R E B E L
Jörg-Michael Schwarz & Karen Marie Marmer, directors

Hailed by the New York Times as “Sophisticated and Beguiling” and praised by the Los Angeles Times for their “astonishingly vital music-making, the New York-based Baroque ensemble REBEL (pronounced “Re-BEL”) has earned an impressive international reputation, enchanting diverse audiences by their unique style and their virtuosic, highly expressive and provocative approach to the Baroque and Classical repertoire.

The core formation of two violins, recorder/traverso, cello/viola da gamba and harpsichord/organ expands with additional strings, winds, theorbo and vocalists, performing on period instruments. REBEL, through its longterm residency from 1997-2009 at historic Trinity Church, Wall Street in New York City, has achieved high acclaim for its collaborations with Trinity Choir in performance, radio broadcasts, webcasts and recordings with works ranging from the cantatas of Bach to large scale works by Monteverdi, Handel, Bach, Purcell, Mozart and Haydn. An 8-CD set of the complete masses of Haydn was released in 2009 on the Naxos label. The REBEL Baroque Orchestra first gained worldwide recognition for its acclaimed performance of Mozart’s Requiem with Trinity Choir under the direction of Dr. Owen Burdick, broadcast nationally over National Public Radio in September 2001, and for its annual performances of Handel’s Messiah and the choral works of Haydn, which had been broadcast live over WQXR-FM in New York City, as well as internationally over the internet.

Named after the innovative French Baroque composer Jean-Féry Rebel (1666-1747), REBEL was originally formed in The Netherlands in 1991. In the Fifth International Competition for Ensembles in Early Music, Utrecht 1991 (now the Van Wassenaer Competition) REBEL was awarded first prize. Since then the ensemble has performed at European venues such as the Holland Festival Oude Muziek, Tage Alter Musik Berlin, the Konzerthaus (Vienna), La Chapelle Royale (Versailles), Internationale Festtage für Alte Musik Stuttgart, Tage Alter Musik Regensburg, the Händel Festspiele (Halle, Germany) and the Göttingen- Handel Festival amongst others.

REBEL has appeared to critical acclaim at distinguished American venues such as the Da Camera Society, the Schubert Club, Friends of Music Kansas City, Clarice Smith Performing Arts Center, Library of Congress, Caramoor, Chautauqua Institution, Stanford Lively Arts, University of Chicago Presents, University of Arizona (Tucson) Presents, the Shrine to Music Museum, the Isabella Stewart Gardner Museum, the Cleveland Museum of Art, the early music festivals of Boston and Berkeley and Music Before l800 in New York City.

!REBEL has collaborated with renowned vocalists Max von Egmond, Derek Lee Ragin, Suzie Le Blanc, Daniel Taylor, Marta Almajano, Peter Kooy, Barbara Schlick and Rufus Müller; in 2005 REBEL appeared in collaboration with Renée Fleming at Carnegie Hall to critical acclaim. The ensemble has recorded for all the major European national radio networks and has been showcased in performance and interview on BBC’s Radio 3. Arguably the most aired American Baroque ensemble in the U.S. today, REBEL is regularly featured on NPR’s Performance Today and MPR’s St. Paul Sunday. REBEL remains the only period instrument ensemble to be awarded an artists’ residency at National Public Radio in Washington, D.C. In 2012 REBEL was the ensemble- in- residence at the Finnish festival ‘Les Lumières’ in Helsinki, and since 2013 the ensemble has been in residence at Grace Church in White Plains, N.Y.

REBEL has recorded for Deutsche Harmonia; Dorian; ATMA Classique; Hänssler Classic; Bridge Records; Naxos and Sono Luminus/Dorian. Their highly-acclaimed disc,> Georg Phillip Telemann: Double Concerti for Winds and Strings was released in 2013 on Bridge Records; a disc of the complete trio sonatas of Johann Gottlieb Goldberg will be released in 2016.

www.rebelbaroque.com

MATTHIAS MAUTE

Matthias Maute has achieved an international reputation as conductor, recorder and flute player and as a composer. Mr. Maute is esteemed for his artistic direction of Ensemble Caprice, for whom he produces ingenious and fascinating programs. With this ensemble he regularly appears at major festivals world wide. In Canada he has performed at the Ottawa Chamber Music Festival, Festival international du Domaine Forget and Elora Festival among others.

In the realm of choir and orchestra direction Matthias Maute has focussed more and more on large scale projects. His versions of Bach’s B Minor Mass, Arvo Pärt's and J.S.Bach’s Magnificat and J. D. Zelenka’s Miserere were broadcast nationwide by CBC Radio 2 and Radio Canada/Espace Musique. He has recorded G. F. Haendel’s Music for the Royal Fireworks on CD, and under his direction Ensemble Caprice was awarded the prestigious 2009 JUNO Award for Best Classical Album of the Year (Vocal or Choral Performance) for its CD Gloria! Vivaldi’s Angels on the Analekta label. In September 2012 Ensemble Caprice directed by Matthias Maute will release a double CD on Analekta featuring Bach’s Brandenburg Concertos juxtaposed with Preludes from Shostakovich's Op. 87.

His solo career has soared since winning First Prize in the soloist category at the renowned Early Music Competition in Bruges, Belgium in 1990. He made his debut at Lincoln Center in New York in December 2008. In 2003 and 2005, he was the featured recorder soloist at the Boston Early Music Festival. Matthias Maute’s compositions hold an important place in the world of contemporary recorder music and are published by Breitkopf & Härtel, Amadeus, Moeck and Carus. Mr. Maute has made some twenty recordings on the Analekta, Vanguard Classics, Bella Musica, Dorian, Bridge and Atma Classique labels. He teaches at Université de Montréal and McGill University in Montreal.

INFUSION BAROQUE

Winners of the Grand Prize and Audience Prize at the 2014 Early Music America Baroque Performance Competition, Montreal-based ensemble Infusion Baroque seeks to draw a new audience to early music by integrating chamber music performance and other artistic media.

Their performances have been described as “dynamic and alive” with a stage presence that is “poised and elegant.” Infusion’s innovative programming includes Musique en couleur, featuring live painting by visual artist Sylvia Chan; and Rebels and Rivalry, based on scandalous stories from the lives of the great composers.

Past projects include L’Arte di Corelli, featuring a slide slow of baroque visual art inspired by the composer’s extensive collection of paintings; and Who Killed Leclair?, an interactive murder mystery soirée based on the unsolved murder of the famous composer.

Infusion Baroque has performed across Eastern Canada and United States, including appearances at the Montreal Baroque Festival and Boston Early Music Fringe Festival.  Upcoming events include engagements with the San Francisco Early Music Society, Houston Early Music Festival, Indianapolis Early Music Festival, Early Music Now (Milwaukee), Renaissance & Baroque (Pittsburgh) and Early Music Guild (Seattle).

ALEXA RAINE-WRIGHT, BAROQUE FLUTE AND RECORDER

Equally at ease on the recorder and the baroque flute,  Alexa Raine-Wright has shared her passion and talent for early music with audiences across the United States and Canada in solo, chamber and orchestral performances.

Alexa is a graduate of McGill University in Montreal, where she studied with Claire Guimond (baroque flute) and Matthias Maute (recorder). In 2015, Alexa won 1st place in the National Flute Association's Baroque Flute Artist Competition in Washington DC, as well as 2nd place in the Mathieu-Duguay Early Music Competition.

Alexa is a member of the celebrated recorder quartet, Flûte Alors!  She is also a founding member of ensemble Recordare, a finalist in the 2011 Early Music America/Naxos Recording Competition.  Alexa has made recent appearances with Ensemble Caprice, Arion Baroque Orchestra, I Musici and the Chicago Symphony Orchestra.  Alexa has performed at music festivals across North America (including the Montreal Baroque Festival, Boston Early Music Festival and Berkeley Festival & Exhibition) and has recorded with Arion Baroque Orchestra and La Bande Montréal Baroque on the label ATMA Classique. Indianapolis fans will know her as the winner of the 2016 Indianapolis International Baroque Competition, co-sponsored by Indianapolis Early Music.

