Faculty Profiles
The Institute is shaped by its faculty. Members of the faculty hold joint appointments in the Institute and one of the professional schools, either Music or Divinity. All offer courses that enhance the curricula of their respective schools and reflect the mission of the Institute. As the following profiles indicate, the faculty bring a variety of gifts and expertise, representing the finest in their disciplines.
Teresa Berger Professor of Liturgical Studies. Professor Berger holds doctorates in both dogmatic theology and liturgical studies. Her scholarly interests lie at the intersection of those fields with gender theory and with cultural studies. She has written extensively on liturgy and women’s lives and produced in 2007 a video documentary called Worship in Women’s Hands. Her recent publications include Women’s Ways of Worship: Gender Analysis and Liturgical History; Dissident Daughters: Feminist Liturgies in Global Context; and Fragments of Real Presence. She has also published monographs on the hymns of Charles Wesley and on the nineteenth-century Anglo-Catholic revival. In 2008 Professor Berger produced (with MysticWaters Media) an interactive CD-ROM called Ocean Psalms, featuring meditations, prayers, songs, and blessings, all focused on the sea. Most recently, she edited the volume The Spirit in Worship—Worship in the Spirit, to be published by Liturgical Press in late 2009. Professor Berger has been a visiting professor at the Universities of Mainz, Münster, Berlin, and Uppsala. In 2003 she received the distinguished Herbert Haag Prize for Freedom in the Church. L.Th. St. John’s College, Nottingham; M.Th. Johannes Gutenberg-Universität, Mainz; Dr.Theol. Ruprecht Karl-Universität, Heidelberg; Dipl.Theol. Johannes Gutenberg-Universität, Mainz; Dr.Theol., Habilitation Westfälische Wilhelms-Universität, Münster
Jeffrey Brillhart Lecturer in Organ Improvisation. Jeffrey Brillhart has performed throughout the United States, South America, South Africa, and Europe as conductor and organist and is known for his musical versatility. He was awarded first place at the American Guild of Organists National Competition in Organ Improvisation in 1994. Mr. Brillhart is director of music and fine arts at Bryn Mawr Presbyterian Church, where he oversees music, education, and arts programs that involve more than 500 children, youth, and adults each week. He is also music director of Philadelphia’s acclaimed Singing City Choir, one of the first integrated community choirs in the U.S. At Singing City he follows a distinguished line of conductors that includes Elaine Brown and Joseph Flummerfelt. Under his direction, his choral ensembles have performed with the Kronos Quartet, the Philadelphia Orchestra, the Chamber Orchestra of Philadelphia, Ignat Solzhenitsyn, Bobbie McFerrin, Dave Brubeck, Helmuth Rilling, Rossen Milanov, and on tours to Cuba, Northern Ireland, and, in the 2008 season, Brazil. Mr. Brillhart maintains an active schedule as conductor, organist, and clinician, most recently at the Curtis Institute of Music, the Eastman School of Music, Westminster Choir College, Furman University, Walla Walla College, and Baylor University. M.M., Eastman School of Music
Marguerite L. Brooks Associate Professor (Adjunct) of Choral Conducting. Professor Brooks was named to the faculty in 1985 to chair Yale’s graduate program in choral conducting and to direct the Institute’s choral activities. She conducts the Yale Camerata and instructs choral conducting students from both the Institute and the School of Music. She serves as director of music at the Church of the Redeemer (UCC) in New Haven. She has taught at Mount Holyoke College, Smith College, and Amherst College, and was director of choral music at the State University of New York at Stony Brook. B.A., Mount Holyoke College; M.M., Temple University
