy is one of America's leading historical string players. He has been praised for his “imagination, taste, subtlety, and daring” by the Boston Globe; the New Yorker called him “New York’s world-class early music violinist.” Mr. Mealy first began exploring early music while still in high school, with the Collegium of U.C. Berkeley and at the Royal College of Music in London, where he studied harpsichord with Trevor Pinnock and Baroque violin with Catherine Mackintosh.

As an undergraduate at Harvard College, he was asked to join the distinguished Canadian Baroque orchestra Tafelmusik, and performed with them throughout Europe and the Americas for eight years. Since then, he has recorded and toured with many early music ensembles both here and in Europe, including Les Arts Florissants, the American Bach Soloists, Tragicomedia, Sequentia, the Newberry Consort, the Folger Consort, Seattle Baroque, Boston Baroque, and the Handel and Haydn Society. He has led ensembles for the Mark Morris Dance Group at festivals in New York, Moscow, and New Haven, and accompanied Renée Fleming on “The Late Show with David Letterman.”

A frequent leader and soloist here in New York, Mr. Mealy is concertmaster at Trinity Wall Street, as they embark on a complete series of Bach cantata performances. Mr. Mealy has led the internationally-acclaimed Boston Early Music Festival Orchestra since 2004 in many festival performances, including a special performance at Versailles in 2009. Three of his recordings with BEMF have received Grammy nominations. With the smaller BEMF Chamber Ensemble, he has led many productions of chamber operas, and made critically-acclaimed recordings of Charpentier’s Actéon and Blow’s Venus and Adonis. He regularly appears at international music festivals from Berkeley to Belgrade, and from Melbourne to Edinburgh. A devoted chamber musician, he directs the seventeenth-century ensemble Quicksilver, whose debut recording, Stile Moderno, was hailed as “breakthrough recording of the year” by the Huffington Post.

Mr. Mealy is also a member of the Renaissance violin band The King’s Noyse, which has made eleven recordings for harmonia mundi usa. He served for more than decade as an instrumental soloist and leader with the Boston Camerata, recording a wide range of repertoire, from the Medieval Carmina Burana to Jean Gilles’ Requiem and American shape-note music, and even the rarely-heard Kurt Weill musical Johnny Johnson. Through his interest in earlier repertories, he co-founded the medieval ensemble Fortune’s Wheel, which has appeared at early music festivals throughout the Americas, and at the Cloisters and the Frick Museum here in New York.

A keen scholar as well as a performer, Mr. Mealy has been on the faculty of the distinguished Historical Performance graduate program at The Juilliard School since its inception, and became Director of the program in July 2012. In 2009, he was appointed professor (adjunct) at Yale University, where he directs the postgraduate Yale Baroque Ensemble. For a decade previously, he directed the Baroque orchestra at Harvard University. In 2004, he received Early Music America’s Binkley Award for outstanding teaching and scholarship. He has recorded more than eighty CDs on most major labels.

About Monica Huggett, Artist-in-Residence and Artistic Advisor of Juilliard Historical Performance

Monica Huggett is artist-in-residence and artistic advisor of Juilliard Historical Performance and has been with Juilliard Historical Performance since its inception. She also is artistic director of the Portland (Oregon) Baroque Orchestra and the Irish Baroque Orchestra based in Dublin. During the past four decades, she has co-founded the Amsterdam Baroque Orchestra with Ton Koopman; founded her own London-based ensemble Sonnerie; worked with Christopher Hogwood at the Academy of Ancient Music; worked with Trevor Pinnock and The English Concert; toured the United States in concert with James Galway; and in 2004, co-founded the Montana Baroque Festival. She has served as guest director of the Arion Baroque Orchestra, Montreal; Tafelmusik, Toronto; the Los Angeles Chamber Orchestra; Philharmonia Baroque, San Francisco; the Norwegian Chamber Orchestra; the Seville Baroque Orchestra; Concerto Copenhagen; and has been guest soloist with ensembles Helicon and Galatea; Mercury Baroque, Houston; and the Early Music Festival, Utrecht. Her recordings have won numerous prizes, and most recently, her CD Flights of Fantasy, was named by Alex Ross in his New Yorker review, the 2010 CD of the Year. Ms. Huggett holds an honorary fellowship at the Royal Academy of Music in London.

About Juilliard415

Since its founding in 2009, Juilliard415, the School’s principal period-instrument ensemble, has received critical praise for its performances of both rare and canonical works of the 17th and 18th centuries. The ensemble, which takes its name from the pitch commonly accepted for the performance of Baroque music (A=415), performs a wide range of repertoire in a number of different guises. Depending on the repertoire, the ensemble performs with as few as four or five players for intimate chamber music programs, to as many as 30 for major cornerstones of the repertoire, most often directed by distinguished resident and guest artists.

