Mark Votapek New Harmony Music Festival

Mark Votapek

Cellist, music teacher, and outdoors-person, Mark Votapek, gained renown for combining his music with the outdoors: In 2013, he completed a 27- performance recital tour from Mexico to Canada, backpacking the entire 2700-mile Pacific Crest Trail from concert to concert. Then in 2015, he performed at the Moab Music Festival’s annual chamber music raft trip down the Colorado River, performing in natural amphitheaters and acoustic spaces through Canyonlands National Park. His musical interests stretch far beyond the standard classical repertoire making him an ideal candidate for New Harmony.

A cello professor for 8 years at University of Arizona, he joined the Hawaii Symphony in 2015. He has been a member of the Maui-based Ebb and Flow Arts contemporary ensemble and Pacific Concert Artists International in Oahu, HI. Based in the San Francisco Bay Area, he can be heard performing with the San Francisco Opera, San Francisco Ballet, San Francisco Symphony, Musica Marin, Ensemble San Francisco, and at UCSF. Mark has taught at the University of the Pacific and the Interlochen Arts Center, and continues private teaching and coaching for the San Francisco Academy Orchestra and summer teaching and performances with the Mammoth Lakes Music Festival.

His previous work as Principal Cellist of the Oregon Symphony and as Associate Principal Cello of the Saint Louis Symphony, as well as residencies at varied festivals, joined him with some of the world’s finest musicians and the natural lands that inspire him. No stranger to both the rigors of outdoor activities and the demands of a modern-day chamber musician, he once performed a duo with the renowned violinist Sarah Chang in Aspen, CO, then climbed Mt. Elbert (elev. 14,500 ft.) the following day, immediately followed by performances at the Olympic Music Festival and a climb of Mt. Rainier.

Votapek’s unique story and his concerts have been aired numerous times on NPR stations across the  United States, and his performance of Ernest Bloch’s “Schelomo” was featured on Performance Today, hosted by festival friend and supporter, Fred Child. This is Mark’s first season as a teacher and performer for the music festival and school.

Matt Munisteri

Matt Munisteri

It’s a daunting task, this business of encapsulating Matt Munisteri’s musical self. As the sparkling guitarist on several chart-topping jazz CDs; a critically lauded songwriter and nimble lyricist; an urban banjo-warrior and a sometime session musician; a selfless and devoted sideman; a wry-yet-honest singer; an engaging and winning front-man; and an arranger whose ear-pulling re-inventions of welltraveled songs have contributed to Grammy winning CDs for artists such as Loudon Wainwright and Catherine Russell, Matt’s various dueling career paths might at first seem difficult to reconcile.

Additionally you’d be hard-pressed to find another Brooklyn native who grew up playing bluegrass banjo since he was in the single digits; who has recorded with artists as divergent as consummate jazz balladeer “Little” Jimmy Scott and 1980’s avante-noise godfather Glenn Branca; who is regarded as a contemporary master of 1920’s and ’30’s jazz styles, and is an ardent student of American folk traditions, but counts among his regular creative cohorts several musicians associated with the New York Downtown music world. Yet ultimately Matt’s journey through 20th century American music yields a vision which feels intrinsically whole, with his own music always serving as one-of-a-kind reflection of a life immersed in all the far-flung variants of American Popular Song. Maybe it’s easier to say that whatever he’s currently up to, it will be a living reconciliation of rural and urban, long-gone and contemporary, individual experience and canonized scripture.

After leaving his post as the guitarist and principal songwriter for The Flying Neutrinos in the late ’90’s, Matt quietly self-released his debut CD “Love Story” in 2003. Word-of-mouth saw to it that it wound on several critic’s “Best Of” lists, and garnered the number two slot on Amazon’s Top Ten Jazz CDs of The Year. A formidable lyricist (“Jazz musicians aren’t supposed to be able to write lyrics that good” – The Village Voice) his literate songs have been compared to Randy Newman, Mose Allison and Bob Dorough. Matt has been featured on France’s ARTE television, profiled in Downbeat magazine, honored with Acoustic Guitar Magazine’s Editor’s Choice award, and been the subject of several broadcasts on NPR.

