Contributors to Understanding Bach

Suzanne Aspden UB 5 (2010) is a University Lecturer at the University of Oxford. Her research interests centre on eighteenth-century opera and issues of performance and identity; publications have appeared in JAMS, COJ, JRMA and elsewhere. Her book on the reputed rivalry between the singers Faustina Bordoni and Francesca Cuzzoni in 1720s London will be published by Cambridge University Press in 2011/12. Her next book project concerns opera and national identity in the eighteenth century. She is currently co-editor of the Cambridge Opera Journal.

Rachel Baldock UB 3 (2008) is a freelance oboist and an AHRC research scholar at the Royal Academy of Music in London. After gaining a First Class BA degree in Music at Cambridge University and a Distinction in Performance and Research at Masters level at the Royal Academy of Music, she is continuing her academic studies with doctoral research into dynamic markings in C. P. E. Bach’s instrumental music alongside performing regularly with many British leading period instrument ensembles.

Manuel Bärwald UB 6 (2011) is a doctoral student at Leipzig University and research assistant at the Bach-Archiv Leipzig. From 2003 to 2009 he studied musicology at Leipzig University. Between 2007 and 2009 he researched the Leipzig newspapers of Bach’s time for the project ‘Expedition Bach’. Since 2009 he has been responsible for research into archival documents relating to the Bach family and the history of baroque music in Central Germany. In his doctoral dissertation he will present new documents concerning Leipzig opera and concert performances in the time of Johann Sebastian Bach.

Chiara Bertoglio UB 9 (2014) is a concert pianist and musicologist, having obtained a Master’s Degree in Piano at the Accademia di Santa Cecilia in Rome in 2003, a ‘Laurea Specialistica’ in Musicology at the University of Venice in 2006 and a PhD in Music Performance Practice at the University of Birmingham in 2012. Her published works include studies on Mozart performance practice and on the theology of music. She designed and currently supervises an MA course at the University of Rome Tor Vergata.

Christine Blanken UB 10 (2015) was awarded her doctorate from the University of Göttingen for a thesis on Schubert’s Lazarus in 1999, when she became research assistant at the Johann-Sebastian-Bach-Institut Göttingen, working on the Göttinger Bach-Katalog. In 2005 she moved to the Bach-Archiv Leipzig, where she currently leads the second research team. Her activities include the Bach-Repertorium (editions of Bach family documents and music), NBA rev (J. S. Bach’s organ chorales), Bach digital, and research into Bach family music reception. She has been active as a church organist since 1990.

Bradley Brookshire UB 11 (2016) is a performer and musicologist interested in the interdisciplinary contexts of the historiography of Bach performance practice. He maintains an active performing career as a harpsichordist and Assistant Conductor at the Metropolitan Opera, alongside his position as Associate Professor in the Conservatory of Music at Purchase College (SUNY), where he teaches baroque performance practice and history. He is currently working on a full length biography of the German pianist Edwin Fischer.

John Butt UB 1 (2006) holds the Gardiner Chair of Music at the University of Glasgow. His research has ranged over aspects of the ontology of music in the seventeenth century, listenership, and music and emotion. His most recent book is a study of Bach’s Passions Bach’s Dialogue with Modernity, which attempts to place Bach within the broader context of Western cultural history through detailed analysis of the music. As Musical Director of Edinburgh’s Dunedin Consort he has made several award-winning recordings of Bach and Handel, and travels widely as a conductor and organist. He was awarded the 2011 Royal Academy of Music/Kohn Foundation Bach Prize.

Donald Burrows UB 6 (2011) is Professor of Music at the Open University, and a leading scholar of the music of George Frideric Handel. He read History and Music at Trinity Hall, Cambridge and completed his PhD at the Open University in 1981. He is Vice-President of the Händel-Gesellschaft, and Chairman of the Handel Institute. He has published numerous critical editions and books including The Cambridge Companion to Handel (Cambridge, 1997), Händel and the English Chapel Royal (Oxford, 2005), and Handel (Oxford, 2nd edition, 2012).

