Artistic Director

  • Massimiliano Guido

    m-guido

    Massimiliano Guido is a Senior Researcher at the Musicology and Cultural Heritage Department of Pavia University, where he teaches courses on History of Musical Instruments and Music Theory. He previously served as Banting Post Doctoral Fellow (2012-14) and PDRF Fellow (2011) at the Schulich School of Music, McGill University, where he worked on historical improvisation at the keyboard. In 2013-14 he was the principal investigator of the international research project Improvisation in Classical Music Education: Rethinking our Future by Learning our Past, funded by the Social Sciences and Humanities Research Council of Canada (www.mentemani.org/Connection). He organized two international conferences on improvisation and he is the editor of Studies in Historical Improvisation: from Cantare super Librum to Partimenti (Routledge, 2017).
    He holds degrees in musicology (Pavia Univ. Doctorate and Laurea, Göteborg Univ. Master of Music Research), organ (Parma Conservatory) and harpsichord (Como Conservatory). His writings cover a variety of subjects, such as music theory, performance practice, organ building, and art song.
    He is the chair of the Interest Group on Improvisation of the Society of Music Theory. He is also active as organist, harpsichordist, and clavichordist.

Steering Committee

  • Edoardo Maria Bellotti

    Edoardo Bellotti is Associate Professor of Organ, Harpsichord and Improvisation at Eastman School of Music (University of Rochester). He has extensive teaching experience, having been Professor of Organ, Harpsichord and Improvisation in several musical institutions and universities including the Conservatory of Trossingen and the University of Bremen in Germany, the University of Udine and the Conservatory of Trento in Italy.
    A virtuoso organist and renowned improviser, Bellotti performs at leading festivals and concert venues throughout the world. He is currently collaborating in a project of new organ music and visual art in Milan, in conjunction with the art installation of the American minimalist Dan Flavin. He has performed the complete works of Cesar Franck, and has worked with orchestras in Italy and abroad, performing a wide spectrum of repertoire, including the Italian premiere of Satyagraha by Philip Glass. He is also considered a leading expert in the performance of renaissance and baroque keyboard music.
    He combines his international performing career with musicological research and teaching, publishing articles as well as new critical editions of music of the 17th and 18th centuries. He is a frequent guest lecturer at international conferences. He has made several critically acclaimed recordings on historical instruments, including Promenade (Loft Recordings), a recording of organ repertoire and original improvisations on the Eastman School of Music’s Italian baroque organ at the Memorial Art Gallery in Rochester.

  • Joel Speerstra


    Joel Speerstra is a Senior Researcher at the Göteborg Organ Art Center and a Lecturer at the Academy of Music and Drama at the University of Gothenburg. He is active as an instrument builder, performer, teacher, and musicologist.
    He studied the organ with William Porter and David Boe at Oberlin Conservatory before continuing in Europe on several grants that allowed him to study organ and clavichord with Harald Vogel as well as instrument building with John Barnes.
    The bulk of his recent concert-playing has been divided between the organ and the clavichord, often linked directly to a conference, masterclass or summer course.
    With Per Anders Terning has built more than fifty pedal clavichords, and manual clavichords, for individuals and institutions in Europe, North America, and Asia. He is a recent recipient of the Hilding Rosenberg prize in Musicology from the Royal Swedish Academy of Music.

Teachers

  • Enrico Baiano

    Enrico Baiano (Naples, 1960) is an Italian harpsichordist and fortepianist, known on the international stage as a virtuoso and strict interpreter of early music.
    Baiano has earned a number of international awards including the Deutsche Schallplattenpreis, Diapason d’Or, Choc de la Musique and Platte des Monats. He has written Method for Harpsichord: A practical guide for Pianists, Organists and Harpsichordists published by Ut Orpheus and translated into five languages. He has performed at the most renowned early music festivals in Europe, Israel and Japan with repertoire ranging from 16th to 21st century. He is one of the co-founders of the Italian ensemble “Cappella della Pietà dei Turchini”, with whom he has played and recorded from 1986 to 2000. He has also played with the Neapolitan contemporary music ensemble “Dissonanzen”, with Piccolo concerto “Wien” and with the Helsinki Baroque Orchestra.[2] He took part in two documentary films directed by Francesco Leprino: ‘Un gioco ardito – dodici variazioni tematiche su Domenico Scarlatti’ and ‘Sul nome B.a.c.h.’.