Russell Davis Lecturer in Religion and Literature. Russell Davis’s plays have been produced at various theaters throughout the country. His new play, Mahida’s Extra Key to Heaven, will be produced by Epic Theatre Ensemble in New York in fall 2009. He is currently a 2008–2010 recipient of a Pew Fellowship in the Arts. He was resident playwright at People’s Light & Theatre Company for the Theatre Residency Program of the National Endowment for the Arts/Theatre Communications Group. He has received grants and fellowships from the Pennsylvania Council on the Arts, National Endowment for the Arts, McKnight Foundation, New York Foundation for the Arts, New York State Council on the Arts, and Tennessee Arts Commission. He is also a juggler. He directed Tony Duncan, who won the juggling championships at the 1994 International Jugglers’ Association Convention, and worked with the juggler Michael Moschen in Michael Moschen in Motion at the Brooklyn Academy of Music’s 1988 Next Wave Festival and at Lincoln Center’s Serious Fun! Festival 1990. He has been a juggling/unicycling instructor for the Big Apple Circus’s circus arts program in Harlem. He was one of four jugglers featured in “The Best Jugglers You’ve Never Heard Of,” a recent cover story of Juggle magazine published by the International Jugglers’ Association. B.A., Hobart College
Patrick Evans Associate Professor in the Practice of Sacred Music. Professor Evans is committed to the reclaiming and renewal of congregational song. As director of music for the daily ecumenical worship in Marquand Chapel, he works with the dean of chapel, student chapel ministers, and musicians, and a wide range of students, faculty, and guests from varied denominational backgrounds and musical traditions. He recently joined a team of church musician/teachers convened by the United Methodist Church’s General Board of Global Missions, spending two weeks in Uganda, teaching and learning from church musicians and pastors from that country, Kenya, Rwanda, Burundi, and Sudan. He has also been on the faculties of the Montreat and Westminster Conferences on Music and Worship, and was director of music for Seattle University’s 2007 Summer Institute for Liturgy and Worship. As a singer, he has been a fellow of the Tanglewood Music Center, the Cleveland Art Song Festival, and the Pacific Music Festival, Sapporo, Japan. He has appeared regularly in opera, oratorio, and recital performances, and has sung All the Way through Evening: Songs from the AIDS Quilt Songbook throughout the United States. During a recent sabbatical year, he served as artist-in-residence at Union Theological Seminary, and he currently serves in the same capacity at Broadway Presbyterian Church in Manhattan. Minister of music for ten years at Hanover Street Presbyterian Church in Wilmington, Delaware, he was previously associate professor of music at the University of Delaware, where he chaired the voice faculty and directed the opera program. B.M., B.M.E., University of Montevallo; M.M., D.M., Florida State University
Margot E. Fassler Robert S. Tangeman Professor of Music History. Professor Fassler’s special fields of study are medieval and American sacred music, and the liturgy of the Latin Middle Ages; subspecialties are liturgical drama of the Middle Ages and Mariology. Her book Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris has received awards from both the American Musicological Society and the Medieval Academy of America. She has edited a volume on the divine office (Oxford University Press) and has just completed a book on the cult of the Virgin Mary at Chartres (forthcoming from Yale University Press, fall 2009). She is the author of some forty articles on a broad range of topics and, as a Henry Luce III Fellow in Theology for 2008–2009 and in residenee at the Center for Theological Inquiry, is preparing a book on the twelfth-century theologian, exegete, and composer Hildegard of Bingen; she is also completing a textbook for W. W. Norton on medieval music. Professor Fassler’s book Psalms in Community (edited with Harold Attridge) has been reprinted and is now sold by the Society of Biblical Literature alongside her film Joyful Noise: Psalms in Community. Under the auspices of a grant from the Lilly Endowment, Inc., Professor Fassler continues to work with congregations and practitioners to make videos of sacred music in its liturgical contexts; she has just completed (with Jacqueline Richard) the film Performing the Passion: J.S. Bach and the Gospel according to John, which was aired on Channel 22 in Mexico City this spring and will be screened in the American Cathedral in Paris and at the annual meeting of the Society of Biblical Literature, Orleans, 2009. This film and her Work and Pray: Living the Psalms with the Nuns of Regina Laudis will be distributed in the fall by W.W. Norton. Professor Fassler is a fellow of the American Academy of Arts and Sciences. B.A., State University of New York; M.A., Syracuse University; M.A., M.Phil., and Ph.D., Cornell University