Dalia Cohen UB 3 (2008) (d. 2013) was Professor Emeritus of the Department of Musicology at The Hebrew University and the Jerusalem Academy of Music. Her research interests included music theory, universals in music, music perception and cognition, learned and natural musical schemata, style as determined by both the aesthetic ideal and cognitive constraints, vocal communication among humans and animals, symmetry in music, musical language of Bach, Arab music in theory and practice.

Elise Crean UB 3 (2008) and UB 5 (2010) is a doctoral scholar at Queen’s University Belfast. After gaining a First Class BMus degree and a Distinction in Music at Master’s level, she is currently researching the historical and musical context of Bach’s canons under the supervision of Professor Yo Tomita. She is expecting to complete her PhD in 2011. She co-edited Understanding Bach’s B-minor Mass, 1 (Belfast, 2007) for the International Symposium: Understanding Bach’s B-minor Mass.

Thomas Cressy UB 11 (2016) is a research scholar for the Ministry of Education, Culture, Sports, Science and Technology of Japan (MEXT), studying for an MA in Music Culture Studies at Tokyo University of the Arts, and working on a comprehensive history of Bach’s music in Japan since the nineteenth century as part of the ‘Global Bach’ research group. In 2012 he completed an MA in music, supervised by John Butt, with a dissertation exploring the aesthetics and philosophy of Bach’s fugues. He has been living in Japan since 2013.

Stephen A. Crist UB 12 (2017) is Associate Professor of Music at Emory University. His numerous publications include books and articles on J. S. Bach and his contemporaries, early Lutheran hymnody, and jazz in the 1950s and 60s. He is past president of both the American Bach Society and the Society for Christian Scholarship in Music. His monograph on Dave Brubeck’s iconic album Time Out (1959) will be published by Oxford University Press (forthcoming).

Ian Cross UB 2 (2007) is Reader in Music and Science and is a Fellow of Wolfson College, Cambridge, where he is also Director of the Faculty’s Centre for Music and Science. He has published widely in the field of music cognition. His current research focus is on the exploration of music as a biocultural phenomenon, involving collaboration with psychologists, engineers, anthropologists and archaeologists.

Stacey Davis UB 12 (2017) holds PhD and MM degrees in music theory from Northwestern University, and a BMus in violin performance from Arizona State University. She is associate professor of music theory, and associate chair at the music department at the University of Texas at San Antonio, where she teaches courses in music theory and music psychology. Her research interests centre on the connections between musical structure, music cognition, and expressive performance, focusing particularly on the analysis, perception and performance of J. S. Bach’s unaccompanied string works.

Alison Dunlop UB 3 (2008) (d. 2013) was a PhD student under the supervision of Yo Tomita at Queen’s University Belfast in 2008, having earlier graduated with a First Class BA degree in Modern Greek and Music, and a Distinction in Music at Masters level. In 2007 she designed and produced the exhibition and accompanying catalogue ’Bach’s B-minor Mass Performed in Foreign Lands’ for the International Symposium: Understanding Bach’s B-minor Mass.

Raymond Erickson UB 9 (2014) is Professor Emeritus of Music at Queens College and The Graduate Center of the City University of New York (CUNY). His numerous publications range from computer applications in music, to medieval music theory and Bach. A professional harpsichordist and pianist who performs internationally, and director of the summer performers’ workshop ‘Rethinking Bach’ at Queens College, Raymond Erickson will be making his debut in the far east in 2014, with recitals in China and ‘Rethinking Bach’ invited to Japan.

Gergely Fazekas UB 10 (2015) , UB 11 (2016) and UB12 (2017) is a Hungarian musicologist and editor. He studied literature and philosophy at Eötvös Loránd University and musicology at the Liszt Academy, where as associate professor he teaches 17th and 18th century music history and analysis. Since 2013 he has been editor-in-chief at the music publishing house Rózsavölgyi & Co (founded in 1850). For the academic year 2017–18 he has been selected for a Fulbright Lecturing Award to teach music history at Bard College, NY, USA.

