curriculum vitae contact information education …...marissen, cv, march 8, 2019, page 6 of 21 john...

Marissen, CV, March 8, 2019, page 1 of 21

CURRICULUM VITAE

Michael Marissen

CONTACT INFORMATION

[email protected]

EDUCATION

1982–89, Brandeis University, Musicology (PhD, Feb. 1991) 1986–87, Freie-Universität Berlin, Musicology — Dissertation Research 1981–82, Washington University, Performance Practice 1977–81, Calvin College, Musicology (BA, May 1981)

TEACHING

2014– , Swarthmore College, Daniel Underhill Emeritus Professor of Music

2003–14, Swarthmore College, Department of Music and Dance, Daniel Underhill Professor of Music (chair, 2009–12)

1995–2002, Swarthmore College, Department of Music and Dance, Associate Professor (chair, 2001–04)

1990–95, Swarthmore College, Department of Music and Dance, Assistant Professor

1989–90, Swarthmore College, Department of Music and Dance, Instructor, tenure-track

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2010, University of Pennsylvania, Music Department, Visiting Professor (graduate seminar, “Religious polemic in Baroque music”)

National Endowment for the Humanities Seminar for highschool teachers, Moravian College, 2005; Leipzig, Germany, 2008, 2010, 2012, 2014; Moravian College 2017

various summer teaching and lecturing, Baroque Performance Institute, Oberlin College Conservatory

various Lifelong Learning Courses for Swarthmore College in New York and in Swarthmore

1992–93, Princeton University, Music Department, Visiting Assistant Professor (graduate seminar, “Bach and the Berlin Court,” and undergraduate course, “Bach’s Church Cantatas”)

COURSES AND SEMINARS TAUGHT AT SWARTHMORE

Bach; Bach and religion; conceptual introduction to musics of various cultures; early-music performance; medieval, renaissance, baroque, classical European music; Mozart; string quartet


SELECTED AWARDS

2012 (fall), invited Visiting Fellow in The Centre for the Study of Jewish-Christian Relations, Woolf Institute, Cambridge, United Kingdom

2001 (fall), Alexander von Humboldt Stiftung research fellowship, at the Theological Faculty of the University of Leipzig, Germany

2000–01, American Council of Learned Societies research fellowship

1996–97, National Endowment for the Humanities research fellowship

1996, William H. Scheide Prize; from the American Bach Society, for best publication by a younger scholar in 1994–96: The social and religious designs of J. S. Bach’s Brandenburg Concertos (Princeton: Princeton University Press, 1995)

1986–88, Social Sciences and Humanities Research Council of Canada research fellowships

1986–87, Deutscher Akademischer Austauschdienst research fellowship, at Freie-Universität Berlin

BOOKS

Bach & God (New York: Oxford University Press, 2016).

Tainted glory in Handel’s Messiah (New Haven: Yale University Press, 2014).

Bach’s oratorios — The parallel German-English texts, with annotations (New York: Oxford University Press, 2008).

co-author Daniel R. Melamed, An introduction to Bach studies (New York: Oxford University Press, 1998).

Lutheranism, anti-Judaism, and Bach’s St. John Passion (New York: Oxford University Press, 1998).

ed., Creative responses to Bach from Mozart to Hindemith (Lincoln: University of Nebraska Press, 1998).

The social and religious designs of J. S. Bach’s Brandenburg Concertos (Princeton: Princeton University Press, 1995).

ACADEMIC ARTICLES

“Bach against modernity,” in Rethinking Bach, ed. Bettina Varwig (New York: Oxford University Press, forthcoming c.2020).

“Two Bach church cantatas and ‘the Jews’ in the Gospel of John,” in The Gospel of John and Jewish-Christian relations, ed. Adele Reinhartz (Lanham & New York: Lexington Books / Fortress Academic, 2018), 147–64.

“Blood, people, and crowds in Matthew, Luther, and Bach,” Luther Digest: An Annual Abridgement of Luther Studies 16 (2008): 43–45.

“Rejoicing against Judaism in Handel’s Messiah,” Journal of Musicology 24 (2007): 167–94.


“Historically informed rendering of the librettos from Bach’s church cantatas,” in Music and theology: Essays in honor of Robin A. Leaver on his sixty-fifth birthday, ed. Daniel Zager (Lanham, Md: Scarecrow Press, 2007), 103–20.

“Blood, people, and crowds in Matthew, Luther, and Bach,” Lutheran Quarterly 19 (2005): 1–22.

“Performance practice issues that affect meaning in two Bach instrumental works,” in Historical musicology: Sources, methods, interpretations, ed. Stephen A. Crist and Roberta Marvin (Rochester: University of Rochester Press, 2004), 85–94.

“The character and sources of the anti-Judaism in Bach’s Cantata 46,” Harvard Theological Review 96 (2003): 63–99.

“On the musically theological in J. S. Bach’s church cantatas,” Lutheran Quarterly 16 (2002): 48–64.

“Aufführungspraxis und Bedeutung in zwei Instrumentalwerken Johann Sebastian Bachs,” in Bach und die Stile: Bericht über das 2. Dortmunder Bach-Symposion 1998, ed. Martin Geck and Klaus Hofmann (Dortmund: Klangfarben Musikverlag, 1999), 291–301.

“Penzel manuscripts of Bach concertos,” in Bachs Orchesterwerke: Bericht über das 1. Dortmunder Bach-Symposion 1996, eds. Martin Geck and Werner Breig (Witten: Klangfarben Musikverlag, 1997), 77–87.

“The theological character of J. S. Bach’s Musical Offering,” in Bach-Studies 2, ed. Daniel R. Melamed (Cambridge: Cambridge University Press, 1995), 85–106.

“Concerto styles and signification in Bach’s First Brandenburg Concerto,” in Bach Perspectives 1, ed. Russell Stinson (Lincoln: University of Nebraska Press, 1995), 79–101.

“Bach and recorders in G,” Galpin Society Journal 48 (1995): 199–204.

“More source-critical research on J. S. Bach’s Musical Offering,” Bach: The Journal of the Riemenschneider Bach Institute 25 (1994): 11–27.

“Religious aims in Mendelssohn’s 1829 Berlin-Singakademie performances of Bach’s St. Matthew Passion,” Musical Quarterly 77 (1993): 718–26.

“J. S. Bach’s Brandenburg Concertos as a meaningful set,” Musical Quarterly 77 (1993): 193–235.

