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Historical Performance Department Indiana University Bloomington

Ninth-Annual International Conference in Historical Performance

Posted on by dtmarsh

“Thomas Binkley fragment,” IU Lilly Library

The Historical Performance Institute of the Indiana University Jacobs School of Music invites the submission of abstracts for its ninth-annual international conference—”Historical Performance: Theory, Practice, and Interdisciplinarity”—to be held in person at the Indiana University Bloomington campus, May 17-19, 2024. Since its inception in May 2016, the event has attracted attendants from over a dozen countries.

The three-day gathering will again bring together scholars/performers to present new research and methodological approaches, engage in conversation, and consider emergent areas in field research. Prospective participants working within academic disciplines adjacent to music are especially encouraged to submit proposals. Our featured keynote speakers will include Dr Nicholas R. Jones (Yale University) and Dr Laurie Stras (University of Southampton, UK). Immediately following the conference will be the Bloomington Early Music Festival (May 19-25), centering on the theme, “Music in Exile.”

KEYNOTE SPEAKERS

Dr. Nicholas R. Jones, Yale University, Department of Spanish and Portuguese
Dr. Laurie Stras, University of Southampton

Submission of Abstracts
Please send abstracts via email with the subject line—HPI Conference Abstract 2024—to Samuel Motter, (hpi@indiana.edu) no later than March 8, 2024. Receipt of all submissions will be acknowledged by email, with final notifications sent on March 15. Abstracts may focus on any subject relevant to historical performance, from the Middle Ages through to the early-twentieth century, emphasizing but not limited to:

 

  • Non-Western European performance traditions
  • Ethnography and critical theory in historical performance research
  • Cultural representation in early music scholarship and performance
  • Historical improvisation; partimento
  • Early music theory and performance
  • Organology
  • Source studies
  • Early recorded sound
  • HIP: modern relevance, entrepreneurship, and cultural production

Guidelines for abstracts (maximum 250 words):
Submissions should offer research at the doctoral (or post-doctoral) level, or at an equivalent level of experience. Abstracts should be cogently written and concise, intelligible to non-specialists, and

  • Propose an original (or revisionist), evidence-based argument or perspective with relevance to performance practice
  • Show depth of familiarity with previous research linked to the proposed topic
  • Articulate the research’s broader and/or specific contributions to the field

Papers run at a 30-minute maximum, with 10-15 minutes for questions and discussion. Email submissions should contain two copies of the abstract: one with the applicant’s name, email address, postal address, and institutional affiliation (or “independent scholar”), and a second version with no contact information included in the file/document for anonymous screening by the assessment committee.

Registration
A full conference schedule will be available by March 29. For those who wish to attend as auditors, please contact HPI administrator, Samuel Motter (hpi@indiana.edu) for further details.

Registration Fees: $100, 3 days | $75, 2 days | $50, 1 day
Registration will open on March 15.
Discounts are available; please inquire.

HPI Eighth-Annual International Conference in Historical Performance

Posted on by dtmarsh

“Thomas Binkley fragment,” IU Lilly Library

The Historical Performance Institute of the Indiana University Jacobs School of Music invites the submission of abstracts for its eighth-annual international conference—”Historical Performance: Theory, Practice, and Interdisciplinarity”—to be held in person at the Indiana University Bloomington campus, May 19-21, 2023. Since its inception in May 2016, the event has attracted attendants from over a dozen countries.

The three-day gathering will again bring together scholars/performers to present new research and methodological approaches, engage in conversation, and consider emergent areas in field research. Prospective participants working within academic disciplines adjacent to music are especially encouraged to submit proposals. Our featured keynote speakers will be Dr Laurie Stras (University of Southampton, UK) and Dr Ireri E. Chávez-Bárcenas (Bowdoin College). Immediately following the conference is the Bloomington Early Music Festival (May 21-28), centering on the theme, “Early Music Crossroads: Iberia, Arabia, and Latin America.”