Despite a lack of formal musical schooling (and even less useful, possessing a degree in Religious Studies from Brown University) Matt has nonetheless found himself with a dreamy and demanding day job: A freewheeling and virtuosic guitarist, he currently gets to work with a wide variety of artists at the top of their game across the jazz and American roots music spectrum. Better still, he finds that these twin jobs as a sideman and a leader only serve to complement one another. “This way I’m constantly learning, with each part of my working life feeding and informing the other – it beats digging ditches.”

When not working on his own projects his primary sideman gigs for the last few years have been playing with violinist Mark O’Connor’s Hot Swing; Steven Bernstein’s Millennial Territory Orchestra; and with the singer Catherine Russell, for whom he also currently serves as Music Director. He also recently lent a hand to his friend, guitarist Julian Lage, producing Julian’s acclaimed solo guitar debut “Worlds Fair” (2015).

Though an instrumentalist of prodigious technique, and a relentless improviser, Matt has always felt a primary connection to songs, to their forms and emotional landscapes, and his skills and originality as an accompanist have lead to calls to record with some of today’s most soulful and individual singers.

These include Holly Cole, Madeline Peyroux, Liz Wright, “Little” Jimmy Scott, Geoff Muldaur, Sasha Dobson, and Kat Edmondson. Outside of the jazz world, Matt was a key player on Loudon Wainwright‘s 2010 Grammy-winning CD High Wide and Handsome – The Charlie Poole Project , to which he contributed arrangements, guitar, and 5-string banjo. He is credited on over 70 CDs, including recent releases by trombonist Wycliffe Gordon, and guitarist Howard Alden. In mainstream jazz contexts he has concertized with The Lincoln Center Jazz Orchestra, Kenny Davern; Andy Stein; Matt Glaser; Tim Kliphuis; Aaron Weinstein; Vince Giordano’s Nighthawks; Frank Vignola; Jon-Erik Kellso; Evan Christopher; Duke Heitger; Bob Wilbur; Bucky Pizzarelli; and Dick Hyman. With the moorings loosened he has enjoyed long and fruitful associations with likeminded free-ranging wanderers such as Rachelle Garniez, Jenny Scheinman, Gina Leishman, and Greg Cohen. As one third of The Millennial Territory Orchestra‘s rhythm section (along with Ben Perowsky and Ben Allison) his versatility and electric guitar chops are regularly honed – especially when the group is augmented by guests such as Bernie Worrell, Vernon Reid. In 2014 Matt joined drummer Herlin Riley and bassist Reginald Veal to form the rhythm section for “Viper’s Drag”, the first CD by New Orleans’ piano giant Henry Butler, Steven Bernstein and The Hot 9 (Impulse).

Matt’s CD Still Runnin’ Round In The Wilderness, (2012) is the first volume of two planned CDs to explore the “lost” compositions of the under-recognized, but truly prototypical, American singer-songwriter Willard Robison. Matt is partial to big ideas and prefers projects with challenges and substance, and tackling Robison’s music met all of these criteria. “I felt this was music that was actually important, and has real meaning – both in terms of its content and its obscurity. This is far from being another ‘songbook’ project’ for me”. The disc’s creation was filled with many eureka moments of the sort inherent in what he terms “musical archaeology”: There were the personal ones – discovering of an honest and meaningful way into this largely unknown, challenging, and beautiful music; and the purely logistical ones – as these songs have never been commercially re-issued on LP or CD, he needed to first find his source materials on original 78 records from the 1920’s and ’30’s. The development of these over-looked gems into something personal and expansive was a labor of love which wound up stretching over several years. Matt has been honored to perform his re-imaginings in concerts at MassMoCA, Celebrate Brooklyn, RoCA, and at a 2012 SXSW official showcase.

