ROBERT MEALY is one of America’s most prominent Baroque violinists. The New York Times remarked that “Mr. Mealy seems to foster excellence wherever he goes, whether as director of the Boston Early Music Festival Orchestra, concertmaster of the Trinity Baroque Orchestra in New York, or at The Juilliard School, as director of the historical performance program.” While still an undergraduate, he was asked to join the Canadian Baroque orchestra Tafelmusik; after graduating he began performing with Les Arts Florissants. Since then, he has recorded and toured with many ensembles both here and in Europe, and served as concertmaster for Masaaki Suzuki, Nicholas McGegan, Helmuth Rilling, Paul Agnew, and William Christie, among others. He is especially happy playing chamber music with his colleagues in Quicksilver. Other recent chamber projects have ranged from creating a series of Ars Subtilior programs for The Cloisters in New York to performing the complete Bach violin & harpsichord sonatas at Washington's Smithsonian Museum. Mr. Mealy has directed the Historical Performance Program at The Juilliard School since 2012, and has led his Juilliard students in acclaimed performances both in New York and abroad, including tours to Europe, India, New Zealand, and (most recently) Bolivia. Before coming to Juilliard, he taught for many years at Yale and Harvard. In 2004, he received EMA’s Binkley Award for outstanding teaching and scholarship. He still likes to practice.

Violinist JULIE ANDRIJESKI is celebrated as a performer, scholar, and teacher of historical music and dance. She has been recognized for her “invigorating verve and imagination” (Washington Post), “fiery and poetic depth” (Cleveland Plain Dealer), and “velvety, consistently attractive sound” (New York Times). She is a faculty member at Case Western Reserve University and Teacher of Baroque Violin and Stage Movement at the Cleveland Institute of Music. She is a Visiting Lecturer at the Juilliard School and is often invited to present workshops at universities nationwide. Her article on historical violin performance is published in A Performer’s Guide to Seventeenth-Century Music. A Grammy Award winner, Andrijeski is Artistic Director of the Atlanta Baroque Orchestra, a member of the Cleveland based ensemble Les Délices, and performs with several other ensembles. She won Early Music America’s Thomas Binkley Award, for outstanding achievement in performance and scholarship, and was named a 2016 Creative Workforce Fellow by Cuyahoga Arts & Culture (Ohio), supporting her research and performance of 17th-century music in manuscript.

GREG INGLES (sackbut) attended high school at the Interlochen Arts Academy and went on to graduate from the Oberlin Conservatory and SUNY Stony Brook. Before his career in early music, Greg was the Solo Trombone in the Hofer Symphoniker. He enjoys unearthing rarely heard gems as the music director of the early brass ensemble Dark Horse Consort. Greg is a member of Piffaro and made his Carnegie Hall debut with Quicksilver last season. He has played with such ensembles as the American Bach Soloists, Chatham Baroque, Concerto Palatino, The Handel & Haydn Society of Boston, Philharmonia Baroque and Tafelmusik. He played with the Globe Theater in their Tony nominated Broadway debut of Twelfth Night and Richard III. Greg is currently the Lecturer in Sackbut at Boston University.

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, Ensemble Caprice, Smithsonian Chamber Players and others. In demand on dulcian, baroque, classical, romantic 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. In addition to his work at Juilliard, Teresi teaches at the Tafelmusik Institutes, American Bach Soloists Academy, and Juilliard’s Piccola Accademia di Montisi in Italy. He has been an invited lecturer at the Musikinstrumentenbau Symposium in Saxony-Anhalt.

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.

AVI STEIN (harpsichord/organ) is the associate organist and chorus-master at Trinity Church Wall Street and the artistic director of the Helicon Foundation. He teaches continuo accompaniment, vocal repertoire and chamber music at the Juilliard School and recently conducted Juilliard’s production of Dido and Aeneas in London and at the Royal Opera House of Versailles. He performed on the 2015 Grammy Award winning recording of Marc-Antoine Charpentier's La Descente d'Orphée aux Enfers and La Couronne de Fleurs by the Boston Early Music Festival. The New York Times described Avi as "a brilliant organ soloist" in his Carnegie Hall debut and he was recently featured in Early Music America magazine in an article on the new generation of leaders in the field. He has directed the International Baroque Academy of Musiktheater Bavaria and the young artists’ program at the Carmel Bach Festival and has conducted a variety of ensembles including the Opera Français de New York, OperaOmnia, the Amherst Festival opera and a critically acclaimed annual series called the 4x4 Festival. Avi studied at Indiana University, the Eastman School of Music, the University of Southern California and was a Fulbright scholar in Toulouse, France.

CHARLES WEAVER (theorbo/guitar) is on the faculty of the Juilliard School, where he teaches performance practice and historical music theory. He has been assistant conductor for Juilliard Opera and has participated in opera productions at the University of Maryland, the Cleveland Institute of Music, Princeton University, Yale University, and the Boston Early Music Festival. As a collaborative musician, he has performed with the Orchestra of St. Luke's, the New York Philharmonic, the Philadelphia Orchestra, the Minnesota Orchestra, and the Virginia Symphony. In addition to being a regular member of the ensemble Quicksilver, his chamber-music projects have included engagements with Piffaro, Chamber Music Society of Lincoln Center, the Folger Consort, Apollo's Fire, Blue Heron, the Newberry Consort, and Musica Pacifica. He is organist and choirmaster at St. Mary's Church in Norwalk, Connecticut, where he specializes in the liturgical performance of medieval and renaissance music. He holds a PhD in music theory from the City University of New York. His research interests are in the rhythm of Gregorian chant and the history of the theory of harmony.