Keynote addresses

Dr Laurie Stras (University of Southampton)
Dr Ireri E. Chávez-Bárcenas (Bowdoin College)

 

 

 

 

 

 

 

“Questi esercisi mi sono di molto gusto”: Early modern women, teaching and learning music through performance
Dr Laurie Stras (University of Southampton, UK)

Sounding race in early modern Puebla de los Ángeles
Dr Ireri E. Chávez-Bárcenas (Bowdoin College)

Submission of Abstracts
Please send abstracts via email with the subject line—HPI Conference Abstract 2023—to Dr Michael Stiles (hpi@indiana.edu) no later than March 10, 2023. Receipt of all submissions will be acknowledged by email, with final notifications sent on March 20. Abstracts may focus on any subject relevant to historical performance, from the Middle Ages through to the early-twentieth century, emphasizing but not limited to:

  • Non-Western European performance traditions
  • Ethnography and critical theory in historical performance research
  • Cultural representation in early music scholarship and performance
  • Historical improvisation and partimento
  • Early music theory and performance
  • Organology
  • Source studies
  • Early recorded sound
  • HIP: modern relevance, entrepreneurship, and cultural production

Guidelines for abstracts (maximum 250 words):
Submissions should offer research at the doctoral (or post-doctoral) level, or at an equivalent level of experience. Abstracts should be cogently written and concise, intelligible to non-specialists, and

  • Propose an original, evidence-based argument or perspective with relevance to performance practice
  • Show depth of familiarity with previous research linked to the proposed topic
  • Articulate the research’s broader and/or specific contributions to the field

Papers run at a 30-minute maximum, with 10-15 minutes for questions and discussion. Email submissions should contain two copies of the abstract: one with the applicant’s name, email address, postal address, and institutional affiliation (or “independent scholar”), and a second version with no contact information included in the file/document for anonymous screening by the assessment committee.

Registration
A full conference schedule will be available by April 1. For those who wish to attend as auditors, please contact HPI administrator, Dr Michael Stiles (hpi@indiana.edu) for further details.

Registration Fees: $75, 3 days | $50, 2 days | $25, 1 day
Registration will open on March 1.
Discounts are available; please inquire.

HPI Seventh-Annual International Conference in Historical Performance

Posted on by dtmarsh

“Thomas Binkley fragment,” IU Lilly Library

The Historical Performance Institute of the Indiana University Jacobs School of Music invites the submission of abstracts for its seventh-annual international conference—”Historical Performance: Theory, Practice, and Interdisciplinarity”—to be held in person (and online) at the Indiana University Bloomington campus, May 27-29, 2022. Since its inception, the event has attracted attendants from over a dozen countries.

This three-day gathering will again bring together scholar-performers (and performer-scholars) to present new research and methodological approaches, engage in conversation, and consider emergent areas in field research. Prospective participants working within academic disciplines adjacent to music are especially encouraged to submit proposals. Running in parallel with the conference proceedings will be the Bloomington Early Music Festival (May 22-28), engaging the theme, “Celebrating Women in Early Music.”

Submission of Abstracts
Please send abstracts via email with the subject line—HPI Conference Abstract 2022—to Dr Michael Stiles (hpi@indiana.edu) no later than March 15, 2022. Receipt of all submissions will be acknowledged by email, with final notifications sent on March 25. Abstracts may focus on any subject relevant to historical performance, from the Middle Ages through to the early-twentieth century, including, but not limited to:

  • Non-Western European performance traditions
  • Ethnography and critical theory in historical performance research
  • Cultural representations in early music scholarship and performance
  • Historical improvisation
  • Early music theory and performance
  • Organology
  • Source studies
  • Early recorded sound
  • HIP: modern relevance, entrepreneurship, and cultural production

Guidelines for abstracts (maximum 250 words):
Submissions should offer research at the doctoral (or post-doctoral) level, or at an equivalent level of expertise. Abstracts should be cogently written and concise, intelligible to non-specialists, and

  • Propose an original, evidence-based argument or newly proposed conceptual framework with relevance to performance practice
  • Show depth in familiarity with previous research linked to the proposed topic
  • Articulate the research’s broader and/or specific contributions to the field

Papers run at a 30-minute maximum, with 10-15 minutes for questions and discussion. Email submissions should contain two copies of the abstract: one with the applicant’s name, email address, postal address, and institutional affiliation (or “independent scholar”), and a second version with no contact information included in the file/document.