As a collaborator, Matt is a co-leader on “Hell Among the Hedgehogs”, (2012) a smoking hot twin guitar CD with The Hot Club of Cowtown’s Whit Smith, and he’s one third of Musette Explosion, a decade-old band with accordionist Will Holshouser and tuba player Marcus Rojas which just released its debut CD in 2014. If this writer had to pick just one more project of Matt’s to see come to fruition in 2016 (other than Willard Vol II) it would be to finally record with his still as-yet-unamed Italo- Carribbean band…but that’s another story, which would necessitate this bio being even longer. So here we pause.

mick mcauley

Mick McAuley

Michael “Mick” McAuley is an Irish musician, composer and songwriter who has recorded and toured internationally for many years. While his music is rooted firmly in the Irish tradition, he has been part of a movement which continues to push the musical boundaries of that tradition to bring Irish music to a wider and more diverse audience around the world. As a long-time member of the Irish-American ensemble SOLAS, he has recorded and toured nine albums with them and received widespread international acclaim. The Boston Herald hailed SOLAS as “the best Irish traditional band in the world”.

As is beautifully common in Ireland, Mick grew up in the embrace of a musical family supported and nurtured by a community of older musicians who gave freely of their time, talent and music to ensure the passing of that centuries-old cultural tradition. By his teens, he was also seeking out more contemporary singers and musicians. He played with Ron Kavana (Alias Band), Terry Woods (Sweeneys Men, The Pogues) while in London in the early ’90’s and began to tour at that time with the acclaimed Irish singer Niamh Parsons. Mick found the ideal balance of traditional and contemporary in the instrumentals and songs of the newly-formed Solas while in the bustling Irish music scene of New York in the mid-nineties. Having guested on Karan Casey’s debut album Songlines in 1997, he soon found himself in the famous SIGMA studios in Philadelphia recording Solas’ third album The Words That Remain with Bela Fleck and Iris Dement as guests.

A multi-instrumentalist, Mick plays accordion, melodeon, concertina, whistles and guitar and has been a guest on many recordings and performances including Patti Larkin, Paul Brennan (Clannad), Susan McKeown and Mick Hanly among many others and more recently spent time playing melodeon for STING in his Broadway Production “The Last Ship”.

His debut solo album An Ocean’s Breadth (Shanachie Records) was awarded Best Celtic Album of the year by Washington Post, and now this Spring 2016 sees the long-awaited release of his new solo album HIGHS AND BELLOWS. It is an acoustic selection of traditional and original instrumentals and songs recorded in New Inn at the turn of the year.


Tony Demarco

Tony Demarco

If the family name Demarco sounds slightly off in terms of Irish fiddle, you have only to listen to his music to be cured of any preconceptions about the importance of ethnic purity in traditional Irish music. There may have been a time when Irish music in New York City was played exclusively by Irish immigrants and their offspring, while their Italian neighbors strummed mandolins and sang opera. But the Big Apple really is a melting pot, at least for some of its disparate immigrant elements. Before World War II it really wasn’t very common for Italian and Irish Americans to marry each other. By the 1950s, however, this kind of ethnic mixing was fairly normal in Tony’s native Brooklyn, where the Italians and Irish lived side by side and attended the same parish churches.

Tony was born on May 20, 1955, the second of three children raised in East Flatbush by Paul DeMarco and his wife, the former Patricia Dempsey. Paul, a grandson of Italian immigrants, was a teenage lightweight boxing star who turned down an offer to turn pro and work with lightweight champ Paddy “Billygoat” DeMarco in order to pursue a more conventional career on Wall Street. Tony’s maternal grandfather Jimmy Dempsey was a New York City cop and a son of Irish immigrants who married Philomena “Minnie” Fenimore, one of several Italian-American siblings who married into Brooklyn Irish families.

Musical ability runs on both sides of Tony’s family. During the Prohibition years, Minnie Dempsey’s Italian immigrant father ran a speakeasy in East New York, where he played the piano and mandolin. Tony’s paternal uncle Louie DeMarco was a singer who performed with 1950s doo-wop groups, including “Dickie Dell and the Ding Dongs.” Tony’s cousin John Pattitucci, from the Fenimore side of the family, is a leading professional bass player who has recorded with jazz stars Chick Corea, Herbie Hancock, and Wayne Shorter. But Tony definitely found his way to Irish traditional music via a different path than the one trod by musicians raised in Irish immigrant households.

