Echoing Air is a dynamic ensemble specializing in the repertoire of the English Baroque, with an emphasis on chamber works featuring countertenor voices with baroque ensemble.
The ensemble is comprised of talented performers who have worked with leading proponents of early music including the Bach Ensemble, Ensemble Galilei, Musica Antiqua Koln, Ensemble Voltaire, and Chanticleer, and have performed in venues such as the Boston Early Music Festival and the Proms in London.
Steven Rickards has received international acclaim as one of America’s finest countertenors. He recently took part in the premiere of John Adams’s oratorio El Niño at the Châtelet Opera in Paris. Subsequent performances of the work have featuresd the Adelaide Symphony, the BBC Philharmonic, the Deutsches Symphonie Orchester, the Los Angeles Philharmonic, San Francisco Symphony, the Tokyo Symphony, and the Malmo Opera (Sweden). Rickards has appeared internationally with Joshua Rifkin and the Bach Ensemble, as well as with The American Bach Soloists, Chanticleer, Ensemble Voltaire, the Gabrieli Consort, Chicago?s Music of the Baroque, the New London Consort, the St. Paul Chamber Orchestra, the Seattle Baroque Orchestra, the Opera Company of Philadelphia, the Santa Fe Opera, and the symphony orchestras of Indianapolis, Pittsburgh, San Francisco, and St. Louis, and Tokyo. He has sung at Carnegie Hall with the Oratorio Society of New York, in France as a soloist with The Festival Singers under the direction of Robert Shaw, and with Paul Hillier and the Theatre of Voices. Rickards was the was the soloist in the American premiere performance of Michael Nyman’s Self-Laudatory Hymn of Inanna and Her Omnipotenceat Lincoln Center’s Alice Tully Hall. He has recorded for Chanticleer, Decca, Dorian, Four Winds, Gothic, Harmonia Mundi, Koch, Newport Classics, Smithsonian, and Teldec. Rickards can also be heard on the Naxos label where, with lutenist Dorothy Linell, he recorded two solo albums of the songs of John Dowland and Thomas Campion. Rickards currently lives in Indianapolis where he teaches singing at Butler University and the University of Indianapolis. He sings regularly with The Choir of Men and Boys at Christ Church Cathedral. He received his doctorate from Florida State University.
Jeffrey Collier received his Bachelor of Arts degree in music from Emory University in Atlanta, Georgia, where he performed with the Emory Early Music Consort. Now a resident of Indianapolis, he has performed on baroque flute and recorder with the Indianapolis Baroque Orchestra and Ensemble Voltaire. He studied baroque flute with Barbara Kallaur and has participated in many intensive workshops and masterclasses with such artists as Christopher Krueger, Michael Lynn, Eva Legene, Janet See, and Stephen Preston. Collier has performed with ensembles throughout the Midwest and Southern United States, including the Tallahassee Bach Parley, the Miami Bach Society, the Baroque Artists of Champaign-Urbana (BACH), Nashville’s Belle Meade Baroque, Winston-Salem’s Piedmont Chamber Singers, and Ensemble Capriole in Williamsburg. Reviews have praised his “pure and focused playing”. Collier can be heard on the Four Winds label.
Thomas Gerber is a founding member of–and harpsichordist in–two period instruments Baroque groups: the Indianapolis Baroque Orchestra, in residence at the Christel DeHaan Fine Arts Center at the University of Indianapolis, and the chamber music group Ensemble Voltaire, which is ensemble-in-residence at Trinity Episcopal Church, Indianapolis. Both organizations present annual local concert series. The Baroque Orchestra plays throughout Indiana, and Ensemble Voltaire has toured the United States and Canada since 1988. Mr. Gerber is assistant professor of music and humanities at Marian College, Indianapolis, and also serves on the faculties of the University of Indianapolis, where he teaches music history and coaches the student baroque ensemble, and Butler University, where he teaches music history. Mr. Gerber is harpsichordist of the Indianapolis Chamber Orchestra as well as of the liturgical early music ensemble Musik Ekklesia. He has appeared at the Early Music Festival of St. Louis and the Bloomington Early Music Festival, as well as with other period-instrument early-music groups, such as Catacoustic Consort, the Callipygian Players, Pills to Purge Melancholy, Ars Antigua Chicago, and Haydn-by-the-Lake. He can be heard on the Dorian, Concordia, and Catalpa Classics labels. After receiving music degrees from Hillsdale College and Ball State University, Mr. Gerber went on to earn a Master of Music degree in harpsichord and early music performance practice from Indiana University. His harpsichord teachers have included Fernando Valenti, Anthony Newman, and Elisabeth Wright.
