Praised by his “…finger-‐knotting virtuosity…” (Yorkshire Post, England), his “expressive performance” (New York Times) and his “spontaneity, polish and sweet tone” (The Boston Musical Intelligencer), baroque violinist Joan Plana is the founding member of baroque ensemble CONCITATO. Based in New York, he is building an active career as a soloist, recitalist and concertmaster. This season he will continue his job as a leader of the American Baroque Orchestra and L’Academie Baroque Orchestra in Boston, as well as taking the position of concertmaster with Baroque Band in Chicago and The New York Society of Ancient Music.
With CONCITATO he has appeared in venues in New York, Chicago, Montreal, Cleveland and Spain. The ensemble was the only American group on the finals of the 2009 York International Young Artists Competition (England).
Joan Plana plays and records regularly with several baroque groups around the country, including Handel and Haydn Society, Apollo’s Fire, Trinity Wall Street Baroque Orchestra, Concert Royal, New York Baroque Incorporated, American Virtuosi, The American Classical Orchestra, and he has recently collaborated recording with the Italian group Il Pomo d’Oro. In 2011, he appeared around Europe as a member of the European Union Baroque Orchestra. He has worked with conductors such as William Christie, Jordi Savall, Harry Cristophers, Nicholas McGegan, Richard Egarr, Cristopher Hogwood, Enrico Onofri, Riccardo Minasi and Masaaki Suzuki, among others.
Joan became interested in Historical Performance Practice following his arrival to Cleveland in 2005. He joined the Case-‐CIM Baroque Orchestra at Case Western Reserve University, where he studied with Julie Andrijeski, Cynthia Roberts and Miho Hashizume. He became concertmaster, soloist and guest conductor of the ensemble. In 2008, he received an Early Music Certificate from Case Western Reserve University and The Cleveland Institute of Music.
While attending the Tafelmusik Baroque Summer Institute in Toronto, he received the Jeanne Lamon Scholarship Award. He also participated in the Baroque Performance Institute at Oberlin and the International Baroque Institute at Longy (Cambridge), studying with Jeanne Lamon, Marilyn McDonald and Elizabeth Blumnestock. Further lessons and masterclasses include Fabio Biondi, Manfred Kramer, Jordi Savall, and over the last few years he has studied closely with Enrico Onofri and Riccardo Minasi. Joan has taught baroque violin masterclasses and workshops at Baldwin-‐Wallace College (Ohio) and Sarah Lawrence College (New York).
He was an inaugural member of the Historical Performance Program at the Juilliard School, where he studied with Monica Huggett and Cynthia Roberts. While at Juilliard, he played with “Juilliard415” and “Juilliard Baroque” in concerts in New York, Madrid, Milan, Florence and Rome.
He is currently pursuing a Doctorate of Musical Arts in baroque violin at the Graduate Center of the City University of New York, studying with Robert Mealy and Cynthia Roberts.
Violinist Brandi Berry, whose “four-string acrobatics” and “indispensable skill” (TimeOut Chicago) have been praised as “alert [and] outstanding” (Chicago Classical Review), has also been noted for her “riffs.. powered by a flashing blur of bow arm, [as they] rolled out with irresistible glee” (Washington Post). She has appeared with numerous ensembles including but not limited to Kings Noyse, Apollo’s Fire, Newberry Consort, Ars Lyrica, Musica Angelica, Toronto’s Classical Music Consort, Indianapolis Baroque Orchestra; and as soloist/concertmaster of Ars Antigua, Bloomington Early Music Festival Opera Orchestra, Mountainside Baroque, and St. Louis’s Kingsbury Ensemble. Ms. Berry has also performed on numerous series throughout the U.S. and Canada including at the Library of Congress, a repeat performer on the Dame Myra Hess series, Ars Musica Chicago, the 2010 CMC Springtime Handel Festival in Toronto, the Boston, Berkeley, Chicago, Indianapolis, and Madison Early Music Festivals, Kansas City’s Friends of Chamber Music, Early Music Now, Chicago’s Classical Music Mondays at the Cultural Center, and the Academy of Early Music in Ann Arbor. On the air, Ms. Berry has been heard on the Live and Impromptu series of Chicago’s WFMT classical radio station, WNUR, and Wisconsin Public Radio. Brandi serves on the faculty of DePaul University as co-director of their Baroque Ensembles program. A student of Stanley Ritchie and Cynthia Roberts, she holds degrees in violin performance from Indiana University and the University of North Texas. Ms. Berry is artistic director of the Bach & Beethoven Ensemble.
