Allan Badley is a Senior Lecturer at The University of Auckland’s School of Music, and a specialist in late 18th-century Viennese music. His publications include several hundred scholarly editions of works by major contemporaries of Haydn, Mozart and Beethoven, including works for piano and orchestra by Ferdinand Ries, mass settings by Wanhal and Hummel and an extensive series of symphonies and concertos. He has published articles on Leopold Hofmann, Ignaz Pleyel and Haydn, contributed to the Oxford Composer Companion, and contributed analytical essays on the symphonies of Wagenseil and Pleyel for the forthcoming volume on the eighteenth-century symphony edited by Barthia Churgin and Mary Sue Morrow for Indiana University Press. He is co-founder of Artaria Editions. In 2007 Badley was awarded the Goldene-Pleyel-Medaille of the Internationale Ignaz Joseph Pleyel Gesellschaft (Austria). He is a member of the editorial board of Eighteenth-Century Music and was recently elected inaugural president of the Swiss-based Johann Baptist Wanhal Society.

Edward Green, whose NYU doctoral thesis dealt with chromatic completion in Haydn and Mozart, is an award-winning composer. His Piano Concertino was nominated for a Grammy in 2010. Since 1984, he has been on the faculty of Manhattan School of Music. A Fulbright Senior Specialist, who last summer taught a seminar in Buenos Aires on the music of John Cage, Dr. Green’s publications range from Marcabru and Guido d’Arrezo to Prokofiev, Richard Rodgers, and Harry Partch. Along with his writings on chromatic completion in the Classical Era, Dr. Green is best known in musicological circles for his studies of Duke Ellington, and of such contemporary Chinese composers as Zhou Long.

János Malina has been president of the Hungarian Haydn Society since 1996. He has been the principal organizer and music director of the Haydn at Eszterháza Music Festival, a board members of the Sopron Early Music Days Festival and the Hungarian Music Council, vice president of the Réseau Européenne de Musique Ancienne, and editor-in-chief of Editio Musica Budapest. His most recent scholarly activities have focused on opera performance at Eszterháza. He serves as president of the International Opera Foundation Eszterháza, and last fall delivered the paper “Haydn’s Workshop: The Second Opera House at Eszterháza” at the American Musicological Society annual meeting. Malina, along with Ferenc Dávid, Carston Jung, and Edward McCue, has been exploring the archival materials associated with the second Eszterháza opera house, uncovering information about the architecture, sets, costumes, and other production concerns at Eszterháza.

Derek McCulloch studied singing in Stuttgart in the 1960s, and was at that time Germany’s only countertenor. Shortly after his return to England he was appointed alto lay-clerk at St George’s Chapel, Windsor Castle, and appeared regularly on sound radio, television and recordings as soloist with such conductors as Roger Norrington and Helmuth Rilling, including in the Flanders Festival and the Aldeburgh Festival. He wrote his doctoral thesis (1990) on Aristocratic Composers in the 18th Century and continues to explore neglected repertoires of the late 18th century, especially ‘minor’ composers in England and the German-speaking area. In 1985 Dr McCulloch founded Caf€ Mozart, which explores the repertoire of the late 18th century for performances with period instruments. The group performs up and down UK in venues of all shapes and sizes, and also in Austria and Germany. CDs include Goethe & the Guitar, with an award from the British Academy, Hail Windsor, Crown’d with lofty Towers: music written in or for the royal town of Windsor in the 18th century, and Haydn & The Earl of Abingdon for Naxos. Engagements have included a concert tour of Haydn’s Burgenland in Austria and the Early Music Festival in the Old Royal Naval College, Greenwich.

Nancy November is a senior lecturer at the University of Auckland.  Her research and teaching interests centre on the music of the late eighteenth century:  aesthetics, analysis, and performance history and practices.  She has published review articles in MLA Notes and in the Critical Forum of Music Analysis.  Recent Haydn-related publications include essays on Haydn and musical melancholy (Eighteenth-Century Music, 2007), Haydn’s compositional use of register in the strings quartets (Music Analysis, 2008), and “voice” in Haydn’s early string quartets (Music and Letters, 2008).  An edition of Adalbert Gyrowetz’s String Quartets Op. 29 is forthcoming from Steglein Publishing, and an edition of Paul Wranitzky’s Six Sextets is forthcoming from A-R Editions.  She is currently working on a book on Beethoven’s middle period string quartets.

Christine Siegert is a Junior Professor in musicology & gender studies at the University of the Arts in Berlin. After a PhD on the Italian operas of Luigi Cherubini, she held research positions at the University of Würzburg, the Joseph Haydn Institute, Cologne, and the University of Bayreuth. She is co-editor of the Eisenstädter Haydn-Berichte with Walter Reicher and a member of the HAYDN editorial board.