1. Faculty

Elisabeth Reed

Co-Director, Baroque Ensemble; Baroque Cello and Viola da Gamba, Historical Performance

"Her playing was intense, graceful, suffused with heat and vigor." —Seattle Post-Intelligencer

COURSES TAUGHT

  • Baroque Cello
  • Baroque Ensemble
  • Viola da Gamba

EDUCATION

  • MM, Indiana University, Early Music Institute
  • MM, Eastman School of Music
  • BM, Oberlin College and Conservatory of Music
  • Guild-certified Feldenkrais Method Practitioner

ENSEMBLES

  • Jamason/Reed Duo
  • Smithsonian Chamber Players
  • Voices of Music
  • Archetti Baroque Strings
  • Pacific Musicworks
  • Wildcat Viols
  • Byron Schenkman and Friends
  • American Bach Soloists
  • Philharmonia Baroque Orchestra
  • Portland Baroque Orchestra
  • Seattle Baroque Orchestra
  • Pacific Baroque Orchestra
  • Early Music Vancouver
  • Novello String Quartet

What is your hometown?

Chapel Hill, NC

What is your favorite recording?

Anything by Tragicomedia.

What are you passionate about outside of music?

Feldenkrais Method of Awareness Through Movement, reading, and family.

Who were your major teachers?

Steven Doane, Norman Fischer, Robert Marsh, Margriet Tindemans, Catharina Meints, Wendy Gillespie, Christel Thielman, Paul O'Dette, and Stanley Ritchie.

What is a favorite quote that you repeatedly tell students?

“If you know what you are doing, you can do what you want.”

What question do you wish students would ask sooner rather than later?

"What am I trying to express and how can I use my body to express that?"

What was the defining moment when you decided to pursue music as a career?

My mother, who is a pianist, took me to hear a solo cello concert in a beautiful, old stone church in England, where we were living at the time. I fell in love with the sound and I told her, "That's the instrument I want to play!"

What was a turning point in your career?

As a teenager, I went to a performance of the St. Matthew Passion directed by Joshua Rifkin and performed on original instruments. This was the beginning of my interest in historical performance.

If you weren't a musician or teacher, what do you think you would be doing now?

I originally wanted to be a classicist or a historian, so perhaps that. I am also currently a Feldenkrais practitioner and I'd be interested in doing more work in that area.

If you could play only three composers for the rest of your life, who would they be?

Monteverdi, Bach, and Purcell.

From a music history perspective, what year and city are most important to you?

1717–1723 Kothen.

What are your academic publications?

Using the Feldenkrais Method to Heighten Musical Awareness and Skill, SenseAbility, The Feldenkrais Journal

What recordings can we hear you on?

Fairest Isle, Magnatunes
Haydn Opus 50 String Quartets, Magnatunes
Bach Sonatas for Flute and Continuo, Focus Recordings
Mozart: Sinfonia Concertante with Monica Huggett, violin, Virgin Classics
Buxtehude Trio Sonatas, Magnatunes
Purcell: The Four-Part Fantasias with Wildcat Viols and Couperin Concerts Royaux, Plectra Records

What is your unrealized project?

Currently, I am working on organizing a recording of the Bach Sonatas for Viola da Gamba and harpsichord with my colleague, Corey Jamason.