International Baroque Institute at Longy (IBIL)

24th Anniversary
International Baroque Institute at Longy presents

La Bella Venezia

A Seminar on Vocal & Instrumental Repertory of Andrea & Giovanni Gabrieli, Claudio Monteverdi, Claudio Merulo, Tomaso Albinoni, Antonio Vivaldi, Alessandro & Benedetto Marcello, and others.

Friday, July 21—Sunday, July 30, 2017

Master Classes • Ensembles • Orchestra • 
Dance • Concerts • Lectures

Tuition and Fees

Total tuition: $825
Application fee: $30 

Invoices will be sent pending acceptance.


Apply Now

For the latest information please check back on this page for updates or contact Hsuan-Wen Chen at wen0629(at)

String players: please bring violas and/or viola da gambas. Other instrumentalists or continuo players are welcome to join ensemble and orchestral sessions. 

General pitch at the workshop will be A = 415 Hz. 

About IBIL

"Baroque Institute brimming over with talent and zest.
Enjoyable would be too faint a word. It added to life."

-The Boston Globe

The International Baroque Institute at Longy offers a comprehensive program for professional and pre-professional singers, dancers and players of baroque violin, cello, viola da gamba, recorder, traverso, oboe & harpsichord, taught by an unparalleled international faculty. Other instrumentalists or continuo players (viola, harp, lute, organ, bassoon, violone, etc.) are welcome to join the Chamber Music program and the Institute Orchestra. The seminar features eight full days of master classes, ensembles, orchestra sessions, continuo coaching, concerts, lectures and projects, and opportunity for public performances. To provide the highest level learning experience, we select our faculty from among the finest performers and teachers in the field of Baroque music.

Institute Faculty

HOEBE CARRAI, cello, director, received her bachelor’s and master’s degrees from the New England Conservatory and studied with Nikolaus Harnoncourt at the Mozarteum in Salzburg. She was a member of Musica Antiqua Köln from 1983-1992 and joined the faculty of the University of the Arts in Berlin in 1994. Presently, Ms. Carrai is a faculty member at the Juilliard School in New York and at the Longy School of Music in Cambridge. She is the director of the Harvard Baroque Chamber Orchestra at Harvard University. Ms. Carrai concertizes with Juilliard Baroque, the Arcadian Academy, Philharmonia Baroque Orchestra and the Göttingen Festspiel Orchestra. She has recorded for Avierecords, Deutsche Gramaphone, Teldec, Harmonia Mundi, and Atma. 

HSUAN-WEN CHENharpsichord, workshop assistant, is the artistic director of baroque ensemble The Soul’s Delight, and currently serves on the faculty at Montclair State University. Ms. Chen received her Bachelor of Music degree and Master of Music degree in Piano from the Cleveland Institute of Music. She also holds a Doctor of Musical Arts degree in harpsichord performance Stony Brook University where she studied with Arthur Haas. As an active soloist and chamber music player, Ms. Chen has performed in the United States, Canada, and Taiwan.

DOUGLAS FREUNDLICHlute, launched his lute career with The Greenwood Consort, winning the Erwin Bodky Award and Musical America’s "Young Artist of the Year". He has performed with many leading ensembles over the years, including the Boston Symphony, Boston Baroque, Emmanuel Music, The Musicians of Swanne Alley, Ex Machina, Capriole, Renaissonics, Hesperus, and the Revels.

ARTHUR HAAS, harpsichord, is one of America’s foremost harpsichordists and teachers. After studies with Albert Fuller at the Juilliard School and with Alan Curtis in Berkeley and Amsterdam, he lived in France where he received the top prize in the Paris International Harpsichord Competition of 1975. His solo recordings of both French Baroque and English Restoration keyboard music have won critical acclaim in the press. A new recording of solo music of Bernardo Pasquini will appear shortly. Currently a member of the Aulos Ensemble, he is professor of harpsichord and early music at Stony Brook University and Visiting Professor of harpsichord at the Yale School of Music. He directed Continuo Studies in Juilliard's Historical Performance program for several years and is also on the faculty at the Mannes College of Music. 

PAUL LEENHOUTS, recorder, director, holds a Soloist Diploma from the Sweelinck Conservatory in Amsterdam, where he was on the faculty from 1993 to 2010. A founding member of the Amsterdam Loeki Stardust Quartet, and director of The Blue Iguana Collective, he is also composer and editor of numerous 17th and 18th works. He has recorded for Decca L’Oiseau- Lyre (two Edison-awards), Channel Records, Lindoro, Vanguard and Berlin Classics. He has been director of the Open Holland Recorder Festival Utrecht. His special interest in renaissance consort repertoire led to the foundation of The Royal Wind Music, a 12 member renaissance recorder ensemble in 1997. In 2010 Mr. Leenhouts was appointed as director of Early Music Studies and the Baroque Orchestra of the University of North Texas. 

