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Early Music Concert, July 16

Rebekah Ahrendt has been described as “a player to watch” (San Francisco Classical Voice) and praised for her “dark, rich tone” (Fanfare). She has appeared in the United States and Europe as a soloist and with a variety of ensembles, including Les grâces, Long & Away, and the Smithsonian Consort of Viols. Her recordings include sacred works of Samuel Capricornus (Cornetto-Verlag), viol consorts of David Funck (Olde Focus), and French baroque chamber music (MSR Classics). A graduate of the Royal Conservatory of The Hague, Rebekah also holds the Ph.D. in musicology from UC Berkeley. She is currently Associate Professor of Musicology at Utrecht University.
Historical keyboardist Rebecca Cypess is Associate Professor of Music at the Mason Gross School of the Arts, Rutgers University. She is the founder and director of the Raritan Players, whose first recording, In Sara Levy's Salon (Acis Productions, 2017), has been called has been called “simply mesmerizing” (Early Music America) and “a fascinating concept, brilliantly realised” (Classical Music). Her recording with fortepianist Yi-heng Yang, Sisters, Face to Face: The Bach Legacy in Women’s Hands (Acis, 2019), received the Noah Greenberg Award from the American Musicological Society for contributions to historical performance. These performance projects complement her scholarly work, which is focused on women and musical salons of the Enlightenment.
Oboist Geoffrey Burgess studied in Sydney and later in The Hague. He has performed as soloist with the Australian Brandenburg Orchestra, and recitalist in America, and Europe. In addition to twenty year’s association with the Paris-based company Les Arts Florissants, Geoffrey has recorded solo Baroque and contemporary programs, and virtuosic chamber music with Kleine Kammermusik. His current affiliations include principal oboe with the Washington Bach Consort, the Philadelphia Bach Festival, Chatham Baroque (Pittsburgh), Pegasus Early Music (Rochester, NY), and Trinity Baroque (New York). He is on the faculty of the Eastman School of Music and has given master classes at Juilliard and Curtis, as well as European conservatories. The Oboe, written with Bruce Haynes, has become a standard reference work on the subject, and his recent writings include Well-Tempered Woodwinds, a history of the early music revival in the U.S. (2015), and a revisionist performance practice guide, The Pathetick Musician (2016).
David Irving combines a passion for performance on early violins with keen historical interests in researching music and intercultural exchange from the sixteenth to nineteenth centuries. He is an ICREA Research Professor in Musicology at the Institució Milà i Fontanals–CSIC, Barcelona. As a baroque violinist, David has performed with leading early music groups on four continents, including the Australian Brandenburg Orchestra, Chacona (Australia), the Gabrieli Consort & Players (UK), The Hanover Band (UK), Concerto Caledonia (UK), The Early Opera Company (UK), La Compañía Musical (Spain), La Serenissima (UK), Le Concert Lorrain (France), the Saraband Consort (UK), St James's Baroque Players (UK), and XVIII-21 Le Baroque Nomade (France). He plays a violin by John Simmers (Brisbane, 2000), after Jacob Stainer (Absam, c.1670), and uses a bow by Hans Reiners (Berlin, 2005), after an anonymous English model (c.1720). In 2018 he released a recording of Johann Heinrich Schmelzer’s Sonatæ unarum fidium (1664) on the Obsidian label.
Elisabeth Le Guin is a performer and musicologist whose dual allegiances manifest as a series of dialogues, in tones and words, between theory and practice. As a Baroque cellist, she was a founding member of Philharmonia Baroque Orchestra and the Artaria String Quartet, and appeared in over 40 recordings. In more recent years she has become involved in the movimiento jaranero, a transnational grassroots musical activism in Mexico and its diaspora; tonight she joins us on the jarana, a vernacular Mexican version of the Spanish Baroque guitar.
Jennifer Publicover is a performer on the modern orchestral flute, the Irish wooden flute, and the Baroque flute, and holds a Master's degree in Music (Performance) from the University of Toronto. She is a member of the neo-traditional trio Papilio with Anthony Rissesco (fiddle/vocals) and Phil Schappert (guitar/bouzar) and the Wildwood Flute and Harp Duo with harper Alys Howe. As a modern classical orchestral freelancer she has played with such groups as Symphony Nova Scotia, the Stadacona Band, and the Charlottetown Festival Orchestra. Having branched out into the Baroque flute about six years ago, she freelances professionally with such early music groups as Rejouissance and the St. George's Consort. She is on the faculty of the Maritime Conservatory of Performing Arts and has founded new ensemble programming there for traditional and early music.