Juilliard415 has performed with distinguished musicians such as William Christie, Ton Koopman, Harry Bicket (in a fully-staged production of Monteverdi’s L’incoronazione di Poppea), Nicholas McGegan, Christopher Hogwood, and Monica Huggett. In April 2011, the ensemble was engaged to accompany David Daniels and Dorothea Röschmann in a concert of Handel arias and duets at Carnegie Hall. Members of Juilliard415 have twice been featured as in-studio guests on WQXR-FM, New York Public Radio. Members of Juilliard415 have participated with musicians from Les Arts Florissants and the Jardin des voix, in, Dans les jardin de William Christie, his summer festival in Thiré, France.

Touring has become an important component of Juilliard415’s profile. In a collaborative concert with Juilliard Baroque, the ensemble traveled to Spain for a sold-out performance of the complete “Brandenburg” Concertos at the Auditorio Nacional in Madrid. In 2011, Juilliard415 performed Bach’s St. Matthew Passion on tour in Italy in a joint concert project with Yale University’s Institute of Sacred Music led by Masaaki Suzuki. This past season, the ensemble teamed up again with Yale and Maestro Suzuki for Bach’s B Minor Mass, with performances in New York, New Haven, the Virginia Arts Festival, and on tour in Tokyo, Kyoto, Sendai, and Singapore.

During the 2012-13 school year, Juilliard415 also performed Handel’s Il Trionfo del Tempo e del Disinganno with William Christie (named as one of the 10 best of the season by the New York Times), an all-Mozart program with fortepiano specialist Christoph Hammer in his Juilliard debut, an all-Rameau concert with Robert Mealy, and a performance of early German orchestral works with Jordi Savall at the Metropolitan Museum and Lincoln Center, among many other engagements.

The 2013-14 season brings return visits from William Christie for Charpentier’s Actéon, Jordi Savall for a program of suites by Henry Purcell and Matthew Locke, Nicholas McGegan in a program of music from the courts of Dresden and Berlin, Beethoven’s Symphony No. 1 with Monica Huggett, and Richard Egarr in his Juilliard debut conducting Handel and Purcell. A centerpiece of Juilliard415’s programming in 2013-14 includes the rare opportunity to hear both Bach Passions in successive months, as well as a fully staged production of Handel’s Radamisto. Along with performances in New York, the ensemble will be presented by the Miami Bach Society and the Virginia Arts Festival.

About Juilliard Historical Performance

Juilliard’s Historical Performance program enters its fifth year in the 2013-2014 season. Established in 2009, the program is open to master of music degree, graduate diploma candidates, and the Doctor of Musical arts degree, and offers comprehensive study focusing on music from the 17th and 18th centuries. The performance-oriented curriculum fosters an informed, vital understanding of the many issues unique to period instrument performance with the level of technical excellence and musical integrity for which Juilliard is renowned. Joint projects and collaborations with Juilliard’s Marcus Institute for Vocal Arts and with modern instrument students outside of the Historical Performance program are an integral part of the program.

The program features residencies and master classes with many of the leading figures in early music. Recent guests have included: Harry Bicket, Fabio Biondi, William Christie and members of Les Arts Florissants, Harry Christophers, Jane Gower, John Holloway, Dame Emma Kirkby, Jakob Lindberg, Lars Ulrick Mortensen, and Jordi Savall. William Christie, Jordi Savall, and Richard Egarr, are returning guest artists, who work intensively with students in repertoire-focused residencies that culminate in public performances.


Meet the Artists

Arcangelo aspires to be one of the world’s leading ensembles bringing together exceptional musicians who excel on both historical and modern instruments, under the direction of founder, artistic director, and conductor Jonathan Cohen. Formed in 2010, Arcangelo exploded onto the musical scene with verve and energy, and has since enjoyed numerous invitations to appear at major festivals and concert halls in Europe and America. The ensemble’s debut CD was released with Hyperion Records in 2011 and featured cantatas by the Italian composer Nicholas Porpora. This first recording achieved great critical success. June 2012 saw the release of their second disc with Hyperion entitled, Arias for Guadagni. This featured music by Handel, Gluck, and C.P.E. Bach and presented the renowned British countertenor, Iestyn Davies. Other CDs include a new disc in 2012 with Berlin Classics of Mozart, Gluck, and Grétry entitled, Amoretti, with German soprano Christiane Karg. Finest Arias for Bass Voice with Christopher Purves (Hyperion) was released in December 2012 and was selected by BBC Radio 3 as one of the outstanding recordings of the year. Arcangelo is delighted to have been nominated with Iestyn Davies for the 2013 Sky Arts South Bank Award for their collaboration.