NA'AMA LION, traverso, is well known as a versatile performer on early flutes. She has explored medieval music, playing with ‘Sequentia’; Renaissance music with the consort ‘Travesada’; 18th and 19th century music with groups, including La Donna Musicale, Boston Baroque, Handel and Haydn Society, Boston Cecilia, Arcadia Players, Grand Harmonie, Academia Daniel and the Barrocade orchestra. Na’ama holds a Doctoral degree from Boston University, a Soloist Diploma from the Arnhem Conservatory in the Netherlands, and a BMus. degree from the Tel Aviv University. She teaches at the Longy School of Music and directs a chamber music program at Harvard College. In the summers, she teaches at the Amherst Early Music workshop and IBIL. Na’ama has recorded for Deutsche Harmonia Mundi, Telarc and private labels. 

DANA MAIBENviolin, has served as concertmaster for Apollo Ensemble, Arcadia Players, Ensemble Abendmusik, American Opera Theater, and for the New York Collegium under the direction of Christophe Rousset, Martin Gester, Paul Goodwin, and Andrew Parrott. Maiben made her professional conducting debut in 1993 with Handel’s Acis and Galatea, and has made early opera a specialty, often leading from the harpsichord. She has been a frequent guest director for orchestras in Atlanta, Ann Arbor, Amherst, Cambridge, Ithaca, Rochester, Saint Paul, and Toronto, many times leading from the violin as featured soloist. Maiben has served as Music Director for Genesee Baroque Players (New York) and Arcadia Players, (Massachusetts), and is founding Music Director of Foundling Baroque Orchestra and Women’s Advocacy Project (Rhode Island,

VIVIAN MONTGOMERYDMAharpsichord, is an award-winning harpsichordist and fortepianist on the Early Music Faculty of the Longy School of Music of Bard College. A 2014 Fulbright Senior Research Scholar (UK), and a recipient of a Solo Recitalist Fellowship from the National Endowment for the Arts, she was on the faculty of the University of Cincinnati College-Conservatory of Music 2003-2013, teaching early keyboards and historical performance, and has served as Director of the Jurow International Harpsichord Competition since 2009. Recipient of First Distinction in the Warsaw International Harpsichord Competition, and Second Prize in the Jurow International Harpsichord Competition, Vivian’s performing life encompasses concerto solos, solo recitals, chamber music performances, and vocal accompanying work throughout the United States. She has ardently explored the musical lives of women from 1500 to 1900, especially through 25 years of cross-disciplinary work with her ensemble, Cecilia’s Circle (, whose upcoming Centaur Records release of music by Barbara Strozzi features legendary soprano Catherine Bott and lutenist Elizabeth Kenny.  As a conductor, Vivian has worked for Ex Machina Antique Music Theatre Company, the University of Minnesota Opera Program, the CWRU/CIM Baroque Orchestra and Early Music Singers, the Dickinson College Collegium, and as founder and co-director of the Boston-based baroque orchestra, Eudaimonia, A Purposeful Period Band. Vivian holds a post as a Resident Scholar at the Brandeis University Women’s Studies Research Center (, where she is a founding member of the Women and Music Mix, an important vehicle for advocacy, concert presentation, and funding of female composers. Recordings can be found on the Centaur, Schubert Club, and Innova labels. Vivian is also an accordionist, and can be heard regularly as leader of the klezmer band Shir Chutzpa at Temple Shir Tikva in Wayland, MA. 

KATHRYN MONTOYA, oboe, currently teaches baroque oboe and recorder at the University of North Texas and Oberlin Conservatory. She has appeared with a variety of orchestral and chamber music ensembles including the internationally-acclaimed Boston Early Music Festival Orchestra, the Cleveland Orchestra, Tafelmusik, the Wiener Akademie, Portland Baroque Orchestra, Chicago Opera Theatre, Musica Angelica, and Arion Baroque Orchestra among others. Her interests extend to medieval and renaissance repertoire where she has performed on recorders, shawms, and sordune with Hesperus and the Newberry Consort. Kathryn received her degrees at Oberlin Conservatory and Indiana University School of Music, Bloomington.

AISSLINN NOSKY, violin, was appointed Concertmaster of the Handel and Haydn Society in 2011. With a reputation for being one of the most dynamic and versatile violinists of her generation, Nosky is in great demand internationally as a director, soloist and concertmaster. Recent collaborations include the Holland Baroque Society, La Jolla SummerFest, the Utah Symphony, the Calgary Philharmonic and Tafelmusik Baroque Orchestra. Aisslinn is also a member of I FURIOSI Baroque Ensemble. For over fifteen years this innovative Canadian ensemble has presented its own edgy and inventive concert series in Toronto and toured Europe and North America turning new audiences on to Baroque music. With the Eybler Quartet, Nosky explores repertoire from the first century of the string quartet literature on period instruments. 

KEN PIERCE, baroque dance, trained in ballet and modern dance, studying on scholarship at both the American Ballet Theatre School and the Merce Cunningham studio. He has specialized in early dance -- especially, late-Renaissance and Baroque dance -- for the past three decades, as choreographer, reconstructor, performer, and teacher. He has performed with early dance companies on both sides of the Atlantic, and his choreographies have been presented at workshops and festivals in Europe, Canada, and the United States. He directs the early dance program at the Longy School of Music of Bard College (Cambridge). 

