ROBERT MEALY is one of America’s most prominent Baroque violinists. The New York Times remarked that “Mr. Mealy seems to foster excellence wherever he goes, whether as director of the Boston Early Music Festival Orchestra, concertmaster of the Trinity Baroque Orchestra in New York, or at The Juilliard School, as director of the historical performance program.” While still an undergraduate, he was asked to join the Canadian Baroque orchestra Tafelmusik; after graduating he began performing with Les Arts Florissants. Since then, he has recorded and toured with many ensembles both here and in Europe, and served as concertmaster for Masaaki Suzuki, Nicholas McGegan, Helmuth Rilling, Paul Agnew, and William Christie, among others. He is especially happy playing chamber music with his colleagues in Quicksilver. Other recent chamber projects have ranged from creating a series of Ars Subtilior programs for The Cloisters in New York to performing the complete Bach violin & harpsichord sonatas at Washington's Smithsonian Museum. Mr. Mealy has directed the Historical Performance Program at The Juilliard School since 2012, and has led his Juilliard students in acclaimed performances both in New York and abroad, including tours to Europe, India, New Zealand, and (most recently) Bolivia. Before coming to Juilliard, he taught for many years at Yale and Harvard. In 2004, he received EMA’s Binkley Award for outstanding teaching and scholarship. He still likes to practice.

Violinist JULIE ANDRIJESKI is celebrated as a performer, scholar, and teacher of historical music and dance. She has been recognized for her “invigorating verve and imagination” (Washington Post), “fiery and poetic depth” (Cleveland Plain Dealer), and “velvety, consistently attractive sound” (The New York Times). She is Head of the Historical Performance Practice program and Artistic Coordinator of HPP Ensembles at Case Western Reserve University and Teacher of Baroque Violin and Stage Movement at the Cleveland Institute of Music. She is a Visiting Lecturer at The Juilliard School and is often invited to present workshops at universities nationwide. Her article on historical violin performance is published in A Performer’s Guide to Seventeenth-Century Music. A Grammy Award winner, Andrijeski is Artistic Director of the Atlanta Baroque Orchestra and performs with several other ensembles nationwide. She won Early Music America’s Thomas Binkley Award, for outstanding achievement in performance and scholarship, and was named a 2016 Creative Workforce Fellow by Cuyahoga Arts & Culture (Ohio), supporting her research and performance of 17th-century music in manuscript.

GREG INGLES (sackbut) attended high school at the Interlochen Arts Academy and graduated from Oberlin and SUNY Stony Brook. Before his career in early music, Greg was the Solo Trombone in the Hofer Symphoniker. He is the music director of the early brass ensemble Dark Horse Consort and is a member of Piffaro and Quicksilver. He has played with such ensembles as the American Bach Soloists, Concerto Palatino, The Handel & Haydn Society of Boston, Boston Baroque, Philharmonia Baroque, Portland Baroque and Tafelmusik. He played with the Globe Theater in their Tony nominated Broadway debut of Twelfth Night and Richard III.

A native of California, DOMINIC TERESI (dulcian) is principal bassoon of Tafelmusik Baroque Orchestra, Boston Early Music Festival Orchestra and Carmel Bach Festival, teaches historical bassoons and chamber music at The Juilliard School, and plays regularly with Quicksilver. He has appeared as a concerto soloist throughout Europe, North America and Australia, and has received critical acclaim for recordings of Vivaldi and Fasch bassoon concertos with Tafelmusik. He has also enjoyed performances with Le Concert d’Astrée, Orchestre Révolutionnaire et Romantique, L'Harmonie des saisons, Handel and Haydn Society, Philharmonia Baroque, Smithsonian Chamber Players and others. His playing has been described as “stellar” (The New York Times) and “dazzling” (Toronto Star), “reminding us of the expressive powers of the bassoon” (The Globe and Mail). In addition to his work at The Juilliard School, Teresi teaches at the Tafelmusik Baroque Summer Institute and the University of Toronto. He has been an invited lecturer at the Musikinstrumentenbau Symposium in Saxony-Anhalt.

DAVID MORRIS (viola da gamba/cello) is a frequent performer with the Boston Early Music Festival Orchestra and on the NYS Baroque and Pegasus Early Music series. He has performed with Tafelmusik, Philharmonia Baroque Orchestra, American Bach Soloists, Tragicomedia, The King’s Noyse, the Boston Symphony Orchestra, Mark Morris Dance Group and Pacific MusicWorks. Mr. Morris received his BA and MA in music from UC Berkeley, where he also received the Eisner Prize for outstanding achievement in the performing arts. He has been a guest instructor in early music performance-practice at Cornell University, Amherst College, Oberlin College, UC Berkeley, UC Santa Cruz, Mills College and the San Francisco Conservatory of Music, and has recorded for Harmonia Mundi, New Albion, Dorian, New World Records, Drag City Records, New Line Cinema and CBC/Radio Canada.

AVI STEIN (harpsichord/organ) teaches continuo accompaniment, vocal repertoire, and chamber music at The Juilliard School. He is the organist and chorus master at Trinity Church and the artistic director of the Helicon Foundation. The New York Times described Stein as “a brilliant organ soloist” in his Carnegie Hall debut, and he was featured in Early Music America magazine as part of a new generation of leaders in the field. Stein directed the young artists’ program at the Carmel Bach Festival and Musiktheater Bavaria’s International Baroque Academy, and he has conducted a variety of ensembles including Tafelmusik, the Portland Baroque Orchestra, Bang on a Can All-Stars, Opéra Français de New York, and Opera Omnia, as well as the Amherst Early Music Festival opera and Trinity’s critically acclaimed 4x4 Festival. He conducted Henry Purcell’s Dido and Aeneas at Juilliard in a production that toured to London’s Holland Park and the Royal Opera House at the Palace of Versailles and a production Luigi Rossi's Orfeo which was named one of the best performances of the year by The New York Times. He also performed on the Boston Early Music Festival’s disc of Marc-Antoine Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, which won the 2015 Grammy Award for Best Opera Recording. He studied at Indiana University, the Eastman School of Music, and the University of Southern California and was a Fulbright scholar in Toulouse, France.

CHARLES WEAVER (theorbo/guitar) is on the faculty of the Juilliard School, where he teaches performance practice and historical music theory. He has been assistant conductor for Juilliard Opera and has participated in opera productions at the University of Maryland, the Cleveland Institute of Music, Princeton University, Yale University, and the Boston Early Music Festival. As a collaborative musician, he has performed with the Orchestra of St. Luke's, the New York Philharmonic, the Philadelphia Orchestra, the Minnesota Orchestra, and the Virginia Symphony. In addition to being a regular member of the ensemble Quicksilver, his chamber-music projects have included engagements with Piffaro, Chamber Music Society of Lincoln Center, the Folger Consort, Apollo's Fire, Blue Heron, the Newberry Consort, and Musica Pacifica. He is organist and choirmaster at St. Mary's Church in Norwalk, Connecticut, where he specializes in the liturgical performance of medieval and renaissance music. He holds a PhD in music theory from the City University of New York. His research interests are in the rhythm of Gregorian chant and the history of the theory of harmony.