Night Music
Biographie Night Music
Steven Zohn
Since joining the Temple faculty in 1997, Zohn has served as Provost’s Arts Fellow, Coordinator of Music History, and the Boyer College’s Director of Graduate Studies. Born in Boston, Zohn attended Vassar College and Cornell University, where his principal teachers included Edward R. Reilly, Neal Zaslaw, and James Webster.
Zohn’s research interests focus on the music of Telemann and the Bach family, intersections of style and genre, print culture, music as intellectual property, reception history, source studies, and historical performance practices. His research on these topics has been published widely in journals, essay collections, and reference works, including The New Grove Dictionary of Music and Musicians, the Journal of the American Musicological Society, the Journal of Musicology, Eighteenth-Century Music, Bach Perspectives, the Journal of the Royal Musical Association, Early Music, and The Cambridge History of Eighteenth-Century Music. He has also edited volumes for the C.P.E. Bach and Telemann critical editions, and for the series Recent Researches in the Music of the Baroque Era. His book Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works (Oxford University Press, 2008) is the first major published study of the composer in English since the 1970s, and received the American Bach Society’s William H. Scheide Prize.
Zohn’s research has been supported by the National Endowment for the Humanities, the American Philosophical Society, and the German Academic Exchange Service. He is past president of the Society for Eighteenth-Century Music, and has served on committees for the American Musicological Society, American Bach Society, and American Handel Society. At present, he is Co-Editor of the journal Eighteenth-Century Music, published by Cambridge University Press, and serves on the editorial boards of the American Bach Society and the critical edition Georg Philipp Telemann: Musikalische Werke.
As a performer on historical flutes, Zohn has appeared with numerous east-coast ensembles. From 1995 to 2004 he was founding Artistic Director of the period-instrument orchestra Publick Musick, and is currently a core member of the chamber ensemble Fioritura. His recordings of music by Bach, Boismortier, Handel, Telemann, and Vivaldi may be heard on the Centaur and Newport Classic labels. Among these are a world-premiere CD of recently discovered Telemann flute duets, and the first complete recording of a set of Telemann secular cantatas with soprano Julianne Baird. His contribution to the study and performance of early music has been recognized by the American Musicological Society with its Noah Greenberg Award.
Among Zohn’s recent course offerings at the upper-level undergraduate and graduate levels are “The Life and Music of J.S. Bach,” “Historical Performance Practices, 1700–1950,” “Current Topics in Musicology and Music Theory,” “Research in Music,” and “Telemann and Music of the Enlightenment.” He also teaches a two-semester undergraduate survey spanning ancient times to the present.
Heather Miller Lardin
Early bass specialist Heather Miller Lardin is principal bassist of the Handel and Haydn Society and director of the Temple University Early Music Ensemble. Ms. Lardin is a regular member of the Philadelphia Bach Collegium and Tempesta di Mare. Recent performances include the Boston Early Music Festival Orchestra and Tafelmusik Baroque Orchestra. She serves on the faculties of the Amherst Early Music Festival and the Curtis Young Artists Summer Program and has been a guest violone instructor for Juilliard Historical Performance. Ms. Lardin co-directs Night Music, a Philadelphia-based period instrument chamber ensemble focused on music of the Revolutionary and Romantic eras. Night Music’s debut recording, “Music for a Viennese Salon” featuring works by Haydn, Kraus, and Dittersdorf will be released by Avie Records in August 2020.
A graduate of the Curtis Institute of Music, Ms. Lardin holds a DMA in Historical Performance Practice from Cornell University. She performs on a Viennese violone after Stadlmann, ca. 1748 (Oskar Kappelmeyer, 2013), a violone in G after Busch, ca. 1630 (John Pringle, 1993), a Baroque double bass after Maggini, ca. 1620 (Thomas Andres Wolf, 2019), and a bass viol (Marc Soubeyran, 2012).
