|Since 1998, C. Keith Collins has performed, recorded, and taught baroque and classical bassoon, curtal, recorder, shawm, and harp with many ensembles in North and South America. He is a founding member of the award-winning shawm and curtal band Ensemble Lipzodes, which specializes in the music of colonial Latin America. Among the many groups he has performed or recorded with are Washington Bach Consort, Tafelmusik, National Cathedral Baroque Orchestra, Chicago Opera Theater, Opera Atelier, Arion Baroque Orchestra, Apollo’s Fire, Mercury Baroque, Echoing Air, Newberry Consort, Folger Consort, Bach Ensemble, and the Grammy-nominated Musika Ekklesia. As a concerto soloist he has appeared with Atlanta Baroque Orchestra, Baroque Chamber Orchestra of Colorado, and Bourbon Baroque (Louisville, KY).
Keith is adjunct instructor in historical bassoon and recorder at Indiana University’s Historical Performance Institute, and also teaches baroque bassoon and curtal at the University of North Texas. He has taught at Tafelmusik Baroque Summer Institute, Indiana University Recorder Academy, and has been guest lecturer at the Indiana Early Double Reed Workshop. He has been a writer for NPR’s early music program Harmonia.
His other interests include the history of Appalachian folk music and the banjo, early American hymnody and the shape-note tradition, and the early history and repertoire of the harp in the UK and Ireland. Keith serves as a board member for the Indiana Raptor Center, a non-profit dedicated to the rescue, rehabilitation, and release of wild birds of prey. He is part of a team that gives public presentations designed to educate the general public about raptor ecology and conservation.
|Barbara Blaker Krumdieck, baroque cellist, grew up in the San Francisco Bay Area where she studied cello with Katherine Scott, Mildred Rosner and Thomas Stauffer. She studied baroque cello with Phoebe Carrai at the Conservatory of Music in Hilversum, The Netherlands. Barbara is a member of many chamber groups, including Ensemble Vermillian, which has recorded two CDs of 17th century German chamber music and is currently working on a project of 17th century English music. Barbara and her sister, recorder virtuoso and conductor, Frances Blaker, are cofounders of the North Carolina Baroque Orchestra, which is achieving success in the Southeastern United States.|
|Heartland Baroque’s founder, Martha Perry, has a vibrant national career as a respected baroque specialist on both violin and viola. Her playing has been called “…ideally realized…taut and loaded with nuance” by the Atlanta Journal-Constitution, and “highly expressive” by the Boston Musical Intelligencer. Martha performs as with many U.S. period instrument ensembles including the Indianapolis, North Carolina, and Atlanta Baroque Orchestras, Washington Bach Consort, Bourbon Baroque, Three Notch’d Road, Spire Chamber Ensemble, Mallarme Chamber Ensemble, Musika Ekklesia, Bach Collegium Fort Wayne, and ¡Sacabuche!. She earned a Master of Music in Early Music Performance/Baroque Violin at Indiana University, where she studied with Stanley Ritchie and served as the graduate assistant for the baroque orchestra. Martha has been heard in a live international broadcast on Chicago’s WFMT radio, on the early music program “Harmonia,” and on N.P.R.’s “Performance Today,” and has recorded for ATMA Classique, IndieBarock, Edition Lilac, Musica Omnia, Naxos, WFIU, Cedille, the National Cathedral, and Concordia Publishing.|
|William Simms is an active performer of early music. Equally adept on lute, theorbo and baroque guitar, he appears regularly with Apollo’s Fire, The Bach Sinfonia, The Washington Bach Consort, Ensemble Vermillian and Harmonious Blacksmith. He has performed numerous operas, cantatas, and oratorios with such ensembles as The Washington National Opera, The Cleveland Opera, Opera Lafayette, and American Opera Theatre. Venues include The National Cathedral, The Museum of Fine Arts Boston, The Library of Congress, The Corcoran Gallery, The Kennedy Center and The Barns at Wolftrap. He has toured and recorded with The Baltimore Consort as well as with Apollo’s Fire. His recording with Ronn McFarlane, Two Lutes, was the CD pick of the week on WETA in Washington DC in 2012.|
|Baroque violinist David Wilson plays regularly with Ensemble Vermillian and Magnificat, and he is a founding member of Archetti, the Galax Quartet, and other ensembles. He teaches violin and chamber music and directs the orchestra at the San Francisco Early Music Society’s annual Baroque Workshop. His interests outside of music include cosmology, zymurgy, and science fiction (and he would love to discover a science fiction novel about a homebrewing cosmologist). In recent years he has performed and recorded classical music of India and the Ottoman Empire with Lux Musica (East Meets West Music and Golden Horn Records), contemporary music with the Galax Quartet (Innova Recordings), and 18th century concerti with Archetti (Centaur Records). He is the author of Georg Muffat on Performance Practice, published by Indiana University Press, and of the article on Georg Muffat in the forthcoming Cambridge Encyclopedia of Historical Performance in Music.|