SALLYNEE  AMAWAT, BAROQUE VIOLIN

Baroque violinist Sallynee Amawat has appeared in the Boston Early Music Festival, Amherst Early Music Festival and the Montreal Baroque Festival, and has performed with the American Baroque Orchestra, Arion Baroque Orchestra, Pacific Baroque Orchestra, Haymarket Opera, and Theatre of Early Music with Dan Taylor.  

As a modern violinist living in Bangkok, Thailand, Sallynee performed regularly with the Bangkok Symphony Orchestra, Bangkok Symphony Chamber Orchestra, Bangkok Opera, and the Metropolitan Opera of Bangkok.  She has also performed with the Tokyo City Philharmonic, ASEAN-Japan Festival Orchestra, and can be heard on several Thai and Western classical recordings with the Mai Thai Chamber Orchestra, Bangkok Symphony Orchestra and Chamber Orchestra, and the Siam Philharmonic.  Sallynee completed her Masters Degree in Violin Performance with an emphasis in Suzuki Pedagogy at the Hartt School in Hartford, Connecticut under the tutelage of Katie Lansdale, and is currently pursuing docoral sudies in baroque violin performance with Hélène Plouffe at McGill University.

ANDREA STEWART,  BAROQUE CELLO

Interested in the new sounds and techniques found in new music but still intrigued by the beauty of classical and baroque repertoire, Montreal-based cellist Andrea Stewart is equally at home performing with electronics as she is playing basso continuo.

In 2006, Andrea made her solo debut with the University of Western Ontario Symphony Orchestra (London, ON). Since then, performances have brought her to venues across North America and Europe, in solo recital and with such ensembles as Grammy-nominated Uccello, Gruppo Montebello, Ensemble Caprice, Plumes Ensemble, and collectif9. Andrea is a laureate of the Golden Violin Competition at the Schulich School of Music (McGill University) and the Eckhardt-Gramatté National Music Competition.

Andrea recently completed her D.Mus. from McGill University, having devoted her research to the expansion of cello technique in relation to works in the contemporary repertoire, supported by funding from the Social Sciences and Humanities Research Council, McGill University, and the Conseil des arts et des lettres du Québec.

RONA NADLER, HARPSICHORD

Harpsichordist Rona Nadler has performed with various ensembles in the Montreal area, including Les Voix Baroques, La Rose des Vents, the McGill Chamber Orchestra and I Musici; and has appeared in the Montreal Bach Festival, Ottawa International Chamber Festival, Montreal Baroque Festival, Orford Festival and Arion “Croque Baroque” Series.  

Rona is a founding member of the vocal ensemble One Equall Musick. She holds  Masters and Bachelors degrees in Early Music Performance from McGill University where she studied harpsichord with Hank Knox and historical keyboard improvisation with Dr. William Porter; and also studied harpsichord with Jesper Christensenatat the Schola Cantorum Basilensis.  

Rona currently works at McGill University as a continuo instructor and baroque vocal coach.  In addition to her activities in the field of early music, Rona is music coordinator and primary cantorial soloist at Temple Emanu-El-Beth Shalom.

Piffaro delights audiences with highly polished recreations of the rustic music of the peasantry and the elegant sounds of the official wind bands of the late Medieval and Renaissance periods.  Its ever-expanding instrumentarium includes shawms, dulcians, sackbuts, recorders, krumhorns, bagpipes, lutes, guitars, harps, and a variety of percussion — all careful reconstructions of instruments from the period.

Under the direction of Artistic Directors Joan Kimball and Bob Wiemken, the world renowned pied-pipers of Early Music present an annual subscription concert series in the Philadelphia region; tour throughout the United States, Europe, Canada and South America; and appear as performers and instructors at major Early Music festivals. Recordings are a significant part of the ensemble’s work, and 18 CDs have been released since 1992, including 4 on the prestigious label Deutsche Grammophon/Archiv Produktion.

Piffaro has been active in the field of education since its inception in 1980, and has been honored twice for its work by Early Music America, receiving the “Early Music Brings History Alive” award in 2003, and the Laurette Goldberg “Lifetime Achievement Award in Early Music Outreach” in 2011. In June 2015, the American Recorder Society honored Piffaro with its Distinguished Achievement Award.

"Tonescape"

The acclaimed women's vocal trio Artemisia explores a tonal landscape of vocal writings inspired by music's earliest origins:  Palestrina. Byrd. Lassus. 

Our modern perception of "early vocal music" rests on a bedrock of pristine vocal writing laid out by these authors and their compatriots, giving us ringing overtones, perfect intervals, and exquisite harmonies. What other vocal writings flourished alongside and have been influenced by this core foundation of sound?

In "Tonescape", Artemisia expertly maneuvers a wide range of vocal styles to paint the immense depth of vocal writing comprising and inspired by the early periods. Rarely does one hear the fascinating contrast of a Hildegard of Bingen chant paired alongside the thick, guttural resonance of an early Corsican village mass.

In addition, "Tonescape" features the playful joy of Monteverdi and Thomas Weelkes' tongue-in-cheek secular writing for three voices, and Sungji Hong's virtuosic Missa Lumen de Lumine - an expert blend of antique melodic influences and fluid modern harmonies.

Chicago-based a capella trio Artemisia harnesses the power of the female voice to explore complex social issues through the vocal traditions of the world.  Not your typical stand-and-sing ensemble, Artemisia draws from a vast repertoire of vocal styles to take audiences on a journey of sound and spirit with every performance.

To learn more about Artemisia and to hear samples of works to be performed, please visit www.artemisiatrio.com.

Artemisia Trio

Known for "blurring the boundaries between classical and folk," Artemisia endeavors to bring diversity and accessibility to their programming. Not your typical stand-and-sing ensemble, Artemisia programs typically include a range of visually appealing dramatization that aim to augment their vast repertoire base, including 11th century chant, Tushetian highlander cries, Norwegian war songs, and everything in-between.

As a collaborative ensemble, Artemisia also strives to showcase the work of other artistic ensembles in the area. Recent collaborations include working with the Hyde Park Neighborhood Choir - an affiliate of Chicago Children's Choir (directed by Mollie Stone) and the Bourné Family.

Artemisia also advocates the performance of newly composed works by living composers. Most recently, Artemisia was privileged to perform the Chicago premiere of Sungji Hong's Missa Lumen de Lumine.

Program: The Three Musketeers

Douglas Fairbanks' 1921 Swashbuckler presented with a live score of French Renaissance Theater Music.

An Indianapolis favorite, Hesperus returns to the Festival after a year's interval. 

Innovative, historically-informed and multi-cultural, HESPERUS’ collaborative artists perform a variety of programs designed to bring musical history alive including silent movie soundtracks of early and traditional music, musical portraits of a single culture through time, fusions of European early music with American traditional styles, and single-genre early music programs from medieval to Spanish and British Colonial music. Whatever the genre, HESPERUS performs with creative energy, technical assurance and a sense of fun.

Founded in 1979 by the late Scott Reiss and his wife Tina Chancey, HESPERUS has appeared throughout the US, Southeast Asia, Latin America and Europe, most recently at Kennedy Center, the Smithsonian Folklife Festival, Lincoln Center, the Carmel Bach Festival and the Cloisters, as well as at festivals in Italy, Germany, Indonesia and Bolivia. The ensemble can be heard in three recent Hallmark Channel specials (including the Emmy-nominated Patrick: Patron Saint of Ireland), the film Sleepy Hollow, and on seventeen recordings on the Koch International, Dorian, Golden Apple and Maggie’s Music labels.

