Corresponding Members

John Butt is Gardiner Professor of Music at the University of Glasgow, musical director of Edinburgh's Dunedin Consort and a Principal Artist with the Orchestra of the Age of Enlightenment. His career as both musician and scholar centres on music of the seventeenth and eighteenth centuries, but he is also concerned with the implications of the past in our present culture. Author of five monographs, Butt has written extensively on Bach, the baroque, the historical performance revival (Playing with History, 2002) and issues of modernity (Bach’s Dialogue with Modernity, 2010). His subsequent work has centred on listening cultures and embodied musical experience, and frictions between Classical Music ideology and religious practice. His discography includes eleven recordings on organ and harpsichord for Harmonia Mundi and thirteen recent recordings for Linn Records. Highlights, as conductor of Dunedin, include the Gramophone award-winning recordings of Handel’s Messiah and Mozart’s Requiem, together with significant recordings of Bach’s Passions, Mass, Magnificat, Christmas Oratorio and Brandenburg Concertos, and Handel’s Acis and Esther. He has been appointed an FBA and FRSE, and has been awarded the Dent Medal of the Royal Musical Society, together with the RAM/Kohn Foundation's Bach Prize. In 2013 he was awarded the medal of the Royal College of Organists, together with an OBE.

Julian Horton is Professor of Music at Durham University. He was educated at Trinity College, Cambridge and has also taught at King’s College, London. Between 2001 and 2013 he was College Lecturer, Senior Lecturer and ultimately Associate Professor of Music at University College Dublin. He is author of Bruckner’s Symphonies: Analysis, Reception and Cultural Politics (Cambridge, 2004) and Brahms’ Piano Concerto No. 2, Op. 83: Analytical and Contextual Studies (Peeters, 2017), editor of The Cambridge Companion to the Symphony (Cambridge, 2013), co-editor with Lorraine Byrne Bodley of Schubert’s Late Style (Cambridge, 2016) and Rethinking Schubert (Oxford, 2016), with Gareth Cox of Irish Musical Studies Vol. 11: Irish Musical Analysis (Four Courts Press, 2014) and with Jeremy Dibble of British Musical Criticism and Intellectual Thought 1850–1950 (Boydell, 2018). His publications have also appeared in Music Analysis, Music & Letters, Musical Quarterly, Music Theory and Analysis, The Cambridge Companion to Bruckner, The Oxford Handbook of Topic Theory and The Cambridge Companion to Vaughan Williams. In 2012 he was awarded the Westrup Prize of the Music and Letters Trust for the article ‘John Field and the Alternative History of Concerto First-Movement Form’. In 2016 he was appointed Music Theorist in Residence to the Netherlands and Flanders by the Dutch-Flemish Society for Music Theory. He was President of the Society for Music Analysis between 2013 and 2019 and has also served on the councils of the Society for Musicology in Ireland and the Royal Musical Association. He is currently writing The Symphony: A History, for Cambridge University Press.

Barbara Kelly is Professor of Music at the University of Leeds.

Axel Klein has been researching the history of Irish art music for almost 30 years. He studied at Hildesheim university, Germany, and Trinity College Dublin (1987–8), graduating in 1990. His 1995 PhD thesis, published as Die Musik Irlands im 20. Jahrhundert (1996), was the first major work in this area. He has published an Irish art music discography (2001) and a study of the 19th-century O'Kelly family in France (2014). He co-edited Irish Music in the Twentieth Century (Dublin, 2003) and The Life and Music of Brian Boydell (Dublin, 2004), acted as the ‘Irish’ advisor (Fachbeirat) to the German encyclopedia Die Musik in Geschichte und Gegenwart (MGG) (1994-2008), was an advisory editor of the Encyclopaedia of Music in Ireland (EMIR) and has contributed numerous articles to other encyclopaedias, books and journals. He has given presentations in Ireland, the UK, France, Germany and the United States. Dr Klein is an independent scholar living in Frankfurt who has made an outstanding contribution to the recovery and promotion of Irish art music in Ireland and abroad.