Registration
A full conference schedule will be available by April 1. For those who wish to attend as auditors, please contact HPI administrator, Dr Michael Stiles (hpi@indiana.edu) for further details.

Registration Fees: $75, 3 days | $50, 2 days | $25, 1 day
Registration will open on March 1.
Discounts are available; please inquire.

Liza Malamut & Kathie Stewart join Historical Performance Faculty

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The Historical Performance Institute and Department of the IU Jacobs School of Music are pleased to announce two exciting faculty appointments: Kathie Stewart (visiting full-time curator of historical keyboards and academic specialist in historical performance), and Liza Malamut (part-time adjunct lecturer in historical trombones).

Kathie Stewart, Curator of Historical Keyboards and Academic Specialist in Historical Performance

With a wealth of professional experience, Kathie Stewart holds impressive credits both as a curator of early keyboard instruments and as a renowned solo and ensemble performer on the baroque flute. Having just returned from a tour with the period-instrument ensemble Apollo’s Fire as soloist in Bach’s Orchestral Suite No. 2 in B minor, Kathie reflected on her new full-time visiting appointment at the Jacobs School of Music: “I’m delighted to join the venerable Historical Performance Institute as curator of historical keyboards. I’m really looking forward to being part of this extraordinary bastion of education, both as a technician and as a teacher – instructing future harpsichord tuners and some future baroque flute players as well!”

“How many experts in the curation of historical keyboards do you know who also take Brandenburg V on the road as a top soloist on the traverso?” said Dana Marsh, director of the Historical Performance Institute. “Kathie’s appointment fulfills an essential need in our department and we are thrilled that she is joining us full time. Her dynamism knows no bounds, and we see a bright future ahead.”

In addition to her role as curator of historical keyboards, Kathie Stewart serves as visiting academic specialist in historical performance, teaching the history of harpsichord design and maintenance, as well as an introductory elective in traverso for modern flute students. She is a founding member and principal flutist of the Grammy Award winning ensemble, Apollo’s Fire: the Cleveland Baroque Orchestra. A faculty member at the Cleveland Institute of Music, she is also a Kulas Visiting Artist at Case Western Reserve University, and former curator of harpsichords at the Oberlin Conservatory of Music, where she taught baroque flute for nearly twenty years.

Stewart appears on fourteen recordings with Apollo’s Fire, including solo performances in Bach’s Brandenburg Concerto No. IV (Electra) and Telemann’s Concerto in E Minor for flute and recorder (Koch International). An accomplished Irish flute player, she can additionally be heard on releases from Apollo’s Fire: “Scarborough Fayre: Traditional Tunes from the British Isles and the New World,” “Come To The River: an Early American Gathering,” and “Sugarloaf Mountain: an Appalachian Gathering.”

Kathie Stewart has performed with the Cleveland Orchestra, Tafelmusik, Philharmonia Baroque Orchestra, The Four Nations Ensemble, Oberlin Baroque Ensemble, ARTEK, and the Bach Sinfonia in Washington, D.C. She is also Assistant Director of the Seattle Baroque Flute Workshop. Her concerts have also been broadcast on NPR, BBC and CBC radios, as well as European Community Radio, among numerous others.

Liza Malamut, adjunct lecturer in historical trombones

Liza Malamut was recently appointed Director of Chicago’s famed Newberry Consort and appears on the most recent cover of Early Music America’s, EMAg. Of her appointment to the Jacobs faculty, Liza commented enthusiastically, “Working with students at IU has always been a joy. I’m really excited to join the faculty of the Historical Performance Institute and help to create opportunities for both modern trombonists and sackbut players in the world of early music.”

