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Jonathan Salamon

Jonathan (Jon) Salamon is a harpsichordist and scholar specializing in Baroque music. He is Visiting Assistant Professor of Music at Bard, where he directs the Bard Baroque Ensemble and teaches courses in music theory, ear training, and music history. 

Jonathan has performed across the U.S. and abroad in concerts and festivals, including at the Bach Virtuosi Festival, Midtown Concerts Series, and Harpsichord Heaven, and at venues including Carnegie Hall, the Jewish Museum, the Guggenheim, the Morris Steinert Collection of Musical Instruments, and the Conservatorium van Amsterdam, among others. He was awarded Third Prize at the Mathieu Duguay Early Music Competition. Jonathan is currently the Principal Keyboardist with the Chamber Orchestra of New York, with whom he made his Carnegie Hall debut as soloist in J.S. Bach’s Harpsichord Concerto in D minor. 

A committed educator, Jonathan was previously Adjunct Assistant Professor at SUNY Purchase, where he taught courses in music history and writing. 

Jonathan’s research focuses on the keyboard music of Bach, Handel, and their contemporaries, using schema theory and the partimento tradition to examine issues of style transmission and pedagogy in the long eighteenth century. He has presented research at conferences hosted by the American Bach Society, the American Handel Society, the Historical Keyboard Society of North America, and the Society for Music Analysis, among others. Jonathan’s writing has appeared in the journal Min-Ad, in Harpsichord & Fortepiano Magazine, and in La Voce di New York, where he was formerly a concert reviewer. Since 2023, he has co-convened several virtual conferences on galant schema theory. Ongoing projects include a co-edited volume on schema theory and an article on J.S. Bach’s embodied keyboard practices in BACH: Journal of the Riemenschneider Bach Institute.

His research has been supported by a Fulbright grant to the Netherlands and a Gates Cambridge Scholarship at the University of Cambridge. He holds a Bachelor of Music in Piano Performance from NYU and Master of Music and Doctor of Musical Arts degrees in Harpsichord Performance from the Yale School of Music.

www.jonathansalamon.com

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Elaine Fitz Gibbon

Elaine Fitz Gibbon is a doctoral candidate in Historical Musicology at Harvard University. She received her MA in German Studies from Princeton, and her BA in Musicology and German Studies from the University of Pennsylvania. She also holds a Diploma of Advanced Studies in music journalism from the Musik Akademie Basel and has been active as a journalist in the field of new music in the German speaking realm. Her dissertation, which focuses on the music-conceptual work of the Argentine German composer Mauricio Kagel, explores trends and relations of opera, music theater and electro-acoustic music of the avant-garde from 1945 to today from the perspective of circum-Atlantic migration and mobility. Fitz Gibbon has published translations of texts by Bernd Alois Zimmermann for The Opera Quarterly (2014) and Hans Merian for Princeton University Press (Puccini and His World, 2015). Her article, “Beethoven Returns to Bonn: Origins, Belonging and Misuse in Mauricio Kagel’s Ludwig van (1969),” was published in Current Musicology (107) in 2021 and her chapter on the music notational practices of conceptual artist Hanne Darboven recently appeared in the volume Material Cultures of Music Notation (Routledge, 2022). An interview with the Irish composer Jennifer Walshe (b. 1974) is forthcoming in The Opera Quarterly. In her free time, Fitz Gibbon enjoys playing chamber music on modern and Baroque cellos.