Andrew Frampton UB 11 (2016) gained a First Class honours degree in musicology from the University of Melbourne in 2013, winning the top prize for outstanding dissertation. He subsequently completed a Master of Music in 2015 with a thesis supervised by Janice B. Stockigt entitled Jan Dismas Zelenka’s Missa Sancti Spiritus, ZWV 4: A Critical Edition and Study of the Manuscript Sources. He has been awarded a prestigious John Monash scholarship to enable him to pursue doctoral studies on Agricola in the UK from October 2016.

Hannah French UB 12 (2017) is a musicologist, broadcaster and baroque flautist, with particular research interests in the English Bach awakening and the BBC Proms. She is a regular presenter and reviewer for BBC Radio 3, and for twelve years was a lecturer and tutor at the Royal Academy of Music. An expanded version of her doctoral dissertation, ‘The Role of Sir Henry J. Wood in the English Bach Awakening: Orchestral Bach at the Proms 1895–1944’ (University of Leeds, 2014), will be published as J. S. Bach’s Unsung Champion: Sir Henry J. Wood. 

Ruth HaCohen UB 1 (2006) and UB 4 (2009) holds the Artur Rubinstein Chair of Musicology at the Hebrew University of Jerusalem. In her work she seeks to explicate the role played by Western music in shaping and reflecting wide aesthetic and cultural processes, extending from baroque to modern music. Among her recent publications is: Tuning the Mind: Connecting Aesthetic Theory to Cognitive Science, Transaction, 2003 (with Ruth Katz). Her study on Vocal Fictions of Noise and Harmony: The Music Libel against the Jews was published in 2010.

Matthew J. Hall UB 10 (2015) studied music and linguistics at Harvard University and is a PhD candidate at Cornell University. His research areas include the early reception of J. S. Bach, keyboard pedagogy in the 18th century, the theory and social history of counterpoint and aspects of Renaissance studies including the music of Antoine Brumel. He performs regularly on the harpsichord, organ and fortepiano, and recorded the C. P. E. Bach piano quartets, with Sarah Darling (viola) and Sarah Paysnick (traverso) on the Ad Parnassum label in 2013. In 2014 he was awarded the Irene Alm Memorial Prize by the Society for Seventeenth-Century Music.

Piers Hellawell UB 10 (2015) is Professor of Composition at The Queen’s University Belfast. He was educated at Oxford university and studied composition with James Wood and Nicholas Maw. His compositions have been performed internationally by artists such as Håkan Hardenberger and the Philharmonia, the BBC Scottish Symphony Orchestra and the Hilliard ensemble, while his chamber works are a regular feature of festivals in Britain and the USA. His most recent CD ‘Airs, Waters’ (Delphian: May 2012) has attracted critical acclaim, hailed by The Scotsman as ‘gorgeously impassioned work … a rich kaleidoscope of inspired creativity’.

Noelle Heber UB 12 (2017) is an American violinist and violin teacher, currently residing in Paris, France. She holds an MMus from De Paul University School of Music (Chicago) and an MA from Trinity International University (Deerfield, IL). She began doctoral research at Utrecht University in 2015 on the topic ‘Poverty and abundance in the life and sacred music of J. S. Bach’, exploring the practical issues of money in Bach’s life and time, including the stance of the Lutheran church on poverty and social justice, and the significance of material and spiritual riches in his cantatas.

Wendy Heller UB 10 (2015) is Professor of Music and Director of the Programme in Italian Studies at Princeton University. She specialises in the music of the seventeenth and eighteenth centuries with emphasis on the study of opera from interdisciplinary perspectives. Her many publications include Music in the Baroque and its companion volume Anthology of  Music in the Baroque (W.W. Norton: 2013), and her forthcoming Animating Ovid: Opera and the Metamorphoses of Antiquity in Early Modern Italy.

