Mid-Winter Workshop faculty profiles: Stewart Carter (Brass and Reeds); Letitia Berlin, Jody Miller, Patricia Petersen, Anne Timberlake (Recorders); Martha Bishop, Lawrence Lipnik (Viols); Robert Bolyard (Voices); Paula Fagerberg (Harp)
Letitia Berlin teaches recorder and coaches ensembles in California and at workshops around the country, including the Amherst Early Music Festival, and the Port Townsend early music workshop. She is the director of the Hidden Valley Recorder Elderhostel (Carmel Valley, CA) and co-director of the San Francisco Early Music Society's Music Discovery Workshop for young children. Ms. Berlin performs regularly with the Farallon Recorder Quartet and the recorder duo Tibia. She has performed with the Carmel Bach Festival and the Atlanta Baroque Orchestra as well as other ensembles. Recordings include Motets, Lieder, and Instrumental Works of Ludwig Senfl with the Farallon Recorder Quartet, Ladino love songs with Yatan Atan on the New Albion label and the second edition of the Disc Continuo play-along CD on the Katastrophe label. Ms. Berlin received a master's degree in early music performance practices from Case Western Reserve University and a Bachelor of music from the University of North Carolina at Greensboro. Her mentors and teachers have included Inga Morgan, Saskia Coolen, Marion Verbruggen, Carol Marsh and Ross Duffin.
Martha Bishop, Assistant Director - Viola da gamba. B. Mus. Ed., M.A. Musicology, post-graduate at Cornell University in viola da gamba. In addition she is widely known as a teacher, performer, composer and editor as well as being a member of Atlanta Baroque Orchestra, New Trinity Baroque, and artist faculty at Emory University. For many years she served as Music Director for the Viola da Gamba Society of America annual Conclave. She is also a Hambidge Center for the Arts and Sciences fellow, as well as a member of Pi Kappa Lambda.
Originally from Los Angeles, Robert moved to Atlanta in 2008 after receiving his Master's degree in Choral Conducting from the Yale School of Music. While at Yale, Robert was (among other things) the assistant conductor of the Yale Glee Club and conductor of the Yale Glee Club Chamber Singers. Currently, Robert is Organist and Director of Music at Epiphany Lutheran Church in Conyers, GA, and teaches voice, piano, and cello in the metro Atlanta area. Robert keeps busy singing with the Atlanta Symphony Orchestra Chorus and Chamber Chorus, Atlanta Schola Cantorum, Coro Vocati, and is the director of Uncommon Practice - a collective of choral artists specializing in early and contemporary music.
Stewart Carter is Executive Editor of the Historic Brass Society Journal and former Editor of Historical Performance, the journal of Early Music America. He is also General Editor of Bucina: The Historic Brass Society Series. He has edited two collections of essays, A Performer's Guide to Seventeenth-Century Music (New York: Schirmer Books, 1997) and Perspectives in Brass Scholarship: Proceedings of the International Early Brass Symposium, Amherst 1995 (Stuyvesant, NY:Pendragon, 1997). He has contributed articles to Early Music,Performance Practice Review, Historical Performance, Historic Brass Society Journal, Early Brass Journal, A Performer's Guide to Renaissance Music, and Women Composers through the Ages (vol. 2). He has edited two volumes of the music of Isabella Leonarda for the series Recent Researches in the Music of the Baroque Era (Madison, WI: A-R Editions). In 2001 he received the Christopher Monk Award from the Historic Brass Society, for outstanding service to the early brass field. Carter is an active performer on recorder and sackbut. He has performed throughout the United States as well is in Europe and Taiwan. In the spring of 2000 he was guest lecturer and early music ensemble director at National Sun-Yat Sen University in Taiwan. Carter has taught early wind instruments at early music workshops throughout the United States, including the Amherst Early Music Festival/Workshop and the Mideast Recorder Workshop. He received the PhD degree in musicology from Stanford University. Carter teaches music theory, music history, and trombone at Wake Forest, and also directs the Collegium Musicum.
