Following is a list of Early Music America's Board of Directors for 2010-2011.
President: Robert Johnson
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Robert Johnson is a partner in the Buchanan Ingersoll & Rooney law firm, where he has practiced from the firm's Pittsburgh, PA office since graduating from the Harvard Law School in 1969. His law practice is tax-law focused on tax-exempt nonprofit organization law, and employee benefits and executive compensation law. He has been elected a Fellow of the American College of Tax Counsel, the American College of Employee Benefits Counsel, and the American Bar Foundation. Outside of work and family (wife Selina and two grown children), he loves watching NHL ice hockey and reading political opinion journals. However, his consuming love since a boy has been music, especially early music. He has been President of, and currently serves on the Boards of, both Chatham Baroque and Renaissance & Baroque in Pittsburgh, as well as on the Boards of the River City Brass Band Charitable Endowment and Friends of the Music Library (Treasurer), which supports the music collection at Pittsburgh's Carnegie Library. |
Vice-President: Thomas Forrest Kelly
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Thomas Forrest Kelly is a professor in the Music Department at Harvard University. He is a scholar of medieval music, and has been involved in early music as Director of the Historical Performance Program at the Oberlin Conservatory, as director of the Five College Early Music Program in Massachusetts, and as music director of the Castle Hill Festival. He is the author of First Nights: Five Music Premieres, and of First Nights at the Opera (Yale University Press.) |
Vice-President: Angela Mariani
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Angela Mariani is host of Harmonia, WFIU's nationally-syndicated weekly early music radio program. She is also a member of the medieval ensemble Altramar, which has toured throughout the United States and Europe and has seven CDs on the Dorian label. A native of Massachusetts, Angela spent the 70s and most of the 80s as a freelance rock and folk musician; however, a growing passion for early music led her to Bloomington, Indiana in 1987 to study with Thomas Binkley. She completed a Master's degree from the Early Music Institute at Indiana University in 1990, and pursued postgraduate studies there for several years. She is now Visiting Professor of Music History and Literature at Texas Tech University, where she teaches various early music history courses, directs the Collegium, and teaches History of Rock and Roll (!). Angela is also actively involved with a range of traditional musics, as well as literature, yoga, and meditation. She lives in Lubbock, Texas with her husband, guitarist and musicologist Chris Smith. |
Secretary: Deborah Malamud
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Deborah Malamud is the An-Bryce Professor of Law at New York University Law School, where she teaches and writes on labor and employment law and constitutional law, with an emphasis on issues of race and class. She served as a law clerk to two federal judges (the Hon. Louis H. Pollak and Supreme Court Justice Harry A. Blackmun), and practiced labor law on the union side (Bredhoff & Kaiser, Washington, D.C.) before turning to legal academia (University of Michigan and New York University Law Schools). As recently described in the pages of Early Music Magazine, Vol. 11 No. 4, Winter 2005 "My Ideal of Perfection: Amateurs Talk About Their Lives in Early Music," she is a life-long passionate amateur singer, and has performed with many early music groups, including Capella Nova, the University of Chicago Collegium, the Washington Bach Consort, and, most recently, the New York Continuo Collective. She is a frequent participant in early music workshops, most often the Madison Early Music Festival and the workshops of the Western Wind Vocal Ensemble. |
Assistant Secretary: Rebecca Baltzer
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Rebecca A. Baltzer, PhD, is a professor of musicology at the University of Texas at Austin. She is a specialist in medieval music, especially that of the Notre-Dame School and Ars Antiqua. She also has interests in the Delta blues tradition of her native Mississippi. She is a past recipient of the American Musicological Society's Alfred Einstein Award and is widely published, including articles in the New Grove Dictionary of Music and Musicians. She edited Volume 5 of a seven-volume critical edition of the Magnus liber organi (Monaco, 1995), co-edited The Union of Words and Music in Medieval Poetry (Texas, 1991), and co-edited The Divine Office in the Latin Middle Ages (Oxford, 2000), which won an award from the Professional and Scholarly Publishing Division of the Association of American Publishers. One of the founders of UT's Medieval Studies program, she also served for four years as an Associate Dean of the Graduate School. |
Treasurer: Jeffrey Barnett