Christine Kyprianides was for many years a leading Baroque cellist and gambist in Germany, performing internationally with Huelgas Ensemble, Musica Antiqua Köln, Das Kleine Konzert, Diapente Consort, Collegium Carthusianum, Accademia Filarmonica Köln, Les Arts Florissants, Ganassi-Consort, Les Adieux, and the La Roche and Finchcocks String Quartets. Kyprianides has also been a long-time collaborator of fortepianist Richard Burnett in England. Her recording credits include over 70 albums for Deutsche Grammophon, EMI, Sony, Harmonia mundi, RCA, Capriccio, Virgin Classics, Globe, etc.; as well as radio and television productions for the major German radios, Deutsche Welle, Radio Netherlands, Radio France, and many more. Kyprianides holds degrees in performance from the Peabody and New England Conservatories, and the Royal Conservatory of Brussels, and was awarded the Gregor Piatigorsky Cello Prize at Tanglewood. More recently, she received the Doctor of Music degree from the Indiana University Jacobs School of Music, where she teaches Baroque cello. She has also held faculty positions at the Lemmens Institute (University of Louvain), the Musikhochschule of Cologne, and the Dresden Academy of Early Music; and has given seminars in historical performance practice at the Catholic University of Santiago de Chile, the Conservatory of Music in Buenos Aires, the Conservatory of Church Music in Halle/Saale, the Early Music Summer Seminar in Wallonia, among others. Kyprianides is a member of the Indianapolis Baroque Orchestra and Ensemble Voltaire. She continues to perform in Europe and is active as a scholar.
Nathan Medley is lauded as a “…soaring stratospheric countertenor that resound[s] with heart wrenching clarity.” With success on both the concert and opera stage he has sung at Avery Fisher Hall, New York; the Barbican, London; La Salle Pleyel, Paris; The Lucerne Festival; Disney Hall, LA; and The Concertgebouw, Amsterdam. Recent highlights include collaborations with Opera Omaha, Pacific MusicWorks, Mercury Baroque, Seraphic Fire, Indianapolis Baroque Orchestra, Los Angeles Philharmonic, Miami Bach Society, and Dayton Bach Society. In May 2012 he premiered John Adams’ new oratorio, ‘The Gospel According to the other Mary’ under Gustavo Dudamel and subsequent recording can be heard on the Duetsche Grammophon label. The 2014-15 season includes his English National Opera debut as well as a return to the Los Angeles Philharmonic under the baton of John Adams to perform Olga Neuwirth’s Hommage a Klaus Nomi. He will also join the Boston Early Music Festival in their Monteverdi Trilogy as Ottone in L’incoronazione di Poppea, Speranza and Pastore in L’Orfeo, and Vespers 1610. Other opera credits include Ottone in Handel’s Agrippina, Athamus in Semele, Oberon in A Midsummer Night’s Dream, Dema in Cavalli’s L’Egisto, Le Peinture in Charpentier’s Les Arts Florissants, Acteon in Charpentier’s Acteon, and Ottone in Monteverdi’s L’incoronazione di Poppea. As Ottone, Medley won praise from Clevelend critics for an interpretation “sung with baroque perfection.”
