Phebe Craig, Director
(510) 684-5177
phebec@aol.com
Fiori musicali d'Italia! -- The Flowering of Music in Italy
Late-Breaking News for Singers
Hello Baroque Music & Dance Enthusiasts,
This is your invitation to join us in a musical exploration of Italy during the golden 17th & 18th centuries. Surround yourself with the music of those incredible composers who pushed instrumental and vocal expressivity to new and thrilling heights. Learn where they worked, how they played -- even how they drank their coffee! Along with our popular lineup of Faculty Concerts and Dance and Concerto Evenings, we will be featuring:
Be sure to mark your calendars now: June 19 - 25, 2005. We are looking forward to a fabulous workshop and some great music making.
Enroll in the 2005 Baroque workshop on line.
Frances Blaker, Recorders
Marion Verbruggen, Recorders
Phebe Craig, Harpsichord
Arthur Haas, Harpsichord
Sand Dalton, Oboe
Anna Carol Dudley, Voice
Jennifer Lane, Voice & Chorus
Angene Feves, Historical Dance
Sandra Hammond, Historical Dance
Kathleen Kraft, Flute
Michael Sand, Violin, Viola & Baroque Orchestra
Mary Springfels, Viola da Gamba
Steve Vacchi - Bassoon
Marc Vanscheeuwijck - Cello
Sunday, June 19
2 - 3 Registration
3:30 Faculty Concert (free to workshop participants)
5 Dinner
6:30 Opening meeting, followed by auditions for ensemble placement (and, for recorder players, for Marion Verbruggen's class)
After auditions, everyone is invited to sing with Jennifer Lane, our choral director.
Monday - Friday, June 20 - 24
9 - 12 Masterclasses*
12 Lunch
1:30 - 2:45 Chorus & Orchestra, playing opportunities for winds, enrichment classes
3-4, 4-5 Coached ensembles
7:30 Evening Events:
Saturday, June 25
9 Student ensemble performances
12 Brunch
12:30-1:30 Residents check out from rooms
1:30 Warm up for Final Concert
2:30 Final Performance
* Morning Masterclasses. Instructors have their individual methods of running the classes, but you can expect warm-up routines, instruction and discussions of technique, fingering, bowing, breathing, pronunciation, knives and cane, articulation syllables, stylistic interpretation, ornamentation and so on.
Frances Blaker - Recorder Masterclass
The class begins with a 30 minute technique session open to all recorder players (also those in Marion's master class). This functions both as an opportunity to learn new techniques and as a thorough warm-up before playing your piece in class. The next 45 minutes are devoted to individual lessons (with auditors present) for the students in my class (not Marion's students). During the final 20 - 30 minutes the entire class will work together on aspects of Baroque performance practice and special recorder topics. This segment comprises both playing music and discussion. (NOTE: if there are enough interested players we can arrange to begin the technique session 30 minutes before normal class time so that Marion's students need not miss any of her class.)
Marion Verbruggen - Recorder Masterclass
The class is organized as a series of lessons given in front of auditors. Marion speaks to style, interpretation, breath technique, fingering and tuning issues. An accompanist will be present. Participants will need to take an audition to perform in her class. This audition will take place Sunday evening, June 19, after dinner. Auditors are welcomed to sit in on the class.
Arthur Haas & Phebe Craig, Harpsichord Masterclass
Arthur requests that students prepare music from two different periods in Italian music: early includes Frescobaldi, Rossi, Storace, etc. and late is mainly Scarlatti but can include other Spaniards such as Albero, Soler, etc. Also, from this later period students can prepare Marcello, Rutini, and others. Even included in this list will be Bach when writing in an Italian style, such as the Italian Concerto, the transcriptions he made from other Italian composers like Vivaldi, Marcello, or his Aria Variata, etc., or dance suites with Italian dances in them.
Finally, he would like to spend time on a "mystery" composer - someone great from the 17th century that everyone should know about - - Bernardo Pasquini. People can try to find and play things by him, or he will just bring music so we can discover his music together. (inegale@aol.com)
Sand Dalton, Oboe Masterclass
The oboe class will concentrate on the making and maintaining of reeds, playing solo and ensemble literature (oboe band). Students should choose something by an Italian composer to bring with them to play and study with the class. I would like to suggest for a starting point, either the e-minor or C-major Geminiani sonatas. More challenging from a technical standpoint would be the sonatas of Sammartini, Platti, Besozzi, Vivaldi, and Pla. The duos for oboe and bassoon by Besozzi and the two trios by Vivaldi (recorder & oboe, and for two oboes both in g-minor) should also be looked at for study in class. Students can contact me if they need help locating any of this material.