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Jeff Barnett is a partner and Chief Financial Officer of Dorsal Capital Management LLC, a San Francisco Bay Area money management firm. He is responsible for all aspects of the firm's business, including finance, human resources, technology, investor relations, and marketing. He has worked in the finance and investment industry for nearly 15 years. Earlier in his career, Mr. Barnett worked in alumni relations, fundraising and program development at the Oberlin Conservatory of Music and the University of Minnesota School of Music. Mr. Barnett is a graduate of Saint John's University (Minnesota) with a dual degree in music and political science and holds an M.B.A. from Stanford University. He is a professional lyric tenor and has performed with many early music and modern orchestras, including Apollo's Fire, American Bach Soloists, California Chamber Symphony, and an all-Bach recital with members of Philharmonia Baroque. He has also performed at Boston's Emmanuel Church, famous for its Bach cantata series and his coaches and teachers have included the acclaimed Bach evangelists Jeffrey Thomas and Frank Kelley. He is a member of the Board of Visitors of the New England Conservatory of Music and volunteers frequently for Stanford University. |
Assistant Treasurer: Christopher Bone
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Christopher Bone is a semi-retired actuary and consultant specializing in employee benefits and retirement programs. Previously he was US Retirement Practice Leader for a large employee benefits consulting firm. A Fellow of the Society of Actuaries, he has served on the Society of Actuaries’ Board of Governors, the Board of the Employee Benefit Research Institute and other trade association and research organization boards. For the past 30 years he has been an amateur of early music and dance, focused most recently on shawms and other winds. |
Members
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A native of Quebec, Marie-Hélène Bernard obtained her bachelor's degree in law (LL.B) from the University of Montréal and master's in arts administration from Concordia University (Montreal). She practiced corporate, tax, and intellectual property laws for six years in Canada and remains a member of the Quebec Bar. After completing orchestra management residencies with the New York Philharmonic, The Minnesota Orchestra and the Syracuse Symphony, Ms. Bernard served as Project Manager and Orchestra Manager of the Philadelphia Orchestra, as Orchestra Manager for the Cleveland Orchestra, and as President & CEO of the Canton (OH) Symphony Orchestra before joining the Handel and Haydn Society as Executive Director/CEO in 2007. Ms. Bernard plays the viola da gamba. |
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Following a career as a Licensed Clinical Social Worker, Bernice Chen has spent the past 25 years in various capacities in association with the Boston Early Music Festival, and has served as President of the Board for the past 10 years. She attended the first Festival in Boston in 1981 as a volunteer selling posters in the lobby, and her involvement grew along with the field of Early Music. She has also been an active amateur musician studying the recorder, harpsichord, and viola da gamba as well as enthusiastic attendee for 28 years of the Amherst Early Music workshops. |
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Originally from upstate New York, Thomas Cirillo moved to Oregon in 2004 to assume the position of Executive Director at Portland Baroque Orchestra. Cirillo planned and executed PBO’s historic 25th Anniversary Season (2009-10) which included the group’s debut performances for Helmuth Rilling’s Oregon Bach Festival and its premiere performances with Portland Opera for a new production of Cavalli’s La Calisto, as well as performances across the state of Oregon. In 2003-2004, Tom was a Fellow of the John F. Kennedy Center for the Performing Arts, where he studied under Michael Kaiser. Tom began his professional career in arts administration in 1994 as assistant to founding General Director of the Santa Fe Opera, John O. Crosby. Subsequently he worked for ten years in the field of opera production for international festivals and repertory companies. Tom is an accomplished classical musician (piano and voice) and a graduate of Amherst College in economics and German literature. Following his liberal arts studies in Massachusetts, Tom was a graduate student of music history at Berlin’s Free University, living in Germany in the years immediately following reunification. Tom is dedicated to removing barriers between the period and modern worlds of classical music performance and organized a panel discussion on collaborations between period orchestras and modern opera companies for the production of Baroque operas, co-sponsored by EMA and Opera America for the 2008 National Performing Arts Convention in Denver. |