Martin W. B. Jarvis UB 3 (2008) is Associate Professor at Charles Darwin University and Artistic Director of the Darwin Symphony Orchestra, and in 2007 was awarded the Order of Australia Medal for services to music. He is currently exploring the application of Forensic Document Examination techniques to Bach manuscripts in conjunction with leading international FDE expert Dr Bryan Found.

Richard D. P. Jones UB 3 (2008), editor of UB 12 (2017), is an English Bach scholar, well known for his editions, among which are Clavierübung I (Neue Bach-Ausgabe), and The Well-Tempered Clavier (Associated Board). He has also translated Alfred Dürr’s classic Die Kantaten von J. S. Bach (2005); and his two-volume study The Creative Development of J. S. Bach appeared in 2007 and 2013.

Bernd Koska UB 10 (2015) is a doctoral student at Halle University and research assistant at the Bach-Archiv Leipzig.  He studied musicology at Halle University from 2004 to 2011, and from 2012 to 2014 he worked as a researcher for the ‘Bachs Thomaner’ project. His doctoral dissertation presents new documents on selected Bach students who were later employed as church musicians. His current focus is on archival material pertaining to music life in the Leipzig region in Bach’s time.

Tanja Kovačević UB 3 (2008), UB 5 (2010), UB 7 (2012) and UB 8 (2013) read Musicology and English at the University of Zagreb, and completed her undergraduate studies at Queen’s University Belfast, where she also studied for her PhD. Her thesis Trailing the Sources: In Pursuit of a European Picture of Bach Reception in the Eighteenth and Nineteenth Centuries is expected to appear as a book in 2014. She was arts correspondent for the bi-weekly broadsheets Vijenac and Zarez, and co-edited Understanding Bach’s B-minor Mass, 2 (Belfast, 2007). From 2008 she has served as editor of the Bach Bibliography Review Section, and has been on the Editorial Team of Understanding Bach since January 2010.

Reinhold Kubik UB 4 (2009) had a career as opera Kapellmeister before studying musicology, art history and theatre history. He took his doctorate with a dissertation on Handel’s Rinaldo. His work has primarily been in musical editing (Hänssler Verlag, Universal Edition); since 1992 he has directed the Critical Edition of the complete works of Gustav Mahler, and in 2000 he edited all of Bach’s church cantatas for John Eliot Gardiner’s Bach Pilgrimage (2000). Stage realisation of baroque opera, and Lieder recitals with historical gesture in collaboration with his wife, Margit Legler remain an important focus.

Robin A. Leaver UB 3 (2008), UB 5 (2010) and UB 7 (2012) is Emeritus Professor of Sacred Music at Westminster Choir College, where he taught for almost twenty-five years; currently Visiting Professor at Yale University, and at Queen’s University, Belfast, Northern Ireland. He is a past president of both the Internationale Arbeitsgemeinschaft für Hymnologie and the American Bach Society, and the author of numerous books and articles in the cross-disciplinary areas of liturgy, church music, theology, and hymnology, published in four continents, with significant contributions to Luther, Schütz and Bach studies.

David Ledbetter UB 6 (2011) is an internationally recognised authority on seventeenth- and eighteenth-century keyboard music, with particular research interests in how an understanding of context and structure may deepen and enrich performance. His publications include Harpsichord and Lute Music in 17th-Century France (Macmillan, 1987), Continuo Playing According to Handel (Oxford University Press, 1990), Bach’s Well-tempered Clavier (Yale University Press, 2002), and (with Simon Rowland-Jones) a new performing edition of Haydn’s string quartets (Peters Edition).

Margit Legler UB 4 (2009) has worked for many years as a professional dancer having studied baroque singing and gesture. She teaches stage performance, according to historically-oriented performance practice, in Vienna and in numerous workshops across Europe. She has directed operas by Mozart (Die Zauberflöte), Gassmann (Il trionfo d’amore), Gluck (Il Parnaso confuso), and Purcell (Dido and Aeneas) for the Halle Handel Festival at the Goethe theatre (1797) in Bad Lauchstädt. For this performance she founded her own student ensemble (L’Azione Teatrale), which she directs in collaboration with her husband, Reinhold Kubik.