Anna Carol Dudley & Jennifer Lane, Voice Masterclass
Bring Baroque songs or arias you have prepared and translated in advance, with extra
copies to share with the class. Class will focus on technique and style. Arias by Italian composers [or in Italian] will be particularly useful for workshop study this year, but any Baroque repertoire you wish to bring to class is welcome. To consult about repertoire, contact Anna Carol Dudley, (510) 527-3748 or (acdudley@earthlink.net); & Jennifer Lane (jlane@stanford.edu).
Angene Feves & Sandra Hammond, Historical Dance
Please click here: dance information
Kathleen Kraft - Flute Masterclass
We will work on all aspects of technique (breathing, position, fingerings, embrochure) and musical style. You may bring any piece you wish to work on. If you wish to focus on Italian music (this year's workshop theme), there are sonatas by Vivaldi and Locatelli and pieces in Italian style by Telemann and others. (The class has a supportive and friendly atmosphere with lots of fun group discussion.) Traversi will be available for silver flute players who wish to try them. Feel free to contact Kathleen Kraft concerning repertoire at (707) 874-2014
(kkraft@sonic.net)
Michael Sand - Violin Masterclass
The violin/viola master class is organized as a series of individual lessons, but I encourage students to audit each other's lessons since the same problems tend to come up over and over. And to make it easier to understand these problems, I see to it that everyone gets a copy of the pieces being worked on . I have found that working in this way, all the important issues, both technical and musical, basic and advanced, tend to get covered in the course of the week. Our workshop theme this year is Italian, so it would be appropriate for students to prepare either pieces in the earlier 17th-century style by composers like Castello, Uccelini, and Cima, or pieces in the later style by composers like Corelli and Vivaldi and their imitators (such as Handel). However, students can feel free to play any music they are interested in. Pitch: A=415. Call Michael Sand if you wish to consult about repertoire (707) 942-0717, or email him at sandviolin@aol.com.
Mary Springfels - Viola da Gamba Masterclass
To Appear Shortly
Steve Vacchi - Bassoon Masterclass
Class will include a warm-up routine, technique, reedmaking, continuo playing, solo/chamber/orchestral repertoire, bassoon duos/trios/quartets, racketts and dulzians.
Specific solo repertoire (in addition to non-Italian works such as those of Fasch, Telemann, Boismortier and Galliard, etc.) can include Vivaldi, Besozzi, Bertoli, Marcello, and Merci.
Any other relevant repertoire is fine too! (vacchi@uoregon.edu)
Marc Vanscheeuwijck - Cello Masterclass
The repertoire this year will include all Italian music involving bass violin
and/or cello from the 1550 to 1800. We will emphasize work directly from
facsimiles, so I suggest students get familiar particularly with 17th-century
Italian facsimile print and manuscript notation. Only if no facsimile is
available (or if they are unreadable)will we work from modern editions.
Although not Italian, Bach's cello Suites will be addressed if desired.
Cello solo:
Bass violin / cello and BC and 2 bass instruments + BC:
Cello and BC:
2 Cellos and BC:
This is your chance to perform with the Workshop Orchestra. In order to let as many people as possible play, we may have to limit each participant to one movement. We would like to put together double concertos and multiple harpsichord concertos as well. Vocal pieces are also welcome. Please let us know by May 1st whether you'd like to be considered -- either by email or the phone number listed above. You will need to provide the orchestra parts, complete with measure numbers. Let us know if you need assistance hunting them up.
Singers: Nisi Dominus Audition Information:
A couple of weeks before the workshop, we will hear enrollees who want to audition for solos in the Handel Nisi Dominus. Jennifer Lane will offer a pre-workshop coaching for the selected soloists at a small fee for participants and auditors.
Dancers:
Specific Information & Schedule
Two semester units of upper-division academic credit or continuing education credit are offered by San Francisco State University for each workshop week, at $75 per unit. Check the box on the registration form if you are interested.
