Music Department

National Gallery of Art

Sixth Street and Constitution Avenue nw

Washington, dc

Mailing address

2000B South Club Drive

Landover, md 20785

www.nga.gov
Evenings with Gerard ter Borch

13-16 November 2004

This four-day festival of art education and music brings together

Arthur K. Wheelock Jr., curator ofthe exhibition Gerard ter Borch,

and experts in both the visual and the musical arts ofTer Borch’s

time to share their insights and artistry with festival participants.

All events are presented free of charge.

The exhibition is organized by the National Gallery ofArt, Washington, and the

American Federation ofArts, New York. The exhibition is supported by an indemnity

from the Federal Council on the Arts and the Humanities.

Thefestival is organized by the National Gallery ofArt, Washington, and made possible

by a generous giftfrom Mrs. Robert M. Weidenhammer, with additional supportfrom

the Embassy ofthe Kingdom ofthe Netherlands.

Gerard ter Borch

Gerard ter Borch is the first monographic exhibition in the United States 

dedicated to one ofthe finest Dutch genre and portrait painters. Some 

fifty of Ter Borch’s (1617-1681) best works, including his celebrated

group portrait, Signing ofthe Peace ofMunster, May 15, 1648, 1648, from

the National Gallery, London, and his renowned genre scene, the socalled Paternal Admonition, c. 1654, from the Rijksmuseum, Amsterdam, have been gathered from public and private collections.

Ter Borch’s paintings, which greatly influenced Johannes Vermeer

and Frans van Mieris, are remarkably varied. The selection on view represents each phase of his career—the early pictures ofthe 1630s, the

mid-career genre paintings, and the small portraits distinctive for their

psychological intensity. Ter Borch was unrivaled in his ability to capture

the elegance and grace ofwealthy burghers and to express with subtlety

the interactions between figures and the psychology of his subjects. He 

is renowned for his refined interior scenes, which typically depict two

or three elegantly clad, full-length figures engaged in everyday activities 

such as writing letters or making music. References to music, an integral part ofseventeenth-century Dutch culture, abound in Ter Borch’s

paintings. Military trumpeters are common, as are the many scenes of

intimate musical gatherings with lutes, theorbos, bass viols, and songbooks. Ter Borch’s paintings also display his mastery in rendering

materials, particularly satins, which are notoriously difficult to paint.

Accompanying the exhibition, which will be on view at the Gallery from

November 7, 2004, through January 30, 2005, is the first major

English-language catalogue on the artist, a significant contribution to

the study ofseventeenth-century Dutch art.
Festival Information

The West Building entrance at Sixth Street and Constitution Avenue nw will

remain open until 6:30 pm November 13, 14, 15, and 16. The galleries housing the exhibition will be open to the public from 5:30 to 6:30 pm each day.

The West Building Garden Cafe will feature a special Dutch menu for the

festival and will remain open each day until 6:00 pm.

GALLERY TALKS

Talks begin in the West Building Rotunda at 5:30 pm. They will be 

presented concurrently and will last approximately one-half hour each.

CONCERTS

Concerts begin at 6:30 pm in the East Garden Court. Seating begins at 

6:00 pm on a first-come basis.

FILM

The film Dutch Light will be shown in the East Building Auditorium

at 1:00 pm on Saturday, November 13, and at 4:00 pm on Sunday,

November 14.

Saturday, November 13

GALLERY TALKS

5:30 pm, West Building Rotunda

Music and Gerard ter Borch, Arthur K. Wheelock Jr.

Dutch and Flemish Art and Music, Stephen Ackert 

Dutch Genre Painting: An Overview, J. Russell Sale

CONCERT

6:30 pm, East Garden Court

The Washington Bach Consort

J. Reilly Lewis, conductor

Amy Leung, cello

Lucas Harris, theorbo

Jeffrey Koczela, bass

Scott Dettra, organist

PROGRAM

Michael Praetorius (1571-1621)

Processional: Ein Kind geborn zu Bethlehem

Jan Pieterszoon Sweelinck (1562-1621)

Psalm 134: Or sus, serviteurs du Seigneur

Anonymous, from the Tablature of Celle (1601)

A solus ortus cardine

Organ solo

Heinrich Schiitz (1585-1672)

Canticum Simeonis from “Musikalische Exequien” (1636)
Henry du Mont (1610-1684)

O Domine Deus meus

Hans Leo Hassler (1564-1612)

Verbum caro factum est

Samuel Scheldt (1587-1654)