Siobhán Garrigan Associate Professor of Liturgical Studies and Associate Dean for Marquand Chapel. Professor Garrigan is author of Beyond Ritual: Sacramental Theology after Habermas and a former Government of Ireland humanities scholar. Before coming to Yale, she taught religious studies at the Open University in Belfast and doctrinal theology at the Galway-Mayo Institute of Technology. Prior to teaching, she worked extensively with homeless people. She has coordinated numerous worship services for major ecumenical and interfaith gatherings, and has published articles connecting theology, worship, and cultural issues. In addition to writing a book called Worship for the Whole Congregation: How to Build A Participative Church about the methods for leading vibrant congregational worship that she has helped to develop in Marquand Chapel, she is about to publish The Real Peace Process: Worship, Politics and the End of Sectarianism, a ritual-studies type analysis of religious division in Ireland and Northern Ireland. Her long-standing commitments to ecumenism, feminism, and revitalizing Christian worship recently combined to produce a special volume of the journal Liturgy called New and Borrowed Rites, and her commitment to the unique learning offered in seminary chapels will be reflected in the forthcoming book The Role of Worship in Theological Education, which she also co-edited. B.A., Oxford University; S.T.M., Union Theological Seminary, New York; Ph.D., Milltown Institute of Theology and Philosophy, Dublin
Peter S. Hawkins Professor of Religion and Literature. Professor Hawkins’s work has long centered on Dante, most recently in Dante: A Brief History (2006), Dante’s Testaments: Essays on Scriptural Imagination (winner of a 2001 AAR Book Prize), and The Poets’ Dante: Twentieth-Century Reflections, co-edited with Rachel Jacoff. Most recently he published an expansion of his 2007 Beecher Lectures on Preaching in Undiscovered Country: Imagining the World to Come (2009). His research in the history of biblical reception has produced three co-edited volumes, Scrolls of Love: Ruth and the Song of Songs (2006), Medieval Readings of Romans (2007), and From the Margin I: Women of the Hebrew Bible and their Afterlives (2009); together with Paula Carlson he has edited the Augsburg Fortress four-volume series, Listening for God: Contemporary Literature and the Life of Faith. He has also written on twentieth-century fiction (The Language of Grace), utopia (Getting Nowhere), and the language of ineffability (Naming the Unnamable from Dante to Beckett). Professor Hawkins’s essays have dealt with such topics as memory and memorials, televangelism, scriptural interpretation, and preaching. He writes regularly for The Christian Century’s “Living by the Word” column. From 2000 to 2008 he directed the Luce Program in Scripture and Literary Arts at Boston University. While at BU he won the Metcalf Prize for Excellence in Teaching. He has served on the editorial boards of PMLA and Christianity and Literature and is currently on the selection committee for the Luce Fellows in Theology. B.A., University of Wisconsin at Madison; M.Div., Union Theological Seminary; Ph.D., Yale University
Martin Jean Professor of Organ, Professor in the Practice of Sacred Music, and Director of the Institute of Sacred Music. Professor Jean has performed widely throughout the United States and Europe and is known for his broad repertorial interests. He was awarded first place at the international Grand Prix de Chartres in 1986, and in 1992 at the National Young Artists’ Competition in Organ Performance. A student of Robert Glasgow, in the fall of 1999 he spent a sabbatical with Harald Vogel in North Germany. He has performed on four continents and in nearly all fifty states. In 2001 he presented a cycle of the complete organ works of Bach at Yale, and his compact discs of The Seven Last Words of Christ by Charles Tournemire and the complete Six Symphonies of Louis Vierne, both recorded in Woolsey Hall, have been released by Loft Recordings. Recordings of the organ symphonies and Stations of the Cross of Marcel Dupré are forthcoming on the Delos label. Professor Jean is on the board of directors of Lutheran Music Program (www.lutheransummermusic.org). A.Mus.D., University of Michigan