“On linking Bach’s F-major Sinfonia and his Hunt Cantata,” Bach: The Journal of the Riemenschneider Bach Institute 23 (1992): 31–46.

“Organological questions and their significance in J. S. Bach’s Fourth Brandenburg Concerto,” Journal of the American Musical Instrument Society 17 (1991): 5–52.

“Beziehungen zwischen der Besetzung und dem Satzaufbau im ersten Satz des sechsten Brandenburgischen Konzerts von Johann Sebastian Bach,” Beiträge zur Bach-Forschung 9–10 (1991): 104–28.

“Relationships between scoring and structure in the first movement of Bach’s Sixth Brandenburg Concerto,” Music and Letters 71 (1990): 494–504.


“A critical reappraisal of J. S. Bach’s A-major flute sonata,” Journal of Musicology 6 (1988): 367–86.

“A trio in C major for recorder, violin and continuo by J. S. Bach?” Early Music 13 (1985): 384–90.

SELECTED JOURNALISTIC PUBLICATIONS

“There’s more religion than you think in Bach’s ‘Brandenburgs’,” in The New York Times, Sunday Arts & Leisure section, December 23, 2018, page AR6. https://www.nytimes.com/2018/12/20/arts/music/bach-brandenburg-concertos.html

“Bach was far more religious than you might think,” in The New York Times, Sunday Arts & Leisure section, April 1, 2018, page AR10. https://www.nytimes.com/2018/03/30/arts/music/bach-religion-music.html

interview with Michael Marissen and Lauren Belfer, “A literary couple grapple with Bach and his God,” by James R. Oestreich, in The New York Times, Sunday Arts & Leisure section, May 29, 2016, page AR8. https://www.nytimes.com/2016/05/29/arts/music/a-literary-couple-grapple-with-bach-and-his-god.html

“Handel’s Messiah: See no evil, hear no evil?” in The Huffington Post, April 15, 2014. https://www.huffingtonpost.com/michael-marissen/handels-messiah-anti-semitism-_b_5150084.html

interview, “PW talks with Michael Marissen: A tainted ‘Messiah’?” by Henry L. Carrigan, Jr., in Publishers Weekly, March 24, 2014.

“Unsettling history of that joyous ‘Hallelujah’,” in The New York Times, Sunday Arts & Leisure section, April 8, 2007; reprinted in International Herald Tribune, Paris, Culture section, April 24, 2007.

“Perspectives on the ‘St. John Passion’ and the Jews,” in The New York Times, Sunday Arts & Leisure section, April 2, 2000.

SELECTED OTHER PUBLICATIONS

“Bach’s learned and galant chamber music,” for booklet in compact disc of Bach’s Musical Offering (BWV 1079); Sonata in G major for flute, violin, and continuo (BWV 1038); and Various Canons on the first eight bass-notes of the preceding Aria [from the Goldberg Variations] (BWV 1087); by the Bach Collegium of Japan, dir. Masaaki Suzuki (BIS Records, Sweden, 2017).

“In Memoriam: J. Reilly Lewis (September 15, 1944 – June 9, 2016),” Bach Notes 25 (Fall, 2016): 7.

“Note on the music [and its ‘ritual staging’]: St. Matthew Passion (BWV 244) by Johann Sebastian Bach,” staging by Peter Sellars, performed by the Berlin Philharmonic & Rundfunk Chor Berlin, conducted by Simon Rattle; program book; co-presented by Lincoln Center’s White Lights Festival and the Park Avenue Armory, New York, NY, October 7–8, 2014.

“Communication [regarding John H. Roberts’ article ‘False Messiah’],” Journal of the American Musicological Society 64 (2011): 471–78.


“Bach’s St. John Passion and the Jews,” Yale Institute of Sacred Music — Colloquium Journal: Music, Worship, Arts 4 (2007): 141–43.

“Handel, Messiah, and the Jews,” Swarthmore College Bulletin 105/2 (2007): 14–15.

“Yohane Junankyoku BWV 245 Dai-4-Ko. Johannespassion BWV 245 Fassung IV. Kashi Chushaku,” trans. by Kazuhiro Fujiwara in Bach Collegium Japan 76 (2007): 9–40.

“Bach’s gamba sonatas,” for booklet in compact disc of Bach’s gamba sonatas by Emily Walhout and Byron Schenkman (Centaur Records, 2005).

Paula Fredriksen, Tom Hall, Christopher M. Leighton, and Michael Marissen, “When the words hurt — the gospel of John, Bach’s music, and religious intolerance,” Service International de Documentation Judéo-Chrétienne 34/3 (2001): 19–28.

“Bach’s Brandenburg Concertos,” for booklet in compact disc of Bach’s Brandenburg Concertos by the Bach Collegium of Japan, dir. Masaaki Suzuki (BIS Records, Sweden, 2001).

“Bach. Brandenburg Kyosokyoku,” trans. by Tadashi Watanabe in Bach Collegium Japan 42 (2000): 8–19.

Daniel R. Melamed and Michael Marissen, “Bach, Johann Sebastian — biographies,” in Reader’s guide to music: History, theory, and criticism, ed. Murray Steib (Chicago: Fitzroy Dearborn Pub., 1999), 36–37.

“Brandenburg Concertos,” “Christian Ludwig, margrave of Brandenburg,” “Musical Offering,” “recorder,” in the encyclopedia volume Oxford composer companions: J. S. Bach, ed. Malcolm Boyd (London: Oxford University Press, 1999), 68–73, 95–100, 308–11, 408–9.

“Is religious faith incompatible with academic life?” Swarthmore College Bulletin 96/3 (December 1998): 3.

Margot Fassler, Steven D. Fraade, Michael Marissen, and Wayne A. Meeks, “Conversations on John’s gospel and Bach’s St. John Passion,” Spectrum: Report of the Yale Divinity School 18 (1998): 10–11.

“J. S. Bach: Orchestral suites and sinfonias,” for booklet in compact disc of Bach’s orchestral suites by the English Concert, dir. Trevor Pinnock (Hamburg: Deutsche Grammophon GmbH — Archiv Produktion, 1995).

SELECTED REVIEWS

Rebecca Cypess & The Raritan Players, In Sara Levy’s salon (cd, Acis Productions, 2017) in Nashim: A Journal of Jewish Women’s Studies & Gender Issues, forthcoming, c.2019.