To apply for the Greenberg Scholarship for promising harpsichordists, please send a resume and a tape or CD of your playing to Phebe Craig, Director, Baroque Workshop, 1448 Josephine St., Apt. 2, Berkeley, CA 94703
The SFEMS Baroque Workshop is able to offer some work/study, which amounts to a partial reduction in tuition and fees (but cannot be applied to room and board). Work/study will never interfere with class schedules and might include such things as assistance in concert setup, ticket sales, and photocopying. Please click here to apply.
To appear shortly
- Music stand (put your name on it)
- Pencils and erasers
- Staff paper
- Shoes for hiking up the hill behind the campus every morning with Sand Dalton
- Auction items for Friday night
- Plenty of copies of the music you will play in the master class, so everyone can look on
- If staying on campus: extension cord, small bedside lamp, hangers (we'll bring a bunch for those coming from afar), favorite pillow to augment the one Dominican provides
Enroll in the 2005 Baroque workshop on line.
Frances Blaker, Recorders
Frances Blaker received her Music Pedagogical and Performances degrees from the Royal Danish Conservatory of Music in Copenhagen, Denmark where she studied with Eva Legêne. She also studied with Marion Verbruggen in the Netherlands. Ms. Blaker has performed as a soloist and with various ensembles in the U. S., Denmark, England and the Netherlands, including blaker bande, Arcangeli Baroque Strings and the Atlanta Baroque Orchestra. She is a member Tibia, the Farallon Recorder Quartet and Ensemble Vermillian with her sister, Baroque cellist Barbara Blaker Krumdieck. Ms. Blaker teaches privately and at workshops throughout the United States, and is an assistant director of Amherst Early Music. She is the author of The Recorder Player's Companion and a collaborator and performer on the DiscContinuo series of recordings. She is a new board member of the American Recorder Society.
Phebe Craig, Harpsichord
Phebe Craig spent her student years in Berlin, Brussels and San Francisco. She has earned a reputation as a versatile chamber musician and recitalist and has performed and recorded with many early music ensembles and soloists. She has appeared at the Carmel Bach
Festival, the Regensburg Tage Alter Musik, and early music festivals and events throughout the United States. Currently, she is harpsichordist for the New York State Early Music Association Orchestra. Phebe is the producer of the popular DiscContinuo series of early music play-along CDs and co-author of a just-published Guide to Baroque dance. She is on the faculty at the University of California at Davis and is the Director of the San Francisco Early Music Society's Baroque Workshop.
Sand Dalton, Oboe
Sand Dalton began playing the Baroque oboe in 1975 after graduating from the California Institute of the Arts, where he studied modern oboe with Alan Vogel. A year later he made his first instrument, and began an extensive and ongoing study of historical oboes that has taken him to many museums and private collections in Europe and North America. His workshop presently produces about thirty instruments a year, including specialties like the oboe da caccia and oboe d'amore. Concurrently he has pursued an active career as a performer and teacher. He has performed and recorded with many ensembles, including the Philharmonia Baroque Orchestra, Boston Baroque, the Handel and Haydn Society, Seattle Baroque Orchestra and the Pacific Baroque Orchestra of Vancouver, B.C. He has been on the faculties of the New Enland Conservatory, the Longy School of Music and the University of British Columbia, as well as the summer workshops of the San Francisco Early Music Society, Vancouver Early Music Program, Amherst, and Lopez Island.
Anna Carol Dudley, Soprano
Anna Carol Dudley has had a distinguished career as a recitalist and as a soloist, particularly with many West Coast orchestras, choruses and chamber groups, and is pleased to be still having it. She has toured in India and Afghanistan for the United States Information
Service, and for a number of years toured extensively in the U.S. and Canada, as a recitalist and with Judith Nelson, Laurette Goldberg and Rella Lossy in an ensemble called "Tapestry" (a name which has recently been adopted by another group). She has been a soloist with the San Francisco Symphony, the Bay Area Women's Philharmonic orchestra and the Philharmonia Baroque Orchestra, and at the Berkeley Festival. A past president of the San Francisco Early Music Society and director emerita of the Society's annual Baroque Music and Dance Workshop, she has also served as Music Director of the Junior Bach Festival Association. In giving premieres to many 20th and 21st century works, including a number that have been written for her, she has performed with most of the Bay Area's contemporary music ensembles, including Earplay, Composers Inc., the San Francisco Contemporary Music Players, the Kronos Quartet, Berkeley Contemporary Chamber Players, San Francisco State's Pro Musica Nova, Sacramento's Music Now, and Sounds New. Her opera performances include the title roles in Handel's "Semele" and "Susanna," produced at the University of California, Berkeley, and leading roles in the world premieres of Vivian Fine's "Women in the Garden" and Charles Shere's "Bride Stripped Bare." She has recorded for CRI and 1750 Arch Records; her most recent recording is of "Sibylline Fragments" by John Patrick Thomas (2004, Necessary Singing, GEMA). Ms. Dudley has taught and directed Baroque operas at the San Francisco Conservatory of Music, was on the music faculty of San Francisco State University for 18 years, and now is on the faculty of the University of California, Berkeley. She writes music reviews for the San Francisco Classical Voice website, www.sfcv.org.