Elias Kesrouani Visiting Professor of Ethnomusicology. Professor Kesrouani is fluent in English, French, Arabic, Syriac, and Italian, with internationally reputed compositions in Syriac and Arabic. He has participated in many international conferences, concerts, and colloquia, among them an international conference at ISM in 2007; a concert at Royaumont Research Center in France, 2007; and the scientific colloquium of the Arab Academy of Music in Cairo (annually since 1996). He recently represented Lebanon at a meeting of experts in New Delhi, organized by UNESCO, which discussed the “Convention for the Safeguarding of the Intangible Cultural Heritage.” His academic pursuits have taken him to Italy, Algeria, Greece, Morocco, Oman, Jordan, the Netherlands, Bahrain, Tunisia, Syria, Turkey, Kuwait, the United Kingdom, and Spain. His many publications include “Hymnological Thesaurus (Bet-Gazo) of the Syriac Church” in Nos Sources: Arts et littérature Syriaques (2005) and “The Syriac Octoïchos” in Aspects de la Musique Liturgique au Moyen Age (1991). In addition to being a member of several scientific committees with UNESCO and the Arab Academy of Music attached to the Arab League, he has held several academic positions, including dean of the Jordan Academy of Music and professorships at the University of the Holy Spirit, Kaslik, and the Higher Lebanese Conservatoire of Music, Beirut. He is presently Research Professor in the Department of Music and Musicology at Notre Dame University—Louaize, where in 2002 he created the university discipline “Musimedialogy,” a registered intellectual property in 163 countries. Professor Kesrouani is also co-director of Ph.D. research in Oriental Ethnomusicology at Université Paris Sorbonne—Paris IV. B.A., Université Saint-Esprit de Kaslik; M.A., Université Libanaise; Ph.D., Université Paris Sorbonne—Paris IV
Judith Malafronte Lecturer in Voice. Judith Malafronte has an active career as a mezzo-soprano soloist in opera, oratorio, and recital. She has appeared with the San Francisco Symphony, the Los Angeles Philharmonic at the Hollywood Bowl, the St. Louis Symphony, the St. Paul Chamber Orchestra, the Handel and Haydn Society, and Mark Morris Dance Group. She has sung at the Tanglewood Festival, the Boston Early Music Festival, the Utrecht Early Music Festival, and the Göttingen Handel Festival. Winner of several top awards in Italy, Spain, Belgium, and the U.S., including the Grand Prize at the International Vocal Competition in Hertogenbosch, Holland, Malafronte holds degrees with honors from Vassar College and Stanford University, and studied at the Eastman School of Music, in Paris and Fontainebleau with Mlle. Nadia Boulanger, and with Giulietta Simionato in Milan as a Fulbright scholar. She has recorded for major labels in a broad range of repertoire, from medieval chant to contemporary music and her writings have appeared in Opera News, Stagebill, Islands, Early Music America Magazine, Schwann Inside, and Opus. Malafronte also teaches undergraduate music courses in Yale College and directs the Yale Collegium Singers. B.A., Vassar; M.A., Stanford University
Vasileios Marinis Assistant Professor of Christian Art and Architecture. Professor Marinis has been the recipient of numerous grants and fellowships including the Aidan Kavanagh Prize for Outstanding Scholarship at Yale, a Junior Fellowship at Dumbarton Oaks in Washington, D.C., and the S.C. and P.C. Coleman Senior Fellowship at the Metropolitan Museum of Art. He has published on a variety of topics ranging from early Christian tunics decorated with New Testament scenes to medieval tombs and Byzantine transvestite nuns. He is currently preparing a monograph on the interaction of architecture and ritual in the medieval churches of Constantinople. Before coming to Yale he was the first holder of the Kallinikeion Chair of Byzantine Art at Queens College, CUNY. B.A., University of Athens; D.E.A., Université de Paris I Panthéon-Sorbonne; M.A.R., Yale University; L.M.S., University of Toronto; Ph.D., University of Illinois at Champaign-Urbana