JAMES TAYLOR, tenor, devotes much of his career to the oratorio and concert literature and is one of the world’s most sought-after Bach Evangelists. His career has taken him throughout the United States, South America, Japan, and Israel, and to virtually all the major concert halls of Europe including the Concertgebouw, Musikverein, and the Royal Albert Hall. James Taylor can be heard on over 30 recordings. A native of Houston, Mr. Taylor attended Texas Christian University as a student of Arden Hopkin. A Fulbright Scholar, he studied at the Hochschule für Musik in Munich, where he graduated in 1993 with a Meisterklassendiplom. He is an associate professor of voice and coordinator of the vocal track in early music, oratorio, and chamber ensemble at the Yale School of Music. 

ANNE TROUT, violone, plays solo bass with REBEL, Trinity Wall Street, and Aston Magna. She regularly performs with the Handel & Haydn Society and has toured or recorded with most other prominent early music ensembles in North America including the Handel & Haydn Society, America Classical Orchestra, Opera Lafayette, Boston Baroque, Philharmonia Baroque, Tafelmusik. She has recorded Bach’s St. John Passion for Musica Omnia and toured the Pacific Northwest with tenor Rufus Mueller. Anne teaches at the Longy Conservatory, the Groton School and Boston College and has given master classes in classical period performance practice for the Clarion Society in NYC. 

SEAN WANGviolin, currently chairs Longy's department of Early Music and Historical Studies and directs the Longy Conservatory Orchestra. He has performed extensively at major venues in the United States, Europe, and Asia. A specialist in nineteenth-century performance practice, he is also an active Baroque violinist and an advocate of contemporary music, with a focus on compositions with intercultural elements. He has been a frequent concertmaster with Grammy-nominated early music group Ars Lyrica Houston, and has served as Interim Director of Bach Society Houston. A native of Taiwan, he studied at the Curtis Institute of Music (BM), The Juilliard School (MM), and Stanford University (PhD).

The Repertoire

2017 marks the 450th anniversary of the birth of Claudio Monteverdi. In 1613 Monteverdi applied for the post of maestro di cappella at the Basilica of San Marco in Venice. His Vespro della Beata Vergine, first printed in Venice in 1610, might have been written as an audition piece for this prestigious post. Internationally famous through the publication of his madrigals, Monteverdi scaled new artistic heights with the composition of his operas.

The Venetian Republic -also known as La Serenissima- invented the public opera house during the first half of the seventeenth century. In a short period of time, Venice became a Mecca for the finest composers, instrumentalists and singers from around Italy and beyond. It also housed the two rival music publishing companies of Giacomo & Bartolomeo Giordano and Giacomo & Alessandro Vincenti, responsible for the most important publications of instrumental works.

By the beginning of the 18th century, Venice had become the entertainment capital of Europe. Carnival was celebrated for three months a year and the arts flourished. But probably the best music in Venice could be heard in the four institutions for orphan girls: the Ospedaletto, the Incurabili, the Mendicanti and, most famous of them all, the Pietà. In these establishments, music occupied the most important place in the curriculum, and by the beginning of the century, the standards were so high that the nobility regularly sought places for their children as paying students.

During the early 20th century numerous manuscripts of Vivaldi’s compositions were rediscovered and preserved in the Turin National University Library with the generous sponsorship of two Turinese businessmen Roberto Foa and Filippo Giordano.

Seminar Schedule


2-5pm Registration

7pm Reception

8pm Introduction
        Scheduling Master Classes
        Ensembles & Orchestra



9-10:30am Master Classes

11am-12:30pm Chamber Music

2-3:30pm Master Classes

4-5:30pm Baroque Orchestra

6-7pm Baroque Dance for all participants



9-10:30am Master Classes

11am-12:30pm Chamber Music

2-3pm Lecture I

3:30-5:30pm Baroque Orchestra



9-10:30am Master Classes

11:00am-12:30pm Chamber Music

2-3pm Lecture II

3:30-5:30pm Baroque Orchestra

6-7pm Baroque Dance for all participants



9-10:30am Master Classes

11am-12:30pm Chamber Music

2-3pm Master Classes

3:30-5:30pm Baroque Orchestra

6-7pm Baroque Dance for all participants



9-10:30am Master Classes

11am-12:30pm Chamber Music

12:30pm Picnic & Outing
               Afternoon & Evening Free 



9-10:30am Master Classes

11am-12:30pm Chamber Music

2-3pm Dress Rehearsal for 1st Student Concert

8pm Student Concert:

                     I Virtuosi della Pietà



9-10:30am Master Classes

11am-12:30pm Baroque Orchestra

1 pm Student Lunch Concert:

                   Il pastor fido

Afternoon Rehearsals

8pm Faculty Concert:

                  L'estro armonico



10am-12:30pm Baroque Orchestra

2-3pm Dress Rehearsal for Grand Finale

7pm Final Concert:

                   La Bella Venezia
                   Party following!



10am                      Farewell Brunch