Arthur Haas, Harpsichord
Arthur Haas is renowned throughout Europe and America as a peerless pedagogue and performer of Baroque and contemporary music. After receiving top prize in the 1975 Paris harpsichord competition, Mr. Haas remained in Paris from 1975 to 1983, performing in most major French early music festivals including le Festival Estival de Paris, Mai Musical de Bordeaux, and the Saintes Early Music Festival. Praised by Le Monde for his interpretation of French keyboard music, Professor Haas has recorded duo-harpsichhord music of Gaspard LeRoux with William Christie, solo CDs of music by D'Anglebert, Forqueray, and harpsichord music of the English Restoration. Prof. Haas is a member of the Aulos Ensemble and Musical Assembly, and has toured with such leading Baroque musicians as Marion Verbruggen, Julianne Baird, Stephen Preston, and Laurence Dreyfus. Much in demand as a teacher, Prof. Haas is a faculty member of summer early music music institutes in Berkeley, Amherst, and the Longy School of Music; he has also taught at the Eastman School and at Stanford University.
Jennifer Lane, Mezzo-soprano
Jennifer Lane, is recognized internationally for her stunning interpretations of repertoire ranging from the early Baroque to that of contemporary composers. She has appeared at festivals worldwide, with such noted conductors Michael Tilson-Thomas, Mstislav Rostropovich, William Christie, Nicholas McGegan, Andrew Parrott, Christopher Hogwood, Marc Minkowski, Helmut Rilling, and Robert Shaw, among others. A noted early music specialist, Jennifer Lane appears frequently with many of the most noted period instrument orchestras: Les Arts Florissants, Les Musiciens du Louvre, Philharmonia Baroque Orchestra, the Smithsonian Chamber Players, New York Collegium, Seattle Baroque Orchestra, Portland Baroque Orchestra, Tafelmusik, American Bach Soloists, Boston's Händel & Haydn Society and Le Parlement de Musique. Jennifer Lane has taught master-classes at Old Dominion University, Mannes College, CW Post University, Royal Academy of Music in London, San Francisco Conservatory, and for the San Francisco Opera Young Artists Program. In the summer, Jennifer Lane teaches at the Amherst Early Music Festival, the San Francisco Early Music Society (SFEMS) Workshops, the International Baroque Institute at Longy, and the Lake Placid Institute Vocal Seminars. In September 1996, Jennifer Lane joined the faculty of music at Stanford University, serving as Senior Lecturer in Voice. She has also produced and directed there several operatic productions, including a period-style production of Dido & Aeneas, mounted as the culminating event in the Music Department's 50th anniversary celebration, an evening of mostly 20th century one act operas, and, most recently, Mozart's The Magic Flute.
Angene Feves, Historical Dance
Angene Feves specializes in research, reconstruction and teaching of historical dance and movement. In 1995-96, she used 17th-century sources to choreograph and stage the complete "Ballet des Nations" (with incidental music and dances from Molière's "Le bourgeois gentilhomme," 1670) for the music and dance departments of the University of Akron. She
staged, choreographed and costumed Mozart's "Les petits riens" in 1991 while artist-in-residence for the University of Nevada at Las Vegas. In addition, Ms. Feves has been movement and stage director for the tercentenary "Phylander and Mirtilla," a tribute to William and Mary, with music by Purcell (presented in palaces throughout the Netherlands) and "Homage to Lully" presented in Italy since 1988 (now in the repertoire of La Follia, Florence). Ms. Feves has taught regularly at workshops in the U.S. and Europe, specializing in reconstructing dances for the Commedia dell'Arte and baroque opera-ballets, among them "Les fêtes vénitiènnes." She has taught Baroque gesture and movement for several opera productions at the San Francisco Conservatory of Music, and staged the Fezziwig Dances for San Francisco's American Conservatory Theatre's "Christmas Carol" for 20 years, from its premiere in 1976 to 1996.
