REVIEW: Baroque Orchestra – A magical performance

Bloomington Herald Times | By Peter Jacobi H-T reviewer | 

It was one of those unexpected moments.

It came in the middle of Wednesday evening’s performance by the Indiana University Baroque Orchestra of 17th century music. As the players switched positions to perform selections from 17th century Italian composer Luigi Rossi’s opera “L’Orfeo,” a diminutive figure diffidently entered the stage, as if seeking to avoid being noticed. He took a seat, folded his hands on lap, and waited.

Through two selections, a Passacaille and a Corrente, he waited, motionlessly. And then he stood, Elijah McCormack stood, and plaintively raised his voice: countertenor you might call it, soprano he prefers to call it. “Lasciate Averno, o pene, e me, e me seguite,” McCormack sang. “Leave Hell, O pains, and follow me!”

Orfeo has lost his beloved Euridice and laments. Young Elijah McCormack sang in Italian that rolled off his tongue, in language that bled from the heart. His voice, his manner, his being turned into the disconsolate youth weeping for the return of his beloved.

The performance proved magical, one of those rare times when a musical experience takes breath and all externals away. “But why delay dying,” came the message, “if death, by happy chance, can bring me back to the lovely cause of my suffering? To die! To die!”

In a hush, the music ended. McCormack stood motionless, his face almost expressionless, but somehow grieving, too.

Then, the silence was broken by a hesitant smattering of applause. The applause grew. And grew. Cheers punctured the applause. In tandem, applause and cheers continued. Finally, timidly, the soloist bowed as his face broke slowly into a smile.

Just that one aria would have made the evening. However, the Baroque Orchestra provided a full hour of period goodies under the label, “A Program of Seventeenth Century Song and Dance.” One heard fine readings of four other works of the period.

With glowing trumpets, orchestra members Jens Jacobsen and Julia Bell added bright and brilliant sounds to the Serenada in C for Trumpets, Strings and Continuo by the Moravian composer and trumpeter Pavel Josef Vejvanovsky. The German composer Heinrich Ignaz Franz von Biber’s “Mensa Sonora, Pars III,” proved to be a series of lovely and lively dances, well played, as was the French-born/German Georg Muffat’s Concerto Number 4, “Dulce somnium,” enriched by solo violinists Sarah Cranor and Micah Fleming, along with cellist Kevin Flynn.

Wednesday’s program ended on an Italian note: Arcangelo Corelli’s joyful Concerto grosso in F Major, Opus 6, Number 6, thrillingly enlivened by another pair of violinists from the ensemble, Clara Scholtes and Emily Leung.

One wondered throughout the concert: Where was Stanley Ritchie, listed as the program’s director? The orchestra had been led by members from within its ranks, most prominently violinist Sarah Cranor. And all had gone swimmingly. Yet, was the eminent Professor Ritchie missing?

He wasn’t. When, during the final round of applause for the night’s program, violinist Scholtes pointed toward the balcony at Auer Hall’s rear, a figure appeared. It was director Ritchie. He had been there all along and, at that moment, stood up to accept deserved praise for his preparation of this excellent Baroque Orchestra program.

  • Facebook
  • Twitter

REVIEW: HPI Mozart/Haydn program offers “stunning” performance

Tuesday, April 11, 2017

Bloomington Herald Times Music Review

  • By Peter Jacobi H-T Reviewer |

A mini-sized festival honoring Franz Joseph Haydn brought forth a Sunday afternoon concert of radiant music, not all written by the composer being honored. Since Wolfgang Amadeus Mozart credited his older compatriot with showing him the way, it was deemed appropriate by those who planned the festival to include a bit of Mozart’s music, the Piano Concerto in E-Flat Major, along with a performance of Haydn’s “Missa in B-Flat Major,” his “Theresienmesse,” written between his two oratorios, “The Creation” and “The Seasons.” By good fortune, the Bloomington Chamber Singers will be offering us a performance of “The Creation” on April 22.