“In addition to being a brilliant musician and performer, Liza is an impressive scholar whose research will be given voice in a forthcoming book from IU Press, which she coedited, and for which she also contributed a chapter,” said Dana Marsh, chair of Historical Performance. “I know that her highly refined skills and experience will be of invaluable benefit to students across the Jacobs school.”

Liza Malamut, who begins at Jacobs in the fall of 2022, regularly appears as a trombonist, educator, and presenter throughout the United States and abroad. She has performed with Trinity Baroque Orchestra, Mercury Chamber Orchestra, Tafelmusik, Opera Atelier, Apollo’s Fire, Boston Baroque, the Handel & Haydn Society, Dark Horse Consort, Boston Camerata, Piffaro, the Folger Consort, New York Baroque Inc., Opera Lafayette, TENET, and many other ensembles. Her playing can be heard on the Musica Omnia, Naxos, Hyperion, New Focus Recordings, and George Blood Audio labels. She is a founding member Incantare, an ensemble of violins and sackbuts formed to highlight music of lesser-known and marginalized composers and their contemporaries in early modern Europe, and she is thrilled to succeed Ellen Hargis and David Douglass as Artistic Director of The Newberry Consort in Fall 2022.

Latest cover of Early Music America’s EMAg

A passionate teacher and researcher, Liza has presented masterclasses, lecture recitals, and papers at conferences and institutions throughout the country. Her academic work was supported by an American dissertation completion fellowship from the American Association of University Women, and she is a coeditor and contributor for the forthcoming book Music and Jewish Culture in Early Modern Italy: New Perspectives with Rebecca Cypess and Lynette Bowring (Indiana University Press). Liza has frequently been a guest instructor at Amherst Early Music Festival, Mountain Collegium, Madison Early Music Festival, and other workshops for wind and brass enthusiasts of all ages.

Liza holds a bachelor of music degree in trombone performance from the Eastman School of Music, where she studied with John Marcellus; and a master of music degree from Boston University, where she studied with Don Lucas. She earned her doctor of musical arts degree in Historical Performance from Boston University, where she studied with Greg Ingles. Her dissertation, a method book for modern trombonists, integrates historical techniques with mainstream playing and introduces eighty-eight solo etudes for trombone transcribed from historical sources.

HPI Colloquium Series – Autumn 2021

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“Heu me, Domine,” from Vicente Lusitano’s _Tratado de Canta de Organo_ (ca.1550)

The Jacobs School of Music Historical Performance Institute Colloquium Series convenes on Wednesdays during the autumn semester from 11:30am-12:45pm.
Following a hybrid format, some sessions will be held in person, others via Zoom.
In-person sessions meet in MU 205 unless otherwise indicated. Some in-person colloquia may also be available through Zoom. For further information, please contact HPI administrator, Michael Stiles, hpi@indiana.edu. 

INTRODUCTORY SESSIONS

August 25 – HP Department Orientation (MU 205, in person)

September 1 – Office of Entrepreneurship and Career Development (MU 205, in person)

September 8 – IU Resources: The William and Gayle Cook Music Library (Library, 3rd Floor Computer Center, in person) Misty Shaw, Head of Public Services and Outreach, Cook Music Library

COLLOQUIUM SERIES

September 15 – Expanding the Music Theory Canon: A collection of inclusive music theory examples by women and non-white composers [ZOOM]
Paul Maust, Peabody Conservatory of the Johns Hopkins University

September 22 – Preserving Authenticity and Exposing Forgery in Eighteenth-Century Britain [MU 205 – in person]
Devon Nelson, Indiana University

September 29 – Historically Informed Performance of the Baroque Villancico de Negro Subgenre in a Contemporary Setting [ZOOM]
Tyrone A. Clinton Jr., Northwestern University

October 6 – Performing Humanism: Nostalgia for a poetic golden age in seventeenth-century solo song [MU 205 – in person]
Chelsey Belt, Indiana University