Born in Palermo, Italy, Fabio Biondi began his international career at the age of twelve, performing his first solo concert with the RAI Symphony Orchestra. Driven early on by an inexhaustible cultural curiosity, Fabio Biondi was introduced to pioneers of the new approach to Baroque music, an opportunity that was to expand his musical vision and change the direction of his career. When he was sixteen, he was invited by the Musikverein of Vienna to perform Bach’s violin concertos. Since then, he has performed with ensembles including Cappella Real, Musica Antiqua Wien, Seminario Musicale, La Chapelle Royale, and Les Musiciens du Louvre – all specialized in the performance of Baroque music using original technique and instruments. In 1990, Mr. Biondi founded Europa Galante, an ensemble, which in just a few years, became one of the most internationally-renowned and awarded Italian ensembles of Baroque music. They have been invited to play at the most important world festivals and concert halls. Their first recording featuring Vivaldi concertos was awarded the ‘Premio Cini’ of Venice and the ‘Choc de la Musique’ and was soon followed by a number of other awards. In 2006, their recording of Vivaldi’s opera, Bajazet, was nominated for a Grammy® award. Mr. Biondi has been artistic director for Baroque music of the Stavanger Symphony Orchestra since 2005, and he is an academician of the Accademia Nazionale di Santa Cecilia (Rome). He plays on an Andrea Guarneri violin (Cremona, 1686). He also plays a 1766 Carlo Ferdinando Gagliano violin, owned by his teacher, Salvatore Cicero, and kindly lent to him by the Salvatore Cicero Foundation in Palermo.

William Christie, harpsichordist, conductor, musicologist, and teacher, is the inspiration behind one of the most exciting musical adventures of the last thirty years. His pioneering work has led to a renewed appreciation of Baroque music in France, notably of 17th and 18th century French repertoire, which he has introduced to a very wide audience. Born in Buffalo, New York, William Christie studied at Harvard and Yale Universities, and has lived in France since 1971. The turning point in Mr. Christie’s career came in 1979 when he founded Les Arts Florissants. As director of this vocal and instrumental ensemble, Mr. Christie soon made his mark as a musician and man of the theater, in both the concert hall and the opera house, with new interpretations of largely neglected or forgotten repertoire. Major public recognition came in 1987 with the production of Lully’s Atys at the Opéra Comique in Paris, which then went on to tour internationally with much success. Mr. Christie’s enthusiasm for the French Baroque has never diminished. From Charpentier to Rameau, through Couperin, Mondonville, Campra, and Montéclair, he is an acknowledged master of tragédie-lyrique as well as opéra-ballet, and is equally at home with the French motet as with music of the court. His affection for French music does not prevent him from exploring other European repertoire, however, and he has given many acclaimed performances of works by Italian composers such as Monteverdi, Rossi, Scarlatti, and Landi, and he broaches Purcell and Handel as felicitously as Mozart and Haydn. His extensive discography of more than 100 recordings, many of which have won awards in France and abroad, with Harmonia Mundi and Warner Classics/Erato is proof of his versatility. Since November 2002, Mr. Christie and Les Arts Florissants have recorded for Virgin Classics. Mr. Christie acquired French nationality in 1995. He is Commandeur dans l’Ordre de la Legion d’Honneur as well as Officier dans l’Ordre des Arts et des Lettres. Mr. Christie also was inducted into the Académie des Beaux-Arts.

Keyboardist and conductor Richard Egarr has been music director of the Academy of Ancient Music since 2006. He also appears with other select period ensembles – the Handel and Haydn Society in Boston and the Orchestra of the 18th Century. As a soloist, he has performed throughout Europe, Japan, and the United States. Mr. Egarr is increasingly sought-after by non-period chamber and symphony orchestras, among them, the BBC National Orchestra of Wales. His recordings include acclaimed discs of Bach’s Wohltemperierte Klavier and works by J.S. Bach and Handel with the Academy of Ancient Music.  

Few other ensembles can match the range of Fretwork’s repertory, spanning as it does the first printed music of 1501 in Venice, to music commissioned by the group this year. Their recordings of arrangements of J.S. Bach have won particular praise, but they have recently issued a disc containing music by Grieg, Debussy, Shostakovich, Warlock, and Britten. This extraordinary breadth of music has taken them all over the world in 25 years since their debut, and their recordings of the classic English viol repertory – Purcell, Gibbons, Lawes, and Byrd – have become the benchmark by which others are judged. Their 2009 recording of the Purcell Fantazias won the Gramophone award for Baroque Chamber Music. The consistently high standards they have achieved have brought music old and new to audiences hitherto unfamiliar with the inspiring sound-world of the viol.