David Michalek Lecturer in Religion and Visual Art. David Michalek is an artist who takes the concept and techniques of portraiture as the starting points for the creation of his works, on both a large and small scale, in a range of mediums. His focus over the past ten years has been closely tied to his interest in relational aesthetics, specifically using performative and interactive techniques—storytelling, dialogue, movement—and relying on the input and responses of others—subjects, collaborators, audience—as integral to both the creation and the experience of his art. After earning an undergraduate degree in English, he studied filmmaking at NYU. He worked as an assistant to noted photographer Herb Ritts for two years. Beginning in the mid-1990s, he began his professional photographic career and worked regularly as a portrait artist for publications such as The New Yorker, Vanity Fair, Interview, and Vogue. Concurrently, he began experimenting with performance and installation, and developing large-scale, multidimensional projects. His solo and collaborative work has been shown nationally and internationally, with recent solo exhibitions at Yale University, the Brooklyn Museum, and The Kitchen. He has collaborated with director Peter Sellars on two staged works: Kafka Fragments, presented as part of Carnegie Hall’s 2005–06 season; and St. François d’Assise, presented at the Salzburg Festival and Paris Opera. Other film and video work for theater includes collaborations with the Tallis Scholars; with John Malpede and L.A.P.D. on three works, Agents and Assets, The Skid Row Museum, and RFK in EKY; and with the Brooklyn Philharmonic on a project for the Brooklyn Museum’s “Music Off the Walls” series. He has been the recipient of grants and fellowships from, among others, Franklin Furnace, the Durfee Foundation, the California Arts Council, the Jerome Robbins Foundation, Karen-Weiss Foundation, and the Performing Arts Center of Los Angeles County (commission grant toward the creation of Slow Dancing). In 2007 he was an artist in residence with the World Performance Project at Yale. B.A., UCLA
Mark Miller Lecturer in the Practice of Sacred Music. Mark Miller has served on the faculty at the Drew Theological School in Madison, New Jersey, since 1994. He is director of the gospel and youth choirs at the Marble Collegiate Church in New York City, and from 1999 to 2001 was music associate and assistant organist of the Riverside Church. He is known in churches throughout the country as a worship leader, teacher, composer, and performer of sacred music and has performed concerts from California to Connecticut. He has a passion for composing music that reflects elements of classical, gospel, jazz, and folk and has more than twenty works published with Abingdon Press and Hope Publishing. As an undergraduate he was the recipient of the Yale Bach Society Prize and in 1989 was first prize winner of the National Association of Negro Musicians National Organ Competition. B.A., Yale University; M.M., The Juilliard School
R. Walden Moore Lecturer (Adjunct) in Organ. R. Walden Moore graduated from the ISM/School of Music in 1980, after organ studies with Robert Baker and Gerre Hancock. He has been organist and choirmaster of Trinity Church, New Haven, since 1984, where he works with the renowned Choir of Men and Boys, the Choir of Men and Girls, and the Trinity Singers (parish mixed adult choir) in a regular schedule of parish services and appearances outside the parish. He has served as clinician, guest conductor, and organist for choir festivals across the nation. He is past chair of the Music Commission of the Episcopal Diocese of Connecticut and has served on the Executive Board of the Connecticut Chapter of the American Choral Directors Association. He has also served as consultant in organ design for several churches in Connecticut. He is team-teaching a course in service playing with fellow Baker student Mark Miller. B.M., University of Kentucky; M.M., Yale Institute of Sacred Music/Yale School of Music
Thomas Murray Professor in the Practice of Organ. Professor Murray has been a member of the faculty since 1981 and was appointed University organist in 1990. Successor to Charles Krigbaum and Robert Baker as the senior professor of organ, he teaches the organ literature seminar and gives instruction to graduate organ majors. His performing career has taken him to all parts of Europe and to Japan, Australia, and Argentina. He has appeared as a soloist with the Pittsburgh, Houston, Milwaukee, and New Haven symphony orchestras, the National Chamber Orchestra in Washington, D.C., and the Moscow Chamber Orchestra during its tour of Finland in 1996. The American Guild of Organists named him International