Harald Krebs (Ph.D. and M.Phil, Music Theory, Yale University, 1980 and 1979; B.Mus., Piano Performance, University of British Columbia, 1976) is a Distinguished Professor in the School of Music at the University of Victoria, where he has taught since 1986. His research interests include tonal and metric structure in nineteenth- and twentieth-century music, the music of Robert Schumann, the music of Josephine Lang (1815-80), and poetic and musical rhythm in nineteenth-century German Lieder. He has lectured and performed (as a pianist) at many North American and European universities. He has published numerous reviews and articles in American, Canadian and European journals, and has contributed chapters to numerous collections. His book Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann (Oxford University Press, 1999), won the Society for Music Theory’s Wallace Berry Award in 2002. His research on Josephine Lang led to the book Josephine Lang: Her Life and Songs (Oxford University Press, 2007—co-author, Sharon Krebs), as well as to an edition of 44 songs by Lang, published in 2008 as Volume 20 of the series Denkmäler der Musik in Baden-Württemberg. He was president of the Society for Music Theory in 2011-13, and was elected to the Royal Society of Canada in 2016.

Sharon Krebs (M.A. and B.Ed., University of Victoria, 2001 and 1988; B.Sc. Hons., University of British Columbia, 1984) has, with Harald Krebs, written a book on the life and music of Josephine Lang (1815-80), and has recorded 30 of Lang’s songs; the volume and the recording appeared with Oxford University Press in 2007. She has also published articles on Lang, and on other topics such as music education in the public schools of British Columbia, the poetry of Bertolt Brecht, and musical settings of Adelbert Chamisso’s poetry. Sharon is currently researching the nightingale metaphor in relation to singing. As a singer, she regularly performs Lieder with pianist Harald Krebs (with emphasis on songs by female composers, and songs outside the canon. She has performed in Ireland, Germany, Poland, France, England, and Wales, as well as in the US and Canada. With Harald, she has recorded two CDs of lullabies. She translates Lied texts for various CD projects and has contributed over 5000 texts to the website www.lieder.net/lieder/.

John Rink is Professor of Musical Performance Studies at the University of Cambridge, Fellow in Music at St John’s College, and Director of the Cambridge Centre for Musical Performance Studies. He works in the fields of Chopin studies, performance studies, music analysis, and digital applications in music. He studied at Princeton University, King’s College London, and the University of Cambridge, and he holds the Concert Recital Diploma and Premier Prix in piano from the Guildhall School of Music & Drama. The books that he has published with Cambridge University Press include The Practice of Performance (1995), Chopin: The Piano Concertos (1997), Musical Performance (2002) and Annotated Catalogue of Chopin’s First Editions (with Christophe Grabowski; 2010); the last of these received the Oldman Prize in 2011 and the Duckles Award in 2012. John Rink is General Editor of a series of books on musical performance which Oxford University Press will publish in 2017. He is also Editor in Chief of The Complete Chopin – A New Critical Edition, in addition to directing the Online Chopin Variorum Edition and Chopin’s First Editions Online. He also directed the AHRC Research Centre for Musical Performance as Creative Practice (CMPCP) from 2009 to 2015. He performs regularly as a pianist and lecture-recitalist, with a specialist interest in Pleyel pianos.

