“Revered like rock stars within the early music scene” (New York Times), QUICKSILVER brings together today’s top North American historically-informed performers. Described as “drop dead gorgeous with a wonderful interplay of timbres,” (Early Music America) and praised as “irresistible” (Fanfare Magazine), Quicksilver vibrantly explores the rich chamber music repertoire from the early modern period to the High Baroque. The ensemble has been featured at numerous music series and prestigious festivals, receiving critical acclaim, standing ovations and repeat invitations. Recent appearances include Carnegie Hall, Mostly Mozart Festival at Lincoln Center, CU Presents Artist Series (Colorado), Toronto Consort Series, Chamber Music in Historic Sites (Los Angeles), San Diego Early Music Society, Boston Early Music Festival, Vancouver Early Music Festival, Berkeley Festival and Exhibition, Early Music Now (Milwaukee), Chamber Music Tulsa, Indianapolis Early Music Festival, San Francisco Early Music Society, Virginia Arts Festival, Miami Bach Society, Madison Early Music Festival, Dumbarton Oaks- DC, Houston Early Music, Early Music Hawaii and Music Before 1800. Quicksilver’s debut recording, Stile Moderno was described as “Breakthrough of the Year…breathtaking” (Huffington Post) and “convincing…terrific” (Early Music -Oxford Journal). Quicksilver’s latest recording, Fantasticus has been named one of The New Yorker’s Ten Notable Recordings of 2014, praised as “Fantasticus, indeed” (Gramophone) and a “recommended purchase!” (Osterreichische Musikzeitschrift/Austrian Music Journal). Quicksilver’s recording The (very) First Viennese School is forthcoming next season.


One of America’s most prominent historical string players, ROBERT MEALY (co-director, violin) has been praised for his “imagination, taste, subtlety, and daring” (Boston Globe). A frequent soloist and orchestral leader, Mr. Mealy is principal concertmaster at Trinity Wall Street and the Orchestra Director of the Boston Early Music Festival Orchestra; he recently received a Grammy for his work with BEMF. He has also led the Mark Morris Dance Group Music Ensemble in performances here and in Moscow, accompanied Renee Fleming on the David Letterman Show, and recorded and toured a wide variety of repertoire with many distinguished ensembles both here and in Europe.  Committed to education as well as performing, he directs Juilliard’s distinguished Historical Performance Program. From 2003 to 2015, he taught at Yale, directing the postgraduate Yale Baroque Ensemble and the Yale Collegium Musicum. Prior to that, he taught at Harvard for over a decade, where he founded the Harvard Baroque Chamber Orchestra. In 2004, he received EMA’s Binkley Award for outstanding teaching and scholarship. He has recorded over 80 CDs on most major labels.


Lauded for her “invigorating verve and imagination” (Washington Post), JULIE ANDRIJESKI (co-director, violin) is among the leading baroque violinists and early music pedagogues in the U.S.  In addition to co-directing Quicksilver, she maintains an active performance schedule, playing with many diverse early music groups across the nation including the Atlanta Baroque Orchestra (Artistic Director), New York State Baroque (Concertmaster), Apollo’s Fire (Principal Player), and Les Délices.  As a full-time Senior Instructor at Case Western Reserve University and Teacher of Baroque Violin at the Cleveland Institute of Music, Ms. Andrijeski leads classes in historical performance practices, teaches lessons in baroque violin, and directs the baroque music and dance ensembles.  Her combined skills in music and dance often culminate in workshops and special teaching engagements at schools such as the Oberlin Conservatory, Indiana University, Juilliard, the University of Colorado – Boulder, and at several summer workshops as well.  Her recordings can be found on Acis Productions, Dorian Recordings, Centaur, Koch, CPO, Avie, and Musica Omnia.

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GREG INGLES (sackbut) attended the Interlochen Arts Academy and the Oberlin Conservatory. Two days after graduation from Oberlin, Mr. Ingles won the position of Solo Trombone in the Hofer Symphoniker in Hof, Germany. Subsequently, he completed both Master’s and Doctoral degrees in trombone performance at SUNY Stony Brook, specializing in historic performance. Mr. Ingles is a member of Piffaro, Quicksilver and Ciaramella and has played with such ensembles as the American Bach Soloists, Chatham Baroque, Concerto Palatino, The Handel and Haydn Society and Tafelmusik. He is Music Director of the Dark Horse Consort, an ensemble devoted to rarely performed brass music of the 17th century, and recently played with the Globe Theater in their Broadway debut. Mr. Ingles was the adjunct trombone professor at Hofstra University for over a decade and is currently the Lecturer in Sackbut at Boston University. He also teaches at the Madison Early Music Festival each summer.

