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.

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.

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.

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.

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.

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.

A medical graduate of Cambridge University (MA, MD), Martin Heyworth retired from a 46-year career as a physician at the end of 2017. Dr. Heyworth’s career in medicine emphasized research and administration. He published papers on immunological aspects of the intestinal parasitic infection giardiasis, wrote a chapter on this infection for three editions of the Oxford Textbook of Medicine (Oxford University Press) and, from 1999 to 2009, was Chief of Staff of the Veterans Affairs Medical Center in Philadelphia. Currently, Dr. Heyworth is an Adjunct Professor of Medicine in the University of Pennsylvania. Dr. Heyworth has had a lifelong engagement with music. After piano lessons in childhood, an interest in writing music began at around the age of 17 (in 1964), and has developed since then. Dr. Heyworth’s works include a 4-movement Sinfonia, which was rehearsed by the Chamber Orchestra of Philadelphia in November 2015, and four string quartets, which were read by the Philadelphia-based Wister Quartet during 2017-2018. The most recent of these string quartets, which was completed in 2010, is scheduled for public performance in Philadelphia, by the Wister Quartet, in March 2020. Since retirement from medicine, music (particularly composing) has become Martin Heyworth’s main activity. He has a strong interest in 18th Century music, particularly the works of Joseph Haydn. Dr. Heyworth’s engagement with the music of Haydn started during the late 1950s when, as a schoolboy in Cheltenham, England, he encountered H.C. Robbins Landon’s 1955 book on the Haydn symphonies, and began listening to broadcasts of these works (and of other works by Haydn, as well as music by a wide range of other composers) on the BBC Third Programme. As a clinical medical student and clinical lecturer at Oxford in the late 1960s and the 1970s, Martin Heyworth had access to a 1772 Kirkman harpsichord in the Ashmolean Museum, and used to improvise publicly on this instrument. In his role as faculty advisor for an orchestra largely comprising members of the University of Pennsylvania life sciences community in Philadelphia (the Penn Med Symphony Orchestra; PMSO), Dr. Heyworth writes program notes for PMSO concerts. His article in the current issue of HAYDN is Dr. Heyworth’s first contribution to the professional musicological literature.

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.)

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.

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. 

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.

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.

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 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.

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.

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).

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.

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 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

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.

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.

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.

Zoe Weiss is a PhD candidate in musicology at Cornell University where she was recently a Don M. Randel Teaching Fellow. Her dissertation explores networks of human and musical relationships within the Elizabethan In Nomine repertoire. Zoe is also a practicing musician who performs widely on the viola da gamba and is a founding member of LeStrange Viols and Science Ficta. She serves on the board of the Viola da Gamba Society of America and is an editor for the Journal of the same organization. Her recordings with LeStrange Viols can be heard on the New Focus label.