New Zealand-born keyboardist Jonathan Oddie is in demand across the United States as a soloist and collaborative artist on harpsichord, fortepiano and continuo organ. He has performed as a featured soloist with the Northwest Sinfonietta and Saratoga Orchestra of Whidbey Island, and as a chamber musician with Gallery Concerts Seattle, Philadelphia Chamber Music Society, Whidbey Island Music Festival, and Salish Sea Early Music Festival. As an orchestral musician he performs regularly with the Portland Baroque Orchestra and the Seattle Symphony.
Miyo Aoki is a dedicated recorder player and teacher, performing music ranging from medieval to modern and teaching students of all ages and levels. She is a member of the Farallon Recorder Quartet and has performed in the US, Germany, and Poland, with groups including The Eurasia Consort, Utopia Early Music, and Gamut Bach Ensemble; and at the Bloomington Early Music Festival and Whidbey Island Music Festival. She has premiered works by contemporary composers Natalie Williams,
Luanne Stiles discovered English country dancing in Amherst MA and has traveled extensively to dance communities across the continent. She is known for her clear calling and connection with the dancers. She now lives in Asheville NC and loves introducing new dances to communities…. along with a little history. Since the onset of COVID restrictions you can also find Luanne calling with the online dance community, Symmetry.
Luanne is a member of the Ashgrove Garland team and proudly serves on the Board of the Country Dance and Song Society (CDSS).
Ben Matus (winds) enjoys a varied career in music: bringing to life music regardless of whether it was written in the Middle Ages or yesterday. Ben performs with early music groups on various bassoons, dulcians, shawms, recorders, bagpipes, and whatever instruments he can get his hands on along the East Coast—including Alkemie, Early Music New York, New York Baroque Incorporated, Trinity Baroque Orchestra, The Clarion Society, Opera Lafayette, The Washington Bach Consort, The Handel and Haydn Society,
Niccolo Seligmann performs, composes, and improvises music that proves the past is still with us. They play over fifty acoustic instruments that span continents, centuries, and social classes; and code their own software instruments from scratch. As part of their 2020 Strathmore Artist-in-Residence program, Niccolo released their debut album, Kinship (released Split Log Productions, February 2020), using solo viola da gamba improvisation as a tool of multispecies resistance against the Anthropocene’s entangled systems of domination.
Tom Amessé has been a dance leader for over 20 years in New York City. He is well known for his entertaining and relaxed demeanor and for his ability to make complicated figures seem easy. He has taught ECD throughout the northeastern United States and has emceed balls and led weekends in New York City, as well as many places across the USA, Canada, England and Wales. You might also find him calling contra dances and square dances,
Lawrence (Larry) Zukof (recorder and voice) has performed extensively with numerous renowned professional performing groups. He toured the U.S. and Europe with the Boston Camerata and has been a recorder soloist with Civic Orchestra of Boston, Orchestra New England, the Baroque Orchestra of Holy Lutheran and Trinity Church. He sang regularly with the Pro-Arte Singers, Connecticut’s pre-eminent professional chamber choir. As a singer and recorder soloist, Mr. Zukof has also performed with Cappela Cantorum and at the Yale Norfolk Summer Festival,
Eric Haas has taught recorder and chamber music at New England Conservatory, Tufts University, Brandeis University and Wheaton College, and is a popular coach at early music workshops, including Amherst Early Music, the Long Island Recorder Festival, Pinewoods, and the Mideast Workshop. A talented composer and arranger, his ‘Five Variants on “Wondrous Love”‘ won both First and Audience prizes in the 1991 VdGSA Leo Traynor Competition for new works for viols. Mr. Haas has edited four volumes of solo repertoire for recorders and his many arrangements and transcriptions are played worldwide.
Jan Elliott began her recorder studies at age 3. Her first teachers were Ruth Guillard, student of Bernard Krainis (and wife of a founding Pinewoods Morris Man), and school music teacher and early music specialist Patricia C. Brown. Later she explored advanced baroque repertoire with W. Britt Wheeler at Wesleyan University, earning a BA in music and education. Her MA thesis from UCLA focused on dance/music relations, and she happily straddles both worlds. She currently maintains an active private studio and teaches music at elementary and middle school levels.
Karen Burciaga enjoys bridging the worlds of classical and folk music. She holds a BM from Vanderbilt University and an MM in Early Music Performance from the Longy School of Music, where she studied Baroque violin with Dana Maiben, viol with Jane Hershey, and historical dance with Ken Pierce. She has performed with The King’s Noyse, Grand Harmonie, Arcadia Players, Meravelha, Austin Baroque Orchestra, La Follia, and period ensembles in New England and Texas.