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Peter Alexander

Peter Alexander holds a Ph.D. in musicology from Indiana University, where he studied with A. Peter Brown. He contributed the essay on Carlos von Ordonez for Volume I: The Eighteenth-Century Symphony of Brown’s Symphonic Repertoire series, due for publication later in 2011. He has written reviews for Notes and Journal of Musicological Research, and he has written and presented lectures on Antonin Dvořák’s visit to Spillville, Iowa. He has been editor of the newsletter of the AMS Midwest Chapter, the national AMS and the Haydn Society of North America. Now retired from the University of Iowa, he lives in Colorado, where he is the free-lance classical music writer for Boulder Weekly.

Allan Badley

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.

Adem Merter Birson

Adem Merter Birson is a graduate student at Cornell University. His primary research interest is history, theory and analysis of eighteenth and nineteenth-century Viennese instrumental music, especially the chamber music of Joseph Haydn and Johannes Brahms. He has a secondary interest in Near Eastern Studies, and focuses on the role of religious mysticism as an aesthetic in the music of the Ottoman courts. A musician as well as a scholar, he is an avid performer of the piano and the Turkish lute.

Katelyn Clark

Canadian harpsichordist Katelyn Clark is a performing artist specializing in historical repertoire and experimental music on early keyboard instruments. As a soloist and ensemble musician, she has performed across Europe, the USA, and Canada. Originally from Victoria, British Columbia, Katelyn studied with Bob van Asperen at the Amsterdam Conservatory and holds a doctorate in performance studies from McGill University, where she studied with Tom Beghin and Hank Knox. Her artistic practice has been generously supported by Le Conseil des arts et des lettres du Québec, The Banff Centre, the Early Music Society of the Islands, and the Canada Council for the Arts.

Evan Cortens

Evan Cortens is a doctoral candidate in musicology at Cornell University, with a focus on eighteenth-century German music, and is currently completing a dissertation on the sacred cantatas of Christoph Graupner. He holds degrees in musicology from the University of Calgary (2006) and Boston University (2008) and his research interests include the computer-aided analysis of musical manuscripts. He spent the summer of 2012 conducting archival research in Darmstadt, Germany supported by the Deutsche Akademischer Austauschdienst(DAAD). He has published in Eighteenth-Century Music, Notes: Quarterly Journal of the Music Library Association and the Newsletter of the Society for Eighteenth-Century Music and his edition of Johann Samuel Schroeter’s Six Keyboard Concertos, op. 3 was recently published by A-R Editions.

Charles T. Downey

Charles T. Downey is a freelance writer on classical music and opera, for the Washington Post and other publications, and the editor of the Internet magazine Ionarts (www.ionarts.org). His scholarly publications include contributions to a critical edition of and volume of essays on La Délivrance de Renaud: Ballet dansé par Louis XIII en 1617, and articles in Études grégoriennes, Comparative Drama, and Studia Musicologica Academiae Scientiarum Hungaricae. He holds a Ph.D. in historical musicology from the Catholic University of America, where he studied with Ruth Steiner, with research centered on Gregorian chant and on French Baroque opera and ballet.

William Drabkin

William Drabkin is Professor of Music at the University of Southampton. He has written books on Haydn’s quartets to Opus 20 and Beethoven’s Missa solemnis, and prepared an edition of Beethoven’s sketchbook Artaria 197. His editions, in English translation, of Heinrich Schenker’s analytical writings from the 1920s won a Special Citation from the Society of Music Theory (2005). He has since published translations of Schenker’s writings from the early 1900s, including The Decline of the Art of Composition. Currently he leads a team of scholars in three-year research project on documents relating to Schenker’s biography; he is also the Editor of the journal Music Analysis.

Mark Ferraguto

Mark Ferraguto is Assistant Professor of Musicology at the Pennsylvania State University. He received his PhD from Cornell University in 2012. A specialist in the music of the long eighteenth century, he has contributed articles and reviews to journals such as Music and Letters, Journal of the American Musicological Society, Studia Musicologica, and Keyboard Perspectives. He co-edited the multidisciplinary collection Music and Diplomacy from the Early Modern Era to the Present (Palgrave Macmillan, 2014) and is currently preparing a monograph tentatively titled Hearing Beethoven Historically: 1806-1807. An Associate of the American Guild of Organists, he is an active performer on organ and harpsichord.