October 13 – Singing Psalms to Hornpipes: William Slayter’s scandalous collection [ZOOM]
Ross Duffin, Case Western Reserve University

October 20 – Introduction to Cultural Competency
Sachet Watson, Indiana University [in-person, MU 205]

October 27 – Visualizing Comma Pumping in Sixteenth-Century Vocal Polyphony
Jack Bussert, Indiana University [in-person, MU 205]

November 3 – NO COLLOQUIUM

November 10 – Musical Salon Practices as Acts of Enlightenment [ZOOM]
Rebecca Cypess, Rutgers University

November 17 – Rhetoric and Themes of French Inflection [ZOOM]
Catherine Gordon, Providence College

November 24 – NO COLLOQUIUM

December 1 – Understanding Vicente Lusitano’s Life and Music [ZOOM]
Garrett Schumann (University of Michigan) and Joseph McHardy (HM Chapel Royal, St James’s Palace)

Sixth-Annual Conference in Historical Performance begins Friday May 14

Posted on by dtmarsh

Thomas Binkley Fragment, IU Lilly Library

The Sixth-Annual Conference of the Indiana University Jacobs School of Music, “Historical Performance: Theory, Practice, and Interdisciplinarity,” will convene on Friday May 14 at 10:00 AM on Zoom, concluding on Sunday May 16. During the online proceedings, 30 research presentations in the field of historical performance will be offered, dealing with a broad variety of topics ranging chronologically from the 11th to the 19th centuries. Additionally, two online evening concert performances will be offered in association with the Bloomington Early Music Festival, which runs concurrently.

Dr Kerry McCarthy

The keynote address will be delivered by Dr Kerry McCarthy, whose recent book credits for Oxford University Press include biographies of William Byrd (2013), winner of the 2014 ASCAP Nicolas Slominsky award for composer biography of the year, and Thomas Tallis (2020). The title of Dr McCarthy’s address is, “The Lives of Singers in Tudor England: what could possibly go wrong?” It will highlight newest research relative to her forthcoming book project.

You can access further information about all conference presentations, with abstracts, by following this link to the program. To register, click this link. To inquire about registration discounts and waivers, please contact the HPI conference administrator, Adam Dillon (hpi@indiana.edu).

This conference is made possible through the support of the Indiana University Jacobs School of Music and the Historical Performance Institute.

 

 

Historical Performance Institute Colloquium Series | Spring 2021

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“Cielo y mundo,” by Manuel de Sumaya (1678-1755), given its modern premiere performance by the HPI in October 2016.


The Jacobs School of Music Historical Performance Institute Colloquium Series convenes via Zoom during the Spring 2021 semester: Wednesdays (February 24 – April 28) from 11:35am to 12:45pm.


February 24 – The Lives of Singers in Tudor England
Kerry McCarthy (Portland, OR)

March 3 – Career Development: an insider’s view
Reginald Mobley (Boston, MA.)

March 10 – Case Studies in Early Music, Disability, and Historical Performance
Samantha Bassler (New York University)

March 17 – Cardinal Tenets: a look at Rome and the affeti musicali
Steven Plank (Oberlin College Conservatory of Music)

March 24 – IU Wellness Day (No classes)

March 31 – Palindromic Play in Fifteenth-Century Songs and Masses
Adam Gilbert (University of Southern California)

April 7 – Britain’s improvising clerics: a practical guide to polyphony, ornamentation, and contrafact in Middle English song
Grace Newcombe (University of Southampton)

April 14 – Early Music, Improvisation, and Ethnomusicology
Victor Coelho (Boston University)

April 21 – Black Composers Matter: honoring the compositions of Brazilian slaves (Lundu, c.1817) and the work of colonial Brazil’s mixed-race composer, José Mauricio Nunes Garcia (1767-1830)
Clea Galhano (Indiana University)

April 28 – The Compleat Musician: finding voice in the Latin American baroque
Nell Snaidas (New York, New York)

 

Call for Papers | Conference in Historical Performance | May 14-16, 2021: Community Engagement and Access

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“Thomas Binkley fragment” – IU Lilly Library

The Historical Performance Institute of the Indiana University Jacobs School of Music invites the submission of abstracts for its sixth-annual international conference—”Historical Performance: Theory, Practice, and Interdisciplinarity”—to convene May 14-16, 2021.

