Valerie Austin is a professor of history and of music at Saint Andrews University in Laurinburg, NC, where she teaches courses in European history and the World Wars. As a musicologist and music educator her research areas include early instrumental music and 20th century American music, specifically the crossover between popular and ‘classical’ forms. With musical origins as a symphonic trumpet player, Austin specializes on the cornett and recorder. You may have seen her name on the board of the American Recorder Society, and she notes her favorite professional group is the International Guild of Town Bands and Pipers, to whose international gatherings she regularly travels to perform.
Martha Bishop, viola da gamba and composer, will be teaching a viol class and holding ad hoc reading sessions for viols in the evening. She has quite an active studio of viol (and cello) students at all levels of playing, both privately and in ensembles. For Mountain Collegium she has composed a 50th Anniversary piece, “Mountain Estampie.” Her connection with Mountain Collegium dates back to its beginnings in at Emory in Atlanta when Karl Neumann, Bill Lemonds, George Kelischek, Arnie Grayson, Valerie Horst, Gian Lyman Silbiger, Richard Tauruskin, and others bring back fond memories of the early days….not to mention when the workshop moved to Brasstown, and son Gregory was small enough to sleep in a dresser drawer.
Kelly Brzozowski holds a BMUS and a Masters Diploma in Harp Performance and Musicology from the University of North Wales. She has taught and performed throughout Europe and the U.S. Kelly lives in Atlanta where she has maintained a large teaching studio for more than twenty years and performs both classical and Celtic music. When she is not performing, teaching, or traveling, she is homeschooling her son. You will often find her designing and conducting experiments. Is it science or is it food?!?
Rosalind Buda is a versatile and diverse performer and educator, playing and teaching music from Scottish smallpipes and Highland bagpipes to classical bassoon. Rosalind is passionate about teaching musicians of all ages, and her years of experience in both classical and folk music give her a unique perspective and a multi-faceted, holistic approach to learning. Rosalind firmly believes that everyone can develop their own style, expand technique through new approaches, and find their greatest enjoyment in music-making at any stage in their learning. Rosalind brings her musically encouraging approach to her private students, college students, and to workshops around the country.
As a performer, Rosalind freelances and tours regularly with the Celtic/Appalachian pipe and harp duo, The Reel Sisters, on smallpipes, whistles, and vocals. The Reel Sisters have toured from New Mexico to New York and revel in sharing traditional tunes and stories. In addition to her duo, Rosalind performs regularly as a multi-instrumentalist, singer, and reader with various ensembles including Houston-based Istanpitta Early Music Ensemble as well other bagpipe-centric bands. As a bassoonist, Rosalind is an avid performer of chamber music and orchestral music in the Southeast. Rosalind received her MM in bassoon performance from New England Conservatory.
Lorraine Lee Hammond’s grew up in rural New England when ballads and barn dances were part of community life. Lorraine plays, performs on, and teaches dulcimer, banjo, mandolin and harp. Her numerous credits as a traditional singer, songwriter, teacher and multi-instrumentalist include two Appalachian dulcimer books with Yellow Moon Press, and many recordings. A former lecturer in American Folk Music and World Music at Lasell University in Newton, MA, she is Music Director for the WUMB/University of Massachusetts, Boston, Acoustic Music Camps. Lorraine performs and records with her husband, guitar virtuoso Bennett Hammond. They make their home in Brookline, Massachusetts.
Phil Hollar teaches recorder and hurdy-gurdy in Hickory, North Carolina. He is a frequent faculty member at workshops including Mountain Collegium Early Music and Folk Music Workshop, the Atlanta Early Music Alliance Mid-Winter Workshop, and the Triangle Recorder Society Spring Early Music Workshop. Phil has extensive experience leading American Recorder Society chapter playing sessions and has been invited to lead sessions nationwide. He currently serves as a board member for the American Recorder Society where he co-chairs the Member Benefits Committee. Phil holds a Bachelor of Arts in Music from the University of North Carolina at Greensboro.
Joan Kimball is the former artistic co-director and a founding member of Piffaro, The Renaissance Band. She has concertized with the ensemble throughout the U.S., Europe, and South America and has performed with many of the leading early music artists and ensembles in this country. With Piffaro she has recorded for Newport Classics, Deutsche Grammophon Archiv Produktion, Dorian Recordings and PARMA/Navona, and in addition can be heard on the Vanguard, Eudora and Vox Amadeus labels.
Widely known in the early music community as a teacher of recorder, early double reeds and bagpipes, she has been on faculty at early music festivals and workshops across the country, including The Madison Early Music Festival, The Indiana Early Double Reed Workshop, Amherst Early Music, The San Francisco Early Music Recorder Workshop, and Hidden Valley Early Music Workshop.