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Robert Cole received his MA in music from the University of Southern California School of Music where he studied conducting with Ingolf Dahl. He continued his studies with Richard Lert and Fritz Sweig in California, Leonard Bernstein and Leon Barzin at the Tanglewood Music Center, and Hans Swarowsky in Europe. He served as associate conductor of the Buffalo Philharmonic Orchestra and has appeared as guest conductor with the Florida Philharmonic, the Sacramento Symphony, the Pasadena Symphony, the Hartford Ballet,and the Chatauqua Symphony. Cole was the executive director and music director of the Ballet Society of Los Angeles, and has conducted and produced both opera and musical theater in California and New York. In recent years Cole has appeared as guest conductor with the State Ballet of Georgia and the Scottish Chamber Orchestra at the 2008 Edinburgh Festival and the Orchestra of the Mariinsky Theatre with the Perm Ballet at the White Nights Festival in St. Petersburg. Cole has conducted Mark Morris’s The Hard Nut at Sadler’s Wells in London, the Brooklyn Academy of Music in New York and at Cal Performances in Berkeley. From 1986 to 2009, Cole was director of Cal Performances on the campus of the University of California, Berkeley. He was also general director of the Berkeley Festival and Exhibition, an international festival of early music he founded in June 1990. In 1995, Cole was made a Chevalier of the Order of Arts and Letters by the Government of France. In 2008, he was honored by Early Music America with the Howard Mayer Brown Award for lifetime achievement in Early Music. |
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Pablo Corá holds music degrees from Ithaca College and Indiana University. Originally from Buenos Aires, Argentina, Mr. Corá has sung both as a soloist and chamber musician in a wide variety of repertory ranging from early music and oratorio to twentieth century opera. He performs regularly with the Los Angeles Master Choral, L.A. Chamber Singers and Cappella, Musica Angelica, Camarata Pacifica Baroque and the Catacoustic Ensemble. Mr. Corá is a founding member of the Concord Ensemble, which won first prize in the EMA/Dorian Records Recording Competition. The group's debut recording, "The Victory of Santiago: Voices of Renaissance Spain" earned a five star distinction in Goldberg Magazine. He has recording credits with Dorian Recordings, Harmonia Mundi, RCM, Gothic, and several independent labels. |
| L. Ronald French has been an active board member (Lyra Baroque and the Bach Society) and early music enthusiast in the Twin Cities since moving there permanently in 1977. A graduate of Hamilton College in Anthropology, he earned advanced degrees from the University of Minnesota, including an M.A. in Experimental Psychology and an M.P.H. and Ph.D. in Epidemiology. He holds and has held numerous research posts with important institutions, including the Minnesota Department of Health, Mayo Foundation, and the University of Minnesota, where he is currently, among other things, an adjunct member of the graduate faculty in Environmental Health. He has published widely in numerous scientific journals. He currently resides in Brooklyn, NY, also, where his wife is employed. |
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Valerie Horst received an M.F.A. in Historical Performance from Sarah Lawrence College (studies in musicology with Richard Taruskin). She served for 25 years as Director of Amherst Early Music, Inc., producers of the largest teaching festival of early music in the Western Hemisphere. She was a founding board member of Early Music America, and served as president. She was a longtime board member and vice president of the American Recorder Society, and recently celebrated her 20th anniversary as Music Director of its Miami chapter. She has been a member of the Historical Performance faculty at the Mannes College of Music since 1982. She is a former member of the Renaissance choir Cappella Nova, and toured as a recorder player with the New York Chamber Soloists. She is the recipient of the American Recorder Society's 2002 Distinguished Achievement Award, in recognition of her long career of service to early music. |
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David Klausner has been involved with early music since David Munrow first put a shawm in his hands in 1965. He was a founding member of The Toronto Consort, and has taught workshops in Canada, the United States, England, and Austria. Since retiring from the Consort in 1992, he has continued to play baroque and classical bassoon in the Toronto area. A member of the Department of English and the Centre for Medieval Studies at the University of Toronto since 1967, he co-edited Singing Early Music (1996) and has acted as pronunciation consultant for many early music groups. He is presently researching the North Riding of Yorkshire for the series Records of Early English Drama, and is writing a history of civic music in England to the middle of the seventeenth century. He has been member of the editorial advisory board for Early Music America since its beginning. |
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Alexandra MacCracken is the founder and director of Ensemble Gaudior, which is based in the Washington DC area and presents concerts of chamber music from the Baroque and Classical eras, using instruments from those periods or careful modern copies. She has performed as a baroque violinist with the Washington Bach Consort, Opera Lafayette, and Modern Musick, as well as with other period-instrument ensembles in Richmond, Philadelphia, Pittsburgh, and New York. After earning both bachelor's and master's degrees in music from the University of Illinois at Champaign-Urbana, Ms. MacCracken taught for several years at the University of Virginia, where she also played in the Piedmont Chamber Players, a faculty ensemble. Other highlights of her extensive experience as a chamber musician include membership in the Squareknot Quartet, whose repertoire ranged from the classics to innovative arrangements in popular, folk, and jazz styles; and more recently in the Virginia-based baroque groups La Stravaganza and Harmonia Nova. Ms. MacCracken currently freelances on modern as well as baroque violin and in addition occasionally finds time to play Renaissance consort music on the treble viol. |