Mattias Lundberg UB 8 (2013) is an Associate Professor at the Department of Musicology, University of Uppsala, Head of Rare Collections at the Swedish National Collections of Music, and collaborator in the Swedish working group of Répertoire International des Sources Musicales. He has published books, articles and critical editions pertaining to a range of topics on music theory, counterpoint, liturgy in early modern Lutheranism.

Nadya Markovska UB 9 (2014) studied musicology at the National Academy of Music in Sofia, Bulgaria, where she graduated in 2000 with a first class BA degree and in 2002 with a Master degree in music. She is currently a doctoral student at the University of Southampton, researching into articulation markings in J. S. Bach’s instrumental music.

Michael Maul UB 3 (2008), UB 4 (2009) and UB 12 (2017), studied musicology at the University of Leipzig. In 2006 he completed his award-winning dissertation on Baroque Opera in Leipzig (1693–1720) at the University of Freiburg (supervised by Christoph Wolff) and in 2013 completed his habilitation thesis on the history of the Leipzig St.Thomas School Dero berümbter Chor–Die Leipziger Thomasschule und ihre Kantoren 1212–1804. He has been a member of the research team at the Bach Archive in Leipzig since 2002. He was visiting professor at the Peabody Institute, Baltimore 2014–15 and is currently a lecturer at the Universities of Leipzig and Halle. His numerous publications focus on German baroque music of the 17th and 18th centuries, with a particular emphasis on J. S. Bach.

Susan McCormick UB 8 (2013) is a doctoral student at Queen’s University Belfast. In 2007 she graduated with a first class Bachelor of Music degree, specialising in pedagogy, from DIT Conservatory of Music and Drama. After completing a Postgraduate Diploma in Education at Trinity College Dublin, she gained a Distinction in Music at Master’s level from Queen’s University Belfast in 2009. She is currently studying at the Bach-Archiv Leipzig as a DAAD award holder. Her forthcoming doctoral dissertation will examine the chorales of Johann Christian Kittel.

Ian Mills UB 3 (2008) and UB 5 (2010) is a prize-winning organist and choir director and in 2008 was the youngest Cathedral Organist in the UK. Having gained a First Class BMus and a Distinction at Master’s level he continued his academic studies with a doctoral dissertation on the reception of Bach’s Great Eighteen chorale preludes in the late eighteenth and early nineteenth centuries, which he plans to complete in 2011. He co-edited Understanding Bach’s B-minor Mass, 1 (Belfast 2007) for the International Symposium: Understanding Bach’s B-minor Mass.

Julian Mincham UB 4 (2009) was Chair and Curriculum Leader of Music at Middlesex University until 2005, leaving it to devote more time to research. His present main interests include researching, presenting and improvising piano scores for films of the ‘silent movie’ era (e.g. Keaton, Chaplin and Lloyd) and the Bach cantatas. His five-year project on the latter has been in the public domain since 2010.

Samantha Owens UB 9 (2014) and UB 11 (2016) was an Associate Professor at the University of Queensland (Brisbane, Australia) until 2015 when she became Associate Professor at the New Zealand School of Music, Victoria University of Wellington. Her research interests centre on early modern German court music, John Sigismond Cousser (1660–1727), and the influence of German music and musicians in Australasia, 1850–1950. Recent publications have included an edited volume (with Barbara M. Reul and Janice B. Stockigt), Music at German Courts, 1715–1760: Changing Artistic Priorities (Boydell Press, 2011) and a critical edition of Cousser’s opera Adonis (A-R Editions, 2009).