HESPERUS’ awards include the Elizabeth Campbell Award from the Arlington Chapter of the American Association of University Women, the Logan Prize for Excellence in Educational Programming, the Music and Humanity Award from Music at Gretna, seven Wammies, and the Baltimore Chamber Music Award.

Most recently, HESPERUS completed a Chamber Music America residency in Williamsburg, Virginia and will be an ensemble in residence at Gettysburg College this year, as well as a resident ensemble at the Roanoke Island Festival Park in the Outer Banks of North Carolina.

What to do for free on a Saturday morning?  Bring all the kids (and the neighbors) to IEM's annual free family concert.

The musicians of The Peabody Consort continue the tradition of presenting a concert for the whole family.  Not familiar with Early Music? You will see, hear, and (possibly) touch some of the unique instruments used by the musicians.

Always a Festival favorite!

A Vanished World: Music of Three Faiths
Christian, Jewish, and Islamic music from the court of Alfonso X
in collaboration with "Echoing Air", Steven Rickards, Director

About The Program: Interview

An interview with Mark Cudek, Peabody Consort director and Indianapolis Early Music artistic director by Bret McCabe, HUB, Johns Hopkins University (Published Mar 1, 2016)

For the past two seasons, Mark Cudek, chair of the Peabody Institute's Early Music Department, has included a concert of medieval Christian, Jewish, and Arabic music in the schedule for his ensemble, the Peabody Consort. He's called the program "Words and Music of Three Faiths," and its repertoire—the Cantigas de Santa Maria, Sephardic romances, and Arabic improvisations—date from the 13th century when Alfonso X was the King of Castile and Leon regions of what is now Spain.

This era was noted for its cultural and intellectual vitality. Alfonso employed Jewish and Muslim scholars in his court to translate Arabic and Hebrew texts into Castilian, such as Ibn al-Haytham's Configuration of the Universe and other Arabic scientific works. He also had scholars translate the Qur'an and Talmud into Castilian—which, given that both Jews (in 1492) and Moors (in the early 16th century) were eventually expelled from Spain under threat of exile or death—is a sobering reminder about how dramatically a state's rule of law can change.

In Alfonso X's court, however, all three religious groups coexisted, and sometimes they played music together. On March 6, Cudek and the Consort—which includes guest artist Jeffrey Grabelle (bass viola da gamba), Peabody alumni Julie Bosworth (soprano), Brian Kay (oud), Sara MacKimmie (soprano), Niccolo Seligmann (vielle), current Peabody undergrads Sarah Lynn (soprano) and Aik Shin Tan (flute, recorders), and Cudek himself (on the percussion instruments riq and doumbek)—present a special version of the program "Words and Music of Three Faiths" at the Bolton Street Synagogue in collaboration with the Institute for Islamic, Christian, and Jewish Studies. The concert will include readings of Christian, Jewish, and Muslim poetic texts by ICJS scholars Heather Miller Rubens, Benjamin Sax, and Homayra Ziad.

The Hub caught up with Cudek by phone to chat about this version of "Words and Music for Three Faiths," which he says will be the last performance of the repertoire until he takes the Consort and this program to the 2017 Indianapolis Early Music Festival.

How did this program come about, both in terms of the music and the collaboration? Were you looking to partner with the Institute for Islamic, Christian, and Jewish Studies and built the program around that effort?

The repertoire has been a pet project of mine for a while. It's music I'm really drawn to, and I've been performing the musical portions of this show with the Peabody Consort for the last two seasons. I've been programming medieval and Sephardic music for years. Two of my alumni, Brian Kay and Niccolo Seligman, are part of an award-winning trio, Division, that does a lot of Arabic music. Brian did two lute degrees at Peabody and is a fantastic oud player. And Niccolo plays any type of bowed string instrument. In this program he's playing a vielle, which is really just the medieval version of what eventually morphed into the violin. So I happily let them take over the Arabic set.

Another alum, Julie Bosworth, is a stunning singer and particularly adept at singing in both early and world music styles. She's been singing the Sephardic music with me for about six years now and is such a natural. The program is built around the three of them and with present students filling out other roles.

I wanted to do "Three Faiths" in a more expanded version and include readings from the various cultures and Sarah Hoover, special assistant to [Peabody] Dean [Fred] Bronstein, made the connection with ICJS.

Image caption:Mark Cudek (left), a member of the Peabody faculty since 1982, founded the Peabody Consort in 1996. The group performs 'Words and Music of Three Faiths' on Sunday at Baltimore's Bolton Street Synagogue.

Could you tell me a bit more about the program—I understand the Cantigas de Santa Maria is a medieval religious text set to music. I ask because I'm curious what an early musician can tell me about these musical forms. With Catholics, Jews, and, Arabs living around each other in Alfonso X's court, did their musical ideas—in instrumentation, rhythms, forms—influence one another at all?

Absolutely, but the problem is there's not a lot of documentation on this. The other problem is that so much of the music is not written down, and what was written down was often kind of skeletal, especially the instrumental music. There are poetic forms that go way back in the Arabic world that are picked up in the West, as well as the instruments themselves—for example, the oud is the ancestor of the western lute. So there's definitely a lot of cross-cultural influence.

The Christian music we're doing, the Cantigas de Santa Maria, is from the court of Alfonso X. There are over 400 cantigas and they're monophonic pieces—just melodies. The scores do not give the slightest hint of how to arrange this music, so many decisions are left up to the performers—which makes it really fun to do because there are many different approaches you can take. In fact, if you get two recordings of Cantigas from two different groups, you'll hear wildly different interpretations of the same piece. There are no tempo markings and no instrumentation mentioned—although in the primary source of the Cantigas there are miniature paintings depicting musicians, of the three faiths, and their instruments. So if anybody says these should be done just vocally without instruments, I think they're barking up the wrong tree.

Pardon my ignorance, but with three different religious groups found in Alfonzo X's court, is that kind of diversity unusual for the time period in terms of music? Was that amount of variety found in the early music of, say, the places we now call England, France, or Germany?

I don't think there was anywhere near the variety going on in the other countries that there was in the Iberian Peninsula. Though it was more isolated, you have these three groups cohabitating—not very often peacefully, but at least in Alfonso's court. Intellectuals were attracted regardless of their faith. He wanted knowledge and information and books written and translations done. He was a very wise ruler—as his name, El Sabio, implies—and obviously a great lover of music.

What can we learn about the past through music? What can knowing about musical and cultural traditions of these different people from this particular period in history tell us about how we're living today?

Well, one is that people of different faiths can actually get along together and share musical ideas and express themselves in very beautiful ways.

There are also many approaches to learning and making music. The Christian cantiga repertoire was the only music that was written down—the other repertories are from oral tradition. The Jewish music was not written down until the 20th century, and much of the Arabic music to my knowledge has still not been written down. We learned it by ear. So we are early musicians going way back in time and using learning and arrangement skills of classical, traditional, folk, and jazz musicians.

CONCERTS PRESENTED BY INDIANAPOLIS EARLY MUSIC

Known in earlier years as Festival Music Society

1966 – Founded according to Grant proposals

1967 – 5 concert season ending with St. Matthew Passion by J.S. Bach.

1968 – Michael Palmer, music director and conductor Location: Second Pres. And Christ Church July 7 -- Bach Suite No 3 for Orchestra, Handel Coronation Anthems July 14 -- Eric Rosenblith and Lee Luvisi Sonatas by Bach, Mozart and Bartok July 21 -- Constance Silipigni, Violin; Salvatore Silipigni, cello; Anner Reynolds, flute; Michael Palmer, Harpsichord. Trio Sonatas by Boyce, Rameau, Vivaldi, Quantz, and Telemann July 28 – Hugh Partridge, viola; Janis Dumpis, viola; Festival Orchestra – Bach Brandenburg Concerto No. 6; Concerti Grossi by Purcell, Corelli, Handel and Pergolesi August 4 - B Minor Mass by J.S. Bach.