More typical young Irish traditional musicians in New York in the 1970s had at least one parent born in Ireland. They may well have attended step dancing classes with one of the many dance schools in the region, and most likely went to group music classes conducted in the Bronx, Brooklyn, New Jersey, or Long Island by Pete Kelly, Martin Mulvihill, and Maureen Glynn. They would have joined a branch of the international Irish traditional music organization Comhaltas Ceoltóirí Éireann and competed each year at the regional fleadh cheoil at Manhattan College in the Bronx. If they placed high enough, they would go on to the big show, Fleadh Cheoil na hÉireann—the All-Ireland Fleadh—from which not a few returned home with the coveted title of “All-Ireland champion” on the fiddle, button accordion, tin whistle, or other instrument.

Tony had a different background altogether. As he puts it: “I never grew up with the competitive Comhaltas scene—I came through the hippie scene, the folkie scene.” He tells the story of how he took up the fiddle and discovered Irish music in his own contribution to these notes, but it is worth repeating here that his first exposure to Irish traditional music was through a Folkways recording of the County Sligo fiddler Michael Gorman. Tony had many other musical influences before this, and would have many more afterward, but for him the appeal of the Sligo fiddle style would never fade.

“Tony’s fiddle work shines through the various tracks with a complexity that we have come to expect from a very discerning musician whos approach to the music is anything but predictable.”
Paul Keating – The Irish Voice

“It’s hard to imagine an irish traditional music scene in new york city without tony demarco.”
Mick Moloney – Irish Studies, NYU

“The Sligo Indians” represents Tony’s irish fiddling at its most appealing and is a recording he and his session faithfull can be proud of.”
Earl Hitchner – The Irish Echo

“I love that tune tony [Linda Rays , on “The Sligo Indians” cd]. you are a great composer.“
Seamus Connolly – Irish Studies, Boston College

Francesca Anderegg

Francesca Anderegg

Ms. Anderegg holds degrees from Harvard and Juilliard, where her teachers included Robert Mann, Ronald Copes, and Naoko Tanaka. In 2016, Ms. Anderegg was awarded a McKnight Fellowship for Performing Musicians, given to artists with a “distinctive musical voice.” She is a past recipient of the Leonore Annenberg Fellowship in the Performing Arts. Committed to education and outreach as well as performing, Anderegg is a professor of violin at St. Olaf College, and has taught at Interlochen Center for the Arts.

Hailed by the New York Times for her “rich tone” and “virtuosic panache,” violinist Francesca Anderegg delivers insightful accounts of contemporary and classical music. Through her inventive programming, active composer collaborations, and precise yet impassioned interpretations, Anderegg has earned renown as a musical explorer of the first order. “This was playing that had it all — taste, mastery, sensuality.” – Norman Lebrecht, The Arts Journal.

As a recitalist, Francesca Anderegg explores a personal interest in diverse musical traditions through the creation of concert programs with deep cultural and narrative threads. Upcoming concerts include performances of contemporary Latin American works drawing inspiration equally from folk heritage and the European avant-garde, traditional Russian repertoire, and a “Canciones Populares” program of works inspired by popular music ranging from jazz and blues to folk dances. Anderegg brings her exploration home with a program of recent compositions and commissions from a new generation of U.S. composers, including Clint Needham, Hannah Lash, and Andrew Norman. With her husband, the noted Venezuelan-American composer Reinaldo Moya, Anderegg has performed a series of his original works exploring magical realism and other fascinating elements of Latin American literature and imagination.

Anderegg’s performances of contemporary music have led to collaborations with some of today’s most prominent composers. At the Lucerne Festival, she has had leading roles in works by Tristan Murail, Bruno Mantovani, Ivan Fedele, and Kaija Saariaho, and performed Pierre Boulez’s Anthèmes II for Solo Violin and Electronics in collaboration with IRCAM. At New York’s (le) Poisson Rouge, she performed John Adams’s Shaker Loops and Road Movies. She also worked with New York Philharmonic composer-in-residence Magnus Lindberg, performing his Clarinet Quintet throughout New York.

A recent highlight was a tour of Brazil, in which Anderegg performed as soloist with orchestras, taught master classes at Brazilian universities, performed in chamber music venues throughout the country, highlights include recitals at the Arts Club of Washington, DC, all-Elliott Carter concerts at the Miller Theatre, performances with Itzhak Perlman and members of the Perlman Music Program, and more. Anderegg has performed the Stravinsky Violin Concerto with the St. Olaf Orchestra, Daniel Schnyder’s Violin Concerto with Orchestra for the Next Century and, as winner of the Juilliard Concerto Competition, the Ligeti Violin Concerto with the Juilliard Orchestra. Upcoming projects include the release of her second album of contemporary music “Wild Cities” on New Focus Recordings, and a concerto tour of Argentina, Uruguay, and Brazil.