Chad Fothergill

Chad Fothergill is a graduate student in Music Studies at Temple University, Philadelphia, and is primarily interested in social, cultural, and literary aspects of seventeenth- and eighteenth-century musicking. After completing graduate studies in organ performance the University of Iowa, he served on faculties at the University of Delaware, Gustavus Adolphus College (St. Peter, Minnesota), and the Lutheran Summer Music Academy and Festival where he taught a variety of courses in history, theory, organ performance, and church music. Beyond coursework and reading, he remains active as an organist and harpsichordist in solo, collaborative, and liturgical settings in the Philadelphia and New York metropolitan areas.

Michaela Freemanova

Michaela Freemanova studied musicology at the Charles University, Prague. She has worked for Supraphon publishers, the Czech Museum of Music as music archivist, head of the musical instruments department, and head of the library, and as music curator of the Prague Castle 1992-1993. Since 2002 Freemanova has served on the music history department of the Academy of Sciences of the Czech Republic. Her main research interests include music life of the 17th to early 19th century, including music societies, music collections, music life of religious communities, music teaching, oratorio and opera performances, and sacred music, 18th century music theory, George Frideric Handel, Joseph and Michael Haydn, Bohemian musicians abroad (especially in England), organology, and watermarks.  Together with her husband, David J. Freeman, since 1989 she has organized a number of early music events.  She is director of the Czech Early Music Society, a member of the Czech Joseph Haydn Society committee, and has overseen programming of the Haydn Festival of Music in the Czech Republic since 2002.

Floyd Grave

Trained at the Eastman School of Music (B.Mus. in Theory) and New York University (M.A. and Ph.D. in Musicology), Prof. Floyd Grave serves as co-editor of one of the most widely read, peer-reviewed journals in the field, The Journal of Musicology, published by the University of California Press. A specialist in eighteenth-century instrumental music, theory, and aesthetics, he has written many articles and book reviews for major scholarly journals in the United States and Europe, including the Journal of the American Musicological Society, Music Theory Spectrum, Music Review, Eighteenth-Century Music, and Ad Parnassum. He is also a contributing author for The New Grove Dictionary of Music and Musicians, first and second editions. His books, co-authored with Margaret Grupp Grave, include In Praise of Harmony: The Teachings of Abbé Georg Joseph Vogler(University of Nebraska Press, 1987), Franz Joseph Haydn: A Guide to Research (Garland Publishing, 1990), and, most recently, The String Quartets of Joseph Haydn (Oxford University Press, 2006). His accomplishments as a music editor include editions of Abbé Vogler’s Pièces de clavecin and Zwei und dreisig Präludien (A-R Editions, 1986) and ballet-theater works by Vogler and his Mannheim colleague Christian Cannabich (A-R Editions, 1996).

Edward Green

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.

Mary Hunter

Mary Hunter is A. Leroy Greason Professor of Music at Bowdoin College. She is the author of The Culture of Opera Buffa in Mozart’s Vienna (Princeton 1999) and Mozart’s Operas: A Companion (Yale, 2008), and co-editor, with Richard Will, of Engaging Haydn: Culture, Context and Criticism (Yale, 2012). She has published many essays on eighteenth-century opera, Mozart, and Haydn, and is currently engaged in a project on the ideology of performance in classical music culture. (Photograph Copyright Dennis Griggs/Tannery Hill Studios. Used with permission.)

Samantha Inman

Samantha Inman is a lecturer of music theory at the University of North Texas, where she also serves as aural skills coordinator. She received a Ph.D. in music theory from the Eastman School of Music with a dissertation entitled “The Nexus of Inner and Outer Form in Joseph Haydn’s Late Instrumental Sonata Movements.” Her research interests include form, Schenkerian analysis, and the music of Haydn, Bach, and Schumann.

Benjamin M. Korstvedt

Benjamin M. Korstvedt is Professor of Music at Clark University in Worcester, Massachusetts. He is past Vice-President of the Haydn Society of North America and the author of Listening for Utopia in Ernst Bloch's Musical Philosophy (Cambridge UP, 2010).  He has also worked extensively with the music of Anton Bruckner, having published a monograph on the Eighth Symphony (Cambridge UP, 2000) and articles on formal issues in the symphonies, their textual history, and their reception in both fin-de-siècle Vienna and Nazi Germany.  He edited the first modern edition of the 1888 version of Bruckner’s Fourth Symphony for the Bruckner Gesamtausgabe (Vienna, 2004) and is now completing a comprehensive study of the manuscript sources of this symphony and its complex, fifteen year-long compositional history to be published as part of the Neue Bruckner Ausgabe.  Other current projects include essays on aspects of bourgeois identity as expressed in Schubert’s epic mode, in Brahms’s revisions of the Trio, op. 8, and in the psycho-social drama of Wagner’s Die Meistersinger.

