Annette Bauer, a native of Germany, holds a diploma in medieval and Renaissance
performance practice from the Schola Cantorum Basiliensis in Basel, Switzerland,
specializing in recorder techniques with Conrad Steinmann (2001). Supported by a
scholarship from the DAAD (German Academic Exchange Service), she pursued an M.A.
in music from UC Santa Cruz (2004). Annette has also studied sarode since 1998 at
the Ali Akbar College of Music in California under Maestro Ali Akbar Khan.
As a recorder player, Annette performs with medieval ensemble Cançonièr,
Baroque group Les grâces, and Farallon recorder quartet; she has appeared with
early music groups throughout the US. In 2010 she released several new albums, with
Cançonièr (supported by a San Francisco Friends of Chamber Music grant),
Farallon, and The Lost Mode project (with Shira Kammen and Peter Maund).
Her recordings are available on Magnatune and CD Baby.
She has served on the recorder faculty for several of the San Francisco Early Music
Society summer workshops and the Amherst Early Music Festival, among others.
Certified in Orff Schulwerk, she teaches recorder pedagogy to music teachers at the
San Francisco Orff Course. In 2009 Annette was selected for the recorder residency at
Sitka Center for Art and Ecology in Oregon.
Annette's musical passions include original notation sources in early music,
improvisation in modal music traditions, and playing music in beautiful acoustics.
She is the co-founder of Magic Carpet, a duo dedicated to the art of improvisation.
Annette also plays Brazilian percussion with Maracatu Luta and has studied Maracatu
and other rhythms with groups in Recife, Brazil, and at the California Brazil Camp.
She is currently studying the duduk, an Armenian double reed instrument, and is
active in the San Francisco Artmonk Chapter, exploring connections between silent
contemplation practices and creativity.
Frances Feldon is a freelance musician and music teacher in the San
Francisco Bay Area. She teaches recorder and baroque flute privately at her
studio in Berkeley and teaches the recorder program at Albany Adult School.
She is a regular conductor and faculty member at recorder workshops in North
America. Ms. Feldon retired two years ago from the directorship of SFEM's
Recorder Workshop after a successful term of nearly twenty years.
Ms. Feldon performs with Flauti Diversi, a baroque/contemporary chamber music
ensemble, and produces the concert series "Baroque and Beyond." She has
performed with such ensembles as California Bach Society, Sonoma Bach Society,
and Ensemble Mirabile. An ongoing project includes exploring jazz recorder and
interviewing and writing on jazz and pop recorder players for the magazine
American Recorder. She has conducted her arrangements of Gershwin and Ellington
classics at international recorder festivals (Montreal 2003, Holland 2004).
Ms. Feldon studied recorder and baroque flute at Indiana University, where
she completed a doctorate in collegium directing. She has taught at Indiana
University, UC Davis, and The Greenwood School in Mill Valley, California.
Born in Hamburg, Germany, Inga Funck played recorder from early childhood.
She studied historical recorders and flutes with Peter Holtslag at the
Hochschule für Musik und Theater, Hamburg, and participated in many workshops
throughout Europe. Funck has been featured in solo performances and period
instrument ensembles in Germany, Austria, Hungary, Denmark, and the Netherlands.
Aspiring to find a balance of appreciating the past while engaging the present,
she sets high standards in the authenticity of her early music performances
and at the same time is expanding the musical dimension of the recorder into
modern days. Performances with members of the Los Angeles Philharmonic in
the Walt Disney Concert Hall have included the contemporary piece by György
Kurtág, Quasi una fantasia, conducted by Esa-Pekka Salonen and Bach's
Brandenburg Concertos conducted by Giovanni Antonini.
She has performed as a member of Musica Angelica and the recorder ensemble
Les Folies, playing at the Microfest at REDCAT. She regularly conducts
meetings of the Southern California, Orange County, and San Diego Recorder
Societies and teaches workshops as well as private lessons.
Recorder player Rotem Gilbert is a native of Haifa, Israel, and a
founding member of Ciaramella, an ensemble that specializes in music of
the fifteenth century. Ciaramella has performed in early music festivals
and concert series in the United States, Canada, and Europe, with
performances most recently in San Francisco, Santa Barbara, San Diego,
Houston, Tucson, and Los Angeles. Ciaramella will be recording its third
album this summer.
Rotem is an assistant professor at the USC Thornton School of Music in
Los Angeles, where she teaches baroque and Renaissance performance
practice courses and is an instructor of early music winds. As a member
of Piffaro (1996-2007), she toured the United States, Europe, and South
America. Rotem has appeared with many American and European early music
ensembles, including Chatham Baroque, King's Noyse, Newberry Consort, and
Capilla Flamenca, and has been featured as a soloist for the Pittsburgh
Opera (La Corronatione di Poppea), the LA Opera
(Britten's Noye's Fludde, Handel's Tamerlano, and the
Play of Daniel),
and Musica Angelica (Brandenburg #4). She recently made her debut at
Disney Hall with the LA Philharmonic (Living Toys by Thomas Adès and
A Flowering Tree by John Adams). After studies on recorder at Mannes
College of Music in New York, she earned her solo diploma from the
Scuola Civica di Musica of Milan, where she studied with Pedro
Memelsdorff. She earned her doctorate in early music performance
practice at Case Western Reserve University. She has been a regular
faculty member of early music workshops in San Diego, the San Francisco
Bay Area, Seattle, Madison, Amherst, and Israel's Ayala. Rotem can be
heard on the Deutsche Grammophon's Archiv, Passacaille, Musica Americana,
Dorian, Naxos, and Yarlung labels.