Ruth HaCohen, The music libel against the Jews (New Haven: Yale University Press, 2011) in Journal of the American Musicological Society 66 (2013): 304–08.

Tassilo Erhardt, Händels Messiah: Text, Musik, Theologie (Bad Reichenhall: Comes Verlag, 2007) in Eighteenth-Century Music 7 (2010): 109–11.

(various for Choice, 1992– )


John Butt, Bach-interpretation: Articulation markings in the primary sources of J. S. Bach (Cambridge: Cambridge University Press, 1990) in Newsletter of the American Bach Society (Fall 1991): 5–6.

Nicholas Kenyon, ed., Authenticity and early music: A symposium (Oxford and New York: Oxford University Press, 1988) in American Recorder 31/3 (1990): 23–24.

“The flute and recorder parts in J. S. Bach’s vocal works,” trans. by Mary Huissen in Boston Early Music News 6/7 (1989): 10–12.

“Bach-Repertoire für Flötisten,” Tibia 12 (1987): 537–40 (review of Werner Richter and Hartmut Strebel, eds., J. S. Bach: Repertoire der Flötenpartien aus dem Kantaten- und Oratorienwerk, 4 vols. [Frankfurt, New York, and London: C. F. Peters Verlag; 1975–86]).

SELECTED NON-PRINT

Podcast series Notes on Bach, with Carrie Tipton, “Bach and God: A conversation with Michael Marissen,” March 9, 2018

“On how J. S. Bach’s music conveys theological meaning,” MARS HILL Audio Journal 137 (2017)

CBC National Radio, The Sunday Edition, with Michael Enright, “Was J. S. Bach anti-Semitic?,” January 8, 2017

interview commentary with Michael Marissen and Lauren Belfer

Interfaith Voices: The nation’s leading religious news magazine on public radio, “WEB EXTRA: Anti-Semitism in Handel’s ‘Messiah’,” April 25, 2014

DVD, Perspectives on Bach’s Mass in B minor (Bethlehem, PA: Moravian College and National Endowment for the Humanities, 2013)

interview commentary with Michael Marissen, George Stauffer, and Peter Wollny, moderated by Larry Lipkis

DVD, Simon Carrington & The Yale Schola Cantorum, Performing the Passion: J. S. Bach and the Gospel according to John (New Haven: Yale University, Institute of Sacred Music, 2009)

interview commentary from leading musicologists, performers, and biblical scholars, including: Wendy Heller, Jeremy Hultin, Markus Rathey, Michael Marissen, A.-J. Levine, and James Taylor

National Public Radio, “Sing to the glory of God: The legacy of anti-Judaism in Christian choral music”

taped from Baltimore studio, with Tom Hall (director, Baltimore Choral Arts Society), Michael Marissen (Swarthmore College), Luke Timothy Johnson (Emory University), and others.

Radio National Australia, Encounter, with Stephen Watkins, “Bach, the Evangelist”

taped interview from Sydney studios, first broadcast October 20, 2000, with Robin A. Leaver, John Kleinig, and Michael Marissen


National Public Radio, Performance Today, with Lynn Neary, “Milestones of the Millennium: J. S. Bach’s St. Matthew Passion”

taped interview from Washington studios, first broadcast April 21, 2000, with soprano Ann Monoyios, tenor Ian Bostridge; conductors Ton Koopman (Amsterdam Baroque Orchestra and Chorus), Kenneth Slowik (Smithsonian Chamber Players and Chorus), and Joshua Rifkin (The Bach Ensemble); and Bach scholars Christoph Wolff (Harvard University) and Michael Marissen (Swarthmore College)

National Public Radio, The Connection, with Christopher Lydon, “Bach’s ‘Passion’”

live interview and call-in show from Boston studios, April 11, 2000, with Michael Marissen (Swarthmore College) and Julian Wachner (School of Theology, Boston University)

“On how J. S. Bach avoided anti-Judaism [in his Passion settings],” MARS HILL Audio Journal 37 (1999)

SELECTED PAPERS, TALKS, AND CONFERENCES

Panel with Lydia Goehr (Professor of Philosophy, Columbia University), Ruth HaCohen (Professor of Musicology, Hebrew University, Jerusalem), and Yo Tomita (Professor of Musicology, Queen’s University, Belfast), at Amherst Bach Symposium and Festival, on “Multiculturalism and Bach’s St. Matthew Passion,” April 12, 2019, Amherst, MA

“Religious contempt in the music of Bach,” April 10, 2019, Mason Gross School of the Arts, The Bildner Center for the Study of Jewish Life, and The Jewish Music Forum; Rutgers University, New Brunswick, NJ

Three lectures on German baroque music, January 2019, Graduate Program in Historical Performance, Juilliard School of Music, New York, NY

“Bach’s Brandenburg Concertos,” October 19, 2018, (Bard Prison Initiative), Green Haven Correctional Facility, Stormville, NY

“Bach against modernity”

• April 18, 2018, Perkins School of Theology, Southern Methodist University, Dallas, TX

• November 12, 2017, Illinois Wesleyan University, Bloomington, IL

• October 5, 2017, St. Olaf College, Northfield, MN

• July 17, 2017, The New Club, Edinburgh, Scotland

• April 22, 2017, keynote address, Scholarly Symposium: Bach in the Age of Modernism, Postmodernism and Globalization, University of Massachusetts, Amherst, MA

“Round Table: Bach and God,” Michael Marissen (professor of Music, Swarthmore College) in discussion with Bettina Varwig (professor of Music, King’s College, London) on the musicological import, and Jeremy Begbie (professor of Theology, Duke University) on the theological import, of Michael Marissen, Bach & God (New York: Oxford University Press, 2016), chaired by Ruth Tatlow (Stockholm); Bach Network UK, July 11, 2017, Madingley Hall, Cambridge, United Kingdom


“Bach’s church cantatas and ‘the Jews’ in the Gospel of John”

• April 3, 2017, The 2017 Corcoran Chair Conference: The Gospel of John and Jewish-Christian Relations, Center for Christian-Jewish Learning, Boston College, Chestnut Hill, MA

• July 7, 2014, 16th Biennial International Conference on Baroque Music, University Mozarteum Salzburg

• September 23, 2012, International Colloquium: Christian Anti-Judaism in Baroque Music, Lucy Cavendish College, Cambridge University, Cambridge, United Kingdom

“Lutheranism, anti-Judaism, and Bach’s St. John Passion”