Melanie Lowe

Melanie Lowe is Associate Professor of Musicology and Chair of the Department of Musicology and Ethnomusicology at Vanderbilt University’s Blair School of Music.  Author of Pleasure and Meaning in the Classical Symphony (Indiana University Press, 2007) and co-editor of the forthcoming Rethinking Difference in Music Scholarship (Cambridge University Press, 2013), she is widely published on Haydn, Mozart, and other eighteenth-century subjects, Enlightenment aesthetics, topic theory, music in American media, and music history pedagogy.

Alexander Ludwig

Alexander Ludwig holds a Ph.D. in musicology from Brandeis University. He has taught at a number of colleges throughout New England, including College of the Holy Cross and Worcester Polytechnic Institute. His research focuses on music-theoretical issues of the late eighteenth century, especially Haydn's approach to musical form. His other areas of interest include popular music in the 1950s. He has given papers at local and national meetings of the American Musicological Society, Canadian Society for Eighteenth-Century Studies and Historical Keyboard Societies, and currently serves as the Secretary of the Haydn Society of North America. 

Bruce C. MacIntyre

Bruce C. MacIntyre is Director and Professor of Music at the Conservatory of Music at Brooklyn College (CUNY). His publications have included The Viennese Concerted Mass of the Early Classic Period (1986) and Haydn: The Creation (1998). He was co-editor with Barry S. Brook of the string trios for Joseph Haydn Werke. His translation of Georg Feder’s Musikphilologie should be published next year by Pendragon Press.

James MacKay

James MacKay is an associate professor of music theory and composition at Loyola University New Orleans. He has published articles on William Byrd's vocal music and on formal and performance practice issues in the instrumental music of Joseph Haydn and Ludwig van Beethoven in various journals, including Intersections (Canadian University Music Review), Theory and Practice, Haydn-Studien and Indiana Theory Review.

János Malina

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.

Anthony Martin

Anthony Martin is violist with the New Esterházy Quartet, and a violinist with the Orchestra of the 18th Century and Philharmonia Baroque Orchestra. He has taught at the San Francisco Conservatory, the University of California, Berkeley, and currently at Stanford University, where he directs the Stanford Baroque Soloists.

Nathan John Martin

Nathan John Martin is Lecturer in Music Theory in Yale University's Department of Music and also holds an FWO postdoctoral fellowship at the Katholieke Universiteit Leuven. His research interests are in the history of music theory, historically informed analysis, and musical analysis more generally. He co-edits Music Theory and Analysis (the former Dutch Journal for Music Theory) and has published and lectured widely on music theory in eighteenth-century Europe. His article "Rameau's Changing Views on Supposition and Suspension" recently won the Journal of Music Theory's David Krahenbuehl Prize.

Clare McCaldin

Clare McCaldin’s performing career spans the opera stage and concert platform, including Salzburg Easter Festival, Royal Opera, BBC Proms, Radio 3 and Edinburgh International Festival. She has created roles in operas by Errollyn Wallen, and Stephen McNeff, and performed in concert with Oliver Knussen, The Brodsky Quartet, and Iain Burnside. Clare is known for programming innovative recitals in partnership with Andrew West, Paul Turner and Libby Burgess. She has a significant solo discography: her debut disc, Stephen McNeff’s Madrigali dell’Estate, her recording of Hugh Wood’s Laurie Lee Songs and her most recent disc, Notes from the Asylum, all won four stars from BBC Music Magazine. She also produces solo stage work through her company McCaldin Arts, notably Haydn’s London Ladies and the critically-acclaimed Vivienne. The Ubiquitous Woman, a new chamber opera by Martin Ward, and a monodrama about Mary I by Martin Bussey are currently in development. In addition to her performing and producing activities, Clare is involved with TORCH, The Oxford Research Centre in the Humanities, as part of project entitled Transforming the Operatic Voice. This examines the relationship between different singing styles in order to develop an exploratory new vocal style and musical language.