Variations on a Dutch Song

Organ solo

Schiitz

Psalm 100: Jauchzet dem Herrn, alle Welt

Scheidt

Echo

Organ duet

Jacob Handl (Jacobus Gallus) (1550-1591)

Jesu dulcis memoria

Melchior Franck (1573-1639)

Ein feste Burg ist unser Gott

Orlando di Lasso (1532-1594)

Quern vidistis pastores

Heinrich Scheidemann (c. 1595-1663)

Canzon in F

Sweelinck 

Gaudete omnes

4

The Musicians

WASHINGTON BACH CONSORT

Founded in 1977 by J. Reilly Lewis, the Washington Bach Consort is committed to the study and performance ofthe complete vocal and instrumental

works ofJohann Sebastian Bach. The Consort has performed under such

renowned early music conductors as Christopher Hogwood, Richard Hickox,

Paul McCreesh, Harry Christophers, and Nicholas McGegan. In addition to

a recent guest appearance at the White House and regular concerts at the

Church ofthe Epiphany and the Kennedy Center, the Consort has undertaken

three critically acclaimed European tours: in 1981, in 1985 (for the 300th

birthday celebration ofJohann Sebastian Bach), and in 2000. Other appearances outside Washington, d.c., have included the Piccolo Spoleto Festival

and the Philadelphia Bach Festival. Consort cds include complete masses and

motets ofJ. S. Bach and the Magnificats of both J. S. Bach and his son, Carl

Philip Emanuel Bach.

This professional chorus and orchestra are noted for their performance

of eighteenth-century music on period instruments. On this occasion they

apply their considerable skills to masterworks from the seventeenth century

as well as some ofthe sixteenth-century works that inspired Sweelinck and

other seventeenth-century composers.

J. REILLY LEWIS

J. Reilly Lewis, founder and music director ofthe Washington Bach Consort, 

is recognized internationally as an accomplished conductor and keyboard 

artist, as well as a leading specialist of baroque music, particularly the music

ofJohann Sebastian Bach. A native ofWashington, d.c., Lewis performs regularly in his home city but has also preformed before international audiences,

both as a conductor and a keyboard artist. International festivals in which

Lewis has appeared include the Three Hundredth Anniversary Celebration of

J. S. Bach in Leipzig, the Handel Festival in Halle, an all-American music fes5
tival in Taipei, the Cologne New Music Festival, the Aspen Music Festival, and

the Mostly Mozart Festival. Over the past twenty years, Lewis has collaborated 

with many ofthe world’s most renowned performing artists and conductors,

and his ensemble continues to garner the highest praise for its unique sound

and uncommonly high artistic standards. Recent guest conducting appearances include the Buffalo Philharmonic Orchestra (Bach’s B Minor Mass)

and the National Symphony Orchestra (Handel’s Messiah). From 1978 to

1985, Lewis was the accompanist ofthe Cathedral Choral Society, the resident

symphonic chorus ofthe Washington National Cathedral. In 1985 he was

appointed music director ofthe society. He has enjoyed a thirty-three-year

tenure as organist and choirmaster at Clarendon United Methodist Church

in Arlington, Virginia.

}. Reilly Lewis began his career as a member ofthe National Cathedral

Junior Boys Choir under the direction of Richard W. Dirksen. He received 

the bachelor ofmusic degree from Oberlin College and the master ofscience

and doctor ofmusical arts degrees from the Juilliard School in New York

City. His former teachers include Nadia Boulanger, Anthony Newman, and

Albert Fuller. A recipient of both the Chester J. Petranek Award and the Paul 

Hume Award, Lewis has repeatedly been honored for his outstanding commitment to enriching the musical life ofWashington, d.c. In 1987 he

received a “wammy” award from the Washington Area Music Association as

best conductor. He was the recipient of a Fulbright scholarship in 1969,

which he used to pursue specialized study ofthe keyboard music of Bach

with Helmut Walcha in Germany. In 2003 Washingtonian Magazine named

Lewis to the Music Hall of Fame. In 2004 Lewis, along with Chief Justice 

William H. Rehnquist, received the “Distinguished Washingtonian Award,”

presented annually by The University Club ofWashington, d.c.