Dana Marsh, director of the IU Jacobs School of Music’s Historical Performance Institute, chose the Classical Orchestra to fit in with a fortepiano constructed by American piano maker Philip Belt to resemble a 1780 instrument such as used by Mozart. The fellow who played that replica on Sunday was Mike Cheng-Yu Lee, a visiting faculty member specializing in music theory who happens to have a love affair with fortepianos.

He played the instrument gloriously, with a crispness that only a fortepiano will allow and a touch that must have tingled the keys. Lee’s Mozart was absolutely radiant, a lesson in refinement mixed with deep devotion. Joining the Marsh-led orchestra in reflection of the soloist’s crispness and ability to tingle the keys, that meant one heard unforgettable Mozart.

The reading of Haydn’s magnificent “Theresienmesse” — as performed by the same Classical Orchestra, along with the Concentus Ensemble and beautifully-voiced soloists from within its ranks — was stunning. Call it a revelation, as guided by conductor Marsh, a musician who truly knows the literature and was able to use his expertise to teach the singers what needed to be taught to make the presentation an artistic celebration. A celebration it was, a memorable part of a Bloomington weekend.

  • Facebook
  • Twitter

Historical Performance Institute calls for papers: second-annual international conference

The Historical Performance Institute of the Indiana University Jacobs School of Music invites the submission of abstracts for its second-annual international conference – Historical Performance: Theory, Practice, and Interdisciplinarity – to be convened 19-21 May 2017, on the IU Bloomington campus.

The three-day event will bring together scholar-performers (and performer-scholars) to present new research findings and hypotheses, engage in conversation, and consider emergent areas in historical performance research. Scholars and practitioners working within arts or humanities disciplines adjacent to the field of music are particularly encouraged to contribute.

Plenary speakers to include:
Margaret Bent (All Souls College, Oxford)
Davitt Moroney (University of California, Berkeley)
Laurie Stras (University of Southampton)
Claire Holden, Eric Clarke (University of Oxford)
* Holden/Clarke C19th Performance Practice Project – learn more
Nick Wilson (King’s College, London) – learn more
Guest speakers/performers:
Kenneth Slowik (Smithsonian Institution)
Catalina Vicens (Leiden University)
Convened by Jacobs Professor Dana Marsh (Director, Historical Performance Institute)

Margaret Bent

Davitt Moroney













Please send abstracts via email with the subject line – HPI Conference Abstract – to Mr Sung Lee ( no later than February 25, 2017. Receipt of all submissions will be acknowledged, with final notifications sent by March 3. Abstracts may focus on any subject germane to historical performance practice, from the Middle Ages through to the early-twentieth century, including but not limited to:

• Interdisciplinary studies
• Memory and improvisation
• Gaps/links between historical literature/theory and modern interpretation
• Source studies and methodology
• Early music theory: interpretation and performance
• Unnotated elements of style and practice
• Anniversary studies – e.g., Monteverdi, Isaac, the Lutheran Reformation, etc.
• Organology
• Performance practice and early recorded sound
• Ethnography and critical theory in historical performance research
• HIP: modern relevance, entrepreneurship, and cultural production

Especially welcome will be abstracts (maximum 250 words) that are cogent and concise, intelligible to non-specialists, and

• put forward an evidence-based argument with particular relevance to performance practice procedures;
• take fully into account previous research linked with the topic at hand;
• articulate the broader implications and significance of the argument for historical performance research and practice more generally.

Submissions will be screened anonymously. Accepted papers may be considered for publication in the second annual issue of the journal, Historical Performance, IU Press, 2018.

This conference is open to the public and free of charge, thanks to the generous support of the Indiana University Institute for Advanced Study, and the Jacobs School of Music.

The inaugural conference program (May 2016) can be viewed by clicking here.

  • Facebook
  • Twitter

Eunji Lee wins first prize at major international harpsichord competition

Eunji Lee headshot

Eunji Lee, born in Seoul, has won the first prize at The 2016 Jurow International Harpsichord Performance Competition, which took place between in March 22 and 24 at Oberlin College, Ohio, USA.