The commemorative blue plaque in London’s Soho district, which marks where Joseph Haydn lived during his first London visit, was fund-raised and overseen by Clare for the Haydn Society of Great Britain. It was unveiled in 2015.

Denis McCaldin

Denis McCaldin is a conductor and musicologist. He is Director of the Haydn Society of Great Britain and Professor Emeritus of Performance Studies in Music at Lancaster University.  He has conducted many major British orchestras, specializing in choral and chamber orchestral music of the 18th and 20th centuries.   He has also edited a number of Haydn's works and one of his CDs (featuring his edition of the Little Organ Mass) has received a Gramophone Critic's Choice award.  He is also an experienced broadcaster for the BBC.

Derek McCulloch

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.

Balázs Mikusi

Balázs Mikusi holds a PhD from Cornell University (Ithaca, NY), and has been head of the Music Department at the National Széchényi Library, Budapest, since 2009. Previously he studied musicology at the Liszt Academy (now University) of Music, and held Fulbright and DAAD fellowships, among others. His scholarly interests are wide-ranging, but the music of Joseph Haydn plays a special role: he has published on this topic in Eighteenth Century Music, Journal of Musicological Research, Ad Parnassum, Studia Musicologica, and further articles are forthcoming in Haydn-Studien, Eisenstädter Haydn-Berichte, as well as a new collection of essays entitled The Land of Opportunity: Joseph Haydn and Britain. His monograph on The Secular Partsong in Germany 1780–1815 is also forthcoming in the Eastman Studies in Music series of the University of Rochester Press.

Mary Sue Morrow

Mary Sue Morrow, Professor of Musicology at the University of Cincinnati, received her Ph.D. in Musicology from Indiana University. Her publications include Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution (1989), German Music Criticism in the Late Eighteenth Century:  Aesthetic Issues in Instrumental Music (1997), and articles in various journals and books, including Oxford Composer Companions: Haydn (2002), and The Cambridge Companion to the Symphony (in press). Currently she is co-editing (with Bathia Churgin) a book entitled The Eighteenth-Century Symphony, which will appear as the first volume of The Symphonic Repertoire published by Indiana University Press.

Tom Mueller

Tom Mueller is Assistant Professor of Church Music and University Organist at Concordia University in Irvine, California, where he teaches organ, theory, and composition, and directs programs in keyboard studies and composition. An award-winning church musician, Mueller also serves as the associate organist at St. James’ in the City in Los Angeles. His research interests include the keyboard works of J. S. Bach, the performance practice of organ continuo in the classical period, and the American reception of the nineteenth-century opera star Jenny Lind. Mueller holds degrees from the Eastman School of Music, the University of Notre Dame, and the University of Maine at Augusta. He currently resides in Orange County with his wife and their two daughters.

Nancy November

Nancy November is a senior lecturer in musicology at the University of Auckland. Her research and teaching interests centre on the music of the late eighteenth and early nineteenth centuries. Her recent publications include essays on the early performance of Beethoven’s string quartets, and their performance history in the recording age. She is currently editing a three-volume set of fifteen string quartets by Beethoven’s contemporary Emmanuel Aloys Förster. She recently completed a monograph entitled Beethoven’s Theatrical Quartets: Opp. 59, 74, and 95 (Cambridge University Press, 2013).

James K. Palmer

James K. Palmer’s primary research focuses on instrumental music from the late-eighteenth and early-nineteenth centuries. In a recent article he discussed musical topics, formal functions, and linguistic theories of verbal humor to explain how Classical composers create humor through “script oppositions” and “excess.”  James has presented at many regional meetings of the Society for Music Theory and, at the 2017 national meeting in Arlington, VA, he presented new work discussions metric disruptions in the progressive bluegrass music of Punch Brothers. His other research interests include music pedagogy, performance analysis, and Balinese gamelan.  James is an award-winning teacher who has taught music theory and aural skills at McGill University, the University of British Columbia, and Douglas College, and he is currently a Visiting Assistant Professor at St. Olaf College.