6

SCOTT DETTRA, ORGANIST

Scott Dettra maintains an active career as an organist, accompanist, recording artist, and teacher. Born in Wilmington, Delaware, he studied music at

an early age, beginning piano at age three and organ at age eight, and holding his first church position at age nine. He received the bachelor of music

and master of music degrees from Westminster Choir College of Rider 

University. His principal organ teachers were his father Lee Dettra, Joan

Lippincott, and Dennis Keene. Scott Dettra is the keyboard artist for both the

Cathedral Choral Society and the Washington Bach Consort and is school 

organist at Episcopal High School in Alexandria, Virginia. As a choral

accompanist, he appears regularly with such ensembles as the American

Boychoir and Dennis Keene’s Voices of Ascension, and he has served as

rehearsal accompanist for such noted conductors as Claudio Abbado, John 

Eliot Gardiner, Zdenek Macal, Neville Mariner, Kurt Masur, and Andre

Previn. A frequent organ recitalist, Dettra has performed on major instruments on three continents and was awarded third prize at the 1996 Dublin

International Organ Playing Competition. Dettra’s first solo recording,

Tongues ofFire, features French masterworks performed on the 325-rank

organ ofthe Cadet Chapel at West Point, New York. In addition to recording

credits on the Pro Organo, Newport Classics, Albemarle, and Linn labels, 

Scott Dettra’s performances have been broadcast numerous times on the

bbc, pri, and npr networks.

7
Sunday, November 14

GALLERY TALKS

5:30 pm, West Building Rotunda

Music and Gerard ter Borch, Arthur K. Wheelock Jr.

Dutch and Flemish Art and Music, Stephen Ackert

Dutch Genre Painting: An Oveiview, J. Russell Sale

CONCERT

6:30 pm, East Garden Court

The Folger Consort

Kevin Bushee, violin

Robert Eisenstein, violin and viola da gamba

Alice Robbins, cello and viola da gamba

Julia Steinbok, soprano

Larry D. Schipull, harpsichord

PROGRAM

Johannes Schop (d. 1667)

Suite a 3

Pavan

Galliard

Canzon

Jan Pieterzoon Sweelinck (1562-1621)

Popular songs and keyboard variations

Est-ce Mars 

Fortune My Foe

All in a Garden Green

8

Constantijn Huygens (1595-1687)

Songs from Pathodia Sacra et Profana (1647)

Iniquitatem meam (Psalm 50/51 vs. 5-6)

Memor fui (Psalm 142/143 vs. 5-7)

Va, donna ingrata

Vous me l’aviez bien dit

Johannes Shenck (1660-c. 1712)

Sonata X from “Le nymphe di Rheno” (1702) for two violas da gamba

Adagio

Allemanda

Corrente

Sarabanda

Giga

Gavotta

Minuet

John Dowland (1563-1626)

Flow My Tears (The Lachrimae Pavan)

Schop

Variations for Violin on “Paduana lachrimae”

from “’t Uitnement Kabinet” (1646)

Schop

Vom Himmel hoch da komm ich her

Carolus Hacquart (c. 1640-c.1700)

Sonata seconda a 3 from “Harmonia Parnassia sonatarum” (1686)

Adagio

Bizzaria

Adagio affetuoso

Canzona

Adagio

Aria
The Musicians

KEVIN BUSHEE

A graduate ofthe Oberlin Conservatory of music in Oberlin, Ohio, Kevin

Bushee is an active musician and featured soloist with many ensembles,

including Arc’Angelo, nys Baroque, Arcadia Players, and Albany Pro 

Musica. He has given lectures, demonstrations, and workshops on early 

violin playing at the University of Oklahoma at Norman, Colonial Williamsburg, St. Michael’s College, and the College ofWilliam and Mary. He has

been heard as a soloist on National Public Radio’s Performance Today and on

the award-winning documentary Jefferson, A Life with Music, narrated by Jim 

Lehrer with an introduction by President Clinton. He has recorded on the

Colonial Williamsburg, pdi, and Dorian labels.

ROBERT EISENSTEIN

Robert Eisenstein is a founding member and programming director ofthe

Folger Consort, since 1977 the early music ensemble in residence at the

Folger Shakespeare Library. He is the director ofthe Five College Early Music 

Program in western Massachusetts, where he teaches music history, performs

regularly on viola da gamba, violin, and medieval fiddle, and coordinates

and directs student performances of medieval, Renaissance, and baroque

music. He has a particular interest in the use of computer technology in the

service of music and teaches a popular course at Mount Holyoke College,

called Fun with Music and Technology.