The three-day virtual event will again bring together scholar-performers (and performer-scholars) to present new research, engage in conversation, and consider emergent areas in historical performance research. Scholars and practitioners working within other academic disciplines adjacent to the field of music are particularly encouraged to participate. Running concurrently will be the Bloomington Early Music Festival (May 9-16), with evening festival performances offered free of charge to all conference participants.

Focus: Community Engagement and Access
The fifth-annual conference presented a summit involving leaders of thirteen historical performance programs in higher education, variously from the US, Canada, the UK, and Europe. Relevant key challenges to the field’s future were discussed in detail in keynote addresses and panel sessions. The forthcoming conference will continue and broaden the scope of these discussions, to include leaders of community-based, early-music educational programs and festivals, addressing themes of community engagement and access. Interested program leaders are invited to contact conference administrator, Adam Dillon (hpi@indiana.edu), with proposals for participation and discussion (deadline: March 15).

Submission of Abstracts
Running in parallel with the above-mentioned focus on community engagement and access will be the more routine offerings of field research. Please send  abstracts via email with the subject line—HPI Conference Abstract 2021—to Adam Dillon (hpi@indiana.edu) no later than March 15, 2021. Receipt of all submissions will be acknowledged by email, with final notifications sent on March 22. Abstracts may focus on any subject relevant to historical performance, from the Middle Ages through to the early-twentieth century, including but not limited to:

  • Historical performance, diversity, and inclusion
  • Non-“Western canon” performance traditions
  • Interdisciplinary strategies and methodologies
  • Memory and improvisation
  • Source studies
  • Historical music theory and performance
  • Organology
  • Early recorded sound
  • Ethnography and critical theory in historical performance research
  • HIP: modern relevance, entrepreneurship, and cultural production

Abstracts (maximum 250 words) should be cogent and concise, intelligible to non-specialists, and

  • Put forward an original, evidence-based argument with relevance to performance practice
  • Take fully into account previous research linked with the topic at hand
  • Articulate the broader and/or specific contributions of your research to the field

Papers run at 30-minutes maximum, with 10-15 minutes for questions and discussion. The email containing your submission should provide your name, email address, postal address, and institutional affiliation (or enter “independent scholar” if not affiliated institutionally).

Submissions will be screened by the conference assessment panel anonymously.

Registration
For those who wish to participate as presenters or attend as auditors, please contact HPI administrator, Adam Dillon (hpi@indiana.edu) for further registration details.

Registration Fees: $60, 3 days | $40, 2 days | $20, 1 day
Discounts also available; please inquire.

An online program of the fifth-annual conference can be found by following this link.

Postponed Fifth-Annual Conference Convenes January 29-31, 2021

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“Thomas Binkley fragment”, Indiana University Lilly Library

The IU Jacobs School of Music Historical Performance Institute fifth-annual conference was originally slated to convene in May of 2020, but given complications linked with the Covid-19 pandemic, the event was postponed. It is scheduled to commence online on Friday January 29 at 10:00am, running through Sunday January 31.

This annual international conference “Historical Performance: Theory, Practice, and Interdisciplinarity” has attracted scholars and performers from more than a dozen countries since its inception in 2016. This year, a primary focus will involve a summit of directors of historical performance programs in higher education, with the following institutions participating: Oberlin College Conservatory of Music, San Francisco Conservatory of Music, Peabody Conservatory of Music, McGill University, University of Southern California, University of Toronto, Boston University, Guildhall School of Music and Drama, The Juilliard School, Case Western Reserve University, Indiana University Jacobs School of Music, Texas Tech University, and the Schola Cantorum, Basel.