Bryan Proksch

Bryan Proksch is assistant professor of music history at Lamar University in Beaumont, Texas. His research centers on the reception and “revival” of Haydn’s music in the early twentieth century, though he also works more generally on Viennese Classicism and the history of the trumpet. His essays have appeared in the Journal of the American Musicological Society (2011), the Journal of Musicological Research (2009), the Journal of the Arnold Schoenberg Center (2012), the Historic Brass Society Journal (2008 and 2011), theInternational Trumpet Guild Journal (2003, 2007, 2009, and 2011) and elsewhere. He has spoken at symposia held by the Haydn Festspiele in Eisenstadt, Austria (2011), by the Arnold Schönberg Center in Vienna (2006), by York University in Toronto, Canada (2009) and at meetings of the American Musicological Society (2005, 2008, 2013) and the Historic Brass Society (2008 and 2010). In 2007 he received grants from the Avenir Foundation for a month’s residence at the Schönberg Center to study that composer’s aesthetics and analytic techniques. In 2010 the Historic Brass Society gave him the Joe Utley Foundation Streitwieser Award for his ongoing work on trumpet history. His service includes working as the creator and editor of the International Trumpet Guild Journal’s “Repertoire Corner” column, as the newsletter/website editor for the Historic Brass Society, and as the organist and music director at St. John’s Lutheran Church in Lake Charles, Louisiana. In 2012 he earned his Service Playing Certificate from the American Guild of Organists.

Walter Reicher

Walter Reicher is the artistic director of the Eisenstadt Haydn Days.

John A. Rice

John A. Rice is a freelance scholar and teacher devoted to the exploration of music as part of eighteenth- and early nineteenth-century society. After studying music history under Daniel Heartz at the University of California, Berkeley (PhD, 1987) he taught at the University of Washington (1987–88), Colby College (1988–90), the University of Houston (1990–97), and the University of Texas at Austin (1999). More recently he has been a visiting professor at the University of Pittsburgh (2010–11) and the University of Michigan (2012–13). He has received grants from the Alexander-von-Humboldt Stiftung, the National Endowment for the Humanities, and the American Philosophical Society. He has written many articles and several books, and has lectured widely in both the United States and Europe. His Antonio Salieri and Viennese Opera received the Kinkeldey Award from the American Musicological Society. He has served as president of the Mozart Society of America and is an elected member of the Akademie für Mozart-Forschung in Salzburg.

Vanessa L. Rogers

Vanessa L. Rogers is Associate Professor of Musicology at Rhodes College. She is also Research Associate at the University of Oxford, where she is one of the Associate Editors of the international London Stage 1800-1900 database and the Principal Researcher for Ballad Operas Online: An Electronic Catalogue. Her primary area of research is 18th-century and early 19th-century English stage music, and her current project is a book entitled Ballad Operas, Burlettas, and Burlesques: Comic Opera in Eighteenth-Century Britain

John Rogers

John Rogers is a professor of English at Yale University.  He is the author of The Matter of Revolution: Science, Poetry, and Politics in the Age of Milton, which was awarded the Modern Language Association First Book Prize as well as the Milton Society of America's James Holly Hanford Prize for Best Book.  He is completing a second book on Milton’s antitrinitarianism, titled Milton’s Passion: Heresies of Individualism from the “Nativity Ode” to “Samson Agonistes.”  Rogers is the editor of Relation Stands: Essays on Paradise Regained, a special volume of The Huntington Library Quarterly (April 2013).  In addition to an essay on Isaac Newton’s literary ties to Milton, Rogers has written widely on a range of seventeenth-century English figures and subjects.  A recipient of the Yale College – Sidonie Miskimin Clauss Prize for Teaching Excellence in the Humanities, he has also taped a 13-week online lecture course on Milton, which can be found at http://oyc.yale.edu/english/engl-220

Rena Roussin

Rena Roussin is a Master's student in musicology at the University of Victoria, where she has served as the School of Music’s Teaching Assistant Consultant and as Editor of the graduate student-run journal Musicological Explorations. Her research interests include the music of the First Viennese School, as well as constructions of gender and sexuality in Classical and Romantic opera and Lieder. Before arriving at the University of Victoria, Rena completed a BA Honours in Music at Acadia University. Her in-progress Master’s thesis focuses on Haydn’s and van Swieten’s use of sentimental musical language and narrative in Die Jahreszeiten.