Performer of the Year in 1986; as a recipient of this distinction he joined such luminaries as Marie-Claire Alain, Jean Guillou, and Dame Gillian Weir. The Royal College of Organists in England awarded him an FRCO diploma honoris causa in 2003. During his years at Yale he has at times been active as a choral conductor, and prior to joining the faculty he was organist and choirmaster at the Cathedral Church of St. Paul (Episcopal) in Boston. Professor Murray is principal organist and artist-in-residence at Christ Church Episcopal in New Haven, where he shares musical responsibilities with organ scholar Raymond Nagem and choirmaster Ryan Brandau. B.A., Occidental College
Sally M. Promey Professor of Religion and Visual Culture, Professor of American Studies, Deputy Director of the Institute of Sacred Music, and Chair, Program in Women’s, Gender, and Sexuality Studies. Professor Promey is Director of the Yale Initiative for the Study of Material and Visual Cultures of Religion, generously supported by a grant awarded in 2008 from the Henry Luce Foundation. Prior to arriving at Yale she was chair and professor in the Department of Art History and Archaeology at the University of Maryland, where she taught for fifteen years. Her scholarship explores relations between visual/material culture and religion in the United States from the colonial period through the present. Current book projects include volumes titled Religion in Plain View: Public Aesthetics of American Belief and Written on the Heart: Christian Visual Culture in the United States. Among earlier publications, Professor Promey’s Painting Religion in Public: John Singer Sargent’s “Triumph of Religion” at the Boston Public Library (Princeton, 1999) received the American Academy of Religion Award for Excellence in the Historical Study of Religion, and Spiritual Spectacles: Vision and Image in Mid-Nineteenth-Century Shakerism (Indiana, 1993) was awarded the Charles C. Eldredge Prize for Distinguished Scholarship in American Art. Recent articles and book chapters include essays titled “Mirror Images: Framing the Self in Early New England Material Piety”; “Taste Cultures and the Visual Practice of Liberal Protestantism, 1940–1965”; “Situating Visual Culture”; and “The ‘Return’ of Religion in the Scholarship of American Art.” Professor Promey is recipient of numerous grants and fellowships, including a Guggenheim Fellowship, a residential fellowship at the Woodrow Wilson International Center for Scholars, two Ailsa Mellon Bruce Senior Fellowships (1993 and 2003) at the Center for Advanced Study in the Visual Arts, and a National Endowment for the Humanities Fellowship for University Teachers. In 2001 she received the Regent’s Faculty Award for Research, Scholarship, and Creative Activity from the University System of Maryland; and in 2002 the Kirwan Faculty Research and Scholarship Prize, University of Maryland. She was co-director (with David Morgan, Valparaiso University) of a multi-year interdisciplinary collaborative project, “The Visual Culture of American Religions,” funded by the Henry Luce Foundation and the Lilly Endowment Inc. A book of the same title, co-edited by Promey and Morgan, appeared in 2001 from University of California Press. In 2004 she was senior historian in residence for the Terra Summer Residency Program in Giverny, France. She serves on the editorial boards of Material Religion, American Art, and Winterthur Portfolio, the Council of the Omohundro Institute for Early American History and Culture, and the Advisory Committee of the Center for Historic American Visual Culture at the American Antiquarian Society. B.A., Hiram College; M.Div., Yale University; Ph.D., University of Chicago
Markus Rathey Associate Professor (Adjunct) of Music History. Professor Rathey studied musicology, Protestant theology, and German philology in Bethel and Münster. He taught at the University of Mainz and the University of Leipzig and was a research fellow at the Bach-Archiv, Leipzig, before joining the Yale faculty in 2003. His research interests are music of the seventeenth, eighteenth, and early nineteenth centuries, Johann Sebastian Bach, and the relationship among music, religion, and politics during the Enlightenment. Recent publications include the books Johann Rudolph Ahle (1625–1673): Lebensweg und Schaffen (Eisenach, 1999), an edition of Johann Georg Ahle’s Music Theoretical