Sandra Hammond, Historical Dance
Sandra Noll Hammond is a specialist in eighteenth and early-nineteenth century ballet training and repertory. She studied ballet in New York at the Juilliard School, Metropolitan Opera, and School of Ballet Repertory. She has performed with Pacific Ballet, Arizona Dance Theatre, and more recently in baroque dance, appearing alone and in concerts with Angene Feves and with Regine Astier. At the University of Arizona, she was co-founder and first director of the dance major program; later she was Professor and Director of Dance at the University of Hawaii. She is a frequent guest lecturer and master teacher on university campuses, appearing thus far this year at Indiana University and UCLA. Her articles have appeared in Dance Chronicle, Dance Research, Dance Research Journal, International Encyclopedia of Dance, and Dictionnaire de la Danse. She has authored chapters in a number of books, most recently "International Elements of Dance Training in the Late-Eighteenth Century" for the volume, In Search of the Ballerino Grottesco: Gennaro Magri and his World, (Rebecca Harris-Warrick and Bruce Brown, eds., Univ. of Wisconsin Press), due out this spring. Her books include Ballet Basics (5th edition) and Ballet: Beyond the Basics.
Kathleen Kraft, Flute
Kathleen Kraft began specializing in Baroque flute after completing her studies at the Royal Conservatory in Holland with Frans Vester and Frans Bruggen. Her extensive chamber music and solo performances include concerts for the San Francisco Early Music Society, the J. Paul Getty Museum, the National Flute Convention, and the Locronan Festival de Musique in France. She has performed with Philharmonia Baroque Orchestra, the CBC Vancouver Orchestra, American Bach Soloists and Concerto Amabile. She lives outside of Occidental CA, and is active in restoring watersheds and preserving coastal prairies.
Michael Sand, Violin
Michael Sand received his B.A. from Swarthmore College and a M.M.
from the Yale University School of Music, studying with Broadus Erle of the Yale Quartet. After graduation, he began his professional life in San Francisco, where he joined the San Francisco Opera Orchestra, and played principal second violin of the Oakland Symphony. Becoming interested in original instrument movement, he went to Holland to study Baroque violin with Sigiswald Kuijken at the Royal Conservatory in The Hague. For a long time, his career centered around Baroque music. He was one of the founders of Philharmonia, the first period instrument orchestra on the West Coast, while commuting to Europe to work with some of the leading Baroque groups such as Les Arts Florissants and La Chapelle Royale. Back home, he was also involved in the founding of Arcangeli Baroque Strings, a concerto grosso group whose recordings of Bach and Vivaldi have won high notices. His work outside the Bay Area has included appearances as guest director with numerous chamber orchestras in this country and abroad, and he taught for many years as the Jerusalem Music Center in Israel. He is currently the Music Director of NYS Baroque, an original instrument orchestra based in Ithaca, NY, where he has led performances of Bach's B Minor Mass and St John Passion, Handel's Jephtha, and the Monteverdi Vespers. Mr. Sand has recorded for Meridian, Harmonia Mundi (both in France and the United States), Art and Music, KATastroPHE, Wildboar, and Titanic Records. He teaches at the University of California at Davis and at the San Francisco Early Music Society's Baroque Music Workshop.
Mary Springfels, viola da gamba
Ms. Springfels is one of the most highly regarded interpreters of music written before 1800 working in America today. She is Musician-in Residence at the Newberry Library, Director of the Newberry Consort, and Director of the Early Music Ensemble at Northwestern University. She has appeared with virtually every important early music group in the country, including The New York Pro Musica, The Waverly Consort, The Folger Consort, Pomerium Musices, and Concert Royal. She was a founding member of The Eliziabethan Enterprise and Les Filles de Sainte-Colombe. In Chicago she has performed with Orpheus Band, The City Musick, and The Harwood Ensemble. Recent solo appearances include the American Bach Soloists, Musica Sacra, Fretwork, and the Arcadian Academy. Ms, Springfels has taught at Duke University, The University of North Carolina at Chapel Hill and The University of Chicago. She has recorded for Nonesuch, Titanic, Columbia, Decca, Koch International and Harmonia Mundi USA.