As this year’s gathering will involve a virtual format covering time zones reaching from the west coast of the North American continent to Australia and the Far East, morning sessions will involve live Q&A discussions only, relevant to video presentations uploaded in advance. Video uploads will be viewed asynchronously by conference delegates before each of the connected morning Q&A sessions. Afternoon presentations will all involve live, synchronous plenary presentations and panel sessions.

The online program with abstracts can be viewed by following this link. Completed registration (click here) will allow access to video presentations. For information about student and other discounts, please contact the conference administrator, Adam Dillon: hpi@indiana.edu.

This conference is made possible by a generous grant from the IU New Frontiers in the Arts and Humanities program, with in-kind support from the IU Historical Performance Institute and the Jacobs School of Music.

 

Monumental Teaching Careers: Violinist Stanley Ritchie and Harpsichordist Elisabeth Wright to Retire from IU after 39 Seasons

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Professors Stanley Ritchie and Elisabeth Wright first arrived in Bloomington in 1982 to take up full-time faculty positions in the newly formed IU Early Music Institute, founded by Thomas Binkley in 1980. Since that time, their combined influence has helped to shape the careers of generations of successful leaders and professionals in the field of Historical Performance. Many of their IU alums now adorn the rosters of top-flight early-music organizations, both in the US and abroad, while others have additionally founded new period instrument ensembles and organizations that figure prominently on the North American early music scene.

The spring of 2021 will find both Professors Ritchie and Wright retiring upon completion of their 39th academic season at Indiana University. “To say that this marks the ‘end of an era’ would be a gross understatement,” says Dana Marsh, Chair of the IU Jacobs School of Music Historical Performance Department. “Stanley and Elisabeth have given their lives unreservedly to supporting generations of young musicians. Undeniably, taken together, their cumulative contribution over the space of four decades is unparalleled in our field.”

Shortly after their arrival at IU, Duo Geminiani, Stanley Ritchie and Elisabeth Wright, on a 1983 recording of Bach’s sonatas for violin and harpsichord.

Cynthia Roberts, a former pupil of Professor Ritchie and now teacher of baroque violin at Juilliard, Curtis, Eastman, and UNT, offers her reflections, “Stanley changed my musical life completely, from the very first baroque violin lessons I received from him while I was a student at Indiana University. He inspired me to reexamine music with an historical perspective, shedding new light on interpretation and creative freedom. His influence has remained with me throughout my career, and guides me on a daily basis in my practicing, performing, and teaching.”

Byron Schenkman, formerly a student of Elisabeth Wright and co-founder of the Seattle Baroque Orchestra, also offers their admiration: “Elisabeth has a rare combination of musical insight, intellectual depth, and intuitive ability to determine and address the needs of each individual student. I don’t know of anyone else as devoted to teaching and to nurturing students’ unique talents as Elisabeth Wright. She has been a major influence on my development as a musician and as a person. And she has had a major impact on the entire field of Baroque music in North America over the past four decades.”

Violinist Ingrid Matthews, who together with Byron Schenkman co-founded the Seattle Baroque Orchestra, offers similarly heartfelt reflection on her mentor: “Stanley’s influence on Historical Performance is impossible to overstate. His erudition, curiosity, musical sensitivity and physical grace at the violin are truly unique and set the gold standard for baroque violinists, generations of whom have benefited from the depth and clarity of his musical understanding.”

Avi Stein, formerly a student of Elisabeth Wright and now the continuo skills and baroque vocal literature specialist in the Historical Performance program at Juilliard is similarly effusive in his praise: “Elisabeth Wright instils in her students a uniquely expansive sense of the musical and emotional potential of both the player and the instrument. The more time I spend making music on my own or with my students, the more grateful I am of her mentorship.”

The Historical Performance Institute and Department of the IU Jacobs School of Music will be offering tributes to Professors Wright and Ritchie as the year proceeds, culminating in a special celebration, bringing together alumni and current students at the end of the spring semester of 2021.