ALICE ROBBINS

The recipient of degrees in music from both Indiana University and the

Schola Cantorum of Basel, Alice Robbins performs on baroque cello and

viola da gamba with the Handel and Haydn Society, the Arcadia Players,

the Oberlin Consort of Viols, the Boston Early Music Festival, and the

10

Washington Bach Consort, as well as with other ensembles. A resident of

Amherst, Massachusetts, Robbins teaches at Smith and Mount Holyoke

Colleges in the Five College Early Music Program and in the historic performance department at Boston University’s School for the Arts.

JULIA STEINBOK

Born in Moscow, soprano Julia Steinbok is equally at home on the concert,

recital, and operatic stages. In addition to numerous performances with the

Folger Consort, she has been a featured soloist with the Arcadia Players in

Handel’s Messiah and Bach’s Cantata No. 37, has sung the role of Dido in

Purcell’s Dido and Aeneas, and has delivered a lecture-recital for the Emily

Dickinson International Society. Steinbok has performed as soloist with the

Keene Chorale, the Peabody Baroque Ensembles, and the Peabody Chamber

Singers. Her operatic career has included such diverse roles as Mercedes in

Bizet’s Carmen, Rowan in Britten’s Let's Make an Opera, the child in Ravel’s

L’enfant et les sortileges, Virtu in Monteverdi’s L’incoronazione di Poppea,

and Proserpina in Monteverdi’s L’Orfeo. She currently studies with William 

Sharp and Paulina Stark.

LARRY D. SCHIPULL

Organist, pianist, and harpsichordist Larry D. Schipull has performed as a

soloist and chamber musician in North America, Europe, the Caribbean, and

Asia. He served on the faculty ofthe University of Hong Kong, where he was

very active as a recitalist and accompanist, with solo appearances in the Hong

Kong Arts Festival and the City Hall Silver Jubilee celebrations. In addition

to regular performances as college organist at Mount Holyoke College, a position he assumed in 1988, he is a member ofthe Mount Holyoke Faculty

Baroque Ensemble.

11
Program Notes

Many of Gerard ter Borch’s paintings feature musical scenes—a woman

with a theorbo serenades two men, two singers and a lutenist present an

impromptu concert, or two women play the harpsichord and viola da gamba

together. The wealthy Dutch burghers who commissioned these paintings

also supported musicians by hiring them to play in their homes, underwriting

concerts on the fine old organs in their churches, sponsoring the carillons in

church and town towers (a uniquely Dutch phenomenon), and, above all, by

establishing collegia devoted to musical performance. The collegia included

both local and traveling foreign musicians and saw to it that music was played

frequently, even in churches where Calvinist clergy were discouraging the

presence ofmusic in services (sometimes even the organ was forbidden).

This program features an assortment of pieces that might have been heard

at meetings ofthe collegia, with proficient amateurs as well as professional

players and singers taking part.

The German composer and violinist Johannes Schop was frequently

published in Amsterdam. His familiarity with the great English school of

string playing as well as his contacts with Italian violinists made him a leading composer of early German violin music. The dances that begin this program are a good example of Schop’s progressive style. His variations for solo

violin are examples of early seventeenth-century Italianate violin music.

Jan Pieterszoon Sweelinck was known as “the Orpheus of Amsterdam.”

His family moved from his birthplace, Deventer, to the city ofAmsterdam in

1564, when his father was appointed organist ofthe Oude Kerk. The elder

Sweelinck died in 1573, and in 1577 the city fathers decided that the then fifteen-year-old Jan Pieterszoon was ready to assume his father’s post. By that

time the Oude Kerk was Calvinist, and there was no place in the service for

organ music. However, the church’s two fine organs were an important source 

ofmunicipal pride and were maintained by the town council. Sweelinck was

12

therefore an employee ofthe city whose chief duty was to play twice a day for

an hour for visitors. As his fame spread, people began to travel to Amsterdam

specifically to hear him. The keyboard works by Sweelinck in this program are

variations based on popular songs that he might well have used to dazzle his

audiences while performing in the Oude Kerk. Est-ce Mars appears in French 

court airs ofthe time. Fortune My Foe and All in a Garden Green are English 

ballads that Sweelinck may well have learned from the English expatriates John 

Bull and Peter Philips, both ofwhom fled Cromwellian England to live in 

Holland and studied with Sweelinck while they were there.