Specializing in the harps, playing techniques, and repertoire of the late Renaissance through the early Classical eras, historical harpist Paula Fagerberg performs regularly at concert halls and early music festivals throughout the United States and abroad. She is a frequent guest artist with such premiere American ensembles as The Folger Consort, Chatham Baroque, The Rose Ensemble, New Trinity Baroque, The Atlanta Baroque Orchestra, and The American Bach Soloists. Internationally, she has performed at the U.S. Embassy in Stockholm, given a concert on antique single-action pedal harps at Oxford University, and toured Perú and Bolívia playing colonial Latin American music on the rare Spanish arpa de dos órdenes.
Paula attended graduate school at Indiana University’s Early Music Institute, where she studied the art of continuo with lutenist Nigel North and historical harps with Andrew Lawrence-King. She also holds a degree in historical harp performance from Clayton State University, where she was named a Spivey Scholar and The University System of Georgia Outstanding Scholar.
Paula was featured in the recent PBS documentary Harp Dreams as an expert on the history of the harp, and is the editor of the Journal of the Historical Harp Society. Her playing appears on recordings of Baroque music from countries ranging from Germany to England to colonial Latin America to Italy. She lives in Atlanta with her husband, their young children, and two rambunctious kittens (a Bengal and a Tonkinese). When not behind the harp, she may be found on the tennis court looking to hit a backhand drop shot.
Lawrence Lipnik has performed with many acclaimed early music ensembles from ARTEK and Anonymous 4 to Piffaro and the Waverly Consort, and is a founding member of the viol consort Parthenia and vocal ensemble Lionheart. He has recently prepared a performing edition of Francesco Cavalli’s opera La Calisto, which was commissioned by the Juilliard School and performed by the San Francisco Opera, and was continuo gambist and recorder player for a new production of Monteverdi's Ritorno d'Ulisse in Patria at Wolf Trap. In addition to performing, he is co-director of the New York Recorder Guild, enjoys a busy teaching schedule which has included national and international festivals from the Benslow Music Trust in the UK, Port Townsend, San Diego and Madison Early Music to Pinewoods and Amherst, instructor of viol, recorder and early music performance at Wesleyan University, music editor for an upcoming authoritative edition of the original songs from the plays of William Shakespeare, as well as contributor to the Cambridge Companion to Shakespeare and Contemporary Dramatists. He has recorded for numerous labels including EMI, Angel, Nimbus, Virgin, Sony, Koch International and Cantaloupe, and has been a frequent musical collaborator with artist William Wegman.
He is director of Lauda Musicam of Atlanta and teaches private recorder and French horn lessons in the Atlanta area. Previously, he has served on the faculty of the Atlanta Early Music Alliance Mid-Winter Workshop and has taught recorder workshops through the Atlanta Recorder Society, the Birmingham Recorder Society, and the Memphis Flute Society. Miller performs most frequently with Ritornello Baroque Ensemble, but often collaborates with modern instrumentalists when performing his favorite works--contemporary chamber music for recorder. He works closely with composer Timothy Broege and is currently working on a compact disc recording of the recorder music of Broege.
She holds an MFA in Early Music Performance from Sarah Lawrence College. A Director Emerita of Amherst Early Music, she is a regular faculty member at that and many other weekend and week-long workshops. She performs on recorder and other early winds, and has appeared with the Charleston Symphony Orchestra. She has coached early music ensembles at Wake Forest University and the University of North Carolina at Greensboro. An ARS certified teacher, she teaches recorder, early music, and English country dance in North Carolina and at workshops around the country, and has a passion for playing from facsimiles of early 15th-century music.
Anne has appeared across the United States performing repertoire from Bach to twenty-first-century premieres to Celtic tunes. She holds degrees in recorder performance from Oberlin Conservatory, where she studied with Alison Melville, and Indiana University, where she studied with Eva Legene and won the 2007 Early Music Institute Concerto Competition. Anne has received awards from the American Recorder Society and the National Foundation for the Advancement of the Arts, and was awarded a Fulbright Grant to study recorder performance in Belgium. She is a founding member of the ensemble Wayward Sisters, specializing in music of the early Baroque. The Newberry Consort recently presented Wayward Sisters as Emerging Artists for their 2010-2011 concert season. With Musik Ekklesia, Anne has recorded for the Sono Luminus label. Anne Enjoys teaching as well as playing. In addition to maintaining a private studio, Anne has coached through Indiana University's Pre-College Recorder Program, Oberlin's Baroque Performance Institute, Catacoustic's community recorder program, and numerous ARS chapters.