Sandra Miller lives and works in New York, where she has been an active freelance musician, on both modern and historical flutes, for many years.

Recipient of a Solo Recitalist's Fellowship from the National Endowment for the Arts, First Prize in the Bodky Competition for Early Music, and a New York recital debut sponsored by the Concert Artists Guild, she has performed extensively throughout the United States and abroad, with The Clarion Orchestra and with Concert Royal, the Smithsonian Chamber Players, American Bach Soloists, the American Classical Orchestra, Toronto’s Tafelmusik and Boston’s Handel and Haydn Society. Ms. Miller’s strong commitment to teaching is reflected by her appointment to the faculty of Juilliard’s Historical Performance Program, and by previous appointments at the Purchase College (SUNY) Conservatory of Music, the Mannes College of Music, the New England Conservatory of Music, in CUNY’s doctoral program, as Kulas Visiting Artist at Case Western Reserve University, as well as in many historical-instrument summer workshops and festivals. In August, she will lead the baroque flute masterclass at the National Flute Association’s annual convention. Her solo recordings include the complete Bach flute sonatas and, on six- and eight-keyed classical flutes, the three Mozart concertos.

Cynthia Roberts is one of America’s leading baroque violinists, appearing as soloist, concertmaster, and recitalist throughout the US, Europe, and Asia. She is a faculty member of the Juilliard School and also teaches at the Curtis institute, University of North Texas, and the Oberlin Baroque Performance Institute. She has given master classes at the University of Music and Performing Arts Vienna, Indiana University, Eastman, the Cleveland Institute, Cornell, Rutgers, Minsk Conservatory, Leopold-Mozart-Zentrum Augsburg, Shanghai Conservatory, Vietnam National Academy of Music, and for the Jeune Orchestre Atlantique in France. She performs regularly with the The Clarion Orchestra, Trinity Baroque Orchestra, Smithsonian Chamber Players, Tafelmusik, and the Boston Early Music Festival. She has performed as concertmaster of Les Arts Florissants and appeared with Bach Collegium Japan, Orchester Wiener Akademie, the London Classical Players, and the Taverner Players. She was featured as soloist and concertmaster on the soundtrack of the Touchtone Pictures film Casanova. Her recording credits include Sony, CPO, and Deutsche Harmonia Mundi.

As conductor and early keyboard specialist, Eric Milnes has been a featured guest at the Regensburg, Potsdam, and Bremen Festivals in Germany, the Utrecht Festival in The Netherlands, the Bruge Festival in Belgium, the Bergen Festival in Norway, the Lufthansa Festival in London, the Montréal Bach Festival, Festival Montréal Baroque, the Vancouver Festival, the Berkeley Bach Festival, the Mostly Mozart Festival, and the Boston Early Music Festival. Recent performance tours have brought him to France, Poland, Germany, Great Britain, Japan, China, Chile and Bolivia.

Eric Milnes has conducted The Montréal Baroque Orchestra, The Portland Baroque Orchestra, The Seattle Baroque Orchestra, The Trinity Wall Street Choir and Orchestra, New York Baroque, The New York Collegium, Les Voix Baroque, The Norwegian Baroque Orchestra, and The Symphonic Orchestra of Santiago, Chile.

Mr. Milnes’ discography includes over sixty CD releases as conductor and keyboard artist, including directing eight volumes of Bach Sacred Cantatas, Bach’s St. John Passion, Bach’s B minor Mass, Mozart’s Requiem, Monteverdi’s Vespers, Handel’s Israel in Egypt and Messiah, sacred motets and instrumental music of Salamone Rossi, and Kleine Geistliche Konzerte of Heinrich Schuetz. His three most recent recordings were the recipients of the coveted Juno Prize (2016) and Opus Prizes in 2017 and 2018, and were named CBC (Canada) CD Releases of the month, and WQXR (New York) Release of the month. As a recording producer of period music ensembles he has been the recipient of awards such as England’s Gramophone Magazine Early Music CD Release of 2019, for Blue Heron in Boston.

As collaborative artist he has performed and/or recorded with Gustav Leonhardt, Christophe Rousset, Martin Gester, Wieland Kuikjen, Bart Kuikjen, Sigiswald Kuikjen, Andrew Parrott, Fabio Biondi, Reinhard Goebel, The American Bach Soloists, Suzie LeBlanc, Daniel Taylor, Les Boreades de Montréal, Les Voix Humaines, Les Delices, and Charles Daniels. With his partner gambist/cellist Mélisande Corriveau he is founder and director of Ensemble L’Harmonie des saisons in Québec, which, in addition to it’s resident series in and around Montréal, has toured throughout Europe and South America, and has received numerous awards for productions and recordings over the last ten seasons.

A native New Yorker, Milnes received degrees from Columbia University, and The Juilliard School in New York, and has taught seminars and master classes at The Juilliard School, The Conservatory in Bremen, Norway, The University in Oslo, The University of Regensburg, McGill University in Montreal, and Catholic University in Santiago, Chile. His sacred compositions are published by Trinitas, in Portland, Oregon.