Szymon Paczkowski UB 2 (2007) and UB 10 (2015)  is a lecturer at the University of Warsaw. Following his doctoral research in Warsaw, Freiburg and Tübingen he published his first book Nauka o afektach w myśli muzycznej I połowy XVII wieku (The musical doctrine of affections of the first half of the seventeenth century) in 1998. Currently in preparation is his monograph on the allegorical meaning of the Polish style in eighteenth-century German music. He was chairman in 2006 of the highly acclaimed 12th Biennial Conference of Baroque Music in Warsaw, and in 2009 became a member of the Bach Network UK Advisory Council.

Vasiliki Papadopoulou UB 9 (2014) is a violinist and research student at the University of Music and Performing Arts Vienna. She studied modern violin to Diploma and Masters level at the Hochschule für Musik Köln (2007) and the Zürcher Hochschule der Künste (2010), and baroque violin with historically informed performance practice during her period in Köln. Her doctoral research focuses on the Performance and Editions’ history of J. S. Bach’s Sonatas and Partitas for solo violin.

Barbara M. Reul UB 9 (2014), UB 12 (2017) is a full professor of musicology at Luther College, University of Regina, Canada. She has published widely on J. F. Fasch (1688-1758) and music at the court of Anhalt-Zerbst, contributing multiple articles in both German and English to the Fasch-Studien series, most recently in 2015. She is also author of the entry on Fasch in Grove Music Online. Together with Samantha Owens and Janice B. Stockigt she co-edited, co-translated and contributed to the volume Music at German Courts, 1715-1760: Changing Artistic Priorities (Boydell Press, 2011). In 2016 she joined the editorial team for Understanding Bach and is a co-editor of UB 12 (2017).

Joshua Rifkin UB 5 (2010) Joshua Rifkin’s work as performer and scholar has included many concerts, recordings and writings devoted to Bach. His edition of the B minor mass was published in 2006, Johann Sebastian Bach (1685–1750): Messe h-moll BWV232, ed. Joshua Rifkin (Wiesbaden: Breitkopf & Härtel, 2006).

Stephen Rose UB 3 (2008) is Lecturer in Music at Royal Holloway, University of London, and the Reviews Editor (Books & Music) of Early Music. His publications examine German music in its social, material and performing contexts, with a particular focus on printing and the book trade. His book on the novels and autobiographies written by German Baroque musicians was published in 2011. He became a member of the Bach Network UK Advisory Council in 2009.

Irmgard Scheitler UB 4 (2009) has studied Theology, German Literature and Byzantine Studies and is professor at Würzburg University, teaching modern German philology. Her research includes travel literature, contemporary novel and poetry of the romantic era. A focus of her interests are the interactions between music and text (Lied, hymn, cantata); her most recent publication is Deutsche Oratorienlibretti. Von den Anfängen bis 1730. She is presently holding a research scholarship, preparing a major study on incidental music in German drama of the sixteenth and seventeenth centuries.

Burkhard Schwalbach UB 3 (2008) is an AHRC scholar reading for a DPhil at Magdalen College, Oxford under the supervision of Professor Laurence Dreyfus. Graduating from King’s College, London with a First Class BMus and the Purcell Prize in Music for the best result in the final examinations, he continued his studies there, gaining a Distinction in a MMus specialising in Historical Musicology. He is currently preparing a thesis on J. S. Bach’s social and creative environment in eighteenth-century Leipzig.

Yael Sela UB 5 (2010) Following doctoral studies at Oxford university, she has been a postdoctoral fellow in musicology at the Hebrew University of Jerusalem since 2008, where she is expanding her research on women’s music manuscripts and domestic musical culture in early modern England and Germany. Recipients of various grants, including the AHRC doctoral award, Ireen Alm Memorial Prize and two research grants from the DAAD in 2010 and 2011 to embark on a project dealing with Jewish patronage of music in Berlin, 1770-1830.