• March 5, 2017, Temple-Tifereth Israel, Cleveland (with Roger Klein, rabbi at Temple-Tifereth Israel); Franz Welser-Möst, conductor of the Cleveland Orchestra; and moderator David Rothenberg, professor of Music, Case Western University)

• November 28, 2012, University of Cambridge, Cambridge, United Kingdom (with Stephen Cleobury, director of King’s College Choir, Cambridge)

• November 15, 2011, Wake Forest University, Winston-Salem, NC (panel with Michael Cook, professor of Intertestamental and Early Christian Literatures, Hebrew Union College – Jewish Institute of Religion; and Gail O’Day, dean of the Divinity School, Wake Forest University)

• April 1, 2011, University of Minnesota, Minneapolis, MN

• March 23, 2009, State University of New York, Albany, NY

• April 8, 2007, in conjunction with a performance by Collegium Vocale Ghent Choir & Orchestra, dir. by Philippe Herreweghe; Lincoln Center, New York, NY

• February 24, 2007, University of Chicago, Chicago, IL

• October 5, 2006, Christ College Symposium, Valparaiso University, Valparaiso, IA

• November 9, 2005, Yale Divinity School, and Yale School of Music (panel with Paula Fredriksen, professor of religion, Boston University)

• November 14, 2004, Cincinnati College-Conservatory of Music (panel with Christopher Leighton, director of Institute for Christian and Jewish Studies; and Tom Hall, Director of Choral Activities, Goucher College)

• April 18, 2003, Princeton University (panel with John G. Gager, professor of religion, Princeton University), Princeton, NJ

• April 15, 2003, Vanderbilt University (panel with Amy-Jill Levine, professor of New Testament, Vanderbilt Divinity School), Nashville, TN

• March 12, 2001, Jewish Federation of San Antonio (panel with Christopher Wilkins, conductor of the San Antonio Symphony), San Antonio, TX


• February 25, 2001, Temple University, Philadelphia, PA (panel with Miriam Peskowitz, professor of religion, Emory University; Laura Levitt, professor of religion, women’s studies, and Jewish studies, Temple University)

• November 9, 2000, Emory University, Atlanta, GA (panel with Don Saliers, professor of theology and worship, Candler School of Theology, Emory University; Gail O’Day, professor of homiletics, Candler School of Theology, Emory University; Alvin Sugarman, rabbi, The Temple, Atlanta, GA)

• November 2, 2000, Goucher College, Baltimore, MD (panel with Paula Fredriksen, professor of religion, Boston University; Christopher Leighton, director of Institute for Christian and Jewish Studies; and Tom Hall, Director of Choral Activities, Goucher College)

• June 28, 2000, Oregon Bach Festival, dir. Helmuth Rilling, University of Oregon School of Music (panel with Anne Dhu McLucas, professor of music, Unversity of Oregon; Thomas Somerville, emeritus professor of music, Occidental College; Daniel Bryant, senior minister, First Christian Church, Eugene, OR; Yitzhak Husbands-Hankin, rabbi, Temple Beth Israel, Eugene, OR)

• April 18, 2000, The Center for Religious Inquiry, New York, NY

• April 12, 2000, Music Department, Boston University, Boston, MA (panel with Paula Fredriksen, professor of religion, Boston University, and Krister Stendahl, professor of divinity emeritus, Harvard University and Bishop emeritus of Stockholm)

• April 2, 2000, Central Congregational Church, Providence, RI (panel with Shaye J. D. Cohen, professor of Judaic Studies, Brown University)

• March 30, 2000, American Boychoir School, Princeton, NJ (panel with Elaine Pagels, professor of religion, Princeton University, Neil Gillman, professor of philosophy, Jewish Theological Seminary of America in NY, and Robin Leaver, professor of liturgy, Westminster Choir College and Drew University)

• February 20, 2000, Princeton University Chapel, Princeton, NJ

• February 8, 2000, Institute for Jewish-Christian Understanding, Muhlenberg College, Allentown, PA

• April 2, 1999, Kennedy Center, Washington, DC (panel with Christopher Leighton, director of Institute for Christian and Jewish Studies, and Tom Hall, Director of Choral Activities, Goucher College)

• March 6, 1999, University of Pittsburgh, Pittsburgh, PA

• November 20, 1998, Religious Studies Department, Boston University, Boston, MA

• August 5, 1998, Berkshire Choral Festival, The Berkshire School, Sheffield, MA

• June 6, 1998, Arolser Barockfestspiele, Bad Arolsen, Germany

• May 16, 1998, Riemenschneider Bach Institute, Baldwin-Wallace College, Berea, OH


• April 17, 1998, Music Department, Cornell University, Ithaca, NY (panel with Neal Zaslaw, professor of music, Cornell; Roald Hoffmann, professor of humane letters and chemistry, Cornell; George Heyman, professor of New Testament, Colgate-Rochester Divinity School; in conjunction with a performance by the Cornell University Chorus and Glee Club, guest dir. Peter Schreier)

• April 1, 1998, panel, “Crown of thorns: Controversies surrounding Bach’s St. John Passion,” with David Berger, professor of history, City University of New York; and Lydia Goehr, professor of philosophy, Columbia University; at Mount Holyoke College, South Hadley, MA

• March 3, 1998, Music Department, University of Dayton, Dayton, OH

• March 3, 1997, Music Department, Stanford University, Stanford, CA

• February 28, 1997, Music Department, University of California, Berkeley, CA

• February 23, 1997, Case Western Reserve University, Samuel Rosenthal Center for Judaic Studies, Cleveland, OH (with Susannah Heschel, professor of religion, Case Western Reserve University)

• June 20, 1996, Oberlin College Conservatory of Music, Oberlin, OH

• April 16, 1996, Philadelphia Orchestra panel discussion, “Sacred music in the secular concert hall: Interfaith issues in Bach’s St. John Passion,” with Rabbi Jody Cohen, Head of Interfaith Relations, American Jewish Committee, New York; and Father Don Clifford, Director of the Institute on Catholic-Jewish Relations, St. Joseph’s University, Philadelphia (in connection with performance by the Westminster Symphonic Choir and the Philadelphia Orchestra, dir. Helmuth Rilling), Academy of Music, Philadelphia, PA

• March 6, 1996, Graduate Colloquium Series, School of Music, and School of Religion, University of Iowa, Iowa City, IA

• February 14, 1996, Music Department, West Chester University, West Chester, PA

• November 29, 1995, Graduate Colloquium Series, Religious Studies Department, University of Pennsylvania, Philadelphia, PA

