The Musicians of Spiritus Collective
 

Greg Ingles, Music Director of Spiritus Collective, is in demand as a free-lance sackbut player performing with such period instrument ensembles as Tafelmusik, New York Collegium, Concerto Palatino, New Yorkís Ensemble for Early Music, Ensemble Rebel, Trinity Consort, Aston Magna, the Orchestra of the Renaissance and American Bach Soloists. Greg is a member of Piffaro: the Renaissance Band which performs throughout the US and Europe and with them, he has recorded on the Dorian early music label. He is also a member of the early wind band, Ciaramella, with whom he recorded their debut CD with Naxos this summer. Greg received his Bachelor of Music degree in trombone performance from Oberlin Conservatory and in addition to his performing schedule, he is currently a doctoral candidate at the State University of New York at Stony Brook and is professor of trombone at Hofstra University.
 
 


Kris Ingles, Artistic Director of Spiritus Collective, has played baroque trumpet with several period instrument ensembles including Gotham City Baroque, Long Island Baroque, NY State Baroque, San Francisco Bach Choir, and New York Collegium, with whom Kris has performed and recorded under the direction of Andrew Parrott. She is a frequent featured soloist with Foundling, a baroque orchestra based in Providence, RI. She often performs as a guest of Piffaro: the Renaissance Band and appears on their latest recording on the Dorian label. She has given many lectures on performance practice and trumpet history, including recent appearances at the University of Wyoming and Rutgers University. On cornetto, Kris has performed with Santa Fe Pro Musica, Torontoís I Furiosi, and early wind band Ciaramella among others. She received Bachelor and Master of Music degrees in trumpet performance from the University of Michigan. Currently, Kris is a doctoral candidate in early music performance at the State University of New York at Stony Brook and professor of trumpet at Hofstra University.
 

Erik Schmalz, a native of Lafayette, Louisiana, began taking trombone lessons from his father.  After receiving degrees in trombone performance from the Oberlin Conservatory of Music and the Cincinnati College-Conservatory of Music, he was introduced to early music.  Shortly thereafter, he was able to study with sackbut specialists Wim Becu and Stewart Carter at the Amherst Early Music Festival.  Erik has performed with The New York Collegium, New York's Ensemble for Early Music, Piffaro, San Francisco Bach Choir and Ciaramella in the U.S. and Belgium.  In addition, he has recorded with both The New York Collegium and Ciaramella.  As a member of Spiritus Collective, he has performed at the International Trombone Festival, the Madison Early Music Festival and the Colorado Early Music Festival.  Erik is currently a freelance sackbut player residing in Connecticut.


For the past 30 years, Mack Ramsey has specialized in the performance of repertoires ranging from the 14th to the 18th centuries. Equally at home on a number of different instruments, he has been especially fascinated with the role of the municipal wind bands of the 16th century and the special skills and performance practices that help us interpret this music. He is a founding member of the Boston Shawm and Sackbut Ensemble. He has also appeared as a sackbuttist, cornettist and recorder player with other wind bands in North America, such as Piffaro, Les Sonneurs de Montreal and The Whole Noyse. As a frequent guest with Piffaro he has toured in North America and Europe and participated in several recording projects. Recently he appeared with Concerto Palatino as part of the Boston Early Music Festival. Overseas, Mr. Ramsey has appeared and recorded with the Taverner Players, directed by Andrew Parrot and the Gabrieli Consort, directed by Paul McCreesh. At home, in the U.S., he has enjoyed a varied career performing Machaut to Mozart, Binchois to Beethoven and has appeared with many larger ensembles, including the New York Collegium, the Folger Consort, Boston Camerata, Early Music New York, Apollo's Fire, the Smithsonian Chamber Orchestra, Boston Baroque, the Boston Early Music Festival Orchestra, the Handel and Haydn Society Orchestra, the Orchestra of the Old Fairfield Academy and Vancouver Early Music Festival.


Robert Mealy has received much critical acclaim for his eloquent and imaginative performances on a wide variety of historical strings. He has recorded over 50 cds of early music on most major labels, ranging from Hildegard of Bingen with Sequentia, to Renaissance consorts with the Boston Camerata, to Rameau operas with Les Arts Florissants. Mr. Mealy has toured with many distinguished ensembles throughout North America and Europe, and has appeared at international music festivals from Berkeley to Belgrade, and from Melbourne to Versailles. A devoted chamber musician, he is happy to be a member of the medieval ensemble Fortune's Wheel, the Renaissance violin band the King's Noyse, and the early Irish group Dúlra, along with Spiritus. He is a frequent leader and soloist in New York, where he performs regularly with the New York Collegium and ARTEK. Mr. Mealy has lectured and taught historical performance techniques at Columbia, Brown, Oberlin, U.C. Berkeley, and Yale, where he serves as instrumental director of the Yale Collegium. He is a non-resident tutor of music at Harvard College, and directs the Harvard Baroque Chamber Orchestra. He was recently appointed Hogwood Fellow of the Handel and Haydn Society, to advise them on historical performance questions. He frequently writes on music, and teaches historical improvisation and technique at workshops across the United States.


Lucas Harris received his training in Europe, first at the Civica Scuola di Musica di Milano as one of the first scholars of the Marco Fodella Foundation, then at the Hochschule für Künste Bremen. Since returning to America in 1998, Mr. Harris has become a prominent freelance continuo player in the U.S. and Canada, performing regularly with The Harp Consort, Apollo's Fire, the New York Collegium, Tafelmusik, Trinity Consort, Seattle Baroque, and many other ensembles. He has also created and directed some twenty themed concert programs with his own group, New Ground Ensemble (formerly 'Common Ground'). Mr. Harris's passion for baroque opera has animated the continuo accompaniment of productions by the New York Metropolitan Opera, the Juilliard Opera Center, the Boston, Utrecht, and Connecticut Early Music Festivals, Monadnock Music, the Toronto Consort, and Opera Atelier. He teaches for the New York Continuo Collective, and recently joined the faculty of Oberlin Conservatory's Baroque Performance Institute as well as the Amherst Early Music Festival / Lute Society of America Summer Seminar. His solo project on the music of Alessando Piccinini was recently given 3rd place/honorable mention in the Early Music America/Naxos recording competition.


Julie Andrijeski hails from Pittsburgh, Pennsylvania, where she performs as violinist with Chatham Baroque. In addition to Chatham Baroque's copious projects including concerts, tours, recordings, and educational programs, Ms. Andrijeski often serves as concertmaster or principal player with other ensembles including the Wolf Trap Orchestra, the Washington Bach Consort, Folger Consort, Apollo's Fire, and Cecilia's Circle. Ms. Andrijeski is also an accomplished historical dancer and choreographer and often combines her skills as teacher, dancer and violinist in concerts and workshops across the country. She has taught baroque violin at Peabody Conservatory and the Oberlin Conservatory of Music, is on the summer faculty of the Baroque Performance Institute, and has led the Baroque orchestra and taught Baroque dance at Case Western Reserve University where she is pursuing her DMA in Historical Performance.