Christopher Hogwood is equally active in 19th- and 20th-century repertoire. A celebrated conductor, musicologist, and keyboard player, his catalogue of more than 200 recordings with the Academy of Ancient Music on Decca includes the complete Beethoven and Mozart symphonies. His Secret Handel CD – part of the “thrilling and revealing” series The Secret Clavichord – was recently awarded a Diapason d’Or, and a series of neo-classical recordings with Kammerorchester Basel for Sony/BMG was described as “balanced and thought-provoking with beautifully pointed and incisively characterized performances.” He has worked with most leading symphony orchestras and opera houses in the world. As a musicologist he covers music from the 16th (Fitzwilliam Virginal Book) to the 20th (Martinů, Elgar, Stravinsky) centuries, and is currently re-editing the overtures and symphonies of Mendelssohn. A revised edition of his classic biography of Handel – “a thorough and excellent guide to the life and works of the great man” – was issued in 2007. Mr. Hogwood is emeritus honorary professor of music at the University of Cambridge and professor of music at Gresham College, London.

Since the birth of the London Haydn Quartet in 2000, it has become one of the most respected ensembles specializing in historically-informed performance of the classical repertoire. Playing with gut strings and classical bows, their passion for Haydn has led them to present many all-Haydn programs at venues such as Wigmore Hall, the Concertgebouw, Carnegie Hall, and the Library of Congress, and at international festivals including Cheltenham, Esterhaza, and Granada. Their three sets of Haydn recordings (Opp. 9, 17, and 20) on the Hyperion label have been highly acclaimed, and the next set will be released later this year. The Quartet has performed with guest artists including Steven Isserlis, Jonathan Manson, and period clarinetist Eric Hoeprich with whom they have performed throughout Europe, the United States, and Canada, and recorded the Brahms and Mozart quintets for Glossa. A collaboration with violist Steve Dann will culminate in four programs at Wigmore Hall presenting all the Mozart string quintets alongside the complete set of Haydn’s Opus 20 Quartets. Teaching has been an important part of the Quartet’s life. A recent three-day seminar on Haydn’s Opus 33 Quartets at the Royal Academy of Music marked the start of a new series of similar events. During their recent visit to the United States and Canada, they gave master classes at Juilliard and at Yale University. The quartet was ensemble-in-residence this year at the Domaine Forget in Quebec.

Nicholas McGegan has been music director of the San Francisco-based Philharmonia Baroque Orchestra and Philharmonia Chorale for more than 25 years. Active in opera as well as the concert hall, Mr. McGegan was principal conductor of Sweden’s perfectly preserved 18th-century theater in Drottningholm from 1993-1996. He has guest conducted orchestras in the United States, Europe, and Asia. His discography of more than 100 releases includes the world premiere recording of Handel’s Susanna, which attracted both a Gramophone award and a Grammy® nomination, and recent issues of the same composer’s Solomon, Samson, and Acis and Galatea. Mr. McGegan frequently conducts and coaches in residencies and engagements at Juilliard, Yale University, Harvard University, Aspen Music Festival and School, and the Music Academy of the West.

Jordi Savall is an exceptional figure in today’s music world. For more than thirty years, he has been devoted to the rediscovery and performance of neglected musical treasures as a soloist and director of his three ensembles -- Hespèrion XXI, La Capella Reial de Catalunya, and Le Concert des Nations -- all were founded together with his wife, the late Montserrat Figueras. He brought recognition to the viola da gamba and to music that had fallen into oblivion, earning him a place as a leading champion of early music. Mr. Savall’s career as a concert performer, teacher, researcher, and creator of new projects, makes him one of the principal architects of the current re-evaluation of historical music. Jordi Savall performs more 140 concerts a year and records. His discography includes more than 170 CDs. His CD, Don Quijote de la Mancha, Romances y Músicas, won him a prize in the early music category and was selected as Record of the Year 2006 by Gramophone magazine. It was also nominated for a Grammy® award. Mr. Savall contributed to Alain Corneau’s film, Tous les Matins du Monde (winner of a César for best soundtrack album). He is a UNESCO Artist for Peace.