Keith Collins (Multi-Instrumentalist)
Keith Collins holds degrees in music education, German, and bassoon performance; he also holds the first doctorate degree awarded in historical basson. His graduate work was completed at Indiana University’s Early Music Institute, where he studied with Michael McCraw. While at IU, he also studied recorder with Eva Legene. Heregularly performs on historical bassoon, recorder, Renaissance reed instruments, and early harp. Collins is a found member of the award-winning shawm and dulcian band, Ensemble Lipzodes, which specializes in the music of colonial Latin America. He is adjunct instructor of early wind instruments at the University of North Texas in Dnton. He has also taught a Indiana University’s summer Recorder Academy for young people and at the Tafelmusik Baroque Summer Institute in Toronto. Collins also plays early harp and has built a Gaelic harp with brass and silver strings and a gut-strung bray harp through his work with David Speer of Argent Fox Harps. He is particularly interested in the ceol mori tradition of Scotland and Ireland and the medieveal Welsh cerdd dant music preserved in the circa 1623 by Robert ap Huw manuscript of harp tabulation. Collin’s Appalachian roots led him to claw hammer banjo, dulcimer, and fasola shape note tradition.
Representative Programs“An Evening with Mr. Henry Purcell”
The life and times of England’s most illustrious 17th Century composer, Henry Purcell, is presented in an historical perspective through readings and song, featuring Samuel Pepys and other contemporary figures. The script features the various aspects of Purcell’s life and output, including church music, theater music, and instrumental music. This program could be interactive in nature featuring a choir, and might conclude with Purcell catches involving audience participation.“Hark How The Songsters”
The art of baroque chamber music is explored, featuring duets by Henry Purcell for countertenors and recorders, including “Sound the Trumpet,” from Come Ye Sons of Art. Solo works of Pelham Humphrey, Daniel Purcell, and Henry Laws are also presented. The program features the poignant Elegy on the Death of Queen Mary, and the Ode On the Death of Mr. Henry Purcell by Dr. John Blow.“Tis Love That Has Warmed Us”
The timeless and universal aspects of love are explored in this program. Through poetry, love letters, and song, the listener will experience the power of love’s mystery and fulfillment.
Dear Steven et al.,
Thank you to you and the members of Echoing Air for the lovely performance last Sunday evening in the Milner Chapel. The musical selections and ambiance were a perfect duo complemented by the ensemble’s artistry and grace.
We are grateful for our partnership with Echoing Air as artists-in-residence at Second Presbyterian Church and we look forward to a fruitful continued partnership ahead.Dr. Michelle L. Louer Director of Music and Fine Arts Second Presbyterian Church, Indianapolis, IN
Thank you so much for bringing Echoing Air to our campus last month. Our students are still talking about the performances. They were especially thrilled with the opportunity to hear two such fine countertenors live, and to have the chance to talk with each of you about your career paths.
Your group is excellent at engaging the audience and reaching out, especially to the student participants. For our students who are taking Music History I this semester, it was particularly relevant, and their teacher was thrilled.
I’d be happy to recommend Echoing Air to any college or university for a short residency or even just an evening concert. They would not be disappointed!
Thanks again, and I hope we can have you back for a longer program at some future point.Nancy Menk Mary Lou and Judd Leighton Professor of Music Saint Mary’s College, Notre Dame, IN
￼To say that the presentation by Echoing Air at the University of Florida School of Music was the highlight of the academic year would be a clear understatement. Your previous visits to our campus as a solo performer have always been well received, but Echoing Air was superb in the material presented, the historical context offered, the musical talents displayed, and the ability to involve those present in the enjoyment and appreciation of early music. The students came with limited appreciation for the unique qualities of early music and left with heightened interest, broadened knowledge, and real excitement about the experience they enjoyed in sharing the afternoon experience with Echoing Air. In my 28 years of teaching at UF, I have never seen the students so involved in a performance, so engaged in singing, listening, and dancing as they were during your performance. BRAVO!
Ronald Burrichter Professor of Music University of Florida, Gainesville
Echoing Air presented a program for arts matters lecture/performance series in March, 2012. They immediately proceeded to “wow” the audience with her incredible talent and musical authenticity. Their personalities shined through as they entertained and educated us all.
