Laura Kuhlman is a recent transplant to Portland from Chicago, Illinois, where she has spent many years as a freelance musician. From Bach to Broadway, Laura has enjoyed partnerships with several early music ensembles including the Burgundian Ensemble, Masqued Phoenix, and the Too Early Consort. In 2011, Laura performed with members of Lizodes in Ecuador and in 2012 with members of Piffaro for the Washington DC Revels. Laura has performed with theatre orchestras in the Chicago area, including Pheasant Run, Oak Park & River Forest Stage Productions. Laura is currently music director for the Portland Recorder Society and the Recorder Orchestra of Oregon. She is the recent past President of the national American Recorder Society. Laura also organizes the Indiana Early Double Reed Workshop and the Whitewater Early Music Festival, and has taught at the Kalamazoo Recorder Workshop and the San Francisco Recorder Workshop. Along with Dulcina and the Cascadia Loud Band in Portland, Oregon, Laura performs with Project Zeffiro Reniassance Wind Band in Albany, California.
To contact Laura: firstname.lastname@example.org
Vicki Boeckman has performed as soloist and chamber musician throughout the United States, Scandinavia, England, Scotland and Germany, and has appeared on countless productions for Danish and Norwegian radio and television. Her recordings can be heard on the Kontra Punkt, Classico, Da Capo, Horizon, Musical Heritage America, Paula, Kadanza, and Primavera labels.
Vicki resided in Denmark from 1981-2004. While there she taught at the Royal Danish Academy of Music in Copenhagen for 12 years, and at the Ishøj Municipal School of Music for 23 years. Together with colleague Dorte Lester she co-founded a regional recorder orchestra for children and young adults which continues to flourish and grow. In great demand as a teacher here in the United States, Vicki coaches and teaches at workshops and seminars all over the country. She has taught in Arizona, California, Colorado, Indiana, Massachusetts, New Mexico, New York, North Carolina, Oregon and Washington, and British Columbia. She has been on the faculty of the Music Center of the Northwest in Seattle since February 2005, and also an integral leader of the Seattle Recorder Society for many years. Vicki was Music Director for the Portland Recorder Society from 2007-2014.
In the Seattle area, Vicki has been a featured soloist with the Seattle Baroque Orchestra and the Philharmonia Northwest Orchestra. She is a returning guest with the Seattle Baroque Orchestra, the Gallery Concerts Series with harpsichordist Jillon Stoppels Dupree, the Northwest Girl Choir, and the Medieval Women’s Choir.
Vicki was co-founder of two Danish-based ensembles: Opus 4, who concentrates on performing trio sonatas from the 17th and 18th centuries, and Wood’N’Flutes, a recorder trio playing works spanning the Middle Ages to the 21st century. Wood’N’Flutes has commissioned and premiered several works by Danish composers. Since 2003 they have been invited back to the United States three times to perform and teach in Arizona, California, Massachusetts, Oregon and Washington State. Vicki continues to perform with these ensembles abroad as often as she can. Wood’N’Flutes recorded a cd entitled Woodworks with contemporary works by Danish composers, which was nominated for a Danish grammy in the category of contemporary chamber music recordings. For additional information, consult Vicki’s website at www.vickiboeckman.com.
To contact Vicki: email@example.com
Gayle and Philip Neuman
Gayle Stuwe Neuman, a performer on violin, recorder, sackbut, and many other instruments, is also a vocalist who has received international acclaim for her renditions of the “Song of Seikilos”, the “Chorus from Orestes”, and others upon the release of Ensemble De Organographia’s “Music of the Ancient Greeks”, now in its seventh pressing. Several of the tracks from that recording have also appeared in the Norton Scores CD Anthology and numerous films and television programs. She has performed for audiences in the U.S., Japan, Israel, Turkey, Greece, Canada, Norway, Germany, and for members of the royal family in Jordan.
She cofounded and co-directs the Oregon Renaissance Band, now in its 17th season. Gayle is a member of the Trail Band and performs with Cappella Romana and the Portland Baroque Orchestra Chorus. She has played under the baton of Monica Huggett and Ton Koopman. She teaches Recorder and Renaissance Song Classes at Portland’s Community Music Center, and Ancient, Medieval, and Renaissance Music History at Marylhurst University. She has given workshops and presentations at many institutions including Oberlin Conservatory, Rice University, Cleveland Museum of Art, and the Getty Museum. She has built with her husband Philip over 400 early wind and stringed instruments, including crumhorns, corna musen, racketts, and vielles.
Philip Neuman, a performer on recorder, sackbut, and numerous other wind and string instruments, cofounded and co-directs the Oregon Renaissance Band, which has performed for the Regensburg Early Music Festival and recorded the cd “Carnevale.” He has produced and recorded seven cds for Pandourion Records including “French Music of the 14th Century,” “Music of the Ancient Greeks,” and “The One Horse Open Sleigh.” He has written and recorded for productions by Oregon Public Broadcasting. He has played for audiences on three continents, including performances at several ancient theatre sites in Greece.