1969 – Michael Palmer, music director and conductor. Location: North Methodist Church July 6, 13, 20, 27, August 3. Final concert – a repeat of B Minor Mass by J.S. Bach. (Dec. 6, 1969 = date on Articles of Incorporation)

1970 – Thomas Briccetti, Music Director Location: IMA July 12 – Butler Ballet, George Verdak, director and Choreographer; The Festival Chorale, David Greenlee, Choral Director. G. Gabrieli: Buccinate in Neomenia, Motet in 19 parts. Monteverdi: L’Incoronazione Di Poppea (Scenes from the opera); Menotti: The Unicorn, the Gorgon and the Nanticore or, The Three Sundays of a Poet. July 19 The Festival String Orchestra Hovhaness: Armenian Phapsody; Mendelssohn: Symphony No. 9; Vivaldi: Two Concerti for String Orchestra and Cembalo; Bartok: Divertimento for String Orchestra. July 26 Eiji Hashimoto, Harpsichord and The Festival Chorale Skalkottas: Five Greek Dances; J.S. Bach: Concerto No 5 in F Minor for harpsichord; Schubert: Mass in G major August 2 – Eleanor Child Briccetti, violin; Hugh Partridge, Viola; Eiji Hashimoto, Harpsichord. J.S. Bach: Brandenburg Concerto No. 1 in F Major; Haydn: Concerto for Harpsichord; Mozart; Symphony Concertante in E flat Major, K.364

1971 – Carter Nice, Music Director Location: IMA July 11 – Gabrielli: Sonata Pian’ e Forte; Bach: Kantate No. 51 Jauchzet Gott in Allen; Resphighi: Antiche Dante ed Arie July 18 – Handel: Water Music Suite; Britten: Simple Symphony; Mozart: Symphonie Concertante. Hugh Partridge, Viola and Carter Nice, Violin July 25 – Haydn: Symphony No. 7, Le Midi; Stravinsky: Pulcinella, The Butler Ballet, George Verdak, Director. August 1 – Stravinsky: Concerto in D for Strings; Mozart: Requiem Mass (K. 626). The Festival Chorale, David Greenlee, Choral Director.

1972 -- No season

1973 – Frank Cooper, Music Director Location: IMA July 11 – Virtuosi Da Camera Trio July 15 --The Splendor of Early Opera July 22 -- Georgia Southern Opera Theater July 25 – Indianapolis String Quarter and Indianapolis Brass Octet July 29 – Stars of the Butler Ballet August 5 -- Orchestra and Chorus – Matthew Berney August 8 -- The Art of the Minstrel – Martin Best August 12 – Stars of the Butler Ballet

1974 – Frank Cooper, Music Director Location: IMA June 26 – Haydn -- Mozart Evening. Soloists, Helmut Muller-Bruhl, Cologne Chamber Orchestra June 28 -- Igor Kipnis, Harpsichord evening; June 30 -- Baroque Festival. Soloists, Helmut Muller-Bruhl, Festival Orchestra; July 3 -- Gunther Fetz, Organ evening July 5 -- Bach Family Concert. Music by Five Bachs, Cologne Chamber Orchestra July 7 -- J.S. Bach Tribute I. Soloists, Helmut Muller-Bruhl, Festival Orchestra July 10 -- Chamber Music of Bach, Jerry Flemlee, flute; Rudolf Gaehler, violin; Ansgar Schneider, cello; Gunther Fetz, harpsichord July 12 -- Concerto Confrontation. Bach’s concerti for three violins and three harpsichords – six soloists Helmut Muller-Bruhl Cologne Chamber Orchestra July 14 -- Prize Concert, Competition Soloists, Helmut Muller-Bruhl and Festival Orchestra July 17 -- Mozart-Beethoven—Chamber evening. The Reger Trio July 19 -- J.S. Bach Tribute II – soloists Helmut Muller-Bruhl and Cologne Chamber Orchestra July 21 – Choral-Orchestral Concert – Ben Davis High School Choirs. Guest Conductor. Festival Orchestra July 28 -- Butler Summer Ballet I. George Verdak, director August 4 – Butler Summer Ballet II. George Verdak, Director

1975 – Frank Cooper, Music Director Location: IMA June 18 – Indianapolis Ballet Theatre. George Verdak, Director. “Homage to Pavlova” Soloists: Elaine Bauer, David Brown, Marsha Maurer, Christopher Stygar June 20 – Indianapolis Ballet Theatre. George Verdak, Director. “Classical Ballet Evening” Soloists: Elaine Bauer, David Brown, Marsha Maurer, Christopher Stygar June 22 – Indianapolis Symphony Chamber Orchestra, Dietfried Barnet, guest conductor; Bernice Fraction, soprano; Kenneth Drake, pianist. Music by Bach, Mozart, Beethoven June 23 -- Lecture “the Uniqueness of Beethoven” Kenneth Drake June 25 – All Beethoven Piano Recital by Kenneth Drake June 27 – Indianapolis Symphony Orchestra, Dietfried Bernet, guest conductor; Balint Vazsonyi, pianist. Music by Mozart and Beethoven June 29 – Piano Recital by Balint Vazsonyi. Music by Mozart, Haydn, Beethoven and Schubert June 30 -- Lecture “The Greatness of Mozart” Balint Vazsonyi July 2 -- First Harpsichord Recital by Ignor Kipnis, music by Bohm, J.C. Bach, Kuhnau, J.S. Bach July 4 -- First Concert of Renaissance Music by the Ensemble Musica Antiqua, Bernhard Klebel, Director and Jane Gartner, soprano July 6 -- Competition Concert by the winners of our first National Collegiate Virtuoso Competition July 7 -- Lecture “The Baroque Revival” Igor Kipnis July 9 -- Second Concert of Renaissance Music by the Ensemble Musica Antiqua, Bernhard Klebel, director and David Edmonds, tenor July 11 -- Second Harpsichord Recital by Igor Kipnis, music by Handel, Sweelinck, Dussek, Bach, Soler July 13 -- Third Concert of Renaissance Music by the Ensemble Musica Antiqua, Bernhard Klebel, director, Jane Gartner, soprano July 14 -- Lecture “The Musical Styles of the Renaissance”, Bernhard Klebel July 16 -- Cologne Soloists Ensemble under Helmut Muller-Bruhl, conductor, music by Haydn and Mozart July 18 -- First Concert of Baroque Music by the Ensemble Musica Antiqua Bernhard Klebel, conductor July 20 -- Cologne Soloists Ensemble under Helmut Muller-Bruhl, Igor Kipnis, Frank Cooper, and Roswitha Trimborn, harpsichordists July 24 -- Cologne Soloists Ensemble under Helmut Muller-Bruhl, conductor, music by Albinoni, Tartini, Telemann and C.P.E. Bach July 25 -- Second Concert of the Baroque Music by the Ensemble Musica Antique, Bernhard Klebel, director July 27 -- Cologne Soloists Ensemble under Helmut Muller-Bruhl, conductor. Igor Kipnis, Frank Cooper, and Roswitha Trimborn, harpsichordists