Born in Seoul, South Korea, Eunji Lee is harpsichordist, organist, fortepianist, and modern pianist. She has appeared in noted venues such as the Boston Early Music Young Performers Festival and the Indiana Early Music Festival. Lee was invited to give a solo recital at the Bloomington Early Music Festival in 2011 as the result of a competition for outstanding recital at the Historical Performance Institute of the Jacobs School of Music, Indiana University, and in 2012, she was chosen as recitalist at the Historical Keyboard Society of North America Conference. In high demand for her expertise in basso continuo improvisation, she was broadcast on WFIU Public Radio in a performance with noted cornettist Bruce Dickey. As winner of an IU Concerto Competition, she performed C. P. E. Bach’s Concerto in D minor, Wq.23, with the Baroque Orchestra under the direction of Stanley Ritchie. A competitor at the Leipzig International Bach Competition, she won an award at IU Travel Grant Competition to participate in the Musica Antiqua International Competition in Bruges, Belgium. Lee is the recipient of several scholarships and fellowships, including the Ben Bechtel Award from HKSNA, the Mary Tilton Harpsichord Fellowship, the Artistic Excellence Fellowship, and the IU Music Merit Award Grant.

Eunji, being congratulated by one of the jurors, Lisa Crawford.

Eunji, being congratulated by one of the jurors, Lisa Crawford.

Holding a masters degree as a double major in harpsichord and piano, she is currently pursuing a doctoral degree in historical keyboards at IU with Professor Elisabeth Wright. She first studied harpsichord with Yonit Kosovske and also worked with guest faculty, Jacques Ogg and Byron Schenkman. Lee was an Associate Instructor in harpsichord and fortepiano at IU for several years.

Last summer, she was artist-in-residence at Piccola Accademia di Montisi in Italy, where she studied with Ketil Haugsand. She also studied with Menno van Delft at Amsterdam Early Music Summer School, and was harpsichord assistant and accompanist at Aestas Musica Summer School in Croatia.

  • Facebook
  • Twitter

REVIEW: Historical Performance Institute, BLEMF, and Alchymy join forces


Posted: Tuesday, March 8, 2016 12:00 am

By Peter Jacobi | Herald Times Reviewer |

“Alchymy at the Courthouse,” performed in the rotunda of the Monroe County Courthouse last Friday evening, was co-planned by Bloomington Early Music, IU’s Historical Performance Institute, and the Alchymy Ensemble of viols, that ensemble featuring music from the 17th century and played on period strings, along with sackbuts (period trombones) and voices from the Institute. Support came from the Allen Whitehill Clowes Charitable and Christel DeHaan Family Foundations and Bloomington Early Music.

Add Alchymy’s five different viols and continuo organ to twelve vocalists from the Jacobs School’s Historical Performance Institute, along with three Baroque trombonists, two violists da gamba, a theorbo player, and percussionist. They were the performers last Friday moving in and out of the playing area on the second floor of the courthouse rotunda with a ceiling way above them and their sounds thrillingly echoing round and about.

The program focused primarily on two 17th century German giants of music, Michael Praetorius and Heinrich Schutz. The resonant sounds produced could make a listener begin to dream awake and imagine being somewhere, most likely a Lutheran church, in 17th century Germany.

Sometimes, the whole contingent of performers wrapped the audience in fetching weaves of sound. At other times, only a portion of the musicians did the honors. But whatever one heard, the music was played and sung to reflect what the scholars and artists of today believe the congregants from back then heard. It certainly sounded authentic. The Alchymy Viols produced music seemingly right for the early 17th century. So did the brass and percussion on the scene. And the voices lifted high sang ever so fetchingly and meaningfully the Biblical and ecclesiastical words used in those times.

The viol ensemble performed without conductor. When other musicians were added to the mix, Dana Marsh, director from the Historical Performance Institute, took charge and kept the atmosphere charged with excitement.

A bit of news was shared by Marsh during the program: we will have Blemf, a Bloomington Early Music Festival, over the Memorial Day weekend. That’s something to look forward to.

  • Facebook
  • Twitter

REVIEW: Elizabeth Wallfisch with the IU Baroque Orchestra

Guest director brings enthusiastic delivery in excellent collaboration

Elizabeth Wallfisch, baroque violin

Elizabeth Wallfisch, baroque violin

By Peter Jacobi | Herald Times Reviewer | |

The newly named distinguished professor was there Sunday afternoon in Auer Hall. The Baroque Orchestra’s regular director was there, on this occasion not to direct but only to listen.