Myron Lutzke is well known to audiences as a 'cellist on both modern and period instruments. He attended Brandeis University and is a graduate of the Juilliard School, where he was a student of Leonard Rose and Harvey Shapiro. He is currently a member of the St. Luke’s Chamber Ensemble, Aulos Ensemble, Mozartean Players, Bach Ensemble, the Loma Mar Quartet, and the Esterhazy Machine and serves as principal 'cellist' for the Orchestra of St. Luke’s, The Clarion Orchestra, American Classical Orchestra, and, for fourteen years, Handel and Haydn Society with Christopher Hogwood in Boston. He has appeared as soloist at the Caramoor, Ravinia, and Mostly Mozart festivals and is a regular participant at the Sweetwater Music festival, Ottawa Chamber Music Festival, Santa Fe Promusica, and the Smithsonian Chamber Players.

Mr. Lutzke’s numerous recordings include the complete Mozart and Schubert piano trios with the Mozartean Players and the album Working Classical with the Loma Mar quartet for Paul McCartney. He has recorded for the Sony, DG, Dorian, Atma, Arabesque, EMI, and Oiseau-Lyre labels.

He has taught at Mannes College, Indiana University and is currently on the faculty of New York University where he directs the Baroque Ensemble.

Eleonora (Nora) Beck has published widely on the subject of Italian medieval and Renaissance music and art, including her new book Boccaccio and the Invention of Musical Narrative, as well as Singing in the Garden: Music and Culture in the Tuscan Trecento and Giotto’s Harmony: Music and Art in Padua at the Crossroad of the Renaissance. In 2007, the American Musicological Society named Nora Master Teacher of the AMS, only the third professor to receive this recognition. Nora was selected to participate in a week-long seminar on Teaching European Art in Context in the summer of 2016 sponsored by the Council of Independent Colleges. Published in Imago Musicae, her newest article uncovers the identity of the piece the Mozarts perform on the keyboard in the Mozart Family Portrait. She recently completed a podcast for the Philadelphia Orchestra about Music and Social Justice: HearTOGETHER.

James Johnson is a cultural historian who writes and teaches on modern and early modern Europe. His research includes eighteenth- and nineteenth-century France, the history of Venice, and music history. His book Listening in Paris: A Cultural History received the American Historical Association’s 1995 Herbert Baxter Adams Award and the American Philosophical Society’s Jacques Barzun Prize. His current work is on identity, concealment, and the self in modern and early modern Europe. His book Venice Incognito: Masks in the Serene Republic, received the American Historical Association’s 2011 George L. Mosse Award and Oscar Kenshur Book Prize. He is now at work on its successor, Disguised Intentions: Concealment in the City of Light.

Professor Johnson is the recipient of numerous research fellowships, including grants from the Fulbright Scholar Program and the American Council of Learned Societies. In 2014-15, he was a Guggenheim Fellow. For six years, he was Assistant Dean of the College of Arts and Sciences and Director of its Core Curriculum. Between 1999 and 2002, he served as N.E.H. Distinguished Teaching Professor in the Humanities. He has received Boston University’s highest teaching award, the Metcalf Prize.

Professor Johnson is an active pianist who gives regular lecture / performances on music in its cultural context. Among his recent programs are “Chopin’s Legacy: The Preludes, Mazurkas, and Nocturnes,” “Maurice Ravel, Modernism, and the Great War,” “Beethoven and the Art of Infinite Yearning,” and “Bach and the Divine Idea.”

Gregory Johnston is Professor of Musicology at the University of Toronto. His research interests broadly include music of the late Renaissance and Baroque, focusing more topically on sacred music in Protestant Germany, music performance and historical reception, social contexts and ceremonial practices of occasional music, and the social role of civic and court musicians in early modern Europe.

His A Heinrich Schütz Reader: Letters and Documents in Translation was published by Oxford University Press in 2013 (pbk 2016). A critical performance edition of Wolfgang Carl Briegel’s Zwölff Madrigalische Trost-Gesänge (1670/71) was published in 2016 by the Society for Seventeenth-Century Music (SSCM), and soon will be heard for the first time in 350 years on a recording by Ensemble Polyharmonique scheduled for release on the CPO label in 2021. Forthcoming works include several articles for the Schütz-Handbuch, as well as two newly edited volumes for the Neue Schütz-Ausgabe, all of which are scheduled to appear with Bärenreiter-Verlag in 2021/2022.

Current projects include a monograph study of Schütz’s Musicalische Exequien in the context of funerary practices of the German Baroque; economic crisis and the interdependence of musicians and the court in seventeenth-century Dresden; and notions of laterality in the composition, publication and performance of seventeenth-century German music. His research has been supported through fellowships at the Herzog August Bibliothek, the Social Sciences and Humanities Research Council of Canada, Deutscher Akademischer Austauschdienst, (DAAD), and the Government of Lower Saxony. He previously served as Chair of the North American chapter of the Internationale Heinrich-Schütz-Gesellschaft and on the Governing Board of the SSCM.

Kerry McCarthy is a musician and author known for her work on the English Renaissance. Her recent publications include biographies of Thomas Tallis (Oxford University Press, 2020) and William Byrd (Oxford University Press, 2013, given the ASCAP Slonimsky Award for composer biography of the year.) She is also active as a professional singer, and her current research project is a wide-ranging study of the lives of singers in Tudor England, exploring their communities, voices, material surroundings, skills, and vulnerabilities. She lives in Portland, Oregon, where she was born and raised.