Violinist Emily Dahl is an active performer known for her inventive and intuitive style. She enjoys a diverse career ranging from broadway musicals to baroque opera. Emily’s concentration in historical performance has led to her playing internationally under luminaries within the early music field including Rachel Podger, Maasaki Suzuki, and John Eliot Gardiner. Performing works from the most grand to the most intimate, career highlights include the St Matthew Passion at the Concertgebouw in Amsterdam and a Beethoven-themed salon concert using an 1807 Broadwood piano. Emily’s poised and gracious sound can be heard throughout Boston with the Handel and Haydn Society, Les Bostonades, and many others. Venturing further afield, she appears regularly with the American Baroque Orchestra (New Haven) and Baroque Band (Chicago). After studying abroad at the Royal Academy in London, Emily now lives in Jamaica Plain where happily investigates local bakeries and ice cream.
Janelle Davis is a violinist who performs throughout the United States, and is co-director of the early music chamber ensemble Generation Harmonique. She is currently a candidate for the Doctor of Music degree from Indiana University, specializing in historical violins and music from the 17th and 18th centuries
Janelle is a devoted educator having served in various capacities as a studio teacher, classroom orchestra director, and youth music festival clinician. She also volunteers with Early Music In Motion—a non-profit organization dedicated to supporting schools and communities underserved by the arts. Additionally, Janelle works as a writer, podcast co-host, and production assistant for the syndicated early music radio program, Harmonia.
What convinced you that you wanted a career in music?
I’ve always had varied interests-science, writing, history, teaching-but performing and communicating through music is my first love. I am so privileged to get to do this for a career.
How did you choose your instrument?
As a kid, I wanted to play several other instruments like the flute and piano. But the violin is where I really found my passion. Besides the violin, I also play viola and have recently taken up the viola da gamba.
What could you tell music lovers about your instrument?
My baroque violin doesn’t have a label so its maker is unknown, but it was probably made in a workshop in Klingenthal, Germany in the 18th century. Violin construction changed quite substantially over the next hundred or so years, but my instrument was never altered to modern specifications.
How did you become interested in period instrument performance?
I am a 21st-century person. I love my ipod just as much as the next person and can’t imagine how I ever functioned without the internet! But with ensembles like Baroque Band, I get to perform on period instruments in a way that lets old music speak as vibrantly as it did to the people who first heard it. Despite all of our technology, in some very basic ways, humanity hasn’t changed all that much, and this music still speaks to the core of the human experience.
What music are you listening to right now?
Right now it’s 17th-century German music. But check back tomorrow … it’ll be different!
What is on your nightstand/iPad, Kindle etc.?
Short stories—most recently ones by Lysley Tenorio and Maile Meloy.
Besides your instrument, what is your most treasured possession?
My mother’s art.
Where did you perform before coming to Chicago?
I lived in Texas, where I performed with lots of different ensembles around the Dallas-Ft. Worth area.
What’s your favorite Chicago hangout?
I love coffee! So depending on what part of town I’m in, I like to take a break at either Metropolis or Intelligentsia!
Where else can music lovers hear you besides Baroque Band?
Indianapolis Baroque Orchestra, Bourbon Baroque, ¡Sacabuche!, Exordium, Baroque Chamber Orchestra of Colorado, Generation Harmonique.
Lori Ashikawa was born in Oakland, California and received her undergraduate and graduate training at the University of Southern California and University of California, Santa Barbara. In her rather diversified career Lori has performed on modern violin with the San Diego Symphony, Chicago Symphony, and Grant Park Orchestra; worked in ballet, opera, and theater with the Joffrey Ballet, American Ballet Theater, Chicago Opera Theater and Steppenwolf and Goodman Theaters; and explored the contemporary music realm with Fulcrum Point New Music Project and the experimental music ensemble, Tomorrow Music Orchestra. On Baroque Violin Lori has worked with Christopher Hogwood at the San Luis Obispo Mozart Festival, with Libby Wallfisch at the Carmel Bach Festival, and played with the Los Angeles Baroque Orchestra, Basically Bach Orchestra, Chicago Baroque Ensemble, and Newberry Consort.
Pascal Innocenti grew up in Monaco (south of France) and began his violin studies at age 7. Then went on to Paris where he received first prize at the Rueil conservatory. While there, He was member of the Orchestre des prix du CNSM de Paris.