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Elizabeth Macdonald is Director of Strings at Washington University, conductor of the Washington University Chamber Orchestra, director of chamber ensembles and instructor of cello. As a cellist, she has held positions with the Chicago Lyric Opera, the Houston Symphony Orchestra, and the Royal Scottish Academy of Music in Glasgow, and performed with the St. Louis Symphony, the BBC Scottish Symphony, the Scottish Chamber Orchestra, the Scottish Opera, and the Polish Chamber Orchestra. She also plays the viola da gamba and has toured in solo recitals in Holland, Germany, and England. Her Midwest-based group, Ensemble Voltaire, recently released a new CD of chamber works by Telemann for Catalpa Classics. In July 2005, she was on the faculty of the American Viola da Gamba Society Conclave at Worcester, Massachusetts. Elizabeth was educated at Northwestern University and Indiana University, Bloomington. She has studied with, among others, Catharina Meints at Oberlin, Christine Plubeau (Evian, France) and Marianne Mueller (Paris). |
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Michael McCraw is cited in the newest edition of "Grove's Dictionary of Music and Musicians" as one of the most important early bassoon players and pedagogues of our time. A pioneer in the field of baroque performance with original instruments, he began his career in New York City as a member of the Orpheus Chamber Orchestra . Mr. McCraw has played with such ensembles as Musica Antiqua Koeln, Concentus Musicus Wien, London Baroque, Amsterdam Baroque Orchestra, and Camerata Koeln. From 1991 through 2002, he was principal bassoonist of the Tafelmusik Orchestra. Mr. McCraw has taught at festivals and workshops all over the world and was a faculty member of the Royal Conservatory of Music in Toronto. His recordings number more than 140 and include a highly acclaimed CD of Vivaldi bassoon concerti with the Seattle Baroque Orchestra. Mr. McCraw serves as musical director of the baroque double reed workshop in Albuquerque, New Mexico. He currently is the director of the Early Music Institute at Indiana University. |
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Sarah Mead lives and works in the Boston area and holds degrees in music and historical performance from Yale and Stanford Universities. The 2007 winner of Early Music America's Thomas Binkley Award for Outstanding Achievement by a Collegium Director, she is Associate Professor of the Practice at Brandeis University, where she directs the Early Music Ensemble and is a frequent guest choral conductor. She is the author of the Renaissance Theory chapter in A Performer's Guide to the Renaissance, recently re-issued by Indiana University Press. She has taught early music ensembles at Tufts and Northeastern Universities as well as at Trinity College of Music in London, and is regular guest lecturer at Longy School of Music in Cambridge. She was Program Director at Pinewoods Early Music Week from 1995-97, returning to that position in 2006. |
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A renowned Baroque violinist, Robert Mealy is Professor (Adjunct) of Violin & Early Music at the Yale School of Music and a member of the faculty in the Early Music Program at Juilliard. Robert has performed on more than fifty recordings on most major labels, in works ranging from Hildegard of Bingen with Sequentia and Renaissance consorts with the Boston Camerata to Rameau operas with Les Arts Florissants. In New York he is a frequent leader and soloist with the New York Collegium, ARTEK, Early Music New York, and the Clarion Society. He also leads the distinguished Boston Early Music Festival Orchestra and has appeared as guest concertmaster and director with the Phoenix Symphony. A devoted chamber musician, he is a member of the medieval ensemble Fortune’s Wheel, the Renaissance violin band The King’s Noyse, and the seventeenth-century ensemble Spiritus Collective. Since 2002 he has performed frequently at Yale as director of the Yale Collegium Musicum players, and he received Early Music America’s Binkley Award for outstanding teaching at Yale and Harvard in 2004. |
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Gene Murrow is active in both early music and the traditions of country dance. Currently the Executive Director of Gotham Early Music Scene in New York, he also teaches at numerous early music workshops, American Recorder Society chapter meetings, and is a past president of the American Recorder Society. He has a BA in music from Columbia University and studied oboe with Lois Wann at Juilliard. He is a former Program Director of Early Music Week at Pinewoods Camp. |