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A native of California, DOMINIC TERESI (dulcian) is principal bassoon of Tafelmusik Baroque Orchestra, Boston Early Music Festival Orchestra and Carmel Bach Festival and teaches historical bassoons and chamber music at The Juilliard School. He is also on faculty at the University of Toronto. As a chamber musician, he plays regularly with Quicksilver, Juilliard Baroque and Toronto Consort.  He has also enjoyed performances with Le Concert d’Astrée, Orchestre Révolutionnaire et Romantique, American Bach Soloists, Philharmonia Baroque, Arion, Ensemble Caprice, Chatham Baroque, Eybler Quartet, Smithsonian Chamber Players and Apollo’s Fire.  In demand on dulcian, baroque, classical and modern bassoon, his playing has been described as “stellar” (New York Times) and “dazzling” (Toronto Star). Mr. Teresi was invited to be a featured artist on CBC Radio, where he performed a nationally broadcast radio concert of bassoon concertos and sonatas, and has appeared as a concerto soloist throughout Europe, North America and Australia. He holds a masters degree and artist diploma from Yale University and a doctorate from Indiana University.


DAVID MORRIS (viola da gamba/cello) is a member of the Galax Quartet and the Bertamo Trio. He is a frequent performer on the NYS Baroque and Pegasus Early Music series and the Boston Early Music Festival Orchestra. He has performed with Tafelmusik, Philharmonia Baroque Orchestra, American Bach Soloists, Tragicomedia, the Boston Symphony Orchestra, Mark Morris Dance Group and Pacific MusicWorks. Mr. Morris received his BA and MA in music from UC Berkeley, where he also received the Eisner Prize for outstanding achievement in the performing arts. He has been a guest instructor in early music performance-practice at Cornell University, Amherst College, UC Berkeley, UC Santa Cruz, the San Francisco Conservatory of Music, Mills College, Oberlin College and the Madison Early Music Festival, and has recorded for Harmonia Mundi, New Albion, Dorian, New World Records, Drag City Records, New Line Cinema and CBC/ Radio Canada.

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AVI STEIN (harpsichord/organ) is Associate Organist and Chorusmaster at Trinity Wall Street, teaches at The Juilliard School and Yale University, and serves as artistic director of the Helicon Foundation. The New York Times described him as “a brilliant organ soloist” in his Carnegie Hall debut and he was featured in an Early Music America magazine article on the new generation of leaders in the field. He is an active continuo player appearing regularly with the Boston Early Music Festival, Quicksilver, the Clarion Music Society and Bach Vespers NYC. Mr. Stein directed the young artists’ program at the Carmel Bach Festival and has conducted a variety of ensembles including Opera Français de New York, OperaOmnia, Amherst Festival opera and the critically acclaimed 4×4 Festival. This summer he will direct the International Baroque Academy at Musiktheater Bavaria. He studied at Indiana University, Eastman School of Music, University of Southern California and was a Fulbright scholar in Toulouse.

Lutenist and music theorist CHARLES WEAVER (theorbo/guitar) is on the faculty of the Juilliard School, where he teaches historical plucked instruments and Baroque music theory. He was music director for Cavalli’s La Calisto with New York’s Dell’Arte Opera in 2017, when The Observer remarked on “the superb baroque band led by Charles Weaver.” He has served as assistant conductor for Juilliard Opera, and accompanied operas with the Yale Baroque Opera Project and the Boston Early Music Festival. Chamber music appearances include Quicksilver, Piffaro, Chamber Music Society of Lincoln Center, the Folger Consort, Apollo’s Fire, Blue Heron, and Musica Pacifica. He also works with the New York Continuo Collective, an ensemble of players and singers exploring seventeenth-century vocal music in semester-length workshop productions. He has taught at the Lute Society of America Summer Workshop, the International Baroque Institute at Longy, and the Madison Early Music Festival. He is associate director of music at St. Mary’s Church in Norwalk, Connecticut, where he specializes in Renaissance polyphony and Gregorian chant.