• October 19, 1995, Music Department, The College of William and Mary, Williamsburg, VA

• October 7, 1995, Mid-Atlantic Chapter Meeting of the American Musicological Society, Swarthmore College, Swarthmore, PA

“Religious meaning and Bach performance”

• April 8–10, 2016, meeting of the American Bach Society, University of Notre Dame, South Bend, IN

• February 14–16, 2013, meeting of the Forum on Music and Christian Scholarship, Institute of Sacred Music, Yale University, New Haven, CT

• February 6–8, 2013, graduate seminar lectures, Juilliard School of Music, New York, NY


“Anti-Jewish triumphalism in Handel’s Messiah” (or listed as, “And He shall purify the sons of Levi: A re-reading of Handel’s Messiah”)

• April 1, 2016, Moores School of Music, University of Houston; Houston, TX

• December 4, 2014, 92nd Street Y, New York, NY

• November 20, 2012, Center for Eighteenth-Century Studies, Queen Mary–University of London; London, United Kingdom

• November 13, 2012, Faculty of Music, Research Colloquia series, University of Oxford; Oxford, United Kingdom

• October 24, 2012, Faculty of Music, Liverpool Hope University; Liverpool, United Kingdom

• September 15, 2012, Faculty of Music, University of Leuven; Leuven, Belgium

• April 30, 2011, Bach Colloquium, Harvard University, Cambridge, MA

• April 1, 2011, Jewish Studies Program, University of Minnesota, Minneapolis, MN

• February 10, 2009, School of Music, and Divinity School, Vanderbilt University, Nashville, TN

• October 4, 2007, lecture series Music and Culture, Case Western Reserve University, Cleveland, OH

• April 20, 2007, Meeting of the American Handel Society, Princeton University, Princeton, NJ; with formal responses from Ruth Smith (Cambridge University) and Wendy Heller (Princeton University)

• April 12, 2007, Graduate Colloquium, City University of New York, New York, NY

• November 2, 2006, annual national meeting of the American Musicological Society, Los Angeles, CA

chair session, “Focus on Bach’s Well-tempered Clavier,” July 7, 2014, 16th Biennial International Conference on Baroque Music, University Mozarteum Salzburg

formal respondent for the paper sessions “Analytical issues in Bach’s vocal music” and “Bach’s numbers: Sources, exegesis, illustration” in the conference “Bach Looking East,” The Sixth J. S. Bach Dialogue Meeting; July 3–7, 2013; Bach Network UK in association with the Institute of Musicology, University of Warsaw; and The Fryderyk Chopin Institute Warsaw

All-day Seminar on Bach’s Brandenburg Concertos (deliver four lectures), April 12, 2008, Smithsonian Institution, Washington, DC

chair session, “Church and stage music in the 18th century,” November 2, 2007, annual national meeting of the American Musicological Society, Quebec City, Quebec, Canada

“Bach’s cantata Weinen, Klagen, Sorgen, Zagen as musical sermon,” October 6, 2005, University of Toronto, Toronto, Ont., Canada


roundtable at The International Bach Festival; with Helmuth Rilling, artistic director of the Bachakadamie Stuttgart; Martin Petzoldt, professor of theology, University of Leipzig; and Gregory Johnston, professor of music, University of Toronto, October 6, 2005, University of Toronto, Toronto, Ont., Canada

“New theological research on Bach’s church cantatas and oratorios,” March 22, 2005, International Music Symposium Recent Research in Baroque Music, Roosevelt Academy, Middelburg, The Netherlands

“The libretto of Bach’s St. Matthew Passion,” May 2, 2003, Bach Colloquium, Harvard University, Cambridge, MA

“Blood, people, and crowds in Matthew’s gospel, Luther’s New Testament, and Bach’s St. Matthew Passion,” April 2–5, 2003, Passion, Affekt und Leidenschaft in der frühen Neuzeit: Kongreß in der Herzog August Bibliothek, 11. Jahrestreffen des Wölfenbütteler Arbeitskreis für Barockforschung, Wölfenbüttel, Germany

“J. S. Bach as principled religious thinker,” July 2–6, 2002, National Convention of the American Guild of Organists, Philadelphia, PA

“How Bach interpreted the Bible,” June 13–16, 2002, Annual Conference of Center of Theological Inquiry (Princeton), Tucson, AZ

“Bach and Josephus on the destruction of Jerusalem,” April 26–28, 2002, in Biennial Meeting of the American Bach Society, University of Houston with Rice University, Houston, TX

“Bach, Flavius Josephus und die Zerstörung der Stadt Jerusalem,” meeting of the Internationale Arbeitsgemeinschaft für theologische Bach-Forschung, March 14–16, 2002, Eisenach, Germany

“On the musically theological in Bach’s church cantatas”

• October 23, 2000, graduate colloquium series, Department of Music, University of Notre Dame, South Bend, IN

• April 15, 2000, graduate colloquium series, Department of Music, Duke University, Durham, NC

• March 28, 2000, graduate colloquium series, Department of Music, Rutgers University, New Brunswick, NJ

• September 1999, meeting of the Internationale Arbeitsgemeinschaft für theologische Bachforschung, Denmark, delivered in German

• December 1, 1998, graduate colloquium series, Peabody Conservatory of Music, Johns Hopkins University, Baltimore, MD

• November 20, 1998, Religious Studies Department, Boston University, Boston, MA

• November 6, 1998, graduate colloquium series, Conservatory of Music, University of Cincinnati, Cincinnati, OH

• October 7, 1998, Institute of Sacred Music, Yale Divinity School, Yale University, New Haven, CT


“Problems of biblical literacy in Bach biography,” September 11–14, 2000, International Bach Symposium Utrecht 2000, University of Utrecht, Netherlands

chair session, “Music and Jewish identity,” November 4, 1999, annual national meeting of the American Musicological Society, Kansas City, MO

“Performance practice issues that affect meaning in selected Bach instrumental works”

• April 16, 1998, Graduate Colloquium Series, Music Department, Cornell University, Ithaca, NY

• January 23, 1998, Symposion: Bach und der Stil, January 22–24, 1998, Universität Dortmund, Germany

• April 1, 1995, Mid-Atlantic Chapter Meeting of the American Musicological Society, West Chester University, West Chester, PA