Tatiana Shabalina UB 4 (2009), UB 9 (2014) and UB 11 (2016) is Professor at the St Petersburg State Conservatoire (Piano and Musicology Departments). She is author of a series of books on J. S. Bach’s life and works, as well as articles in the Bach-Jahrbuch 2004, 2007–2010, 2012, Humanitas 2002, 2006, Opera musicologica 2010 and other journals. Her recent contributions include the first publication of Bach’s autograph from the Pushkin-House (St Petersburg), as well as discoveries of other Bach sources in Russian archives and libraries. She is currently preparing publication of a book ‘Texte zur Music’ in Sankt Petersburg: Gedruckte Quellen zu Werken von J. S. Bach und anderen deutschen Komponisten des 17. und 18. Jahrhunderts (Leipziger Beiträge zur Bach-Forschung).

Ulrich Siegele UB 11 (2016) studied musicology, classics, and history graduating in 1957 and gaining his habilitation in 1965. He was professor of musicology at Tübingen University from 1971 until his retirement in 1995. His numerous publications focus on the formal aspects of compositional process in the works of J. S. Bach, Monteverdi, Beethoven, Wagner, and in twentieth century serial music; and on the political, social and economic contexts of Bach’s life. He is currently working on a monograph series Johann Sebastian Bach komponiert Zeit: Tempo und Dauer in seiner Musik, the first volume of which was published in 2014.

Peter Smaill UB 4 (2009) and UB 8 (2013) is chairman of an Investment Trust, Core plc. At Edinburgh University he was a tenor in its Renaissance Singers. His lifelong study of the Bach Cantatas has resulted in a complete survey of the oeuvre along with the online Bach cantatas website. His interest in analysing the theological tendencies of Bach’s vocal works is complemented by research into the numerological evidence in works such as the hybrid St Luke Passion. Becoming a trustee of BNUK in 2008, he was elected Chair of the Trustees in 2010.

Eberhard Spree UB 8 (2013) has been a member of the Gewandhaus Orchestra, Leipzig, since 1989. After discovering the Registers of Ursula Erbstollen in early 2010, he has written extensively and lectured on Bach’s mining shares. His ongoing research into the subject has led to the discovery of many additional documents bearing the name of J. S. Bach, specifically in the Mining Archive at Freiberg.

Margaret Steinitz UB 4 (2009) is Artistic Director of the London Bach Society, founded in 1946 by her late husband, the Bach scholar and conductor Dr. Paul Steinitz (1909–1988). She founded the annual Bachfest in 1990, the journal Bach Notes in 1996, and the LBS website in time of the 250th Bach anniversary in 2000. The British Bach revival will be the focus of the LBS 70th anniversary celebrations in 2016.

Andrew Stewart UB 1 (2006) is a freelance music journalist and critic based in London, regularly contributing to consumer and trade magazines. He is currently researching the post-war reception of Wilhelm Furtwängler and the intervention of selective memory in music journalism. His musical activities include theartistic direction of Southwark Voices, a professional chamber choir.

Jan Stockigt UB 9 (2014) and UB 11 (2016) is a Principal Fellow of the University of Melbourne and Fellow of the Australian Academy of Humanities, whose research into Catholic music in Saxony during J. S. Bach’s lifetime, especially the collection of Dresden’s Hofkirche (1765), has led to numerous publications, and a comprehensive database soon to be published online. Publications include her award-winning monograph Jan Dismas Zelenka (1679–1745): A Bohemian Musician at the Court of Dresden (OUP, 2000), contributions to the multi-authored Music at German Courts, 1715–1760 (Boydell Press, 2011), Exploring Bach’s B-Minor Mass (CUP, 2013), and most recently, with Jóhannes Ágútsson, ‘Records of Catholic musicians, actors, and dancers at the court of August II, 1723–1732’ in Royal Musical Association Research Chronicle, (2014).