1976 – Frank Cooper Music Director Location: IMA July 7 – Igor Kipnis Harpsichord Recital – Frescobaldi, Telemann, Mozart and Bach July 9 -- Ensemble for Early Music, Baroque Concert, Rameau, Marais, Bach, Purcell and others July 11 – Ensemble for Early Music, Medieval Concert July 11 – Indianapolis Ballet Theatre July 14 -- Ensemble for Early Music, Renaissance Concert “A Musicall Dreame” from Elizabethan England July 16 -- Cologne Chamber Orchestra, J.C.F. Bach, Mozart, Haydn July 18 – Virtuoso Competition Winners in concert July 18 – Cologne Chamber Orchestra July 21 -- Cologne Chamber Orchestra, Igor Kipnis, soloist. Haydn – Concerto in D July 23 -- Cologne Chamber Orchestra, Igor Kipnis, soloist. Mozart – Concerto in E flat July 25 -- Chamber Music, Cologne Chamber Orchestra July 25—Indianapolis Ballet Theatre July 28 -- An Early Music Potpourri by Early Music Institute Faculty Igor Kipnis, Frank Cooper, Frederick Renz, Nancy Long and others July 30 The Muses’Garden of Delights August 1 – Early Music Institute Grand Finale

1977 – Frank Cooper Music Director Location: IMA July 3 – Indianapolis Ballet Theatre July 6 – Early Music Sampler July 8 -- Igor Kipnis Harpsichord Recital devoted to J.S. Bach, Rutkowski and Robinette harpsichord July 10 – Machaut’s “Remeded De Fortune” July 13 – New York Concert Royal, baroque music par excellence, Couperin, Telemann, Rameau, Bach, Leclair and Vivaldi July 15 -- “Baroque Carrousel” Frederick Renz directs the Ensemble for Early Music and the New York Baroque Dance Ensemble July 17 – Indianapolis Ballet Theatre July 20 – Festival Baroque Orchestra – Handel, Telemann, Corelli and Vivaldi July 22 -- New York Concert Royal music by Baroque masters – Biber, Couperin, Fasch, Telemann and C.P.E. Bach July 24 – Festival Baroque Orchestra July 27 – Igor Kipnis Harpsichord Recital, music by Tisdall, Marchand, Bach and Scarlatti July 29 – Early Music Institute Grand Finale July 31 -- Indianapolis Ballet Theatre, Elaine Bauer and David Brown, soloists; George Verdak, director

1978 – Frank Cooper Music Director Location: IMA July 2 – Indianapolis Ballet Theatre July 5 -- The Paris Consort July 7 -- Blandine Verlet July 9 – The Paris Consort July 12 -- Festival Grande Bande, (Baroque Chamber Orchestra) July 14 – Igor Kipnis July 16 -- Festival Grande Bande July 19 -- Ensemble for Early Music and Associates July 21 – Festival Grande Bande July 23 -- Indianapolis Ballet Theatre July 26 -- Igor Kipnis July 28 -- Ensemble for Early Music and Terpsichore July 30 -- Soiree Des Etudiants.

1979 – Frank Cooper Music Director Location: IMA July 6 – Igor Kipnis July 8 – The Musicians of Swanne Alley, Music from across the Alps July 11 -- The Musicians of Swanne Alley, Musicke of Sundrie Natures July 13 -- Lyle Nordstrom and Paul O’Dette, 16th Century Lute Duets July 15 – Indianapolis Ballet Theatre July 18 -- Smithsonian Chamber Players in an all Bach Program July 20 – Smithsonian Chamber Players , A Concert of Italian Masterworks July 22 -- Smithsonian Chamber Players, Mainly Mozart July 25 -- Igor Kipnis, Harpsichord Music by Johann Sebastian Bach July 27 – Cincinnati Early Music Consort , Court Music of the Middle Ages July 29 – Indianapolis Ballet Theatre

1980 – Frank Cooper Music Director Location: IMA July 9 – Igor Kipnis “The Golden Era of the Harpsichord” July 11 – John Solum, flauto traverse, and Igor Kipnis, cembalo. Bach’s Family and the Baroque Flute July 13 – The Smithsonian Chamber Players, James Weaver, director. “Chamber Music of the Geniuses: Mozart and Schubert” July 16 – The Smithsonian Chamber Players – “Haydn, Mozart and the Viennese Style Galant” July 18 – The Smithsonian Chamber Players and Igor Kipnis “The Glory of the Baroque” July 20 – The Smithsonian Chamber Players “Baroque Genius Reclaimed: George Philipp Telemann” July 23 – “A Bettell of Ye Keyboards” Igor Kipnis, harpsichord and James Weaver, fortepiano July 27 – The Early Music Consort, ”Secular Music of the Middle Ages and Renaissance”

1981 – Frank Cooper Music Director Location: IMA July 5 – Une Fete Galante July 10 – The Musicians of Swanne Alley, Lyle Nordstrom and Paul O’Dette, directors in “A Wreath of Musical Flowers for the Queene” July 12 – Ars Musica, Lyndon Lawless, Music Director July 15 – Igor Kipnis and the Fortepiano July 17 – The Smithsonian Chamber Players “Music of Merrie Olde England” July 19 – The Smithsonian Chamber Players July 22 – The Smithsonian Chamber Players and Igor Kipnis, Fortepiano July 24 – The Bach Ensemble, Joshua Rifkin, Director. “Bach and the Leipzig Collegium Musicum I” July 26 – The Bach Ensemble “Bach and the Leipzig Collegium Musicum II”

1982 – Frank Cooper Music Director Location: IMA July 4 -- “Eighteenth Century Harpsichord Music on Both Sides of the Atlantic”, by Frank Cooper July 7 – “The Great Baroque Age” lecture by Igor Kipnis July 9 and 11 -- Canada’s leading Baroque Chamber Orchestra Tafelmusik July 14 – The Mozartean Players offering Haydn, Mozart, and Beethoven. July 16 – Igor Kipnis on his antique fortepiano July 18 -- Max Van Egmond, James Weaver, Igor Kipnis and Kenneth Slowik July 21 – The Smithsonian Chamber Players joined by Max van Egmond July 23 – Smithsonian Chamber Players and the American premiere of Pergolesi’s concerto in C for Two Harpsichords and Strings July 25, 28, 30 – The Bach Ensemble directed by Joshua Rifkin. July 25: Fourth Brandenburg, Concerto in d for Three Harpsichords; July 28: The Oboe Concerto in d and Cantata no 202, the Wedding Cantata, with soprano Jane Bryden; July 30: late works of J.S. Bach

1983 – Frank Cooper Music Director Location: IMA July 5 – Igor Kipnis, a program of Pachelbel, Krebs, Fux, Bach, Telemann, J.S.Bach, and Rochberg July 10 and 12 – Banquetto Musicale, Martin Pearlman, Music Director July 15 – Tafelmusik July 17 – Jean Lamond and Tafelmusik July 19 – The Landini Consort from England July 22 – Renaissance Musical Treasures – by The Landini Consort July 24 – The Smithsonian Chamber Players and The Court Dance Company of New York July 26 – James Weaver and the Smithsonian Chamber Players July 29 – Grand duo: Max Van Egmond and Edward Parmentier – the renowned baritone together for the first time with America’s best-known pedal harpsichordist July 31st Pro Arte Singers of the Indiana University School of Early Music directed by Thomas Binkley.

1984 – Frank Cooper Music Director Location: IMA Three winter concerts Feb. 25, Mar. 26, Apr. 15 July 6 – Hesperion XX, a chamber ensemble from Switzerland July 8 – Picnic and “Ragtime Revels,” “Joshua Rifin Plays Scott Joplin” July 10 -- Max van Egmond, baritone from Amsterdam with Igor Kipnis, harpsichordist and fortepianist July 13 and 15 – The Smithsonian Chamber Players, directed by James Weaver July 17 – Igor Kipnis July 20 and 22 – The Bach Ensemble directed by Joshua Rifkin July 27 and 29 -- Musica Antiqua Koln, a chamber ensemble from West Germany.