Still, one knew that emotionally he was on that stage, where so often he has led the Baroque Orchestra, which is his performing baby and has been for a long, long time. He took no bows for the recent academic recognition or for the quality of the orchestra’s performance, even though that ensemble is still his and will be, one hopes, for years to come.

Stanley Ritchie wanted the audience to focus on the woman fiddler and leader taking his place, she a distinguished guest, stopping by for a few days. Having arrived, as per usual, a half hour before the concert’s start, I was able to watch Elizabeth Wallfisch rehearse the orchestra almost up to the two o’clock beginning. There were little adjustments she obviously felt needed attention or reinforcement or refinement. One could see how carefully she must have prepared the orchestra earlier on. She wanted to make sure her recommendations in rehearsals had been deeply enough learned, in a last moment effort to ready the musicians, so to satisfy the audience and one particular member in it.

Ritchie must have been satisfied because the ensemble performed in fine fashion, responding to their guest leader’s ministrations. Without baton but with the bow of a violin, she gave clear and knowing signals as they performed an Overture-Suite in G Minor by Johann Joseph Fux, a Baroque period Austrian organist, theorist, pedagogue and composer, and works by two more famous musicians from the same period, the Italian Antonio Vivaldi, Concerto in F Major for Two Horns, Strings, and Continuo, and the German Georg Philipp Telemann, his Overture-Suite in D Major.

The Fux, definitely a product of its period, was well defined under the Wallfisch leadership, with speeds that furthered an atmosphere of comfort and intimate charm. Here was modest music not designed to steal attention but simply to let listeners enjoy in comfort. The musicians treated it so.

The Vivaldi concerto differed greatly. Its success depended largely on the two natural horn soloists: Nathanael Udell and Burke Anderson. They went all out to provide the audience with blares and bellows and bleats as fortissimo as possible, creating a lively explosion of sounds on instruments held high. Played to the extreme, the concerto was delicious fun to hear.

For the program’s final number, the Telemann Overture-Suite, violinist Wallfisch took the solo spotlight. Not that she gave up her leadership duties, but she fiddled with focused gusto a composition bearing lovely music and, in a Caprice, an amusing and catchy could almost hum leaving the theater. Wallfisch’s craftsmanship was outstanding; her enthusiastic delivery proved how much she cared about the music and her audience. The orchestra’s collaboration was excellent, smooth and supportive.

  • Facebook
  • Twitter

REVIEW: Historical Performance Institute Enthralls IU Museum Audience

Early music fans given much to enjoy at Sunday showcase

It was a fascinating showcase on Sunday afternoon, and in a venue that of late has welcomed too few musical events. Gathered on the second level of the atrium in the Indiana University Art Museum were avid fans of early music who came to hear ensembles from the Jacobs School’s Historical Performance Institute, formerly the Early Music Institute.

Prepared to perform were the various ensembles that exist under the label Concentus: Voices, Renaissance Winds, Renaissance Viols, Renaissance Trombones and Plucked Strings. So, too, at the ready was the Baroque Orchestra and its conductor Stanley Ritchie, who had just been informed of being raised to the level of distinguished professor, the highest honor that an IU faculty member can get (and congratulations to him!).

What awaited us, the audience, was a program called “Gilding the Lilly,” an event designed to celebrate a current Lilly Library exhibit, “The Performative Book from Medieval Europe to the Americas.” More specifically, the concert recognized receipt of a medieval manuscript containing a chant donated to the Lilly by the widow of Thomas Binkley, revered founding director of the Early Music Institute. And to top that, Wendy Gillespie, the institute’s chairwoman, called upon faculty composer Don Freund to contribute a work of his making for the various performing musicians.