Constantijn Huygens was a well-connected diplomat, poet, and musician. His father, Christiaan Huygens, was Secretary of the Council of State

ofthe Dutch Republic, and Constantijn grew up in The Hague, learning the

lute, viol, and keyboard instruments as well as dancing, fencing, languages,

sciences, and equestrian skills. In his career as a diplomat, Constantijn

Huygens traveled frequently to England, Brussels, Paris, and Venice. His 

only published work is the Pathodia sacra et profana, a collection ofsongs

influenced by Italian madrigals and French airs de coeur.

The viol player and composer Johannes Shenck was born in Amsterdam

in 1660. His early career established him as a great virtuoso on the viol, and

with the support ofwealthy patrons he was able to have his music printed in 

lavish editions. One contemporary stated that “no one plays [the viol] with

such delicacy as he does.” In 1696 Shenck took the position of court musician

to Prince Wilhelm 11 of Dusseldorf, himself an amateur viol player. Perhaps

the lovely suites and sonatas for two viols contained in Shenck’s Le nymph de

Rheno were first enjoyed privately by the court violist and the prince, to whom

the collection is dedicated.

Program notes by Robert Eisenstein

J3
Monday, November 15

GALLERY TALKS

5:30 pm, West Building Rotunda

Dutch and Flemish Art and Music, Stephen Ackert

Music and Art on the Cusp ofFlanders and the Dutch Republic,

Robert Aubry Davis

(Followed by a presentation oflive music by the Trio Petillant)

CONCERT

6:30 pm, East Garden Court

Marion Verbruggen, recorder virtuoso

PROGRAM

Jacob van Eyck (c. 1590-1657)

Wat zal men op den Avond doen (What Shall We Do This Evening)

Harte diefje, waerom zoo still (Little Thief of My Heart, Why So Still)

Jacob van Noordt (1619-1681)

Malle Symen (Crazy Simon)

Van Eyck

Verdwaelde Koningin (Lost Queen)

Van Eyck

Boffons (Buffoons)

L’amie Cillae (My Friend Cilia)

Doen Daphne d'overschoone Maeght (When Daphne, the Most Beautiful

Maiden)

Batali (Battle)

Van Eyck

Bravade (Bravado)

Pavaen Lachrymae (Pavan of Tears)

Pavane de Spanje (Spanish Pavan)

Van Eyck

Een Schots Lietjen (A Little Scottish Song)

Amarilli mia bella (Amaryllis, My Beauty)

Engels Nachtegaeltje (English Nightingale)
The Musician

Marion Verbruggen sets an international standard as a master ofthe recorder, 

an instrument that has many practitioners but few virtuosos. She has performed and recorded with such renowned early music specialists as Gustav 

Leonhardt, Bob van Asperen, Wieland Kuijken, Jaap ter Linden, and Lucy van

Dael. Orchestras that have featured Verbruggen as a concerto soloist include

Tafelmusik, the Amsterdam Baroque Orchestra, the Akademie fur alte Musik 

in Berlin, Musika Antiqua Koln, the Philharmonia Baroque Orchestra, and

the Orchestra ofthe Age of Enlightenment.

Enamored of the recorder from an early age, Marion Verbruggen studied

at the Amsterdam Conservatory and with Frans Briiggen at the Royal Conservatory in The Hague. Her prizes include the first International Recorder

Competition in Bruges, the Nicolai Prize for the Performances of Contemporary Dutch Music, and the Erwin Bodky Award for Early Music. She has

recorded for the Harmonia Mundi usa, Erato, Sony, bmg, Ricercar, emi, and

Accent labels. Marion Verbruggen makes her Washington, d.c., debut on

this occasion by arrangement with California Artists Management of Mill

Valley, California.

16

Program Notes

Jonlcer Jacob van Eyck spent his entire adult life as carilloneur ofthe Utrecht

Cathedral and director of all of that city’s many bells and clock-chimes. He 

was born blind, but, according to his epitaph, “What God took from his

eye He gave back to his ear.” As a hobby (for which he received extra pay

from the city), Van Eyck also played the recorder in the Saint Jan’s Church

Garden, a public park not far from the cathedral, entertaining the strolling

crowds. In about 1650, as Van Eyck sensed that his career was drawing to a

close, he dictated approximately 150 of his recorder improvisations to copyists and gave them over for publication in several volumes as Der Fluyten

Lust-Hof (The Flute’s Garden of Delight), now a cornerstone ofthe recorder

repertoire. The works by the other composers represented on this program

were also published in collections. Those by Jacob van Noordt and Pieter de 

Vois come from’t Uitnement Kabinet (The Excellent Cabinet) (1649), and the

anonymous branles come from Der Goden Fluyt-Hemel (Flute-Heaven ofthe

Gods) (1644). All three collections were published by the Amsterdam music

printer and recorder player Paulus Matthysz (1613-1684). The pieces are 

variations on popular song tunes or instrumental dances. Some are Dutch,

but most tunes were imported from France and England and were fitted 

with texts ranging from serious to silly to scurrilous.