Joan has intimate knowledge and experience with early double reeds, playing both shawm and dulcian, as well as capped reeds and bagpipes. She has far too many of the latter in various sizes, pitches and volumes in her studio, and is committed to keeping them all in good working order! She makes her own reeds for all her instruments and supplies them as well for reed players across the country. One of her specialties is refurbishing whole sets of krumhorns, replacing the old plastic reeds with more authentic cane ones. In addition, she collaborates with instrument maker Joel Robinson on the construction of Medieval and Renaissance bagpipes.
Holly received a BA from St. Lawrence University in music and religion and the MM from The New England Conservatory in performance practice of early music where she studied with Grace Feldman. Since coming to Charlotte in 1993, Holly has been a member of Carolina Pro Musica performing throughout the Southeast including concerts at Wingate, Sweetbriar College of Virginia, Davidson College and Gardner Webb. The group performs on their own series in Charlotte and has been featured on concert series in Asheville, Columbia, Lincolnton and Belmont where Carolina Pro Musica is a resident artist ensemble at Belmont Abbey College. In 2005 the ensemble presented concerts in and around London, England and in 2009 performed at the Boston Early Music Ensemble. In addition to concerts with Carolina Pro Musica, Holly performed regularly with Carolina Baroque of Salisbury and has been a guest artist with several groups in the area. Holly has recently retired from The music faculty of Central Piedmont Community College where she taught the Early Music Ensemble and Baroque Performance class.
Sarah Mead is a sought-after teacher of viol and Renaissance performance practice who has performed in consort and as a lyra-viol soloist around the USA, and overseas in places as far apart as New Zealand, Australia, Japan, Brazil and the UK. She served for seven years as Music Director of the annual VdGSA Conclave, and edits a quarterly selection of music and commentary on both recent and historical works for viols for the Society. Her performing editions of historical and original works for viols are published by PRB Productions. In 2007 she received the Thomas Binkley Award from Early Music America for her work with the Early Music Ensemble at Brandeis University, where she is a Professor of the Practice of Music and has chaired the program in Medieval and Renaissance Studies. She is a founding member and the musical director of Nota Bene Viol Consort. Their 2020 CD of Pietro Vinci features a set of Brescian-style Renaissance viols.
Jody is director of Lauda Musicam of Atlanta and teaches private recorder lessons in the Atlanta area. Previously, he has served on the faculty of the Atlanta Early Music Alliance Mid-Winter Workshop and has taught recorder workshops throughout the country. Miller performs most frequently with Amethyst Baroque Ensemble, but he is also a member of contemporary music duo Eighty-Eight & Eight with Lisle Kulbach and Ritornello Baroque Ensemble. Miller often collaborates with modern instrumentalists when performing his favorite works—contemporary chamber music for recorder. He works closely with composer Timothy Broege and has premiered several of his compositions. More recently, Miller performed the premier of Martha Bishop’s Dark Moods–Breakaway for recorder and percussion and Gregory Hamilton’s Ave Maria Variations for unaccompanied recorder. Jody has performed with the Atlanta Symphony Orchestra, New Trinity Baroque Orchestra, Atlanta Baroque Orchestra, Cincinnati Opera, and the Victoria Bach Festival. Jody has served as Director of Mountain Collegium since 2011.
Emily O’Brien is a native of Washington, DC where she played recorder from a young age. She studied recorder and french horn at Boston University, and recorder and Baroque flute at the Hochschule für Musik in Karlsruhe, Germany. She performs in recorder ensembles and historical chamber music, as well as English Country Dance bands. As a teacher, she works with private students and ensembles in the Boston area as well as teaching at various summer workshop such as CDSS’s Early Music Week at Pinewoods and Amherst Early Music Festival. Emily’s solo album, “Fantasies for a Modern Recorder” explores the variety and possibilities over four centuries of repertoire offered by the Helder Harmonic Tenor recorder. In her spare time, she enjoys long distance cycling.
Emily O’Brien’s website
Will Peebles has taught courses in bassoon, music theory, music history, and world music at Western Carolina University since 1992, and served as Director of the School of Music from 2005-2014. In 1999, he established Western’s Low Tech Ensemble, which now performs on Balinese, Javanese, and Sundanese gamelan. Will’s musical interests include shape-note singing, historical bassoons, and performance on Renaissance instruments such as the krummhorn, kortholt, and rackett.