Just before making his way to the U.S. to play at the Aspen Music Festival for three summers, he appeared as a soloist with the Orchestre Philharmonic de Monte-Carlo. Pascal earned his Master in violin performance at the University of Cincinnati (CCM).
In 2009 Pascal Innocenti made his way to Chicago to join the Civic Orchestra of Chicago. Two years later he moved to Montreal where he performed with L’Opéra Bouffe du Québec as concertmaster and with the Montreal Imperial Orchestra .
An avid chamber musician and traveler, he then formed the Adagio Strings to perform on board of Holland-America line sailing all over the world while exploring the string quartet repertoire.
Founder of The Innocenti Strings LLC, a contracting company who provides musicians all over the US for special events, Pascal is now settled in Chicago with is wife Isabelle Rozendaal who also plays with Baroque Band. Pascal is an active freelancer in the Chiocagoland and can be seen with various groups including the Northwest Indiana Symphony Orchestra and Rockford Symphony Orchestra.
In addition to his chamber music and orchestral work, Pascal loves baroque music and performs with period instrument groups like Baroque Band, the Callipygian Players, and Ars Antigua. When he isn’t performing, he enjoys cooking, long distance running and yoga.
Ms. Nyquist has performed throughout North America, collaborating with many of the top baroque ensembles, including Chatham Baroque, Olde Friends, and Apollo’s Fire. She is frequently featured at the Bloomington Early Music Festival and the Indianapolis Early Music Festival. Her discography includes recordings for the Eclectra, Delos, and Centaur CD labels.
Highly regarded as a teacher, Ms. Nyquist has served on the faculties of Indiana State University, DePauw University, Ohio State, the Interlochen Arts Camp and Lawrence University. She is currently Adjunct Professor of Baroque Violin at Vanderbilt University’s Blair School of Music.
Ms. Nyquist is concertmaster of the Indianapolis Baroque Orchestra, and a member of Ensemble Voltaire, Baroque Band (Chicago), The Vivaldi Project, the Washington Bach Consort, and the newly appointed Music Director of Music City Baroque (Nashville).
A violist of remarkable versatility and impeccable technique, Dave Moss enjoys a vibrant career as a solo artist, chamber collaborator, and orchestra musician. His technical and musical insight, ranging from early baroque performance practices to the most progressive contemporary music, are tremendous assets praised by colleagues and critics alike.
An accomplished chamber musician, Moss has performed with Joshua Bell, Itzhak Perlman, Jamie Laredo, Miriam Fried, Shmuel Ashkenasi, Yo-Yo Ma, Renée Fleming, and with members of the Juilliard, Guarneri, and Ying Quartets. He has appeared on the world’s finest concert stages including Carnegie Hall, Avery Fisher Hall, The Metropolitan Museum of Art, The Kimmel Center, The Kennedy Center, The Smithsonian Museum and Chicago’s Orchestra Hall. He has recorded for Cedille Records, Naxos and Sony Records and has been heard on the BBC, PBS, and is a frequent guest on Chicago’s WFMT.
Moss is a passionate champion of contemporary music and has performed with the worlds leading ensembles including dal niente, Continuum, The International Contemporary Ensemble, and with Pierre Boulez and ensemble intercontemporain. As an orchestral musician he has performed with the Metropolitan Opera Orchestra, Chicago Symphony Orchestra and is highly sought after as a guest principal.
Moss received his Masters degree from The Juilliard School as an Irene Diamond fellow, where he served as teaching assistant to Heidi Castleman and Misha Amory. He earned his Bachelors degree from The Oberlin Conservatory of Music as a student of Peter Slowik.
How long have you been playing, and what convinced you to become a professional musician?
I began violin at the age of two and made my switch to the viola around age sixteen. Starting at such a young age, music was quite literally a first language to me, so as far as choosing music as a profession; I couldn’t see myself doing anything else!
What can you tell us about your instrument?
My current viola was made in 1695 by Giovanni Grancino and am currently trying a number of bows from modern makers who are making bows in the baroque tradition.
What excites you about the Telemann concerto?
What excites me about the Telemann Concerto is the seemingly rare opportunity for the viola to play the role of soloist with an ensemble! As we look back through music history the viola is typically cast as an inner or accompanying voice and this has always been quite perplexing to me. Through my work on the Telemann Concerto I’ve come across many fantastic rarely heard works by Biber, Graun, Fasch, and most definitely Telemann, where the viola is an equal or dominant voice.
What excited me the most about this particular performance of the Telemann with Baroque Band was performing it with one of my hometown bands! The camaraderie, support, and energy that my colleagues brought to each performances really made for something special.