1985 – Frank Cooper Music Director Location: IMA June 16 – Bach’s Goldberg Variations played by Frank Cooper on the Harpsichord June 28 -- Baltimore Consortperforming “Ballades, Lilts and Dances” June 30 – Musica Secreta with sopranos Daniele Forget, Valerie Kinslow and Suzanne LeBlanc, lutenist Daniel Fischlin, and harpsichordist, Hank Knox July 12 – Harpsichordist Bradley Brookshire, winner of the Magnum Opus Harpsichord Competition. July 14 – Violinist Sergiu Luca in a rare, unaccompanied all-Bach recital July 19 -- Handel’s glorious masque “Acis and Galatea” performed by The Smithsonian Chamber Players July 26 – The Bach Ensemble with Joshua Rifkin at the harpsichord July 28 – Joshua Rifkin leads the Bach Ensemble in three Bach cantatas: PA Mighty Fortress is Our God,” “Jesu, Joy of Man’s Desiring” and “Praise God in all Lands”.

1986 – Frank Cooper Music Director Location: IMA June 21 – The Chestnut Brass Company June 26 – Beethoven and the Violoncello with Anner Bylsma, violoncello and Malcolm Bilson, Fortepiano July 10 – A Harpsichord Entertainment with Igor Kipnis July 13 -- Three Giants of the Classical Keyboard Kenneth Drake, fortepianist July 17 – Chamber Music of Italy and France performed by The Boston Museum Trio July 20 – an Evening of Baroque Music , The Bach Chamber Soloists with Jan Opalach, bass baritone July 27 -- The Smithsonian Chamber Players and Christ Church Cathedral’s Choir of Men and Boys.

1987 – Frank Cooper Music Director Location: IMA July 5 – The Colonial Williamsburg Baroque Ensemble July 8 – Frank Cooper: Harpsicord Recital July 12 – L’Ensemble Nouvelle France July 15 – Octeto Vocal Juan De Tercero: First concert July 16 – Jose Antonio Guzman Bravo: First Lecture July 18 – Jose Antonio Guzman Bravo: Second Lecture July 19 – Octeto Vocal Juan De Tercero: Second Concert July 22 – Coro Da Camera Pro-Arte: First concert July 26 – Coro Da Camera Pro-Arte: Second Concert

1988 – Frank Cooper Music Director Location: IMA
July 10 -- Picnic and concert, The Indianapolis Brass Quintet July 14 – Igor Kipnis, harpsichordist July 17 – The Williamsburg Baroque Ensemble July 21 – The Oberlin Baroque Ensemble July 24 – Bach Chamber Soloists July 28 – Trio Renacimiento Hotteterre July 31 – The New York Cornet and Sacbut Ensemble

1989 – Frank Cooper Music Director Location: IMA July 9 – Il Piacere and Sarabanda July 10 – Lecture Frank Cooper July 13 – Camerata Koln I July 16 – Camerata Koln II July 17 – Lecture Frank Cooper July 20 – Linda Kobler: Harpsichordist July 23 Trio Renacimiento Hotteterre July 24 – Lecture Frank Cooper July 27 – The Mozartean Players July 30 – Indianapolis Ballet Theatre

1990 – Frank Cooper Music Director Location: Park Tudor School July 8 – Trio Renacimiento Hotteterre July 12 – Igor Kipnis – fortepiano in an all-Mozart and Beethoven concert July 15 – Christ Church Cathedral Choir of Men and Boys, Frederick Burgomaster, Director. Choral Works of Mozart July 19 – The Mozartean Players July 22 – The Mozartean Players Steven Lubin, fortepiano; Evan Johnson and Peggy James, classical violin; Aloysia Friedmann, classical viola; Allen Whear, classical violoncello July 26 – Anne Tedards, Soprano and Spencer Carroll, Harpsichord. The Classical Lied Program July 29 – Indianapolis Ballet Theatre

1991 – Frank Cooper Music Director Location: St. Paul’s Episcopal Church July 7 – Christ Church Cathedral Choir of Men and Boys July 11 – Hesperus, ensemble featuring musical riches of Spain’s golden age July 14 – duo Geminiani, harpsichord and violin July 18 -- Folkers-Powell-Carroll Trio, harpsichord and two flutes July 21 -- James Richman and Concert Royal early music ensemble with Christine Brandes, soprano July 25 – Linda Kobler, Harpsichord July 28 -- Enid Sutherland and Leslie Tung cellor and fortpiano

1992 – Frank Cooper Music Director Location: St. Paul’s Episcopal Church July 6 – Frank Cooper, harpsichord recital-lecture July 9 -- Abreu-Haas, recorder/harpsichord duo July 12 – Hesperus, early music ensemble-in-residence at the Smithsonian Institution July 13 – FrankCooper Lecture I July 16 – James Richman and Concert Royal, ensemble with Christine Brandes, soprano July 19 -- Concerto Amabile, early music ensemble featuring the Italian Baroque July 20 – Frank Cooper Lecture II July 23 – Steven Rickards, Mary Springfels, Karen Louwenar-Lueck, countertenor, vioa da gamba, harpsichord July 26 -- The Musicians of Swanne Alley with lute playing by Paul O’Dette July 27 – Frank Cooper Lecture III

1993 – Frank Cooper Music Director Location: St. Paul’s Episcopal Church July 8 – James Richman and Concert Royal with Steven Rickards, countertenor July 11 – James Richman and Concert Royal with Christine Brandes, soprano and Mary Springfels, Viola da gamba July 12 – Frank Cooper, Lecture – France and the Arts – Under the Great Monarchs! July 15 – The Musical Assembly, Arthur Haas, director July 18 – The Newberry Consort, Musick for Severall Friends July 19 – Frank Cooper, Lecture – France and the Arts – Under the Emperor! July 22 – Aldo Abreu – Anthony Bailes, Recorders, Lute Duo July 25 – Calliope , a Renaissance Band July 26 – Frank Cooper, Lecture – France and the Arts – After Napoleon!

1994 – Frank Cooper Music Director Location: St. Paul’s Episcopal Church July 10 – Zephyrus Baroque Chamber Players, Music of the Five Great Bachs J uly 11 – Frank Cooper, Lecture Musical and Visual Arts in Germany July 14 – Zephyrus Baroque Chamber Players , Mozart in Mannheim July 17 – The Bach Chamber Soloists, Masters of the German Baroque July 18 – Frank Cooper, Lecture, Musical and Visual Arts in Spain July 21 – Linda Kobler, Harpsichordist, Treasures of the Harpsichord Literatures July 24 – Voice of the Turtle, Music of Spain’s Sephardic Jews July 25 – Frank Cooper, Lecture, Musical and Visual Arts in England July 28 – Soprano Ellen Hargis and Lutenist Kevin Mason, the Golden Age of English Lute Song July 31 – The King’s Noyse, 17th Century English Dances and Ballads

1995 – Frank Cooper Music Director Location: St. Paul’s Episcopal Church, Lectures at IMA March 7 – Chanticleer, presented at The Cathedral of Saints Peter and Paul (St. Paul’s Collaboration) Dec. 4 – The Tallis Scholars, (St.Paul’s, Trinity Collaboration) at Cathedral Sts.P and P July 9 – Hesperus – A Renaissance Festivity July 10 – Frank Cooper, Lecture – Mythology’s Models July 13 – Concert Royal – The Masters Bach and Vivaldi July 16 – Concert Royal – Purcell’s “Dido and Aeneas” July 17 – Frank Cooper, Lecture – Landscapes and Roomscapes July 20 – Bimbetta – War of Love July 23 – Lionheart – This One, Sweet Flower July 24 – Frank Cooper, Lecture --- The Testaments; Templates July 27 – Horacio Franco and Robert Heath – The Virtuoso Recorder July 30 – Chestnut Brass Company – Fanfares Across Time (program also says we will present Tafelmusik November 12 1995 – so three collaborations in one year?)