Writings (Hildesheim, 2007, 2nd edition 2008), and Kommunikation und Diskurs: Die Bürgerkapitänsmusiken Carl Philipp Emanuel Bachs (Hildesheim, 2009). He was guest editor of a volume of the German journal Musik und Kirche (2005) on church music in the United States. He has contributed numerous articles to Die Musik in Geschichte und Gegenwart, the Laaber Lexikon der Kirchenmusik, and the handbook for the new German Hymnal (Liederkunde zum Evangelischen Gesangbuch). Professor Rathey is president of the Forum on Music and Christian Scholarship and serves on the editorial board of Bach: Journal of the Riemenschneider Bach Society. Ph.D., Westfälische Wilhelms-Universität, Münster
Bryan D. Spinks Bishop F. Percy Goddard Professor of Liturgical Studies and Pastoral Theology, Fellow of Morse College. Professor Spinks is known internationally for the breadth of his learning. He works on Syriac traditions of liturgy, placing his scholarship in the context of patristics and the early sources of Christian liturgy. A priest of the Church of England, Professor Spinks also works on a range of Reformation topics, with publications on Luther, Calvin, Richard Hooker, and William Perkins. His most recent publications are two volumes on Rituals and Theologies of Baptism (Ashgate 2006) and Liturgy in the Age of Reason: Worship and Sacraments in England and Scotland, 1662–c.1800 (Ashgate 2008). He is currently completing a book on contemporary forms of worship in a global postmodern culture. Before coming to Yale, he taught religious education at St. Peter’s Comprehensive School in Huntingdon, and liturgy at the University of Cambridge, where he was also chaplain of Churchill College. He served on the Church of England Liturgical Commission from 1986 to 2000, and was involved in the compilation of Common Worship 2000. He is also president emeritus of the Church Service Society of the Church of Scotland, and was a consultant to the worship committee of the United Reformed Church. He is a fellow of the Royal Historical Society, and overseas fellow, Churchill College, Cambridge. B.A., St. Chad’s College, University of Durham; Dip.Theol., University of Durham; Cert.Ed., University of Cambridge; M.Th., King’s College, University of London; B.D., D.D. (earned degree), University of Durham
Masaaki Suzuki Visiting Professor of Choral Conducting. Since founding Bach Collegium Japan in 1990, Masaaki Suzuki has established himself as a leading authority on the works of Bach. He has remained the group’s music director ever since, taking it regularly to major venues and festivals in Europe and the United States. He is regularly invited to work with renowned European soloists and groups, such as Collegium Vocale Gent and the Freiburger Barockorchester, with whom he visited several European capitals, and he recently appeared in London with the Britten Sinfonia in a program of Britten, Mozart, and Stravinsky. Forthcoming engagements with other ensembles include the Hong Kong Philharmonic, the Nagoya Philharmonic, and the Netherlands Radio Chamber Philharmonic orchestras. Professor Suzuki’s discography on the BIS label, featuring Bach’s complete works for harpsichord, and his interpretations of Bach’s major choral works and sacred cantatas with Bach Collegium Japan (of which he has already completed over forty volumes of a project to record the complete series) has brought him many critical plaudits. Highlights of his current season with Bach Collegium Japan include a tour of Europe and a visit to the Canaries Festival as well as performances in Tokyo of Handel’s Judas Maccabeus and Messiah, choral works by Mendelssohn, and concert performances of Monteverdi’s Poppea. He will also conduct the Nagoya Philharmonic Orchestra in Mendelssohn’s Midsummer Night’s Dream and embark on a U.S. organ recital tour. Masaaki Suzuki combines his conducting career with his work as organist and harpsichordist. Born in Kobe, he graduated from Tokyo University of Fine Arts and Music with a degree in composition and organ performance and went on to study harpsichord and organ at the Sweelinck Conservatory in Amsterdam under Ton Koopman and Piet Kee. He teaches at the Tokyo National University of Fine Arts and Music, where is founder and head of the early music department. In April 2001 Professor Suzuki was decorated with “Das Verdienstkreuz am Bande des Verdienstordens der Bundesrepublik” from Germany.