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Debra Nagy has been called a "musical polymath" (San Francisco Classical Voice) for her accomplished performances on early double reeds, recorders, and as a singer. One of the country's top baroque oboists, Debra frequently performs with baroque ensembles on both coasts, is the founder and director of Cleveland-based chamber ensemble Les Délices, and is a member of Ciaramella. She has also appeared as a guest multi-instrumentalist and singer with such groups as the Newberry Consort, Piffaro, Baroque Northwest, and Blue Heron Renaissance Choir. Debra has recorded for the Capstone, Bright Angel, Naxos, Hassler, Chandos, and ATMA labels and her live performances have been featured on CBC Radio Canada, Klara (Belgium), NPRs Performance Today, WQXR (New York City), WKSU Akron, WCLV Cleveland, and WGBH Boston. Debra currently teaches in the Early Music Department at Case Western Reserve University, where she directs the Collegium Musicum. |
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Charlotte Newman is serving her second stint on the EMA board. She has served as board secretary as well as the board president from July 2004 to June 2007. Charlotte holds an M.A. in music history and non-profit management from Case Western Reserve University in Cleveland, and for ten years was administrator of the university's "Chapel, Court & Countryside" early music concert series. She is a member of the Case Early Music Singers, the vocal ensemble Nightingale, and the Cleveland band Uzizi, which combines rock with the Celtic and shape-note traditions. |
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Peter Pastreich has been Executive Director of Philharmonia Baroque Orchestra since June 2009. During the ten years previous to his appointment, Peter organized and served as Director of the League of American Orchestra’s “Essentials of Orchestra Management” seminar, and of a seminar in orchestra and concert hall management for the University of Zürich. He also did management consulting in Europe, for the Berlin Philharmonic and the South Bank Centre in London; in the United States, for the Detroit Symphony, the Milwaukee Symphony, and the Santa Barbara Symphony; and in Australia. He also served as mediator in several orchestra union negotiations. Peter left the San Francisco Symphony in 1999, after having served as its Executive Director for twenty-one years, during its period of most dramatic growth. He served for 12 years as Executive Director of the Saint Louis Symphony Orchestra, as Business Manager of the Kansas City Philharmonic, Manager of the Nashville (Tennessee) Symphony and the Greenwich Village Symphony in New York City, and Assistant Manager of the Denver Symphony and the Baltimore Symphony. He was the chief administrator responsible for the construction of Davies Symphony Hall in San Francisco and Powell Symphony Hall in St. Louis. In San Francisco and St. Louis he helped to produce more than 80 recordings. Both orchestras expanded their seasons from fewer than thirty-five to fifty-two weeks during his tenure. He also managed more than 50 concert tours of the United States, Europe and Asia. |
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Rachel Barton Pine is a violinist from Chicago. Considered a child prodigy at the violin, she started playing at the age of 3 and a half and performed at many renowned venues through her child and teen years. Currently she plays regularly with the Chicago Symphony and on her own, tours worldwide, and has an active recording career. Her musical interests extend well beyond classical to Baroque, folk, Celtic, rock and jazz. She plays with David Schrader and John Mark Rozendaal, and recently debuted on rebec and vielle in a performance with The Newberry Consort. Barton Pine started a foundation in 2001 to promote the study and appreciation of classical music, including string music by black composers. It prepares music curricula, loans high-quality instruments to deserving young musicians, and provides grants to cover incidental expenses of student and young professional musicians. Another program, Global HeartStrings, is dedicated to supporting aspiring classical musicians from developing countries. In 2006, after being nominated by Chicago Mayor Richard M. Daley, Barton Pine received the Studs Terkel Humanities Service Award for her work through the foundation. |
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Eugene Rogers is Assistant Professor of Music and Director of Choral Activities at Macalester College in Saint Paul, where he teaches Conducting and directs the Highland Camerata and the Macalester Concert Choir. He received his Doctor of Musical Arts and Master of Music degrees from the University of Michigan in Ann Arbor, and his Bachelor of Science in Music Education degree from the University of Illinois at Urbana-Champaign. Eugene is a passionate conductor and teacher whose spirited performances frequently include a wide variety of musical styles and genres. Some of his past appointments include the Boys Choir of Harlem, the University of Michigan, Waubonsie Valley High School in Aurora, Illinois, and Anima Young Singers of Greater Chicago (formerly the Glen Ellyn Children's Choir). As a result of his teaching and ground-breaking achievements as founder and director of Waubonsie Valley High School's first multi-cultural ensemble, the Unity Chorus, Eugene was named "Most Influential Educator" in 2000 and 2001. He has appeared as guest conductor, adjudicator and lecturer in over fifteen states as well as Canada, Singapore, Portugal and Italy. As a singer, Eugene has performed with the World Youth Choir, The Portland Symphonic Choir, The Saint Paul Chamber Orchestra Chorale and the May Festival Chorus in Cincinnati, Ohio. In June 2010, his research takes him to Tanzania, Africa, where he will work with choirs and composers from around the country to support his recent Hal Leonard publications that will be available summer of 2011. In addition to his duties as a conductor and teacher, Eugene serves on the board of the American Composers Forum and is the Artistic Director of the Disneyland Hong Kong Winter Choral Festival. |
