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).
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 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.
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.