One heard first various Concentus groups performing chants and chant-influenced pieces by a series of 15th- and 16th-century composers. A few, such as Tomas Luis de Victoria, William Byrd, Heinrich Isaac and Orlando di Lassus, are familiar names. Others — like Francisco Guerrero, Antoine Brumel, Costanzo Festa, Peter Philips and Alfonso Ferrabosco —are less likely to be recognized. But their music, as chosen for the program, often fell radiant on the ears. The performers, instrumental and vocal, were superb in navigating through the musical challenges. And when the Voices glorified their selections under the guidance of Dana Marsh, coordinator at the institute and specialist in early music voice, one sometimes turned breathless, so lovely were the sounds produced.

The newly tapped distinguished professor, Stanley Ritchie, then took over, using the Baroque Orchestra and the Concentus Voices for a sumptuous reading of later music, Antonio Vivaldi’s Magnificat in G Minor, written in the early 18th century. It is a stunning work, Vivaldi at his melodic and emotionally strongest. Orchestra and vocal soloists matched the music in quality; the result was a pleasure to experience.

Don Freund’s “Discubuit Jesus,” scored for orchestra (the Baroque in reduced number), Concentus instrumentalists, and five vocal soloists, ended the program. The piece served as aural time travel, switching the dominant theme, a chant, through passages for voice, for the Renaissance ensembles with their instruments of long ago vintage, and for the Baroque Orchestra strings. The music swung back and forth from one grouping to another, dramatically and yet comfortably, too. Freund’s grasp of the various period sounds was phenomenal. He gave the musicians an enticing and engaging assignment and the listeners an enticing and engaging listen-to.

Reaction to “Discubuit Jesus” and to the rest of the program sounded enthusiastic. Ovations were warm and, at the end, extensive, just what the performers deserved.

  • Facebook
  • Twitter

Historical Performance Institute calls for papers for May conference

The Historical Performance Institute at the Indiana University Jacobs School of Music is calling for papers for its May 20-22 conference, “Historical Performance: Theory, Practice and Interdisciplinarity.”

This three-day conference will bring together leading scholar-practitioners to examine and anticipate key issues of historical performance in the twenty-first century. Especially welcome are presentations offering research generative of new insights into performance procedures. Scholars whose work extends beyond the field of music are encouraged to contribute. Results and proceedings will launch a new annual peer-reviewed journal, Historical Performance, published by Indiana University Press.

Abstracts (200-word maximum) will be accepted which deal with any area of historical performance, especially:

  • Improvisation
  • Interpretation: connecting theory and practice
  • Reassessment of established paradigms
  • The early music movement, then and now
  • Interpretation and early recorded sound
  • Curricula: integration of academic and applied music in higher education
  • Interdisciplinarity and new frontiers in research
Keynote speaker John Butt

Keynote speaker John Butt

Please send abstracts via email with subject line “HPI abstract” to Sung Lee at no later than Feb. 15, to be forwarded for anonymous review. Notifications will be sent by Feb. 26.

A partial list of confirmed guest speakers includes John Butt (keynote address), Clive Brown, Georgina Born, Magnus Williamson, Philippe Canguilhem, Julie Cumming, Edward Higginbottom, Kenneth Slowik, Angela Mariani, Adam Gilbert, George Barth and Steven Plank. The conveners are Jacobs professors Wendy Gillespie and Dana Marsh.

The discipline of historical performance focuses equally on research and performance. Accordingly, it mediates the links and gaps between theory and practice. It takes an interdisciplinary approach to the musical evidence through early instrumental and vocal pedagogy; literary, linguistic, religious and cultural history; rhetoric, visual art, dance, drama, aesthetics, iconography, organography, paleography and philosophy, among other areas and subdisciplines. From historical performance’s beginnings, interdisciplinary dialogue has been fundamental to the greater development of the field.

The conference is supported by the Indiana University New Frontiers in the Arts and Humanities program and the Jacobs School of Music.

Click here for a PDF copy of this call for papers.

Click Here for a PDF copy of the conference schedule

Click here for a PDF copy of accommodation particulars

  • Facebook
  • Twitter

News from the Historical Performance Institute

HPI Students

HPI ensemble, led by doctoral candidate Kathryn Summersett, following a performance of Hildegard’s “Ordo Virtutum” at the Midwest Medieval History Conference.