Anderegg holds degrees from Harvard and Juilliard, where her teachers included Robert Mann, Ronald Copes, and Naoko Tanaka. In 2016, Ms. Anderegg was awarded a McKnight Fellowship for Performing Musicians, given to artists with a “distinctive musical voice.” She is a past recipient of the Leonore Annenberg Fellowship in the Performing Arts. Committed to education and outreach as well as performing, Anderegg is a professor of violin at St. Olaf College, and has taught at Interlochen Center for the Arts.


Christopher Layer

As a teacher of the flute and pipes, Layer has worked for Scotland’s Feis Na Gael in the Scottish Hebrides, The Augusta National Heritage Center, The Hamish Moore School of Piping, and countless workshops at music festivals the world over.

Over the last fourteen years, Chris has toured four continents with the Trinity Irish Dance Company as their principal pipe soloist and flautist. His father is traditional fiddle great, Edwin Layer, and mother, soprano Dolores Layer. He played his first professional engagement at the tender age of 11. Since then, he has gone on to great success in the worlds of traditional and classical music at home and abroad. Since 2003, Chris has been the Artist-In-Residence for the Moab Music Festival in Moab, Utah, teaching there for ten weeks each year, and is the creator of the Moab Community Dance Band in that rural community.

Recently, Layer contributed his arrangements of original and traditional music to the New York Theater’s production of “Twelfth Night” for Shakespeare In The Park in NYC, performing onstage with the company.

As a sideman, he has toured, performed, and recorded with many talents in traditional, classical and modern music. Here are just a few of his musical friends: Éric Beaudry, Susie Petrov, David Amram, Brendan O’Shea, Cillian Valelly, Ivan Goff, Issac Alderson,Cathie Ryan, Hanneke Cassell, Natalie Haas, Laura Risk, Liz Carroll, Rodney Miller, Tony DeMarco, Dennis Cahill, Tracy Schwarz, Pete Sutherland, Tim Britton, Jerry O’Sullivan, Mel Mericer, Danny Noveck, Greg Liszt, Hamish Moore, Dougie Pincock, Margaret MacArthur, Eric Beaudry, Andre Marchand, Grey Larsen, Jack Coen, Eamon O’Leary, Andy McGann, Alasdair Fraser, Matt Munisteri, Butch Thompson, and Paul Woodiel. In 2014 and 2015, Chris was a member of the orchestra for Sting’s Broadway musical, “The Last Ship”.


Tom McDermott

Tom McDermott is one of New Orleans’ premiere piano players and composers. He grew up in St. Louis, where he earned a Masters’ Degree in Music, wrote music journalism for the morning paper, and soaked up the sounds of ragtime and traditional jazz that flourished there in the 1960s and 70s. In 1984, spurred by his love of James Booker, Professor Longhair and Dr. John, he moved to New Orleans, a trip enabled by a gig at the World’s Fair.

Tom has been quite busy the last 30 years. For much of the 1990s he was a Duke of Dixieland, which took him to Europe, Asia, South America and all over the States (including Carnegie Hall); he recorded several albums with the Dukes, including a tribute to Jelly Roll Morton with the fabled raconteur Danny Barker.

In 1995, after arranging a tune for the Dirty Dozen Brass Band album “Jelly,” he co-founded the modern brass band the New Orleans Nightcrawlers. During his stay with the band they recorded three albums, two for the Rounder Records label.

Tom has written for the theatre (the Obie-award-winning off-Broadway show, “Nita and Zita”), and appeared in bit roles in the movies (“He Said She Said”).  In the New Orleans-based HBO series “Treme,” he played  himself five times in three seasons and had 10 pieces of music used on the soundtrack. HIs music has also appeared in Showtimes’ “The Knick.”