Michael E. Ruhling

Michael Ruhling, is the editorial director of HAYDN: Online Journal of the Haydn Society of North America.  He has taught courses in music history and appreciation at Rochester Institute of Technology, and conducted the RIT Orchestra, since 1998.  He also teaches courses at the Eastman School of Music, and has been on the faculties of Goshen College, Huntington College, and The Catholic University of America.  From 2004 to 2009 Ruhling served on the conducting and lecture faculty of the Classical Music Festival held each August in Eisenstadt, Austria.  Publications include Johann Peter Salomon's Scores of Four Haydn Symphonies: Edition with Commentary, and an essay on the symphonies of Michael Haydn for The Symphonic Repertoire, Vol. 1: The Eighteenth Century Symphony (Indiana University Press, 2012). He was named the 2008-2009 Christopher Hogwood Historically Informed Performance Fellow by the Boston Handel and Haydn Society.  Ruhling is the first president of the Haydn Society of North America, is a member of the Haydn Society of Great Britain's Committee of Honour, and recently served as secretary-treasurer of the Society for Eighteenth Century Music.

Christine Siegert

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.

Jess Tyre

Jess Tyre is Associate Professor of Music History at the Crane School of Music (State University of New York at Potsdam). His research focuses on French music criticism at the turn of the twentieth century. He has given papers on the music and reception of Brahms, Schumann, and the Austro-German orchestral tradition in France at local and national meetings of the American Musicological Society, the American Historical Association, the International Conference on Romanticism, the Haydn Bicentenary, and the North American Conference on Nineteenth-Century Music. His publications include articles in Journal of Musicology, Proceedings of the American Historical Association, Journal of Music Education research, and Library of Essays on Music, Politics, and Society. He also maintains interests in aesthetics and issues of performance practice in the nineteenth century. Dr. Tyre is currently preparing a study of the nexus between performance and the political appropriation of Beethoven's symphonies in France, and is conducting research into the reception of the fin-de-siècle French composers in the United States.

Jenny Välitalo

Dr. Jenny Välitalo has performed as a soloist, chamber and orchestral musician on five continents. Active as a performer and teacher, Jenny’s primary research interests include eighteenth-century German and Swedish music, history and performance practice. Her current research on the Berlin court during the time of Frederick the Great is made possible by generous support from both European and U.S. sources. Following studies at Edsbergs Musikinstitut in her native Sweden, Jenny was awarded a Fulbright grant for graduate studies at the New England Conservatory of Music in Boston. She holds a Doctorate degree from the Eastman School of Music.

Bertil van Boer

Bertil H. van Boer received his Ph.D. in Musicology from Uppsala University in 1983. An active professional violist and conductor as well, he has performed with orchestras in Austria, Canada, Germany, Sweden, the United States, and Nicaragua. As a musicologist, he focuses his research emphasis on opera and music in Scandinavia with articles appearing in The Journal of Musicology, Svensk tidskrift för musikforskning, Ars Lyrica, Journal of Musicological Research, Historic Brass Society Journal, Journal of Musicology, Eighteenth Century Music, Scandinavian Studies, as well as consulting with the Würtembergische Staatsoper and the Royal Swedish Opera. He is the author of several books on Scandinavian music and Swedish-German composer Joseph Martin Kraus, and has consulted for Naxos Records on music of Scandinavia, Malta, and the United States during the eighteenth century. He is Professor of Musicology-Theory at Western Washington University as well as past President of the Society for Eighteenth Century Music. His latest publications are a Dictionary of Music in the Classical Period published by Scarecrow Press and The Musical Life of Joseph Martin Kraus published by Indiana University Press.

William Weinert

Since 1994, William Weinert has served as Professor of Conducting and Director of Choral Activities at the Eastman School of Music of the University of Rochester.   Weinert has also frequently conducted opera and symphonic repertoire, and has performed extensively as a recitalist and oratorio soloist.  He has published articles on the music of Brahms, Bruckner, and Georg Schumann, as well as Geistliche Gesäng und Melodeyen: a Critical Edition with Commentary, an edition of twenty-four motets by the prominent baroque composer Melchior Franck. Between 1998 and 2011 he was editor of The American Choral Review, the journal of the American Choral Foundation.

Michael Weiss

Michael Weiss is currently studying at the University of Auckland, where he is preparing a PhD thesis centering on the use of eighteenth-century compositional patterns in the music of the early nineteenth century. He has received local and national recognition for his work in musicology. Michael has lectured in both music history and music theory, assisted with research into modern editions of Beethoven string quartets and delivered postgraduate seminars on music editing. He has a background in teaching and cello performance, and plays in a range of ensembles across the city.