Although the recorder is an ancient instrument that enjoyed a popular

revival in the twentieth century, information about its earlier manifestations

has only recently come to light. In 1980 two soprano instruments ofthe Van

Eyck type were discovered in the collection of Rosenborg Castle in Copenhagen, Denmark, verifying the fingerings for the recorder indicated by Van

Eyck in Der Fluyten Lust-Hof The soprano recorder used in this program

was modeled on the Van Eyck design by the Australian builder Frederick

Morgan. Marion Verbruggen’s G-alto recorder, also built by Morgan, is based

on a Ganassi, now in the Kunsthistorisches Museum, Vienna.

Program notes by Marion Verbruggen

l7
Tuesday, November 16

GALLERY TALKS

5:30 pm, West Building Rotunda

Dutch and Flemish Art and Music, Stephen Ackert

Dutch Genre Painting: An Overview, Eric Denker

Musical Selections by the Trio Petillant

(Presented in the East Garden Court immediatelyfollowing the gallery talks)

PROGRAM

Archangelo Corelli (1653-1713)

Sonate iv, Op. 3

Adagio

Allegro 

Vivace

Adagio

Allegro

Jan Pieterszoon Sweelinck (1562-1621)

Variations on “Mein junges Leben hat ein End” for solo harpsichord

From’t Uitnement Kabinet (The Excellent Cabinet) (Amsterdam, 1646)

Carileen 1 (William Lawes, 1602-1645)

Carileen 3 (Cornelis Kist, c. 1600)

Carileen 2 (Anonymous)

18

Francois Dieupart (c. 1670-1740)

Suite No. 4

Ouverture

Allemande

Courante

Sarabande

Gavotte

Menuet

Gigue

Philip Hacquart (1645-1691)

Suite No. 3, for solo viola da gamba

Allemande

Courante

Sarabande

Gigue

Unico Wilhelm van Wassenaer (1692-1766)

Sonate 1

Grave

Allegro 

Adagio

Giga
The Musicians

BRECHTJE ROOS, RECORDER

Brechtje Roos began her recorder studies with Pia Elsdorfer in Groningen,

The Netherlands, and continued in 1997 at the Royal Conservatory in The

Hague with Jeanette van Wingerden and Reine-Marie Verhagen. In 1999

Roos also studied at the Utrecht conservatory, where her teacher was Heiko 

ter Schegget. In addition to her work with Trio Petillant, Roos performs with

the early music ensembles 2MB, Zimbello, Blaes-tuigh, and Benz. She has

made recordings for radio and films and has performed in the Holland

Dance Festival and the fringe concerts of the Early Music Festival in Utrecht.

CASSANDRA LUCKHARDT, VIOLA DA GAMBA

Cassandra Luckhardfs teachers and major influences have included Bonnie

Hampton, Catharina Meints, Kenneth Slowik, Christophe Coin, Jaap ter

Linden, and Wieland Kuijken. She received the bachelor of music and bachelor of arts degrees from Oberlin College in Oberlin, Ohio, in 1992, and the

master of music degree from the San Francisco Conservatory in 1994. One

of only three American recipients in 1994 of a Harriet Hale Woolley grant,

Luckhardt relocated to Paris to study at the Conservatoire National Superieur

de Musique. In 1996 she received third prize at the Early Music Competition for Ensembles in Bruges, and in 1998 was a prize winner at the Van

Wassenaer Concours. Since then, she has been invited to perform as a guest

artist in Japan, Finland, Germany, Denmark, and Sweden, and throughout

her adopted home ofThe Netherlands.

20

MICHAEL HINDERINK, HARPSICHORD

Michael Hinderink began his keyboard studies at an early age, combining

high school and conservatory at the Royal Conservatory in The Hague. He 

continued his studies with Jacques Ogg and Siebe Henstra at the Groningen

Conservatory and graduated in 1996 from the Utrecht Conservatory, where

his teacher was Siebe Henstra. A frequent performer, both within and

outside The Netherlands, Hinderink has numerous radio recordings to his

credit. He is a member of 2MB and several ad hoc ensembles in addition

to the Trio Petillant.

21