1996 – Frank Cooper Music Director Location: St. Paul’s Episcopal Church, Lectures at IMA June 27 – Altramar with Jann Cosart, David Stattelman, Chris Smith, Angela Mariani June 30 – A Folia for Monica. Eva Legene, Martha McGaughey, Arthur Haas. July 1 -- Frank Cooper, Lecture “Arts of God/Arts of Man” July 9 – Viruoso Baroque. Ingrid Matthews and Byron Schenkman July 11 – Zephyrus I, Masters of the French and German Baroque July 14 – Zephyrus II, “Di Venzia”: Music of Vivaldi July 15 – Frank Cooper, Lecture “Arts of the Baroque” July 25 – Smithsonian Chamber Players I, Music of Ludwig van Beethoven July 28 – Smithsonian Chamber Players II, Music of Franz Schubert July 29 – Frank Cooper, Lecture “Arts in the Age of Reason”

1997 – Frank Cooper Music Director Location: Indianapolis Art Center Auditorium June 27 – The Mozartean Players. Schubert and Mendelssohn June 29 -- Frank Cooper, Lecture – “Medieval Splendor and Renaissance Origins” June 29 – Lionheart. Venus and St. Valentine: Virtue and Temptation in Medieval France July 11 – Hesperus. American Roots July 13 -- Frank Cooper Lecture “High Renaissance and Baroque Magnificence: Spain’s Golden Age” July 13 – The Abreu-Finney Duo. Spanish Music in Honor of the Year of Goya July 25 – The Scholars of London. “Bach Chorales and the Church Year” July 27 – Frank Cooper, Lecture – “Diverging Paths and the State of the Soul” July 27 – The Scholars of London. “The Golden Age in the Sistine Chapel”

1998 – Frank Cooper Music Director Location: Indianapolis Art Center Auditorium June 26 – La Luna Ensemble – Ellen Hargis, 17th Century German Sacred Concertos and Sonatas June 28 – Frank Cooper, Lecture “Aesthetics in the Middle Ages” June 28 – Frank Cooper, Harpsichord Music of J.S. Bach July 10 -- Kym Amps – August Denhard July 12 – Frank Cooper, Lecture “Aesthetics in the Renaissance” July 12 – Chicago Baroque Ensemble, John Marks Rozendaal, Artistic Director. July 24 – Zephyrus Baroque Chamber Players. Music for Frederick the Great July 26 – Frank Cooper, Lecture –“Aesthetics in the Baroque Era” July 26 – Zephyrus Baroque Chamber Players. Paris of the 1730’s

1999 – Frank Cooper Music Director Location: Indianapolis Art Center Auditorium June 25 – Apollo’s Fire, The Cleveland Baroque Orchestra, Jeannette Sorrell, Music Director. A Feast of Brandenburgs June 27 – Frank Cooper Lecture “The Age of Bach and Vivaldi” June 27 – Apollo’s Fire. Viva Vivaldi! July 9 – Belladonna. Folias Festivas July 11 – Frank Cooper Lecture “The Age of Palestrina and Byrd” July 11 – The Concord Ensemble. The Victory of Santiago, Voices of Renaissance Spain. July 23 – Aldo Abrell, recorders in collaboration with Chicago Baroque Ensemble Concerti Stravaganti July 25 – The Baroque Trio, Aldo Abreu, recorders; Christopher Verette, Baroque Violin, David Schrader, Harpsichord.

2000 – Frank Cooper Music Director Location: Indianapolis Art Center June 23 – Apollo’s Fire, The Cleveland Baroque Orchestra Music from Zimmerman’s Coffeehouse June 25 – Apollo’s Fire, The Cleveland Baroque Orchestra. Vivaldi and Friends June 25 – Frank Cooper Lecture “Music & Ceremony” July 7 – Zephyrus, Courtney Westcott, flute. Ingrid Matthews, violin. Claire Garabedian, cello Byron Schenkman, fortepiano July 9 – Frank Cooper Lecture “Music & The Lure of Instruments” July 9 – Ensemble for Early Music, Frederick Renz, Director. Mass For The Millennium July 20 – The Savant and the Debauche, Music at the Court of the Regent July 23 – The Four Nations Ensemble. Andrew Appel, harpsicihord and director; Ryan Brown and Claire Jolivet, violins; Loretta O’Sullivan, cello

2001 – Frank Cooper Music Director Location: Indianapolis Art Center June 22—Renaissonics June 24 – Frank Cooper Lecture “Europe: Heaven and Hell June 24 – The Rose Ensemble July 6 – Frank Cooper Lecture “ Spain: Earth and Spirit July 6 – Hesperus with Rosa Lamoreaux July 8 – Chatham Baroque July 20 – Beauty and the Beast July 22 – Frank Cooper Lecture “France: Taste and Tone” July 22 – Concert Royal

2002 – Frank Cooper Music Director Location: Indianapolis Art Center June 28 – Red Priest. Piers Adams, recorders; Julia Bishop, violin; Angela East, cello; Howard Beach, harpsichord. Baroque Fantasy June 30 – Musica Pacifica – Judith Linsenberg, recorder; Elizabeth Blumenstock, violin; Gonzalo Ruiz, oboe; David Morris, cello; Charles Sherman, harpsichord. Viva Venezia! June 30 – Frank Cooper, Lecture “The Golden Age of Music and Art in Venice” July 12 – Zephyrus. Courtney Westcott, flute; Ingrid Matthews, violin; Claire Garabedian, cello; Byron Schenkman, harpsichord. London and the New World. July 14 – Frank Cooper, Lecture “The Elegant Arts Axis – London and Paris” July 14 – Chamber Music from the Court of Versailles with Concert Royal July 26 – Lionheart. Roman Style Reborn: Palestrina, The Prince of Music July 28 – Jory Vinikour. In memoriam Igor Kipnis. Program: The Goldberg Variations BWV988

2003 – Frank Cooper Music Director Location: Indianapolis Art Center June 27 – The Rose Ensemble Cathedrals of Tudor England June 29 – Frank Cooper, Lecture “The German Genius in 18th C. Music and Art June 29 –Rebel: Telemann Alla Polacca July 11 – Capriccio Stravagante: “Les Voix Humaines” July 13 – Frank Cooper, Lecture “Royal Spectacle and the Reign of Louis XIV” July 13 – Louis Louis: A Day In The Life of Louis XIV July 25 – Musicians of the Old Post Road: Fandango! July 27 – Frank Cooper, Lecture “Iberia – its Christian, Jewish and Muslim Culture July 27 – The Ivory Consort, director Jay Effenhein: Music in the Land of Three Faiths

2004 – Frank Cooper Music Director Location: Indianapolis Art Center June 25 – The Publick Musick, Concertos for the Chamber: Vivaldi and His Followers June 27 -- Frank Cooper Lecture “Discovering The Middle Ages” June 27 – Quadriga Consort, Songs and Tunes From The Isles July 9 -- Schola Antiqua of Chicago, Voices from the Middle Ages, Calvin M. Bower, Artistic Director July 11 – Frank Cooper Lecture “ Discovering The Renaissance” July 11 -- La Monica July 23 – The Freeman/Freiberg Duo and Charles Coe, An Evening of Baroque Music and Spoken Word July 25 – Frank Cooper Lecture “Discovering The Baroque” July 25 – The Harp Consort, El arte de fantasia. Music of the golden age in Spain & the New World

2005 – Frank Cooper Music Director Location: Indiana History Center June 24 – Istanpitta: Medieval Music Ensemble June 26 – Frank Cooper Lecture “Rome the Glorious June 26 – Cappella Romana: Music of the Three Romes July 8 – Seattle Baroque: Bach Harpsichord Concertos July 10 – Frank Cooper Lecture “On the Pleasures of Hearing Really Old Musicly 10 – Seattle Baroque July 29 – Red Priest: Chamber Music from the Library of J.S. Bach July 21 – Frank Cooper, Lecture “Music and Art in the World of the Baroque July 31 – Red Priest: Pirates of the Baroque