Steve Vacchi, Bassoon
Bassoonist Steve Vacchi holds degrees from the Eastman School of Music (BM/Performer's Certificate), The Hartt School (MM) and Louisiana State University (DMA). His teachers have included K. David Van Hoesen, Stephen Maxym, Frank Morelli and William Ludwig. An advocate of contemporary music, he has performed in 23 countries and recorded for Argo, BMG Classics, Centaur, NMC, Equilibrium, North Pacific, Sony Classical, Edward Hines Music and Imagine Records. A member of the Eugene Opera Orchestra, Oregon Mozart Players, Oregon Bach Festival and the Oregon Festival of American Music, he has also performed with the Santa Fe ProMusica, Florida Orchestra, Rochester, Tulsa, and Rhode Island Philharmonics, and the New Haven, Kansas City, Honolulu, Shanghai, Oregon, Baton Rouge, and Wichita Symphony Orchestras. Associate Professor of Bassoon at the University of Oregon since 2000, Vacchi was formerly on the faculty of Wichita State University (KS) and the Brevard Music Center (NC). He is a member of Munich-based Trio 335 (oboe, bassoon, and classical accordion), a group that actively commissions new compostions for this eclectic combination. He has recently been performing early music on dulzian, rackett, Baroque, Classical and French bassoons, including performances at the International Baroque Institute at Longy, Vancouver Early Music Programme, and the Lopez Island Performance Seminar as well as chamber music and large ensemble appearances in Oregon.
Marc Vanscheeuwijck, Cello
Cellist Marc Vanscheeuwijck is a Belgian native who studied art history, romance languages, and musicology at the University of Ghent, where he received his Ph.D. In 1995. After graduating from the Bruges and Ghent Conservatories in cello and chamber music in 1986, he studied Baroque cello with Wouter Moeller, and moved to Bologna, Italy, to do research in 17th-century Bolognese music. Since 1995, he has been on the music history faculty at the University of Oregon in Eugene, where he also directs the Collegium Musicum. As a scholar he
concentrates his efforts on the use of various types of violoni in the Baroque period, and on seventeenth-century sacred music. His book "The Cappella Musicale of San Petronio in Bologna under Giovanni Paolo Colonna (1674-95). History - Organization - Repertoire" was published in 2003 by the Belgian Historical Institute in Rome. He is a member of several Belgian, Italian, Czech, and Northwestern Baroque music ensembles. (marcovan@oregon.uoregon.edu)
Marion Verbruggen, Recorders
Amsterdam-born recorder player Marion Verbruggen is one of the most extraordinary virtuosos of her generation. Famed for her high-spirited, technically dazzling performances, she has earned an international reputation as a master of style on her instrument throughout North America, Europe, Africa, Japan and Australia. Enamored of the recorder at an early age, she studied at the Amsterdam Conservatory in The Hague with Frans Bruggen. Upon completing her diplomas cum laude, she was invited to join the faculty at the Royal Conservatory. Her prizes include the first International Recorder Competition in Bruges, the Nicolai Prize for the Performances of Contemporary Dutch Music, and the Erwin Bodky Award for Early Music. As a soloist Marion Verbruggen plays with prestigious ensembles including Musica Antiqua Koln, Akademie fur Ancient Musick Berlin, The Amsterdam Baroque Orchestra, Philharmonia Baroque Orchestra, The Orchestra of the Age of Enlightenment and Tafelmusick Orchestra. She performs in chamber music ensembles with other renowned early music artists including harpsichordists Gustav Leonhardt, Bob Van Asperen and Ton Koopman, gambist Wieland Kuijken, baroque cellist Jaap ter Linden, and violinist Lucy van Dael. Her early music festival appearances include Utrecht, Berkeley, Berlin, Boston and Tel Aviv. Marion Verbruggen also plays solo recitals throughout the world. Marion Verbruggen guest teaches at the Royal Conservatory in The Hague and gives master classes and workshops throughout the world. Her diverse discography includes music ranging from 17th century Spanish songs and theatre music to her own transcriptions of the JS Bach Cello Suites. She has recorded for BMG, EMI Erato, harmonia mundi usa, Ricercar, Sony, Titanic, and Accent.