Where else can we hear you inside and outside of Chicago?
I am thrilled to be spending the first two weeks of May in England at the Britten Pears festival performing Bach Cantata’s under the direction of Mark Padmore. I’ll be returning to Chicago to perform Bach’s Brandenburg Concerto #6 for Two Violas with the Chicago Chamber Orchestra on May 20th, followed by two weeks of concerts with Corky Siegel’s Chamber Blues, one of which will be in Chicago at The City Winery on May 31st.
Anna Steinhoff is a cellist whose “soulful cello” has been described by critics as “the rhythmic heart of the ensemble.” Originally from Ann Arbor, Michigan, Anna completed degrees in cello performance from the Oberlin Conservatory and Northwestern University before making her home in Chicago. She specializes in early instruments such as the baroque cello and viola da gamba, in addition to the playing the modern cello. She is a regular member of Baroque Band, and has performed with ensembles such as the Haymarket Opera Company, Newberry Consort, Callipygian Players, Bach and Beethoven Ensemble, Music of the Baroque, Chicago Opera Theater, and Madison Bach Musicians. She is also a founding member of Wayward Sisters, who won the 2011 EMA/Naxos competition.
Find Anna online at http://annasteinhoff.com
Equally at home in front of a harpsichord, organ, piano, or fortepiano, David Schrader is “truly an extraordinary musician…(who) brings not only the unfailing right technical approach to each of these different instrument, but always an imaginative, fascinating musicality to all of then.” (Norman Pelligrini, WFMT).
Currently, David is on the faculty of Roosevelt University and has served as the organist of the Church of the Ascension for over twenty years. As well as Baroque Band, David also leads an active musical life by performing with Music of the Baroque, the Newberry Consort, Bach Week in Evanston, and is a frequent guest on WFMT. Find David online at http://www.davidschrader.com.
Leighann Daihl, historical flutist, has concertized throughout central Europe as well as the United States both as a soloist and as a collaborator of chamber and orchestral music. Her playing has been regarded as “invigoratingly fresh and perky” (Bachtrack) as well as “some of the most spirited, stylish, and nuanced playing” (Chicago Classical Review). Leighann regularly plays with period instrument ensembles throughout the Midwest, like New Comma Baroque, Baroque Band, the Newberry Consort, and the Bach and Beethoven Ensemble. Her performances can frequently be heard on Chicago’s Classical Radio Station WFMT, 98.7. In the spring of 2014 she was chosen to give a Dame Myra Hess Memorial concert which was broadcast live on WFMT. In addition, she has been fortunate enough to work under such notable conductors as Jeffrey Thomas, Barthold Kuijken, Jeanne Lamon, Stanley Ritchie, Harry Bicket, and Peter Kooij. In addition to performing, Leighann is an avid teacher, teaching both flute and piano, in the greater Chicago-land area as well as in Southern Indiana. Leighann also gives Baroque performance practice workshops to modern and period instrumental players. Leighann holds a Bachelor’s degree in modern flute from DePauw University (Greencastle, IN) as well as a Master’s degree in modern flute from Indiana University (Bloomington, IN). In addition, she holds a Bachelor’s degree in traverso from The Royal Conservatory of The Hague (The Hague, The Netherlands) and a Master’s degree in traverso from Indiana University. Leighann has also been the recipient of the prestigious Netherland-American fulbright grant.
Sung Lee has studied the modern oboe with Michael Dupree, Salvatore Spano, and Kimaree Gilad. Presently, he is working toward a master of music degree in early music at the Early Music Institute (EMI), Indiana University, where Sung is studying baroque and classical oboes with Mr. Washington McClain. He is an active member of the Baroque and Classical Orchestra, under the direction of Professor Stanley Ritchie. In the last two years, Sung has performed in the Bloomington Early Music Festival, Amherst Early Music Festival, Boston Early Music Festival, and Albuquerque Double Reed Workshop. Locally, he has performed with Indiana Baroque Orchestra, and Ensemble Voltaire.
Sian Ricketts recently finished a doctoral degree in historical performance practice at Case Western Reserve University, studying baroque oboe and renaissance winds with Debra Nagy and voice with Ellen Hargis. This season she performed with the Denton Bach Society in Texas, Queen City Musicians in Seattle, Bach Collegium Fort Wayne in Indiana, and the medieval group Alkemie, as well as with Apollo’s Fire and the Trinity Chamber Singers in Cleveland.