Since founding the Bach Collegium Japan in 1990, early music conductor Masaaki Suzuki has established himself as a leading authority on the works of J.S. Bach. He has remained the group’s music director ever since, taking it regularly to major venues and festivals in Europe and the United States, and building up an outstanding reputation for the expressive refinement and truth of his performances. In addition to conducting, Mr. Suzuki is also renowned as an organist and harpsichordist. He regularly is invited to work with European soloists and groups, such as Collegium Vocale Gent and the Freiburger Barockorchester, and he recently appeared in London with the Britten Sinfonia in a program of Britten, Mozart, and Stravinsky. Forthcoming engagements with other ensembles include the Hong Kong Philharmonic, the Nagoya Philharmonic, and the Netherlands Radio Chamber Philharmonic orchestras.  In 2001, Mr. Suzuki was decorated with the Federal Order of Merit from Germany. His impressive discography on the BIS label includes his interpretations with Bach Collegium Japan of Bach’s major choral works and sacred cantatas, with forty volumes now completed. In 2010, he and Bach Collegium Japan were awarded both a German Record Critics’ Award and a Diapason d’Or de l’Année for their recording of Bach motets, which was also honored with a BBC Music Magazine Award in 2011.

Grammy®-nominated conductor Julian Wachner is one of North America’s most exciting and versatile musicians, sought-after as conductor, composer, and keyboard artist. Recent and upcoming engagements include those with the Lincoln Center Festival (The Blind), BAM Next Wave Festival (Liederabend 2013), Juilliard Opera (2013 mainstage), the Rolling Stones (50th anniversary tour), New York City Opera (VOX), Hong Kong Philharmonic, TENET (TENEbrae), Portland Baroque (Messiah), and with Carnegie Hall (Arvo Pärt Passio). As director of music and the arts at New York’s historic Trinity Wall Street, Mr. Wachner oversees an annual season of more than 900 events, including Trinity’s numerous and varied concert offerings, series and festivals, museum exhibitions, dance and theater performances, poetry and literary readings, and educational/outreach initiatives in lower Manhattan and Brooklyn in partnership with New York City’s public school system. At Trinity Wall Street, Mr. Wachner serves as the principal conductor of NOVUS NY (Trinity’s resident contemporary music orchestra), and the Trinity Baroque Orchestra and Choir of Trinity Wall Street, recently nominated for a 2012 Grammy Award for its recording of Handel’s complete Israel in Egypt. He also is the director of Bach at One, Trinity’s weekly performances of the cantatas of J.S. Bach. Mr. Wachner’s recordings are with the Chandos, Naxos, Atma Classique, Arsis, Dorian, Musica Omnia, and Titanic labels.

Conductor Gary Thor Wedow has established a reputation for dramatically exciting and historically-informed performances with opera companies, festivals, and choral organizations throughout North America. His most recent successes include Gluck’s Orpheus and Eurydice and Mozart’s The Magic Flute for Seattle Opera, Wolf-Ferrari’s Le donne curiose for Wolf Trap Opera, and Handel’s Agrippina for Boston Lyric Opera. Mr. Wedow has been closely associated with New York City Opera for many years, and he most recently conducted Christopher Alden’s production of Mozart’s Don Giovanni and the New York premiere of Telemann’s Orpheus. Highlights of Mr. Wedow’s 2012–2013 season include Mozart’s La finta giardiniera for San Francisco Opera’s Merola Program, Handel’s Xerxes at Indiana University, Handel’s Rinaldo for Portland Opera with the Portland Baroque Orchestra, Johann Strauss II’s Die Fledermaus for Virginia Opera, Handel’s Messiah with the Alabama Symphony, and a return to Seattle Opera for Poulenc’s La Voix humaine and Puccini’s Suor Angelica. Gary Thor Wedow has been a member of The Juilliard School faculty since 1994 and has led performances there of Monteverdi’s L'incoronazione di Poppea, La finta giardiniera, Agrippina, and Don Giovanni. He has prepared several performing editions of Baroque works in collaboration with countertenor Lawrence Lipnik. Mr. Wedow’s long association with director Stephen Wadsworth has included productions of Handel’s Xerxes and Ariodante as well as Gluck’s Iphigénie en Tauride. Mr. Wedow has been a frequent guest of Florida Grand Opera, Canadian Opera Company, Glimmerglass Opera, Berkshire Opera, Chautauqua Opera, Amherst Early Music Festival, and Pittsburgh Opera. Choral masterpieces and symphonic repertoire have taken him to the podiums of the Seattle Symphony Orchestra, Orchestra London, and Boston’s Handel and Haydn Society, where he was associate conductor for many years. As a pianist, Mr. Wedow studied with Jorge Bolet.