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Born, reared and educated in Philadelphia, Kathleen Moretto Spencer combined studies in music history (A.B. and M.A. from the University of Pennsylvania) with a library degree (M.L.S. from Drexel University) to become a music librarian. Her first job took her to the University of Buffalo where she worked as a cataloger. After more graduate training and a year off to work in Rome as the librarian at Notre Dame International School, Kathy became Assistant Head of the Music Library at Yale University. During her time at Yale (1975- 1982), she had two leaves: three-months at the American Academy in Rome to catalog the Oliver Strunk Collection and one academic year at the University of North Carolina at Chapel Hill as a Council on Library Resources Management Intern where she worked in the office of the University Librarian. Kathy moved to Lancaster, PA in 1982 to become College Librarian at Franklin & Marshall College. At F&M, she also taught courses in the history of the City of Rome which along with the viola da gamba is a life-long passion. She is retired from F&M as College Librarian Emerita. Kathy has just completed a four-year stint as editor of the Viola da Gamba Society of America News. "Mary Anne Ballard shoved a viol into my hands when we were both at Penn in grad school; I have studied with Grace Feldman and Donna Fournier, and I currently study with Sarah Cunningham. Every summer I also inflict myself upon Catharina Meints at Oberlin’s Baroque Performance Institute. My goal is to be able to say without hesitation that I play the viola da gamba." |
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Executive & Artistic Director Charles Q. Sullivan is currently in his ninth year at the helm of Early Music Now, the highly successful Milwaukee presenter of Medieval, Renaissance and early-Baroque programming. His background includes undergraduate and graduate degrees in music performance, teaching in public and private institutions from kindergarten through the graduate level, and extensive experience in the business world. His professional positions have included work in Minnesota, Ohio, and Massachusetts. From 1972 through 1982 and again in 1988, he formed and directed a semi-professional choral/instrumental ensemble that performed over 120 varied choral and orchestral concerts, solo and chamber recitals in the Milwaukee area and in neighboring states. He served as Executive Producer & Director of Liturgical Drama at St. John’s Cathedral in Milwaukee from 1985 through 1992, producing fully staged performances of The Play of Daniel and Nicholas Plays to large audiences and critical acclaim. Since joining Early Music Now as general manager in September 2001, he has led the organization to expanded programming and educational outreach, and to a prominent role in promoting early music activities throughout the region. |
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Lee Talner is Professor Emeritus of Radiology at University of California San Diego and University of Washington. He received his BA from Amherst College and MD from Yale University. In Seattle, he serves on the advisory boards of the UW World Series (piano, chamber music, dance and world music), Seattle Baroque Orchestra, and Early Music Guild and is deeply committed to these organizations’ outreach programs. He performed regularly on renaissance winds with the Guidonian Hand in the 1970s, and since 2000 has immersed himself in the ecstasy of viola da gamba through his studies with Margriet Tindemans and service on the board of the Viola da Gamba Society of America. He is a member of “A Curious Collection," an ensemble of voice, flute and 2 gambas that performs Scottish traditional music. He commutes monthly to San Diego to be with family. |
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Christopher Thorpe is a computer scientist, finance professional, and semiprofessional musician living in the Boston area. He presently directs Babel Research LLC, a boutique hedge fund in New York, and teaches a graduate seminar in computational finance at Harvard University's School of Engineering and Applied Sciences. Prior to graduate school, Thorpe worked as a software engineer and entrepreneur in Silicon Valley. In addition to his professional work, Thorpe is an active supporter of early music, particularly through the development of and ongoing support of EMA's Unicorn Prize. As a tenor/countertenor and occasional conductor, Christopher has performed with numerous early music ensembles and church choirs in the Boston and San Francisco areas, including the Church of the Advent, Grace Cathedral, and the Harvard Early Music Society. He holds bachelor's and master's degrees in Computer Science and Music from Harvard, and received the Ph.D. in Computer Science from Harvard in June 2008. |
Additional Board Member photos from 2007-2009