A native of Eugene, Oregon, Nate Helgeson is in demand in the United States and abroad as a modern and historical bassoonist. He is a founding member of period instrument ensembles on both coasts, including SacroProfano (Seattle), Grand Harmonie (Boston), and New Vintage Baroque (New York). Nate also appears regularly with many of North America’s premier period ensembles, such as the Tafelmusik Baroque Orchestra, Portland Baroque Orchestra, Pacific Music Works, Mercury Baroque, and the Trinity Baroque Orchestra. On the modern instrument, he has performed throughout the country with a diverse range of ensembles, including the Oregon Bach Festival Orchestra, the Boston Philharmonic, and the Callithumpian Consort. Nate is a graduate of the Historical Performance program at the Juilliard School, and holds degrees in modern bassoon performance from the University of Oregon and the New England Conservatory of Music.
Justin Bland is a versatile musician, performing on both historical and modern trumpets. He specializes in early music, most notably in difficult high-register music for Baroque trumpet. Before formally studying Baroque trumpet, Justin won first prize in multiple historical instruments divisions of the National Trumpet Competition. Justin is now often sought as a Baroque trumpeter by numerous ensembles throughout North America. He has performed on period instruments with Musica Angelica, Apollo’s Fire, the American Bach Soloists, Bach Collegium San Diego, Baroque Band, Madison Bach Musicians, Handel Choir of Baltimore, Magnolia Baroque Festival, the Washington Bach Consort, Chantry, Orchestra of the 17th Century, and the Washington Cornett and Sackbut Ensemble.
In addition to be being a trumpeter, Justin is also a countertenor and has sung with Apollo’s Fire and Opera Cleveland. While in Ohio, he was an alto section leader in the chamber and chancel choirs at Trinity Cathedral in downtown Cleveland and was the countertenor with Cantores Cleveland (now Contrapunctus). In addition, Justin briefly served as a bass section leader at Church of the Covenant in Cleveland. Justin also plays recorder.
Justin recently earned his DMA in trumpet performance from the University of Nevada, Las Vegas. He received his MA in early music performance practices from Case Western and his BM in trumpet performance from the University of Maryland. His primary trumpet teachers include Chris Gekker, Barry Bauguess, Steven Hendrickson, Steven Trinkle, and Justin Emerich. He has studied voice with Delores Zeigler, Ellen Hargis, and Aaron Sheehan.
for more info about Justin visit http://justinblandtrumpet.com
David Kjar, natural trumpet player, music historian, and Artistic Co-Director of Cambridge Concentus, was hailed by The Washington Post as “a rare treat to hear…bringing a singing tone and impressive virtuosity” and cited as “one of the up-and-coming historical brass players of his generation” by the Tijdschrift Oudemuziek (Holland). He has performed and recorded with early-music ensembles such as La Petite Bande (Brussels), Concerto Köln (Cologne), Boston Baroque, The Bach Ensemble (Boston), and Rebel (New York) while working with early music specialists such as Sigiswald Kuijken, Joshua Rifkin, Rene Jacobs, Reinhard Goebel, Martin Pearlman, Jörg Michael Schwarz, and Richard Egarr. David has been a featured soloist with Rebel under Jörg Michael Schwarz (NYC), Quintus (Holland), the Lyra Baroque Orchestra with Jacque Ogg (MN) and the Jerusalem Baroque Orchestra (Israel). His critically acclaimed solo performances have been heard on American Public Radio’s Performance Today, Minnesota Public Radio and Belgium’s classical radio station Klara. David is currently teaching at Roosevelt University as Visiting Assistant Professor of Music History.
Cara Sawyer began a successful career in French horn at the age of 18, a career that has taken her from her native Chicago to Russia, Spain, Belize, and beyond. The San Francisco Examiner hails her natural horn playing as “outstanding [and] skilled.” Ms. Sawyer is also a skilled modern horn player, and has been heard most
recently performing with The Forty-Second Parallel (42nd ||), a conductorless, Chicago-based orchestra. She was a regular member of the Civic Orchestra of Chicago from 2011-2013, and has performed and toured with Jeunesses Musicales World Orchestra, the Tenerife Symphony, and the Village Theatre (creators of Million Dollar Quartet), and has played at the Bellagio Hotel’s Phantom of the Opera in Las Vegas. She recently graduated from the YOA Orchestra of the Americas’ Global Leaders Program, a program designed to train young musicians to become agents of social change, and currently volunteers as an advisor for those in the program. She recently completed a one-year position as Administrative Director for a youth orchestra with The People’s Music School.Ms. Sawyer holds a MM from DePaul University in Chicago, IL and a BM from the University of Wisconsin – Madison. She holds certificates in natural and modern horns from the Superior Music School of Catalunya (ESMúC) in Barcelona, Spain.