Reinhard Strohm UB 1 (2006), UB 4 (2009) UB 6 (2011) is Professor of Music at Oxford University and Emeritus Fellow of Wadham College. He is interested in late medieval music, the history of opera, eighteenth-century composers (Bach, Handel, Vivaldi, A. Scarlatti) and the historiography of music. His publications include critical editions of music, libretto translations and the books, Essays on Handel and Italian Opera (Cambridge, 1985), Dramma per musica: Italian Opera Seria of the Eighteenth Century (New Haven & London, 1997), The Eighteenth-Century Diaspora of Italian Music and Musicians (Turnhout, 2001) and The Operas of Antonio Vivaldi (Florence, 2008).

Zoltán Szabó UB 10 (2015) is a cellist, educated in Budapest and Cincinnati, and now living in Sydney. He worked with the Australian Chamber Orchestra from 1985 to 1991, until taking the post of Principal Cello at Opera Australia. He currently combines his doctoral studies at the University of Sydney with cello teaching and performing on both modern and baroque cello. His dissertation is on the edition history of the Solo Cello Suites by J. S. Bach.

Ruth Tatlow UB 1 (2006), UB 2 (2007), UB 3 (2008), UB 5 (2010), UB 6 (2011), UB 7 (2012), UB 8 (2013), UB 9 (2014), UB 10 (2015) and UB 11 (2016)  is an independent scholar, author and Docent of Stockholm University, based in Stockholm, Sweden. Her research has focused on the use of numbers in compositional theory and practice, as is reflected in monographs Bach and the Riddle of the Number Alphabet (Cambridge, 1991) and Bach’s Numbers: Compositional Proportion and Significance (Cambridge, 2015), awarded the Choice Review ‘Outstanding Academic Title 2016’. She co-founded Bach Network UK in 2004, founded Understanding Bach in 2006, and became Chair of the Bach Network Council in January 2010. She also serves on the Editorial Board of the American Bach Society.

Yo Tomita UB 2 (2007), UB 6 (2011), UB 7 (2012), UB 8 (2013), UB 9 (2014), UB 10 (2015) UB 11 (2106) and UB 12 (2017) was Reader at Queen’s University, Belfast until 2008, when he became Professor. His research interests include Bach Studies (in particular the Well-Tempered Clavier II ), the pedagogical aspects of piano education, text-critical analysis using Artificial Intelligence techniques, manuscript studies, and the development of computer software and tools for musicology. He maintains the on-line Bach Bibliography. A trustee of Bach Network UK from 2006, he became a founder member of the Advisory Council in 2009 and from 2010 has been a co-editor of Understanding Bach.

Isabella van Elferen UB 2 (2008) and UB 7 (2012) is assistant professor of Music and Media at Utrecht University (NL). She has published widely on baroque sacred music, film and TV music, videogame music, and Gothic theory and subcultures. She is the author of Gothic Music: The Sounds of the Uncanny (2012), Mystical Love in the German Baroque: Theology—Poetry—Music (2009), and the editor of Nostalgia or Perversion? Gothic Rewriting from the Eighteenth Century until the Present Day (2007). She is editor for The Soundtrack, member of the advisory board of Horror Studies and guest editor of the Journal for the Fantastic in the Arts (2013).

Harry White UB 12 (2017) holds the Chair of Music and is the professor of historical musicology at University College, Dublin. He is currently writing a book about concepts of authority and imaginative autonomy in the music of Fux, Bach and Handel.

Christoph Wolff UB 2 (2007) is Adams University Professor at Harvard University. He serves as Director of the Bach Archive in Leipzig, Chair of the Akademie für Mozart-Forschung in Salzburg, and President of the Répertoire International des Sources Musicales. He has published widely on the history of music from the fifteenth to the twentieth centuries.

Peter Wollny UB 3 (2008) is head of research at the Bach Archive in Leipzig, General Editor of Carl Philipp Emanuel Bach: Collected Works, Editor of the Wilhelm-Friedemann-Bach-Ausgabe, Editor of the Bach-Jahrbuch and of the Jahrbuch Mitteldeutsche Barockmusik. His numerous publications include editions in the Neue Bach Ausgabe series, books and articles on the Bach family and on the history of seventeenth- and eighteenth-century music.