Further Information Dr. Micaela Schmitz (originally from the U.S.) specialises in early keyboard instruments, including harpsichord, fortepiano and clavichord. She recently finished her Doctorate of Musical Arts (on 18th century keyboard music) under Arthur Haas at the Eastman School of Music, in Rochester, New York. This was preceded by a first degree in Music at U.C. Berkeley, where she studied with Charlene Brendler and Laurette Goldberg, and training in choral conducting, diction, and vocal pedagogy. She spent two years studying with Jacques Ogg and Bart van Oort at the Royal Conservatory in The Hague on a Rotary Ambassadorial Scholarship

 Further Information

Other influences have included Charlene Brendler and Malcolm Bilson, and she has had coaching with Colin Tilney, Kenneth Gilbert, and Bob van Asperen, among others. As a soloist she received acclaim for her performance of Bach’s Goldberg variations, which features an entertaining pre-concert talk to help audience members appreciate the masterpiece. Her newest programme features English and Dutch virginalist music, with readings from the time period.

Besides running a private studio, she has interests in renaissance and baroque dance, editing, and improvisation. She has taught at the University of Birmingham Centre for Lifelong Learning and is currently an Associate Lecturer with the Open University. She has run workshops and given talks for The Farncombe Estate Adult Learning Centre. Her work with children (both primary and secondary) includes dance/music/improvisation workshops, and she has served as Education Officer for the Chipping Campden Music Festival since April 2004.  She also is a core teacher for the Worcestershire Waits, an ensemble for young people in Worcestershire.

Micaela has a special interest in original instruments. She is a member of the Galpin Society and sits on the committee of The British Clavichord Society.  She is the first member to join the British Harpsichord Society. She regularly visits historic instrument collections and gives gallery talks to highlight original instruments. She was recently appointed Editor of the magazine Harpsichord and Fortepiano.

In 2007 Micaela was awarded a Finzi Trust Scholarship to research 18th century English and Scottish Song, some of which she performs with her ensemble Lady Georgianna.

She has premiered works of the late Christopher Wood with Jeanne Dolmetsch and with Jacqui Robertson, and is preparing some editions for publication. In ensemble with Robertson she received the accolade: ‘a beautifully judged account of Marais’ Folies d’Espagne, where the expressive potential of both bass viol and harpsichord were used to full effect…”(The Birmingham Post January 26, 2004)

Micaela’s ensemble work includes ensembles Lady Georgianna, Terza Prattica,and Musica Leonarda, among others. Lady Georgianna is a trio of costumed performers who specialise in music and entertainment at theatres and pleasure gardens of the 18th century. Terza Prattica is a new cross-Channel collaboration with baroque flutist Clare Beesley. They are currently exploring music of the Prussian court, in particular C.P.E. Bach. For her ensemble Musica Leonarda (baroque violin, violas da gamba, and harpsichord) Micaela has arranged folk music (paired with baroque music) and selections from Bartok’s Mikrokosmos (alongside Bach).  Micaela performs with Cathryn Dew, recorder.

Through her company ‘Early Music in the Vale,’ she gives continuo courses, lessons, coaching, choral workshops, and other topics.

QUOTES

‘The programme consisted of music reflecting the many links between England, the Spanish Netherlands, and the United Provinces in the 16th and 17th centuries, and Micaela gave a fascinating and detailed introduction to each piece, with some entertaining and informative quotations and anecdotes….

Micaela is a confident and sensitive player with a secure understanding of the music of this period, including experience of baroque dance, and …we heard an exciting performance, which was enthusiastically received by the audience. For me, the highlights were probably the Bull’s ‘In Nomine’, The Bells, and ‘Onder een linde groen’. All three in some ways seem to exemplify the music of their time, and being so well known demand something extra from the performer if they are really to impress. Micaela did this with complete success, and gave us some really spine-tingling moments.’
                  (Paula Woods, HPSCHD-L, 22 June 2005)

‘Micaela’s recital of the Goldbergs yesterday afternoon was truly beautiful and it was such a joy for me to hear a performance where the artist was listening to the instrument and the acoustics creating great music by doing so. Not a rush of tempo and an exhibition of what is a fine technique which is so often the case today I feel. The recital was also very well attended, not always the case here I'm afraid. Thank you Micaela and The Barber Institute. ‘
                (Michael Johnson, HPSCHD-L, 15 November 2004)

‘MEMF [Midlands Early Music Forum] is fortunate in counting amongst its membership a number of highly gifted organists and harpsichordists… Micaela Schmitz certainly features amongst these, as her harpsichord recital at the Lord Leycester Hospital in Warwick on Saturday 22 May clearly showed.’ ‘both her programme-notes and her brief pre-concert talk were helpful in putting us into the right frame of mind to listen to this superbly-crafted music …the recital (partly in aid of the charity ‘Fight for Sight’) was gratifyingly well-attended. Her choice of tempi and registration seemed to me admirable, as did her grasp of the essential architecture that lies behind Bach’s innovative and ingenious design for the work.’
       (Beresford King-Smith, Midlands Early Music Forum Newsletter, August 2004)

‘…avenues that challenge the notions of authenticity’
            --Andrew Green, Early Music Today [August 2004, Worcester Festival]

‘the intimate space made contact between audience and performers effortless and created a sense of shared music making, much like it would have been in the time of this repertoire….’ ‘a beautifully judged account of Marais’ Folies d’Espagne, where the expressive potential of both bass viol and harpsichord were used to full effect…. ‘a very enjoyable occasion.’
           --Anders Östberg, The Birmingham Post, January 26, 2004

Dear Micaela, Thank you so much for coming in and showing us about the minuet and the Baroque era. It was truly amazing. We really enjoyed it, without you it would have been a brilliant experience we would otherwise not have. Also the way, in which you gave each dancer a part to play, it made the whole experience much more amusing. Our favourite part was doing the minuet itself; we also enjoyed listening to the music. Thank you. Yours sincerely, Sophie and Lucinda, Years 5-6 St. Catharine’s School, Chipping Campden, [June 2005] ‘The students appeared to really enjoy your workshop. You adapted your content well to suit the very different age groups and I'm sure the students learnt something from the experience. The impact of what you managed to get our students to do in such a short period of time was fabulous.’
              (Leon James, Head of Music, Chipping Campden School, 2004)
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