2006 – Frank Cooper, Music Director Location: Indiana History Center June 23 – Seattle’s Baroque Northwest: Revolutionary Baroque June 25 – Frank Cooper, Lecture “Baroque Forces in Italy and France” June 25 – Seattle’s Baroque Northwest: Culture Clash: Music from France, Italy, Spain, and Poland July 7 – The Baltimore Consort: Spanish Music in the Age of Discovery. Cancioneros of the Kings of Spain July 9 – Frank Cooper, Lecture “Entanglements of Life, Music and Art in Medieval Europe July 9 – New Orleans Musica da Camera: Wave, Leaf and Stone: Images of Medieval Song July 22 – Albuquerque Baroque Players: France and Italy: “Les gouts reunis” July 23 – Frank Cooper, Lecture “The Extraordinary Story of Bach’s Mass in B Minor July 23 – New York State Baroque: J.S. Bach’s Mass in B Minor

2007: Frank Cooper, Music Director Location: Indiana History Center June 29 – Hesperus, Wild Kingdom July 1 – Boston Camerate, Carmina Burana July 6 – Musicians of the Old Post Road with mezzo-soprano Pamela Dellal, Bach and His Virtuosi July 8 – Voice of the Turtle, Roots and Shoots July 13 – Ensemble Caprice with recorder virtuoso Matthias Maute, From Heaven and Hell July 15 – Ensemble Caprice , Sturm und Drang – Storm of Passions

2008: Mark Cudek, Artistic Director Location: Indiana History Center Spring Concert-- April 6 – Gut Wind and Wire June 27 – The King’s Noyse, Le Jardin De Melodies: Songs and Dances of 16th Century Paris June 29 – The King’s Noyse, A Royal Delight: 17th-Century English Ballads and Dances July 11 – The Baltimore Consort, Adew Dundee: Early Music of Scotland July 12 – Free Family Concert by Baltimore Consort July 13 – Zephyrus, soiree Musical: Music from Paris and Versailles July 26 – Red Priest, Pirates of the Baroque, The Second Voyage July 27 – Red Priest, Johann, I’m Only Dancing!

2009: Mark Cudek, Artistic Director Location: Basile Opera Center (IHC under repairs) Spring Concert – Brio , March 22 June 26 – Reconstruction: Bedlam, Back, and Beyond June 27 – Ex Umbris: Melancholy: Downe in the Dumps in Elizabethan England July 10 – Chris Norman and David Greenberg, Baroque Virtuosity and Celtic Thunder July 12 – I Furiosi: Addicted to Love July 17 – Harmonious Blacksmith, Zimmerman’s Coffeehouse July 18 – Free Family Concert by Peabody Consort July 19 --The Peabody Consort with Actors from IRT, If Musick be the Food of Love

2010: Mark Cudek, Artistic Director Location: Indiana History Center Spring Concert – Music of the Spheres, March 26 June 25 – Artek: I Don’t Want to Love (Madrigals of Monteverdi) June 26 – Free Family Concert by Artek June 27 – Ensemble Viscera: Whips and Galleys, Ruffians and Thieves The Musical Underworld of the Jacara in 17th Century Spain July 9 – Piffaro, The Renaissance Band. The London Waytes, Music for a Renaissance Wind Band From the Time of Elizabeth I July 11 – El Mundo: Zarzuela Y Mas! Spanish Vocal Music of the 17th and 18th Centuries July 23 – Canconier: The Black Dragon, Music from the Time of Vlad Dracula July 25 – Ensemble Caprice: Vivaldi and The Baroque Gypsies

2011: Mark Cudek, Artistic Director Location: Indiana History Center Spring Concert – Newberry Consort, March 20 June 24 – Rebel with Mattias Maute: Irregular Pearls June 26 – Tempesta Di Mare: Roman Nights July 8 – Baltimore Consort: The Ladyes Delight July 9 – Free Family Concert by Baltimore Consort July 10 – Viva Vivaldi with Ronn McFarlane July 22 – Plaine and Easie: Joie Musicale July 24 – !Sacabuche!: Matteo Ricci; His Map and Music

2012: Mark Cudek, Artistic Director Location: Indiana History Center Spring Concert -- Duo Amaral: Jorge Amaral & Mia Pomerantz-Amaral April 13 June 22 – Ingrid Mathews, Baroque violin – Bach violin concertos with Seattle Baroque June 24 -- Ingrid Mathews with Byron Schenkman, harpsichord, playing intimate Bach and Biber June 29 – Gut, Wind, & Wire and the Catacoustic Consort June 30 – Free Family Concert by Gut, Wind, & Wire July 1 -- East of the River: Levantera July 13 – Vittorio Ghieimi, viola da gamba and Luca Pianca, archlute July 15 – Hesperus presents Douglas Fairbanks and the 1922 film classic Robin Hood.

2013: Mark Cudek, Artistic Director Location: Indiana History Center Spring Concert – Tallis Scholars (with Music at St. Paul’s) March 18 June 21 – Chatham Baroque: Roman Holiday (Kapsberger and friends) June 22 – Free Family Concert – Chatham Baroque June 23 – Julianne Baird, soprano: Viva Vivaldi II with the Indianapolis Baroque Orchestra June 28 – Mr. Jones & the Engines of Destruction: The Grumbling Hive June 30 – La Nef with Michael Slattery: Dowland in Dublin July 12 – Wayward Sisters: The Naughty List: Music by Braggarts, Hotheads, Curmudgeons, and Snobs July 14 – Flanders Recorder Quartet: A Chest of Flutes: transcriptions of early organ repertoire

2014: Mark Cudek, Artistic Director  Locations: Landmarks Center/Indiana History Center June 20 – Musica Pacifica: Dancing in the Isles, Baroque and Traditional June 22 – Quicksilver: Stile Moderno New Music from the 17th Century June 27 – Montreal’s Pallade Musica June 29 – The Baltimore Consort: Crossing to the New World July 11 – The Peabody Consort, Mark Cudek, Director: In the Circle of Henry VIII July 13 – Hesperus: The Mark of Zorro with Douglas Fairbanks

2016: Mark Cudek, Artistic Director  Locations: Landmarks Center/Indiana History Center  Fuoco E Cenere; The Baltimore Consort; Rachel Barton Pine & Jory Vinikour; Xavier Diaz-Latorre; Dame Emma Kirky & Jakob Lindberg; Les Délices: Debra Nagy & Shannon Mercer; 2016 Indianapolis Baroque Competition.

Presidents: 1967, 68, 69 Christopher Van Dyck Brown 1970 Rita A. Hobbs 1971 Herbert C. Snyder Jr. 1972, 73, 74 Robert D. Beckman, Jr. 1975, 76 Fred E. Schlegel 1977 James A Strain 1978 Alan S. Duncanson 1979. Fred E. Schlegel 1980 Norman G. Tabler 1981 Eric A. Manterfield 1982 Jerry R. Jenkins 1983 Dorit Paul 1984 Charles A. Johnson 1985 1986, 87 J. Darrell Bakken 1988 1989 1990 L. Alan Whaley 1991,92,93,94 Gail McDermott-Bowler 1995,96,97 David A Garrett 1998,99,00 Alan S. Duncanson 2001,02,03 Dr. Charles Johnson 2004,05,06,07 David A. Garrett 2008,09,10 Ken E. Winslow 2011,12,13 GB Landrigan 2014,15 Fred E. Schlegel 2016,17 Sylvia Patterson-Scott

STAFF: MUSIC DIRECTOR: 1967 - Michael Palmer 1970 – Thomas Briccetti 1971 – Carter Nice 1973 – Frank Cooper 2007 –Mark Cudek

EXECUTIVE SECRETARY: 1973 -- Ethel Rensberger Fall 1979 – Mary Ellen Roberts

MANAGING DIRECTOR: 2007 – Gail McDermott-Bowler