Mark Edwards is the artistic director of Poiesis. First prize winner in the 2012 Musica Antiqua Bruges International Harpsichord Competition, Canadian harpsichordist and organist Mark Edwards is recognized for his captivating performances, bringing the listener “to new and unpredictable regions, using all of the resources of his instrument, […] of his virtuosity, and of his imagination” (La Libre Belgique).
He has given solo recitals at a number of prominent festival and concert series, including the Utrecht Early Music Festival, Bozar (Brussels), the Montreal Baroque Festival, and Clavecin en concert (Montreal). He has had concerto performances with a number of award-winning ensembles, including Il Gardellino (Belgium), Neobarock (Germany), and Ensemble Caprice (Canada). Also an active chamber musician, he plays with Les Boréades de Montréal and has played with Il Pomo d’Oro, Pallade Musica, and Flûtes Alors! Since 2016, he is Assistant Professor of Harpsichord at Oberlin Conservatory.
Joanna Marsden is a flautist from Lincoln, Massachusetts. She has performed recently in Belgium, Canada, France, Mexico, the Netherlands, Spain, Portugal, the United Kingdom, and the United States “beautifully” (Luis Gago, Madrid) and “with notable rhetorical clarity” (Boston Musical Intelligencer). She is a founding member of Poiesis and Symphonie Atlantique, a conductorless chamber orchestra led from the violin by Rebecca Huber dedicated to the Classical and Romantic repertoire based in the Hague, the Netherlands. She has a doctorate in historical performance from McGill University’s Schulich School of Music and holds degrees from the Royal Conservatory of the Hague and Vassar College. Her first CD, Devienne Sonatas with Mark Edwards (Centaur Records) was reviewed warmly by Early Music America and the American Record Guide. She was a prize winner of the 2012 National Flute Association’s Baroque Artist Competition in Las Vegas. She lives in Montréal, Québec.
Boaz Berney studied baroque flute with Wilbert Hazelzet at The Royal Conservatory, The Hague. He is active in various early music ensembles and performs music from the sixteenth to the nineteenth centuries. In addition to his activities as a performer, Boaz also makes copies of historical flutes after original instruments in various European museums. He plays on flutes that he has made himself and participates regularly in international early music exhibitions. Boaz is also researching the history of the flute, and has been invited to lecture in various symposiums dedicated to the historical woodwinds.
Hailed for her generous stage presence and expressive voice, Montreal-born soprano Andréanne Brisson Paquin is equally devoted to several different musical genres, singing baroque, classical, operatic and even contemporary repertoire with the same commitment, rigour, and excitement. Andréanne has sung with many of the great chamber music and baroque ensembles, including montreal based I Musici, Pallade Musica, Arion, Ensemble Caprice, Voix humaines and also Musica Angelica (Los Angeles), Musica and Rhenum (Amsterdam), Ensemble Masques (Paris), Ensemble Odyssee (Amsterdam)
Fascinated by the cello’s origins and the creative process of new music, Elinor Frey plays both period and modern instruments. She has performed dozens of new works including recent commissions for the Baroque cello by Scott Godin, Linda Catlin Smith, Ken Ueno, Isaiah Ceccarelli, Lisa Streich, and Maxime McKinley. Last season she performed Lutoslawski’s cello concerto and a new concerto by Colin Labadie with the Laurier Symphony and next season she will premiere a new concerto by Keiko Devaux with Ensemble Arkea, Dina Gilbert conducting. In recent years she has performed with Les Idées heureuses, Il Gardellino, Ensemble Caprice, Studio de musique ancienne de Montréal, Arion, Clavecin en concert, and Theatre of Early Music, as well as with her quartet, Pallade Musica. Frey holds degrees from McGill, Mannes, and Juilliard.
Pursuing the quest for a genuine and creative expression of music, Noémy Gagnon-Lafrenais spends much time wondering and wandering about the past. Noémy performs actively in Canada, the United-States and Europe. She has played with Arion Baroque, Pacific Baroque Ensemble, Trinity Wall Street New York, New Vintage Baroque and Inwood Baroque. She holds degrees from the Juilliard School, the San Francisco Conservatory, and the Conservatoire de Musique de Montreal.
Alexis Risler received his bachelor’s degree in lute performance in 2003. Since then, he has explored a wide variety of vocal and instrumental repertoires of the Renaissance and of the Baroque. During his time in France, he studied lute with Pascale Boquet (Tours Conservatory), with Eugène Ferré (Lyon Conservatory), and with Federico Marincola. In 2004 he founded the ensemble La Chamaille, which assembles various singers and instrumentalists around the lute according to the needs of each concert. His first CD, Dolcissimo Sospiro (2012), with tenor Philippe Gagné, focused on repertoire for lute and voice. Parallel to his activities as a performer, he also studies musicology. His passion for music history enriches his instrumental playing and inspires him to present lesser-known works to the public.
Gold medalist of the 7th International Bach-Abel Competition, Arnie Tanimoto is equally at home on the viola da gamba and baroque cello. He was the first-ever viola da gamba major at The Juilliard School, where he soloed on both instruments. Described by The New York Times as a “fine instrumental soloist” Arnie performs in venues across the United States, Europe, and Japan. The recipient of a 2017 Frank Huntington Beebe Fund Fellowship he has also performed and recorded with Barthold Kuijken, the Boston Early Music Festival Ensemble, and the Smithsonian Consort of Viols. As a teacher, Arnie serves on faculty at the Mountainside Baroque Summer Academy as well as maintaining a private studio. He holds degrees and certificates from Oberlin Conservatory, the Eastman School of Music, The Juilliard School, and the Schola Cantorum Basiliensis.
François Viault is actively involved in the musical life of Montreal. He performs regularly with Ensemble Caprice, the Arion Orchestra, Les Violons du Roy, and other symphony orchestras of the region. He obtained his degree at Poitiers and a first prize at Versailles, and was then admitted to the Conservatory Superior of Lyon in the class of Laurent Lefèvre, where he also studied the baroque bassoon. Francois furthered his education in classical and romantic bassoon with the orchestra at The Abbaye aux Dames de Saintes founded by Philippe Herreweghe.