“The redemptive reading of Matthew 27:25 in Bach’s St. Matthew Passion,” American Bach Sources and Current Theological Research in Bach, meeting of the Internationale Arbeitsgemeinschaft für theologische Bachforschung, September 10–14, 1997, Newberry Library, Chicago, IL, as part of its exhibit, “The Music and Mind of Bach”

Chair for round table, “Bach scholarship past and future,” Biennial Meeting of the American Bach Society, April 12–14, 1996, University of California, Berkeley, CA

“Penzels Handschriften von Bach Konzerten,” and formal participation in various round tables, for Symposion: Bachs Orchesterwerke, January 17–20, 1996, Universität Dortmund, Germany

“The theological character of J. S. Bach’s Musical Offering,” round table Bach and theology, Biennial Meeting of the American Bach Society, April 8–10, 1994, Emory University, Atlanta, GA

“Mendelssohn’s reception of Bach’s St. Matthew Passion,” February 21, 1993, The Mendelssohn family: Music, gender, and culture in early 19th-century Germany, Institute for German Cultural Studies, Cornell University, Ithaca, NY

Chair for session, “Bach, Bach, and Bach,” November 7, 1992, Fifty-eighth Annual Meeting of the American Musicological Society, University of Pittsburgh, Pittsburgh, PA

“Concerto styles and signification in Bach’s First Brandenburg Concerto,” March 15, 1991, Musicology Colloquium Series at Princeton, Princeton University, Princeton, NJ

“Relationships between form and scoring in J. S. Bach’s Brandenburg Concerto no. 6”

• October 26–29, 1989, Fifty-fifth Annual Meeting of the American Musicological Society, University of Texas, Austin, TX

• October 21, 1989, Mid-Atlantic Chapter Meeting of the American Musicological Society, Swarthmore College, Swarthmore, PA

“Beziehungen zwischen dem Satzaufbau und der Besetzung im 6. Brandenburgischen Konzert von Johann Sebastian Bach,” September 11–12, 1989, Internationale Wissenschaftliche


Konferenz: Johann Sebastian Bach — Schaffenskonzeption, Werkidee, Textbezug, Leipzig, Germany

“The application of Vivaldi ritornello procedure in J. S. Bach’s ripieno concertos,” April 29 to May 1, 1988, Research Symposium, Fifth Triennial Meeting of the American Bach Society, Harvard University, Cambridge, MA

SELECTED PUBLIC LECTURES

“The significance of Bach’s Calov Bible,” May 10 and 17, 2019, Bethlehem Bach Festival, Bethlehem PA

with Lauren Belfer, “Exploring Religious Intolerance in the Music of Bach,” April 20, 2018, Perkins School of Theology & Jewish Studies, Southern Methodist University, Dallas, TX

“Bach’s Christmas Oratorio and the Final Advent of God’s Messiah,” December 6, 2017 (in conjunction with a performance of Bach’s Christmas Oratorio by the Bach Collegium of Japan, dir. Masaaki Suzuki), Lincoln Center, New York, NY

with Lauren Belfer, “And After the Fire — a novel by Lauren Belfer,” presented by the Leo Baeck Institute and American Society for Jewish Music, June 2, 2016, Center for Jewish History, New York, NY

“The social and religious designs of Bach’s Brandenburg Concertos,” February 5, 2014 (in conjunction with a performance of Bach’s Brandenburg Concertos by the Freiburg Baroque Orchestra), Lincoln Center, New York, NY

“Bach’s interpretation of the infancy narratives in Matthew and Luke,” December 15, 2012 (in conjunction with a performance of Bach’s Christmas Oratorio by Collegium Vocale Ghent Choir & Orchestra, dir. by Philippe Herreweghe), Lincoln Center, New York, NY

“Bach’s interpretation of the passion narrative in Matthew,” March 31, 2012 (in conjunction with a performance of Bach’s St Matthew Passion by Collegium Vocale Ghent Choir & Orchestra, dir. by Philippe Herreweghe), Lincoln Center, New York, NY

“Haydn and Mozart’s musical relationship,” October 31, 2009 (in conjunction with a performance by the Salzburg Mozarteum Orchestra, dir. by Ivor Bolton), Tilles Center for the Performing Arts, Long Island University, Brookville, NY

“The Lutheranism of Bach’s Mass in B minor,” March 1, 2009 (in conjunction with a performance by Collegium Vocale Ghent Choir & Orchestra, dir. by Philippe Herreweghe), Lincoln Center, New York, NY

“Bach’s violin concertos,” October 18, 2008, (in conjunction with a performance by Anne-Sophie Mutter with the Camerata Salzburg), Tilles Center for the Performing Arts, Long Island University, Brookville, NY

“Interpreting Bach’s church cantatas,” October 19, 2007, University of Louisville, Louisville, KY

“Bach on the birth of Jesus,” October 20, 2006, University of Toronto, Toronto, Ont., Canada

“Bach on the end of time,” October 19, 2006, University of Toronto, Toronto, Ont., Canada


“How Bach got the job of Music Director in Leipzig,” October 18, 2006, University of Toronto, Toronto, Ont., Canada

“Bach’s Brandenburg Concertos,” November 11, 2005 (in conjunction with a concert of the Brandenburg Concertos by the New York Collegium, dir. Andrew Parrott), New York, NY

“Bach the Lutheran church musician,” July 11, 2005, Annual Meeting of the Association of Lutheran Church Musicians, New York, NY

“Bach, Mendelssohn, and Judaism,” May 20, 2005, German Studies Program, University of Oregon, Eugene, OR

“The reception of Bach’s Chaconne in the 19th and 20th centuries,” April 5, 2005, Keneseth Israel Synagogue, Bach Festival, Philadelphia, PA

“Current issues in Bach research,” November 8, 2004, University of Colorado, Boulder, CO

“Bach’s orchestral music,” August 7, 2004, Lincoln Center (in conjunction with their concert series performance of Bach concertos and suites by the Orchestra of the Age of Enlightenment, dir. Rachel Podger), New York, NY

“Bach as biblical interpreter,” March 9, 2004, Class of 1960 Visiting Scholar, Williams College, Williamstown, MA

“Bach’s cosmos,” with Ed Rothstein of The New York Times, February 19, 2004, Reed College, Portland, OR

Main speaker at conference Bach as Teacher, two lectures: “Bach as religious teacher in Leipzig,” and “Bach as interpreter of the passion narratives in Matthew and John,” January 23–24, 2004, Princeton Theological Seminary, Princeton, NJ