Pat holds an MFA in Early Music Performance from Sarah Lawrence College. A Director Emerita of Amherst Early Music, she is a regular faculty member at that and many other weekend and week-long workshops. Her vocal group Fortuna recorded on the Titanic label; she also conducted the Amherst Festival Choir on a recording of the music of Heinrich Isaac. She performs on recorder and other early winds, and has appeared with the Charleston Symphony Orchestra. She has coached early music ensembles at Wake Forest University and the University of North Carolina at Greensboro. An ARS certified teacher, she teaches recorder, early music, and English country dance in North Carolina and at workshops around the country, and has a passion for playing from facsimiles of early 15th-century music. In her other musical life, she loves to harmonize on traditional tunes, and plays a mean banjo-uke. Pat is currently working with a group of musicians and dancers to develop a retirement community for dancers, musicians, artists, and other like-minded people.
Erik Schmalz received degrees in trombone performance from Oberlin Conservatory of Music and the University of Cincinnati College-Conservatory of Music, but discovered early music and period instruments shortly thereafter and was hooked. With a current historic instrumentarium ranging from a 14th century straight trumpet copy to original romantic era trombones, he has been a historic trombone specialist and performer for more than fifteen years. As a member of Piffaro, The Renaissance Band, and Dark Horse Consort; a regular performer with large ensembles such as Philharmonia Baroque Orchestra, Handel and Haydn Society, Tafelmusik, Trinity Baroque Orchestra; and an active freelancer, Erik can be heard on many stages and on numerous recordings. His musical and instrumental versatility also led him to be cast as one of the seven instrumentalists in the Globe Theatre’s Tony nominated production of Shakespeare on Broadway. Erik currently resides in Collinsville, CT.
Gail Ann Schroeder studied viola da gamba at the Royal Conservatory of Brussels with Wieland Kuijken, obtaining her First Prize and Higher Diploma, with distinction. She subsequently taught viola da gamba, pedagogy and directed the viol consort at the Brussels Conservatory from 1988 to 2002.
Gail has had an extensive career as soloist and as chamber musician, concertizing and recording with various ensembles such as the Huelgas Ensemble, Combattimento Consort Amsterdam, Ricercar Consort, Currende Consort, Capilla Flamenca, and Catacoustic Consort. She has performed in many of the European Festivals including Holland Festival Oude Muziek in Utrecht, Resonanzen, Innsbrucker Festwochen, Les Académies Musicales de Saintes, Festival van Vlaanderen, Festival de Wallonie and Internationale Festtage Alter Music Stuttgart.
Since returning to the USA in 2006, Gail has been in demand as a teacher and ensemble coach at workshops for the Viola da Gamba Society of America, the Amherst Early Music Festival, Madison Early Music Festival, Music on the Mountain, Retreat to Advance and Mountain Collegium, where she is assistant director and head of the viol program. Currently living in North Carolina, she teaches privately and is artistic director of Asheville Baroque Concerts.
Anne Timberlake has appeared across the United States performing repertoire from Bach to twenty-first-century premieres. She holds degrees in recorder performance from Oberlin Conservatory and Indiana University, Critics have described her playing as “dazzling” (Chicago Classical Review) and “preternaturally persuasive” (The Ann Arbor Observer). A Fulbright grantee, Anne won Early Music America’s 2011 Naxos Recording Competition with her ensemble Wayward Sisters. Anne enjoys teaching as well as playing, and is a regular instructor at workshops coast to coast.
A versatile and engaging musician, Barbara Weiss’ diverse musical experiences range from recording and performing ancient classical Cambodian music to directing a baroque opera company to chairing a university’s early music program. She started out as a clarinet and piano player and learned recorder in high school. She studied recorder and shawm at Indiana University, where she had opportunities to perform Brandenburg concertos and the Telemann suite – what fun! In addition to being the director of Recorder Society chapters in Michigan and Minneapolis, she has been on the faculty of both the Oberlin Conservatory and the Peabody Institute. She has taught at summer workshops such as the Oberlin Baroque Performance Institute, the Madison Early Music Festival, Mountain Collegium, and Indiana University’s Recorder Academy. She currently lives in Asheville, NC, where she performs with Muses Delight, Pan Harmonia, and the North Carolina Baroque Orchestra. Her collaborations include Belladonna, the Newberry Consort, Quicksilver, Chatham Baroque, the Smithsonian Chamber Players, the King’s Noyse, Apollo’s Fire, the Chicago Opera Theater, Ensemble Vermillion and Piffaro. Shes has recorded with the Dorian, Flying Fish and Harmonia Mundi labels. She is currently selling recordings of her accompaniments to Baroque solo pieces for treble instruments. Luckily for her, she is the director of western North Carolina’s first melodica band, Next Road Over, and, sometimes, cursing technology, is teaching harpsichord long distance at Swarthmore College.