R. Larry Todd is Arts & Sciences Professor of Music and former chair of the Music Department at Duke University. Among his books are Mendelssohn: A Life in Music (Oxford Univ. Press), named best biography of 2003 by the Association of American Publishers, and described in the New York Review of Books as “likely to be the standard biography for a long time to come.” A German translation, which appeared in 2008 from Reclam/Carus Verlag as Felix Mendelssohn Bartholdy: Sein Leben, seine Musik, was awarded a Deutscher Musikeditionspreis. He is a former fellow of the John Hope Franklin Humanities Institute and recipient of fellowships from the Guggenheim Foundation and National Humanities Center. His biography of Fanny Hensel, titled Fanny Hensel, the Other Mendelssohn, appeared from Oxford University Press and was awarded the Nicholas Slonimsky Prize from ASCAP in New York. He has published widely about the Mendelssohns, and also articles on subjects ranging from Obrecht and Haydn to Robert and Clara Schumann, Liszt, Brahms, Richard Strauss, and Webern. He serves as general editor of the Master Musician Series for Oxford University Press and the Routledge Studies in Musical Genres. A graduate of Yale University, where he received his Ph.D., he studied piano at the Yale School of Music and with the late Lilian Kallir. His recording with Nancy Green of the complete cello and piano works of Mendelssohn and Fanny Mendelssohn Hensel has recently been released from JRI Recordings. His current projects include recording the Beethoven violin sonatas with Katharina Uhde, writing a monograph with Marc Moskovitz about Beethoven’s cello music, and editing Mendelssohn’s cello works for Bärenreiter.

Katharina Uhde is Assistant Professor for Violin and Musicology at Valparaiso University (IN, USA). She holds a DMA from the University of Michigan and a PhD in Musicology from Duke University. Uhde’s first article appeared in December 2015, titled “Of ‘Psychological Music’, Ciphers, and Daguerreotypes: Joseph Joachim’s Abendglocken Op. 5 No. 2 (1853).” Currently she is working on a monograph on Joseph Joachim, The Music of Joseph Joachim, which is under contract with Boydell & Brewer. Uhde is the recipient of a 2016 long-term research fellowship at the Newberry Library, the Brahms House fellowship (2016), the Richard Wagner Stipendium (2013), and the American Brahms Society Geiringer Award (2013). Uhde has presented at the conferences ‘The European Salon: Nineteenth-Century Salonmusik’ (2015), ‘Doctors in Performance’ (2016), and at the International Joseph Joachim Conference (2016). As a soloist and chamber musician she has won first and second place prizes in international competitions. She has appeared with the Sinfonia Varsovia, the Baden-Baden Philharmonic, the Göttinger Musikfreunde Orchestra, the Marburg University Orchestra, and the Belgrade University Symphony. In March 2017 she will perform five Beethoven Sonatas with Bruno Canino in Belgrade. In addition, she is engaged in recording the Beethoven cycle with R. Larry Todd.

Susan Youens, who received her Ph.D. from Harvard University, is the J. W. Van Gorkom Professor of Music at the University of Notre Dame and the author of eight books from Cambridge University Press, Princeton University Press, and Cornell University Press on the lieder of Schubert, Schumann, Wolf, and others, as well as over fifty scholarly articles. She is a recipient of fellowships from the Humboldt Foundation, the National Endowment for the Humanities, the Institute for Advanced Study at Princeton, the Guggenheim Foundation, and the National Humanities Center, and has taught at the Ravinia, Aldeburgh, and Oxford Lieder Festivals. Professor Youens has given numerous keynote lectures in Ireland. Her first keynote was at the International Conference on Music and Literature in German Romanticism organized by Robin Elliott and Siobhan Donovan at the UCD School of Music in 2000. She was keynote speaker at Goethe and Schubert: In Perspective and Performance organised by Lorraine Byrne Bodley in Trinity College Dublin 2003. She gave the Larchet Memorial Lecture at the UCD School of Music in 2004. Further keynote lectures include the international conference, Schubert and Concepts of Late Style organised by Lorraine Byrne Bodley and Julian Horton at Maynooth University (2011) and more recently at the European salon conference organised by Anja Bunzel, Maynooth University 2015. She is an advisory board member of the Journal of the Society for Musicology in Ireland (2005-15). In 2016, Susan Youens received the Harrison Medal from the SMI. In addition, a major new book of essays on the music of the early 19th-century composer Franz Schubert, Schubert’s Late Music: History, Theory, Style, edited by Lorraine Byrne Bodley and Julian horton is dedicated to Professor Youens.