The group members’ knowledge of their instrument and craft is evident. They enthusiastically share stories with the audience and deliver with clarity and humor. It was delightful to see them interact with the audience. I was amazed when they got 100 college students to do a Baroque dance on stage! Echoing Air has a gift of creating an atmosphere where everyone wants to participate. They are warm, inviting, and very approachable.
Echoing Air definitely left me and my audience with a positive impression. I would recommend this wonderful ensemble to anyone seeking to broaden their musical horizons in a fun and educational way.Dianna Campbell Director of Choral Activities Seminole State College of Florida, Sanford, FL
Dear Dr. Rickards,
Three times our Bach Collegium early music group has had the privilege to collaborate with you and your extraordinary colleagues—the first in 2004, the second last May, and recently with you, Nathan Medley, Jeffrey Collier, and Thomas Gerber on September 30 at our Pre-10th Anniversary Season Benefit Concert.
First of all, many bravos to you and Nathan Medley for presenting yourselves with great expressiveness both facially and musically, which endears you immediately to the audience. Your voices also are a great complement to the countertenor revival—voices so very pleasant and “natural”–not “hooty” and forced, as I have so often heard in others.
Also, many bravos go to Jeffrey Collier and Thomas Gerber. You all, both singers and instrumentalists, are consummate musicians, who perform with an in–depth knowledge of the period style and performance practices and with a wonderful musical sensitivity that absolutely delights the ear.
Furthermore, your line–up of pieces in the program offered great variety, with an interesting alternation in pairing of forces—vocal and instrumental—with nice contrasts in moods andy tempe–all presented with good pacing.
Thank you so very much for a most enjoyable evening. You are a joy to work with.
We would love to have you return, and we look forward to that eventuality.Dr. Daniel Reuning Artistic Director Bach Collegium, Fort Wayne, IN
Dear Steven Rickards and “Echoing Air”,
Many thanks for the splendid concert you presented at my church this past Sunday! I am still hearing “glowing” comments about how wonderful it was. Your audience was “mesmerized.” The clarity, grace, musical expression, and historically–formed manner in which you presented the music made for a beautiful expression, one of which Henry Purcell and his contemporaries would most certainly have heartily approved!
Our best wishes to you as you continue bringing to life this enchanting repertoire.
Soli Deo Gloria!Wayne Earnest, DMA Music Director and Organist First United Methodist Church, Ocala, FL
In February 2010 the Pilgrim Fine Art Series presented the early music ensemble Echoing Air in concert. The Pilgrim Fine Art Series is an outreach ministry of Pilgrim Lutheran Church and seeks to program concerts and events of high artistic quality and audience appeal.
We were highly satisfied with Echoing Air’s concert. Besides bringing the highest musicianship to their performance, Echoing Air delighted the audience with an accessible and educational look at the music they performed. This concert featured the music of composer Henry Purcell. A narration about the life and times of personal was woven between musical selections. The audience feedback we received was extremely positive; many attendees said they had no idea how interesting Purcell’s life and times were, plus the music gained greater meaning with this narrative/performance format.
They were flexible and easy to work with. At our concert they invited two church choirs to sing a few of the songs, and in preparation for this Steven Rickards led choral rehearsals that were incredibly educational and inspiring.
We feel Echoing Air would be a wonderful addition to any classical concert series. Their music is a breath of fresh air and the Pilgrim Fine Art Series would definitely consider programming them again.
Sarah Williams Pilgrim Fine Arts Series, Indianapolis, IN
We were so pleased to share a concert of music by Henry Purcell with Echoing Air in October, 2009. The performances by members of the ensemble were exciting, creative, dramatic, and just plain fun. The performances were spot on—accessible even to people who might not normally go to a concert of early English Baroque music.
The singers of the University of Miami Collegium Musicum loved the collaboration. Counter tenors are not commonplace; you and Nathan Medley are a wonderful pair of artists who inspired our young singers with your skill, musicianship, and style. We were also joined by the choir of the New World School of the Arts, which was very excited to be part of this concert; it was remarkable to see everyone work together so effectively. This was an ideal educational experience for these collegiate and high school students.