The HPI year began with two special student-organized performances under the leadership of doctoral candidate and soprano, Kathryn Summersett. First in September, at the JSoM Organ Department’s ecumenical conference on “Vocation and Worship in the Arts”, the group presented “Heaven versus Earth: A Soul’s Moral Predicament”, featuring music of Hildegard, selections from the Cantigas de Santa Maria 103, all thematically joined with readings from Petrarch. In October, the ensemble offered a staged production of Hildegard’s Ordo virtutum for the annual Midwest Medieval History Conference, hosted by Indiana State University Terre Haute.


Jacques Ogg and Elisabeth Wright

The IU Baroque Orchestra made a very strong start to the season with a duo harpsichord extravaganza, featuring Professor Elisabeth Wright, and Jacques Ogg, guest artist from the Royal Conservatory in The Hague. J.S. Bach’s concerto for two harpsichords in c minor (BWV1062) and C.P.E. Bach’s concerto in F major for two harpsichords (Wq.46) were performed to thrilling affect. Offering masterclasses for harpsichordists and fortepianists, Ogg was the HPI’s first featured guest on this year’s Five Friends Masterclass Series, honoring Georgina Joshi. During the same week, Jacques and Elisabeth played a wonderful duo harpsichord recital in Ford Hall (pictured above).


Professor Rob C. Wegman

Concentus presented its first program of the year with eight modern premier performances in a program emphasizing the music of early composer/performer/theorists. The occasion was enhanced by a visit from Prof. Rob C. Wegman (Princeton University), the first presenter on this year’s JSoM Lecture series. A giant in the field of historical musicology, Wegman is a passionate advocate for the music of Renaissance theorist, Franchinus Gaffurius (1451-1522), and five of his selections were sung, along with works by Diego Ortiz (c.1510-c.1570), Gioseffo Zarlino (1517-1590), and Giovanni Bassano (c.1561-1617), respectively featuring sackbuts, voices and viols – with a special outpouring of diminutions (after Ortiz) by doctoral candidate in Viola da Gamba, Brady Lanier.


Cantus part-book from “Gelobet seist du”, by Michael Praetorius. Polyhymnia Caduceatrix et Panegyrica, 1619

The program concluded with a large-scale setting of “Gelobet seist du”, scored for five ensembles, from Michael Praetorius’s (1571-1621) Polyhymnia, Caduceatrix et Panegyrica of 1619. We are pleased to announce that this program will be broadcast by Public Radio International during the December holiday season [follow this link], and it will also run on Harmonia Early Music, hosted by HPI alumna, Angela Mariani. Bloomington residents can hear this program on WFIU this Christmas Eve, December 24th during the Harmonia time slot at 9:00 pm. You can listen to last year’s broadcast by following this link!


All HPI ensembles performed in this extravaganza of English Music.

One week later, the entire HPI department presented a double-header program entitled, “ALBION: the Land of the Crowned Rose”, centering on English repertory from the 15th to the 18th centuries, with music of Dunstaple, Cornysh, Taverner, Sheppard, Tomkins, Dowland, Gibbons, Ferrabosco, Locke, Purcell, and Boyce.

Prof. Philippe Canguilhem (University of Toulouse, France) led a special workshop dealing with 15th and 16th century techniques and formulae for extempore realization of plainchant. Focusing chiefly on fauxbourdon techniques, Prof. Canguilhem introduced HPI students to the rules and mechanics of these practices. It was a highly insightful session for all involved.

Max van Egmond

Max Van Egmond

The first week of November brought with it a visit from a historical performance pioneer, the bass/baritone Max Van Egmond, who offered two inspiring masterclasses and performed a solo cantata (BWV158) for the Bloomington Bach Cantata Project on November 8th, alongside solo arias sung by tenor, Paul Elliott and mezzo-soprano Mary Ann Hart. Max was also special guest for a lunch session sponsored by the JSoM Office of Career Planning and Development. He offered insights about his career with essential wisdom on how to navigate the waters of career development in historical performance. Follow this link for further information.



Violinist Elizabeth Wallfisch will join Stanley Ritchie and the IU Baroque Orchestra in January 2016

January: The IU Baroque Orchestra will be joined by special guest artist, Elizabeth Wallfisch, the renown violinist who has both led and appeared as a soloist with the foremost period instrument orchestras worldwide. She has taught at the Royal Conservatory in The Hague, the Royal Academy of Music in London, and the University of Melbourne.