James Taylor Associate Professor (Adjunct) of Voice. The American lyric tenor James Taylor joined the Yale faculty in 2005 after serving as professor of voice at the Musikhochschule in Augsburg, Germany, since 2001. He is one of the most sought-after oratorio singers of his generation, appearing worldwide with such renowned conductors as Christoph Eschenbach, Nikolaus Harnoncourt, Christoph von Dohnányi, Herbert Blomstedt, Daniel Harding, Bernard Labadie, Harry Christophers, Osmo Vänskä, Phillipe Herreweghe, René Jacob, Ivan Fisher, Ton Koopman, Michel Corboz, and Franz Welser-Möst, and touring extensively with Helmuth Rilling. Important guest appearances have included concerts with the Bavarian Radio Symphony Orchestra, the Vienna Philharmonic, the Cleveland Orchestra, the Berlin Philharmonic, the Concentus Musicus of Vienna, the Toronto Symphony, Tafelmusik, the Gewandhaus Orchestra Leipzig, the Orchestra of St. Luke’s, the St. Paul Chamber Orchestra, the Minnesota Orchestra, the Los Angeles Symphony, the Houston Symphony, the Israel Philharmonic, the Academy of St. Martin in the Fields, and the San Francisco Symphony. His more than thirty-five professional recordings on CD include Dvorák’s Stabat Mater, Mendelssohn’s Paulus and Elijah, Beethoven’s Missa Solemnis, Händel’s Messiah, Bach’s B Minor Mass and Christmas Oratorio, and the songs of John Duke. A recording of Scottish and Welsh songs by Franz Josef Haydn, with Donald Sulzen and the Munich Piano Trio, has recently been released. Professor Taylor is one of the founders of Liedertafel, a male vocal quartet, which has appeared in major European music festivals and recorded for the Orfeo label. Important recent engagements include performances of Mozart’s Die Schuldigkeit des ersten Gebots with Nikolaus Harnoncourt in Salzburg, four performances of Bach’s St. Matthew Passion with the New York Philharmonic under the direction of Kurt Masur in March of 2008, and a tour of the Britten Horn Serenade with the St. Paul Chamber Orchestra in April 2008. B.Mus., Texas Christian University; Master’s Diploma, Hochschule für Musik, Munich
Ted Taylor Lecturer in Voice. Equally at home in the pit conducting a repertoire of more than fifty operas and musicals, on the stage accompanying some of the world’s preeminent vocalists, or appearing in the country’s top cabaret venues, Ted Taylor enjoys a varied international career. As pianist he has appeared with such luminaries as Kathleen Battle, Sylvia McNair, Ben Heppner, and Christine Schäfer, and he has just conducted the world premiere in April 2009 of Libby Larsen’s opera Picnic for the University of North Carolina at Greensboro. Formerly music director for the New York City Opera National Company and Mobile (Alabama) Opera, he has served on the conducting staff of the Metropolitan Opera and has led performances for many American opera companies. Mr. Taylor worked closely with composer and Oscar winner Tan Dun on the premiere of his first opera, Marco Polo, preparing the Hong Kong and Tokyo Philharmonic Orchestras for performances. He appeared as pianist with legendary singer Eileen Farrell for her CBS cable show and has served as accompanist in master classes with such legends as Elisabeth Schwarzkopf and Carlo Bergonzi. Appearances by Mr. Taylor include the New York Philharmonic Orchestra, the Cleveland Orchestra at Blossom Festival, and Ravinia with the Chicago Symphony Orchestra. He has performed with the Chamber Music Society of Lincoln Center, the Philadelphia Orchestra Chamber Music Series, Newport Music Festival, La Jolla Music Society Summerfest, and Music Mountain. Among his cabaret venues are the Algonquin’s Oak Room, and most recently the Royal Room of the Colony Hotel in Palm Beach. A native of Texas, Mr. Taylor is also on the faculty of Mannes College The New School for Music in New York City, where he maintains an active studio as coach and teacher. B.M., George Peabody College, Vanderbilt University; M.M., Indiana University
Thomas H. Troeger J. Edward and Ruth Cox Lantz Professor of Christian Communication. Professor Troeger has written eighteen books in the fields of preaching, poetry, hymnody, and worship and is a frequent contributor to journals dedicated to these topics. His most recent books include Preaching and Worship, Preaching While the Church Is Under Reconstruction, Above the Moon Earth Rises: Hymn Texts, Anthems, and Poems for a New Creation, and God, You Made All Things for Singing: Hymn Texts, Anthems, and Poems for a New Millennium. He is also a flutist and a poet whose work appears in the hymnals of most denominations and is frequently set as choral anthems. For three years Professor Troeger hosted the Season of Worship broadcast for Cokesbury, and he has led conferences and lectureships in worship and preaching throughout North America, as well as in Denmark, Holland, Australia, Japan, and Africa. Ordained in the Presbyterian Church in 1970 and in the Episcopal Church in 1999, he is dually aligned with both traditions. He is a former president of the Academy of Homiletics and currently serves as the co-president of Societas Homiletica, the international guild of scholars in homiletics. He is also the national chaplain to the American Guild of Organists. B.A., Yale University; B.D., Colgate Rochester Divinity School; S.T.D., Dickinson College; D.D., Virginia Theological Seminary