He has recorded 13 albums as a leader, and there is more info on these recordings in the CDs section. These recordings include 75 original tunes. His music has been heard frequently on NPR, i.e. “All Things Considered”, “American Routes”, and “The Moth.”  A group he co-led with clarinetist Evan Christopher, the Danza Quartet, appeared on NPR’s New Year’s Eve show “Toast of the Nation” on 2008-2009.

Tom is known for his eclecticism, and is just about the only New Orleans pianist to stretch from the mid-19th-century music of Louis Moreau Gottschalk to the funky New Orleans piano today. He has a great love of Brazilian music (16 trips there so far), the Beatles, European classical music, early Duke Ellington, and much more.

In addition to music, Tom is a voracious traveller: he’s visited all 50 states and six continents, and writes about them whenever he can.


ToniMarie Marchioni

Her performances praised as “excellent” and “elegantly rendered” by the New York Times, oboist ToniMarie Marchioni has performed in Europe, South America, Asia, and throughout the United States as a soloist, chamber musician, and orchestral player. Most recently, she was a featured artist at the Moab Music Festival (Utah), in Carnegie Hall’s collected stories festival curated by Pulitzer Prize-winning composer David Lang, as well as in the Stefan Wolpe Society’s concert series, Portrait of a Visionary, and at New York’s leading contemporary music venue Spectrum giving the world premiere of Discipline for Oboe and Piano, which she commissioned from composer Lansing McLoskey. In 2010, she performed the Martinů Oboe Concerto with the Orquesta Philarmónica del Ecuador, and in 2008, she gave the U.S. premiere of Jonathan Harvey’s concerto Sprechgesang for Oboe/English Horn. A member of the IRIS Orchestra (Memphis, TN) and Decoda (New York, NY), and an alumni of Carnegie Hall’s Ensemble Connect (formerly ACJW), she has also appeared with the National Symphony (including the 2016 European Tour), American Ballet Theater, Grant Park Orchestra, Orpheus Chamber Orchestra, New Jersey Symphony, Atlanta Symphony, Georgia Woodwind Quintet, and Continuum Ensemble.
Currently the Assistant Professor of Oboe at the University of Kentucky and on faculty at the New Harmony Music Festival (Indiana), Dr. Marchioni has worked as a teaching-artist with Sinfonia Por La Vida (Ecuador) and has held faculty positions at the University of Georgia, Las Vegas Music Festival, and the American Festival for the Arts (Houston, TX). She is a frequent performer at the International Double Reed Society conferences, and a sought after clinician and pedagogue. Recent and upcoming masterclasses and clinics include Indiana University, Cincinnati Conservatory of Music, Vanderbilt University, University of Wisconsin – Madison, University of Iowa, University of Georgia, University of South Carolina, The Midwest Clinic, Georgia Music Educators Association, Kentucky Music Educators Association, and the Kentucky Governors School for the Arts. A native of Mechanicsburg, PA, Dr. Marchioni holds degrees from Harvard University (BA) and The Juilliard School (MM and DMA).
Oboe Class description:
Participants in the NHMF oboe class will receive a week-long intensive with Dr. Marchioni. Each student will have a daily lesson or group masterclass along with reed-making and chamber music. Studying oboe at the NHMF is a wonderful opportunity to focus on your playing, learn new repertoire, and put your reed-making skills on the fast track!

Martha Waldvogel-Warren

Martha Waldvogel-Warren holds a Bachelor of music in Harp Performance from Ball State University with Elizabeth Richter, and a Master of Music from the Cleveland Institute of Music with Alice Chalifoux. Further studies have taken her to the east coast at the Salzedo Harp Colony in Camden, Maine and the Tanglewood Institute in Lenox, Massachusetts where she studied with Lucile Lawrence.

Extensive performance experience in orchestras and chamber music ensembles in the US and Europe, as well as solo appearances worldwide round out Mrs. Waldvogel-Warren’s resumé. She has produced four CD’s: a trio with Swiss flutist Paul Haemig and Actor Johannes Meier reciting poems by Herman Hesse, two duo CD’s with New York flutist/piper Christopher Layer featuring both classical and folk music, and one solo CD.

Having returned from living in Switzerland in 2007, she brings back a wealth of teaching experience. Her students from Musikschule Kloten/Zurich combined with students from her private studio have given her an opportunity to form and lead several harp ensembles.