  • Edoardo Maria Bellotti

    Edoardo Bellotti is Associate Professor of Organ, Harpsichord and Improvisation at Eastman School of Music (University of Rochester). He has extensive teaching experience, having been Professor of Organ, Harpsichord and Improvisation in several musical institutions and universities including the Conservatory of Trossingen and the University of Bremen in Germany, the University of Udine and the Conservatory of Trento in Italy.
    A virtuoso organist and renowned improviser, Bellotti performs at leading festivals and concert venues throughout the world. He is currently collaborating in a project of new organ music and visual art in Milan, in conjunction with the art installation of the American minimalist Dan Flavin. He has performed the complete works of Cesar Franck, and has worked with orchestras in Italy and abroad, performing a wide spectrum of repertoire, including the Italian premiere of Satyagraha by Philip Glass. He is also considered a leading expert in the performance of renaissance and baroque keyboard music.
    He combines his international performing career with musicological research and teaching, publishing articles as well as new critical editions of music of the 17th and 18th centuries. He is a frequent guest lecturer at international conferences. He has made several critically acclaimed recordings on historical instruments, including Promenade (Loft Recordings), a recording of organ repertoire and original improvisations on the Eastman School of Music’s Italian baroque organ at the Memorial Art Gallery in Rochester.

  • Malcolm Bilson

  • Armando Carideo

    Armando Carideo, born in Torremaggiore (FG) in 1944, studied piano, organ and composition with Maestro Antonio Demonte, organist of the Cathedral of Turin; after which he specialized in musical paleography at the Institute of Musical Paleography in Rome.
    He combines his concert activity with the profession of musicologist and organologist, publishing essays of musicology and history of organ.
    The assiduous research in Italian and European libraries led to the discovery of important musical sources published in a critical edition by the publishing house “Ut Orpheus” of Bologna.
    Since 2000 he took the direction of sources collection for keyboard of the Historical Italian Organ Institute.
    He recorded his first CD (1998) with music by F. Fierce for the label Esperia.
    He has collaborated with the Superintendents of Lazio and Abruzzo as an expert for the cataloging and restoration of historic organs. From 1996 to 2000 he was organist of the organ Feliciano FAITHFUL (1726) in the Basilica of St. Bernardino in L’Aquila. He is currently organist organ of Philip Head (1701) in the Basilica of St. Maria in Trastevere (Rome).
    Since 2005 he teachs at the Smarano International Organ Academy (Trento).
    Professor of History of Musical Instruments at the University of Rome Tor Vergata 2000-2009.
    Author of the first critical edition of Bernardo Pasquini keyboard works.

  • Ulrika Davidsson

  • Massimiliano Guido

    m-guido

    Massimiliano Guido is a Senior Researcher at the Musicology and Cultural Heritage Department of Pavia University, where he teaches courses on History of Musical Instruments and Music Theory. He previously served as Banting Post Doctoral Fellow (2012-14) and PDRF Fellow (2011) at the Schulich School of Music, McGill University, where he worked on historical improvisation at the keyboard. In 2013-14 he was the principal investigator of the international research project Improvisation in Classical Music Education: Rethinking our Future by Learning our Past, funded by the Social Sciences and Humanities Research Council of Canada (www.mentemani.org/Connection). He organized two international conferences on improvisation and he is the editor of Studies in Historical Improvisation: from Cantare super Librum to Partimenti (Routledge, 2017).
    He holds degrees in musicology (Pavia Univ. Doctorate and Laurea, Göteborg Univ. Master of Music Research), organ (Parma Conservatory) and harpsichord (Como Conservatory). His writings cover a variety of subjects, such as music theory, performance practice, organ building, and art song.
    He is the chair of the Interest Group on Improvisation of the Society of Music Theory. He is also active as organist, harpsichordist, and clavichordist.

  • William Porter

  • Derek Remeš

  • Annette Richards

  • Giorgio Sanguinetti

  • Joel Speerstra


    Joel Speerstra is a Senior Researcher at the Göteborg Organ Art Center and a Lecturer at the Academy of Music and Drama at the University of Gothenburg. He is active as an instrument builder, performer, teacher, and musicologist.
    He studied the organ with William Porter and David Boe at Oberlin Conservatory before continuing in Europe on several grants that allowed him to study organ and clavichord with Harald Vogel as well as instrument building with John Barnes.
    The bulk of his recent concert-playing has been divided between the organ and the clavichord, often linked directly to a conference, masterclass or summer course.
    With Per Anders Terning has built more than fifty pedal clavichords, and manual clavichords, for individuals and institutions in Europe, North America, and Asia. He is a recent recipient of the Hilding Rosenberg prize in Musicology from the Royal Swedish Academy of Music.

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