“Bach’s keyboard concertos,” November 9, 2003, Lincoln Center (in conjunction with their concert series performance of Bach concertos by the Brandenburg Ensemble with Peter Serkin, dir. Jaime Laredo), New York, NY

“An introduction to theological Bach research,” September 26, 2003, University of Utrecht, The Netherlands

“Bach and the Jews,” April 15, 2003, Vanderbilt Divinity School, Nashville, TN

“Blood, people, and crowds in Bach’s St. Matthew Passion,” April 10–12, 2003, in Bach the Preacher: A Symposium with Insights from Theology, Musicology, Performance, Liturgy, and Pedagogy, Calvin College, Grand Rapids, MI

“An introduction to Bach’s Clavierübung III,” February 18, 2001, Yale Divinity School, New Haven, CT

Panel on musical interpretation of German poetry (with James A. Winn, professor of English and dean of humanities, Boston University; Jeffrey Barnouw, professor of comparative literature, University of Texas; and Kenneth Slowik, director, Smithsonian Chamber Players), July 21, 2000, Foundation for Baroque Music, Greenfield Center, NY

8th-grade graduation main speaker, spring 2000, American Boychoir School, Princeton, NJ


“Bach’s interpretation of Matthew’s passion narrative”

• July 1, 2000, School of Music, University of Oregon, Eugene, OR

• March 14, 2000, Music Department, University of Minnesota, Saint Paul, MN

“Bach and the Nicene Creed,” June 21, 2000, Oberlin College Conservatory of Music, Oberlin, OH

“An introduction to Bach’s Mass in B minor,” June 19, 2000, Oberlin College Conservatory of Music, Oberlin, OH

Chair, panel “Bach on old instruments and new,” February 5, 2000, in Bach Symposium: The world and music of Johann Sebastian Bach, Great Performers at Lincoln Center, New York, NY

“Bach’s understanding of the New Testament infancy narratives of Jesus,” December 19, 1999 (in conjunction with their concert series performance of Bach’s Christmas Oratorio by the Amsterdam Baroque Orchestra and Chorus, dir. Ton Koopman), Lincoln Center for the Performing Arts, New York, NY

“Bach and French culture,” January 30, 1999, Museum of American History, Smithsonian Institution, Washington, DC

“How Bach’s music expresses religious ideas”

• April 1, 1998, Music Department, Mt. Holyoke College, South Hadley, MA

• March 22, 1998, Elaine Kaufman Cultural Center, Merkin Concert Hall, New York, NY (in conjunction with their concert series performance of Bach church cantatas by The Canticum Novum Singers, dir. Harold Rosenbaum)

• March 14, 1998, Meeting of the Philadelphia Chapter of the American Guild of Organists

• September 20, 1997 (in conjunction with their concert series performance of Bach church cantatas by Concert Royal, dir. James Richman), Richardson Auditorium in Alexander Hall, Princeton University, Princeton, NJ

“Bach’s Easter and Ascension Oratorios,” April 13, 1997 (in conjunction with their performance by the Grand Rapids Symphony Orchestra and Grand Rapids Bach Festival Chorus, dir. Karl Hochreiter), Grand Rapids Bach Festival, St. Cecilia Music Hall, Grand Rapids, MI

“The story of Bach’s Musical Offering,” March 21, 1997 (in conjunction with their concert series performance by Concert Royal, dir. James Richman), Richardson Auditorium in Alexander Hall, Princeton University, Princeton, NJ

“Textual expression and interpretation in Bach’s church cantatas,” March 13, 1997, Oberlin College Conservatory of Music, Oberlin, OH

“Bach’s Mass in B minor as musical and religious testament,” November 10, 1996 (in conjunction with their concert series performance by the Amsterdam Baroque Orchestra and Chorus, dir. Ton Koopman), Avery Fisher Hall, Lincoln Center for the Performing Arts, New York, NY


“The strange old worlds of Bach and Mozart’s orchestral music,” August 13, 1996 (in conjunction with their concert series performance of various Bach and Mozart works by James Galway and Naoko Yoshino with the Mostly Mozart Festival Orchestra, dir. Gerard Schwarz), Mostly Mozart Festival, Avery Fisher Hall, Lincoln Center for the Performing Arts, New York, NY

“The social and religious designs of Bach’s Brandenburg Concertos”

• June 19, 1996, Oberlin College Conservatory of Music, Oberlin, OH

• May 11, 1996, State University of New York at Stony Brook, Stony Brook, NY

“Bach scholarship and its interpretive relevance,” June 17, 1996, Oberlin College Conservatory of Music, Oberlin, OH

“Frederick the Great’s aesthetics and Bach’s Musical Offering,” November 6, 1993, Williams College, Williamstown, MA

“The theological dimension in Bach’s St. John Passion,” Symposium on Bach’s St. John Passion, November 17, 1990; The Bach Society of Philadelphia (in conjunction with their concert series performance of Bach’s St. John Passion by The Smithsonian Chamber Players and Chorus, dir. Kenneth Slowik), Philadelphia, PA

“Defamiliarizing Bach’s Brandenburg Concertos,” November 10, 1990 (in conjunction with their concert series performance of Bach’s Six Brandenburg Concertos by the New York Chamber Soloists) The Bach Society of Philadelphia, PA

“Interpreting Bach’s Musical Offering,” November 15, 1988 (in conjunction with the concert series performance of Bach’s Musical Offering by the Benefit Street Chamber Players, Museum Concerts, Inc., Museum of Art, Rhode Island School of Design), The Music School, Inc., Providence, RI

SELECTED PUBLIC LECTURES AT SWARTHMORE COLLEGE

“How to listen to Haydn symphonies,” June 6, 2007, Alumni Weekend lecture

“Contributions of musical setting to meaning in songs of Raffi, Mozart, and Bach,” April 11, 2007, Parents’ Weekend faculty lecture

“Anti-Jewish triumphalism in Handel’s Messiah”

• June 1, 2006, Swarthmore Alumni College

• November 30, 2005, Faculty Lunchtime Series

“Bach’s recycling of his chamber music,” January 24, 2003, in connection with concert by La Tempesta di Mare

“An ecumenical conversation on interpreting John’s gospel and Bach’s St. John Passion,” April 30, 2000, Paula Fredriksen (Aurelio Professor of Scripture, Boston University) and Michael Marissen (Associate Professor Music, Swarthmore College), in connection with performance by the Swarthmore College Chorus and Chamber Orchestra, dir. John Alston