Echoing Air recorder players Jeffrey Collier and Ann Timberlake joined with Christine Kyprianides this (viola da gamba,) and David Sinden (harpsichord and organ) to help re-create the musical atmosphere of 17th century England. Sinden found a huge range of sound in the pipe organ, much to the delight of the singers and the audience. The six members of Echoing Air are a marvelous American musical resource for music of the Baroque era, combining stellar performance skills with an uncanny ability to stimulate enthusiasm among performers, students, and audience alike. They are master teachers and performers who are generous in sharing their time, ideas, and experience.
We look forward to many future opportunities to perform together!Donald Oglesby Professor, University of Miami Frost School of Music Artistic Director, Miami Bach Society
Steven and Echoing Air –
Many thanks for participating in Seminole State College’s ArtsMatters series. The format was absolutely perfect! The entire audience was engaged in your presentation as you asked them to join you on the stage. Those students included guitarists, percussionists, vocalists, instrumentalists and pianists. The dialogue amongst the students lasted for days.
It is always a pleasure to have you visit our campus.
Thanks again.Robin Parker Music Coordinator Seminole State College
Thanks so much for making all the arrangements necessary for the successful appearance of Echoing Air here at the Christel DeHaan Fine Arts Center last week. The glories of English music from the later 17th century are hard to come by in live performance these days; it was a treat to hear this repertoire presented so compellingly by such accomplished performers! The music of Purcell and his close contemporaries projected vividly from the stage of our Ruth Lilly Performance Hall, enticing listeners to learn more about the wonders of the mid-Baroque.
Thanks also for providing helpful spoken commentary from the stage to ensure vital context for music of the 17th century. I suspect that many of our regular concertgoers are less familiar with literature before Bach; the guided tour was especially appreciated! We all look forward to hearing major portions of the program on our weekly WICR broadcasts.
Best wishes for continued success with this impressive undertaking!Richard Ratliff Professor of Music, Director of Artistic Initiatives University of Indianapolis
Many thanks to you for bringing “Echoing Air” to the Bradley University campus last month. Your concert “Hark, How the Songsters” was full of life and joy, and your entire ensemble sparkled with exuberance. You and Nathan Medley were superb both separately and together; Purcell’s intentionally dissonant intervals in your duets were perfectly in tune and achingly beautiful. The recorders and continuo players complemented the voices and one another so well one would have thought you had all been performing together for decades.
It was a pleasure and an honor for the Bradley Chamber Singers to participate in the concert with “Come, Ye Sons of Art.” Despite such limited rehearsal time together, your professionalism allowed us to tighten things up in very short order.
The master class you led with our voice students was most profitable. Each of the students gained a considerable amount of freedom of expression from your work with them. You managed to coach each one in a different way, keeping the atmosphere light and the mood positive and dispensing a goodly amount of wisdom along the way.
Thank you for a thoroughly enjoyable and musically profitable two days. I wish you continued success with “Echoing Air” and I’m happy to recommend you to any institution that might consider hosting one of your concerts.Dr. John Jost Professor of Music, Director of Choral Activities Bradley University, Peoria, IL
“They immediately proceeded to “wow” the audience with their incredible talent and musical authenticity. Their personalities shined through as they entertained and educated us all.”
“Many bravos to you and Nathan Medley for presenting yourselves with great expressiveness both facially and musically. Your voices also are a great complement to the countertenor revival – voices so very pleasant and “natural” – not “hooty” and forced, as I have so often heard in others.”
“Their two hours with our students was, without question, the most positive and productive master class I have experienced in my 28 years at UF.”
“[Hark, How the Songsters] was full of life and joy, and your entire ensemble sparkled with exuberance. You and Nathan Medley were superb both separately and together; The recorders and continuo players complemented the voices and one another so well one would have thought you had all been performing together for decades.”