From a manuscript once owned by Thomas Binkley, now among the holdings of the Lilly Library – the theme for Professor Don Freund’s new composition to be performed by the HPI at the Lilly Museum in February.

February: The IU Lilly Library, in association with the Medieval Studies Institute will present an exhibit entitled, “The Performing Medieval Book” to include examples of music notation featuring a number of well known chants. The HPI will perform a concert at the IU Lilly Museum to commemorate this exhibit on Sunday February 7th at 3:00 pm. Included among the “performed manuscripts” will be a fragment once owned by HPI founder Thomas Binkley, given to the Lilly Library by his wife, Raglind Binkley. Professor Don Freund of the JSoM composition faculty has composed a piece especially for the Lilly Museum concert, based on the chant, Discubuit Jesus, found in the “Binkley” manuscript fragment. As 2015 has marked the 20th anniversary of Binkley’s passing, it seems particularly fitting to honor his memory in this way. Professor Freund’s dynamic work will involve all students and vocal/instrumental resources in the HPI.


The final HPI concert of the calendar year was offered by the IU Classical Orchestra.



  • Facebook
  • Twitter

Dutch baritone Max van Egmond in residence Nov. 2-8

The Indiana University Jacobs School of Music welcomes Max van Egmond, Dutch baritone, in residence Nov. 2 – 8 as part of the Five Friends Master Class Series, honoring Georgina Joshi.

Max van EgmondEgmond will present two master classes in Ford-Crawford Hall: Thursday, Nov. 5, and Friday, Nov. 6, both at 5pm.

On Sunday, Nov. 8, he will be featured as soloist alongside Professor Mary Ann Hart and Professor Emeritus Paul Elliott in the Bloomington Bach Cantata Project performance under Professor Dana Marsh’s musical direction. Der Friede sei mit dir, BWV 158 and Bekennen will ich seinen Namen, BWV 200 are the two cantatas to be performed that day at 2:30pm at St. Thomas Lutheran Church. All events are free and open to the public.

Van Egmond was born in 1936 in Semarang on the island of Java, Indonesia, then the Netherlands’ East Indies. After World War II, back in his homeland, he went to the Willem de Zwijger Lyceum (Bussum) and the University of Utrecht. He took private music lessons with Tine van Willigen and Anthon van der Horst.

Before embarking on his singing career, he employed his vocal skills in a different way, as a newsreader with the National Broadcasting Company of the Netherlands in Hilversum, from 1955 to 1959.

Van Egmond’s international singing career of nearly half a century lasted from about 1958 to 2005. He toured all over the world, appearing most frequently in Japan, the United States., and Canada. As a lyric bass-baritone with impeccable coloratura, and emphasis on language and diction, he appeared in oratorios, operas, concerts, and recitals. He recorded dozens of LPs and CDs, including most of Bach’s vocal works; operas by Monteverdi, Rameau, Purcell, and Handel; oratorios by Schütz and Reger; and songs by Purcell, Beethoven, Schubert, and Fauré, among others.

His teaching also took him all over the world, and he was on the faculty of the Sweelinck Conservatory in Amsterdam, where he headed the Early Music Department for several years. Presently, he teaches at summer academies, notably in San Francisco, at the American Bach Soloists Academy.

The series honoring the lives of five talented Jacobs School students–Chris Carducci, Garth Eppley, Georgina Joshi, Zachary Novak, and Robert Samels–was established in 2013 with a gift of $1 million from the Georgina Joshi Foundation Inc.

The Georgina Joshi Foundation was established in 2007 as the vision of Georgina Joshi’s mother, Louise Addicott-Joshi, to provide educational and career development opportunities for young musicians and to encourage and support public performance of music.

The gift to the school establishes a permanent way for the world to learn about each of the five friends as well as their musical talents and passions, and to encourage the development of similar talents and passions in current and future music students.

The establishment of this endowment by the families is administered by the IU Foundation.


  • Facebook
  • Twitter