“Bach’s setting of the Magnificat,” November 18, 1998, Faculty Lunchtime Series


“Is religious faith incompatible with academic life?” August 30, 1998, the First Collection lecture for the incoming class (of 2002)

“Bach as principled religious thinker,” June 3, 1998, lecture series, “The Professors Play Favourites,” Swarthmore Alumni College

“Lutheranism, anti-Judaism, and Bach’s St. John Passion,” September 15, 1997, Faculty Lecture Series

“Bach’s Mass in B minor as musical and religious testament,” in connection with its performance by the Swarthmore College Chorus and Chamber Orchestra, dir. John Alston, April 18, 1997 (Parents’ Weekend)

“The Enlightenment ecumenicity of Mozart’s Requiem,” November 20, 1996, Faculty Lunchtime Series

Symposium on Bach’s St. John Passion, with students from Music 101, in connection with its performance by the Swarthmore College Chorus and Chamber Orchestra, dir. John Alston, April 8, 1995 (Parents’ Weekend)

“The theological character of J. S. Bach’s Musical Offering,” September 30, 1993, Faculty Lecture Series

“Current issues in Bach and Mozart interpretation,” April 3, 1992 (Parents’ Weekend)

“Critical issues in musicology today,” February 5, 1992, Humanities Faculty Lunchtime Series

“Bach’s Brandenburg Concertos,” January 11, 1991, Boston Connection of The Swarthmore College Alumni Association, Boston, MA

COLLEGE COMMITTEES, ETC.

2013–14, College Committee for Promotion and Tenure, German Studies Committee, Medieval Studies Committee

2012–13, (on leave)

2011–12, Department Chair, College Committee for Promotion and Tenure, German Studies Committee, Medieval Studies Committee

2010–11, Department Chair, Committee for Promotion and Tenure, German Studies Committee, Medieval Studies Committee

2009–10, Department Chair, German Studies Committee, Medieval Studies Committee

2008–09, (on leave, fall 2008)

2007–08, Committee for Promotion and Tenure, German Studies Committee, Medieval Studies Committee

2006–07, Committee on Faculty Procedures, German Studies Committee, Medieval Studies Committee

2005–06, Committee on Faculty Procedures, German Studies Committee, Medieval Studies Committee


2004–05, (on leave)



2001–02, (on leave in fall semester); Department Chair in spring

2000–01, (on leave)

1999–2000, College Planning Committee, German Studies Committee, Medieval Studies Committee

1998–99, College Planning Committee: Financial Aid/Admissions and Scholarships Committee, German Studies Committee, Medieval Studies Committee

1997–98, College Planning Committee: Financial Aid/Admissions and Scholarships Committee, German Studies Committee, Medieval Studies Committee

1996–97, (on leave)

1995–96, Admissions Committee, German Studies Committee, Interpretation Theory Committee, Medieval Studies Committee, Search Committee for Associate Provost (Spring)

1994–95, William J. Cooper Foundation Committee, German Studies Committee, Medieval Studies Committee

1993–94, Admissions Committee (Spring), William J. Cooper Foundation Committee, German Studies Committee, Swarthmore College Institutional Animal Care and Use Committee, Medieval Studies Committee, Women’s Concerns Committee

1992–93, (on leave)

1991–92, Scholarships and Prizes Committee, German Studies Committee, Medieval Studies Committee

1990–91, Scholarships and Prizes Committee, German Studies Committee, Medieval Studies Committee

SELECTED PROFESSIONAL SERVICE

referee, various books for Oxford University Press, University of California Press, University of Chicago Press, University of Rochester Press; journals Bach, Bach Perspectives, Brass Quarterly, Early Music, Eighteenth-Century Music, Harvard Theological Review, Journal of Musicology, Journal of the American Musicological Society, Lutheran Quarterly, Music Theory Spectrum, Musical Quarterly, Transactions (Jewish Historical Society of England), Understanding Bach, Yale Journal of Music & Religion; research proposals, Social Sciences and Humanities Research Council of Canada, NWO: Geesteswetenschappen (Humanities Council of the Netherlands), Humanities Council of Ireland

doctoral examiner, City University of New York (2018); University of Utrecht, The Netherlands (2003, 2005)

2010–11, member, Program Committee, 2011 Annual National Meeting of the American Musicological Society, San Francisco, CA


2004–07, member; chair, 2006–07; Noah Greenberg Award Committee, American Musicological Society

2004, committee member, Davidson College, External Review

2003–??, Editorial Board, Bach Perspectives

1999–2000, co-chair, with Kerala Snyder, program committee, Biennial Meeting of the American Bach Society, April 2000, Library of Congress, Washington, DC

1998–, co-chair, with Daniel Melamed, program committee, biennial meetings of the Bach Colloquium, at Harvard University

1998–2000, chair, William H. Scheide Award Committee, American Bach Society

1997–98, member, Program Committee, Biennial Meeting of the American Bach Society, April 1998, Yale University, New Haven, CT

1996–2000, Vice-President, American Bach Society

1996–98, President, Mid-Atlantic Chapter of the American Musicological Society

1996, chair, Program Committee, Biennial Meeting of the American Bach Society, April 12–14, 1996, University of California, Berkeley, CA

1994–98, Associate Editor, Bach: The Journal of the Riemenschneider Bach Institute

1994–96, member, Advisory Board, American Bach Society

1994–95, member, American Musicological Society Council Committee on Outreach and Communication

1994, member, Program Committee, Biennial Meeting of the American Bach Society, April 1994, Emory University, Atlanta, GA

1993–95, Council member (representing Mid-Atlantic Chapter), American Musicological Society

1993– , member, Editorial Board, Bach: The Journal of the Riemenschneider Bach Institute (issued jointly with The American Bach Society until 1994)

1993–94, member, American Musicological Society Council Nominating Committee on Corresponding and Honorary Members

1988–89, member, Award Committee, Erwin Bodky International Competition in the Performance of Early Music, Boston, MA

1986–89, member, Board of Officers and Directors, Cambridge Society for Early Music, Inc.

1985–89, Corresponding editor, Current Musicology

MEMBERSHIPS

2013–, The Century Association, New York, NY

1999–2003, Internationale Arbeitsgemeinschaft für theologische Bachforschung


1994–, Riemenschneider Bach Institute (joined as honorary member)

1989–, American Bach Society

1988–, American Musicological Society

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