For more information see
Multi-instrumentalist and vocalist Shira Kammen has spent well over
half her life exploring the worlds of early and traditional music. A member
for many years of the early music ensembles Alcatraz, Project Ars Nova,
and Medieval Strings, she has also worked with Sequentia, Hesperion XX,
the Boston Camerata, the Newberry and Folger Consorts, the Balkan group
Kitka, as well as the Oregon, California, and San Francisco Shakespeare
Festivals. She is the founder of Class V Music, an ensemble dedicated to
performance on river-rafting trips. She has performed and taught in the
United States, Canada, Mexico, Europe, Israel, Morocco, Russia, Latvia,
and Japan and on the Colorado, Rogue, and Klamath Rivers.
Shira happily collaborated with singer/storyteller John Fleagle for
fifteen years and performs now with several new groups: a medieval
ensemble, Fortune's Wheel; a new music group, Ephemeros; an eclectic
ethnic band, Panacea. Her work also includes collaborations with
wonderfully diverse performers such as storyteller/harpist Patrick Ball,
sopranos Anne Azema and Susan Rode Morris, medieval music expert Margriet
Tindemans, and singer/harpist Joanna Newsom
She has played on several television and movie soundtracks, including
O, a modern high-school setting of Othello, and The Nativity Story.
Some of her original music can be heard in an independent film about
fans of the work of JRR Tolkien. Shira has arranged, designed, and
directed music for numerous theatrical performances, is associate music
director for The California Christmas Revels, and has worked on many video
projects, among them A World Inscribed, about illuminated manuscripts,
Sir Gawain and the Green Knight and Sir Gawain and Dame Ragnell for the
Chaucer Society, and Radiant Life, about Hildegard von Bingen.
Tricia van Oers was born in Rotterdam, the Netherlands. In 1998 she
was graduated from the Rotterdam Conservatory, where she studied recorder
with Thera de Clerck and Han Tol. She received a performer diploma from
Indiana University's Early Music Institute with high achievement in early
music-instrumental performance, while being an associate instructor. Until
the summer of 2000 Ms. van Oers was employed by the Von Huene Workshop in
Boston, making, repairing, and testing recorders. She regularly lends her
skills to the workshop still and has represented the shop at early music
festivals in the United States and Europe.
Ms. van Oers teaches privately and is a frequent guest coach for recorder
societies in New York and New England; she also regularly serves on the
faculties of early music workshops. She has performed in solo and ensemble
recitals in the Netherlands, Portugal, and the United States. As a founding
member of the Rotterdam-based ensemble Scarabee, she recorded at the Great
Hall of Mirrors at the Palace of Versailles (France) and performed
throughout the Netherlands. She moved to New York in 2000. Her activities
include cantata performances with Bard and Williams Colleges, performances
with Early Music New York, the Long Island Baroque Ensemble, Concert Royal
(NYC), the Saratoga Chamber Singers, Vernon Chorale, the Cantata Singers
(Boston), the Choral Arts Society of Philadelphia, and the Connecticut-based
baroque ensemble and orchestra Crescendo, whose aim is to promote early
music performance on historical instruments. She has performed as a guest
soloist with the Bethlehem (PA) Bach Festival Orchestra, Tempesta di Mare
(PA), Musica Sacra, and Amor Artis (NYC).
Hanneke van Proosdij received her solo and
teaching diplomas from the Royal Conservatory in
The Hague, where she studied recorder, harpsichord
and composition. She performs regularly as
soloist and continuo specialist with Philharmonia
Baroque Orchestra, Festspiel Orchester Göttingen,
Voices of Music, American Bach Soloists, Concerto
Palatino, and Magnificat. She has appeared as a
guest artist with Hèsperion XX, Concerto Köln,
Orchestre d’Ambronnay, Gewandhaus Orchester and the Arcadian Academy.
Together with David Tayler, Hanneke co-founded
and co-directs Voices of Music.
Hanneke is a co-founder of the Junior Recorder
Society in the East Bay and was the co-director of
the SFEMS Medieval Renaissance Workshop for seven years.
Her article "Freestyle Group Improvisation" was
published in The Recorder Education Journal June
2005. She has recorded over thirty discs for
Magnatune, BIS, Koch, Musica Omnia, Carus, AVIE,
and Delos. Her solo harpsichord recording is
available online at
Hanneke enjoys reading books, downhill skiing and gardening.