He has taught Recorder, Renaissance Winds, and Loud Band Classes at the Community Music Center in Portland since 1981. He teaches Counterpoint and Orchestration at the University of Portland and Ancient, Medieval, and Renaissance Music History at Marylhurst University. Philip is a member of the Trail Band, has performed under the baton of Christopher Hogwood and Nicolas McGeegan, recorded with the American Bach Soloists, and has played in the Philharmonia Baroque Orchestra, The Chicago Chorale, Handel & Haydn Society Orchestra, and Spiritus Collective. He has composed, arranged and transcribed over a thousand works for recorder ensemble, brass ensemble, and symphonic wind ensemble, including “Theme and Variations” that won 1st place in the San Francisco Recorder Composition Competition.
To contact Phil or Gayle Neuman: firstname.lastname@example.org
Miyo Aoki is a dedicated recorder player and teacher, performing music ranging from medieval to modern and teaching students of all ages and levels. She has performed in the US, Germany, and Poland with groups including Fortunata, Utopia, Affetti Amorosi, and Gamut Bach Ensemble, and is a founding member of the new, Seattle-based group sound|counterpoint. She has also premiered works by contemporary composers Natalie Williams, David Schneider and Agnes Dorwarth.
Recently, Miyo completed a KAZ Diplom (Artist Diploma) at the University of the Arts in Bremen, Germany, where she studied with Professor Han Tol. While living in Bremen, she also maintained a private studio and worked in the musical outreach program “Musik-im-Ohr”, based in the Bremen concert hall, Die Glocke. She holds degrees in both early music performance and mathematics from Indiana University, where she studied with Professor Eva Legêne and received the Austin B. Caswell award for her paper on Ars Subtilior music.
Miyo is a strong proponent of music education and strives to make music accessible to people from varied backgrounds. She has collaborated in planning and peforming several outreach programs for children, including “Shakespeare’s Ear” and “Oskar und die Blockflötendiebe”. She teaches privately, and has previously taught as an associate instructor in the Indiana University Pre-College Recorder Program and at workshops in Salt Lake City, Cincinnati, and Bremen, Germany.
Long recognized as one of North America’s leading performers on recorder and historical flutes, Toronto-born Alison Melville first began playing in an after-school class in junior school, in London, UK.
Her extraordinary breadth of experience as a performer on recorders and historical flutes comprises solo and chamber music recitals; music for dance, theatre, film and television; orchestral work with modern and period instrument orchestras; concerts in venues more varied than you can imagine, from Boston’s Jordan Hall or Tokyo’s Bunkamura Theatre to inner-city schools, ferry boats and prisons; musical repertoire from the 12th to 21st centuries, composed, arranged and improvised; and music from Celtic and Scandinavian traditions. She plays medieval, renaissance, baroque and modern recorders; renaissance, baroque and classical flutes and one-keyed piccolo; and Norwegian seljefløyte.
Trained in Toronto, London, and at the Schola Cantorum Basiliensis as the winner of numerous awards from the Canada Council for the Arts, her career as a soloist, chamber musician and orchestral player has taken her across Canada and the USA and to Iceland, Japan, New Zealand and Europe.
A member of the Toronto Consort, Ensemble Polaris, and artistic director of the multi-arts ensemble The Bird Project, Alison Melville also appears regularly as a soloist and orchestral player with the Tafelmusik Baroque Orchestra, with whom she can be heard on their JUNO Award-winning recordings of Bach’s Brandenburg Concertos and orchestral music of Jean-Philippe Rameau, and on numerous other Sony, Analekta and CBC Records CDs.
Alison has been a guest with other chamber ensembles, orchestras and festivals across North America, and has played on over fifty CDs, including several critically acclaimed solo recordings. Her playing has been heard on numerous radio stations including the CBC, BBC, NPR, Radio New Zealand and the Iceland State Broadcast Service, on the soundtracks of ‘The Tudors’ and films by Atom Egoyan, Ang Lee and Amnon Buchbinder. For several years she also was a fixture on CBC-TV’s ‘The Friendly Giant.’
Her adventures with the world of early dance have included collaborations with several of North America’s leading historical dancers, including Catherine Turocy, Elaine Biagi Turner and Ken Pierce. And last but not least, her recent explorations in arrangement and composition have been heard across Canada and the USA with Peter Hannan’s ‘900 Years of Music,’ the ‘Post-Medieval Syndrome’ project, Ensemble Polaris, and the Bird Project.
Alison Melville was a member of the teaching faculty at the Oberlin College Conservatory of Music (Oberlin, Ohio) from 1999 until 2010, when she resigned to devote more time to an increasingly busy performing schedule. She is currently on faculty at the University of Toronto’s Faculty of Music.