Michael Holmes has always been active in a wide spectrum of musical pursuits. After spending much of his early career performing as a modern hornist in several orchestras, including eight years with the Richmond Symphony, his interests gradually shifted toward conducting and early music. He has performed extensively as a conductor in Europe, leading performances with orchestras including the Filharmonia Hradec Kralove (Czech Republic), the Slezske Divadlo (Silesian State Opera) and the Varna (Bulgaria) Philharmonic, where he gave the first performance in Bulgaria of Sibelius’s 7th Symphony. With the Filharmonia Sudecka (Poland), he premiered the Symphony No. 1 by American composer Kris Brooks. In Finland, he performed with the early music ensembles Juhanna-herttuan sinkkit ja pasuunat and Sonus Borealis.
His artistic focus in North America deals mostly with early music and musicological pursuits. Currently he serves as music director and principal conductor of the Orchestra of the 17th Century and artistic director of theWashington Cornett and Sackbutt Ensemble. He has also performed on various historic wind instruments (natural horn, sackbut, cornetto, and recorder) with ensembles such as Piffaro, the Boston Shawm and Sackbut Ensemble, Artek, Stylus Luxurians, the Washington Bach Consort, theWashington Concert Opera, the Bach Sinfonia, Musica Antiqua, theWashington Baroque Trio, and Abendmusiken at the Amherst Early Music Festival.
Michael Buckwalter began playing the Horn at the age of twelve in Vallejo, CA. His musical education includes studies at The San Francisco Conservatory and Northwestern University, as well as private studies with Dale Clevenger, Norman Schweikert, David Krehbiel, and John Cerminaro.
Mr. Buckwalter has served as Third and Associate Principal Horn of the Nashville Symphony, co-Principal of the RAI Torino Symphony (Turin, Italy), and Solo Alto Horn of the Jack Daniel’s Silver Cornet Band.
He is currently an active freelance player in the Chicago area, where he is Solo Horn and founding member of the Ars Viva Symphony, and Principal of the Lake Forest Symphony, and the Woodstock Mozart Festival. He is also a member of the Northwest Indiana Symphony, The Chicago Jazz Philharmonic, has played Wagner tuba with the Indianapolis and Milwaukee Symphonies, and plays with various theaters (including Goodman’s Candide), industrial shows, symphony orchestras, chamber ensembles, ballet (including Joffrey) and opera companies throughout the area, as well as specialty ensembles including The Chicagoland Pops, CityLights Orchestra, and Too Hot To Handel.
Mr. Buckwalter teaches privately at the Music Institute of Chicago, and at his home.
David Victor wears many hats in the Chicago music community as a go-to Timpanist, Percussionist, and Drum Set artist. David enjoys playing all styles of music, from Baroque to Broadway; Bach to Bebop.
David has performed with the Minnesota Orchestra, St. Paul Chamber Orchestra, Spoleto Festival Orchestra, New World Symphony, and Minnesota Opera. He is also the Principal Percussionist of the Northwest Indiana Symphony Orchestra, a position he won in 2013. David can be heard on recordings from BIS, Mode, and Naxos.
David earned his Master’s degree with honors from the New England Conservatory of Music in Boston. An Illinois native, David completed his undergraduate studies at Roosevelt University.
David is the proud father of twins. In his spare time (yeah right…), David enjoys running, watching English Premier League Soccer, and collecting vintage drums.
Lutenist and guitarist David Walker has performed extensively throughout the United States earning praise for his “surety of technique and expressive elegance,” (Columbus Dispatch) as well as his “tremendous dexterity and careful control” (Bloomington Herald Times). David has appeared with such early music groups as Boston Baroque, Catacoustic Consort, Chatham Baroque, Clarion Music Society, and Tempesta di Mare, and is a member of the chamber ensemble Ostraka. He has performed in numerous baroque opera productions, including engagements with Glimmerglass Opera and the Wolf Trap Opera Company. Festival highlights include the Savannah Music Festival, Indianapolis Early Music Festival, and solo recitals for the Bloomington Early Music Festival and the University of Louisville Guitar Festival. Recording credits include Ostraka’s critically acclaimed debut, Division, and recordings for Sono Luminus and Linn Records. David studied with Nigel North at Indiana University and privately with Patrick O’Brien.