Dorian Komanoff Bandy
is a musicologist and performer specializing in the 17th, 18th, and early 19th centuries. He is the author of Mozart the Performer, which proposes a model for Mozart interpretation based on historical studies of Mozart's activities as a pianist and improviser and analytic accounts of his sonatas, concertos, symphonies, and operas. Dorian's research interests also include Beethoven, German instrumental music c.1660-1720, and Lieder c.1780-1840, as well as various issues in aesthetics and the philosophy of music (including the work concept, meme theory, musical meaning, and the philosophy of historical performance), and philosophical artworks more broadly (especially Stephen Sondheim's musicals). His writings on these and related topics have appeared in publications ranging from leading academic journals to blogs such as violinist.com and aestheticsforbirds.com. He is a member of the Re:Enlightenment collective.

In addition, Dorian maintains a career as a conductor, baroque violinist, and historical keyboardist. His repertoire spans four centuries, and his performances — acclaimed for their vitality, drama, and warmth — have taken him to venues across Europe and North America, including London’s Wigmore and Cadogan Halls, Amsterdam’s Concertgebouw, and New York’s Symphony Space.

Hank Knox
Hailed internationally for his “colorful, kinetic performances” (All Music Guide) which “abound in vitality” (Early Music America), Hank Knox performs on harpsichord in concert halls, churches, museums, galleries and homes around the globe. A founding member of Montreal’s Arion Baroque Orchestra, with whom he has toured North and South America, Europe and Japan, Knox also regularly performs, records and tours with Tafelmusik Baroque Orchestra, Les Violons du Roy, le Studio de musique ancienne de Montréal, and l’Orchestre Symphonique de Montréal, among numerous other ensembles. As one of today’s busiest musicians in the field of Early Music, Knox’s musical collaborators have included violinists Elizabeth Wallfisch, Monica Huggett, and Stefano Montanari, lutenist Steven Stubbs, baritone Max van Egmond, and conductors Christopher Hogwood, Trevor Pinnock, Sir Roger Norrington, and Andrew Parrott.

Dedicated to sharing the unique sounds of antique harpsichords, as well as fine copies of historical instruments, Knox has released a number of acclaimed recordings on rare instruments. He has released two collections of Frescobaldi keyboard works, on a 1677 Italian harpsichord, for the ATMA Classique and early-music.com labels, along with works by D’Anglebert performed on a copy of one of the few upright harpsichords in existence, made by Montreal builder Yves Beaupré. A recording of Handel opera arias and overtures in transcriptions by William Babell was recorded on three different exceptional antique instruments from the treasured Benton Fletcher collection at Fenton House in London. Knox’s most recent recording features transcriptions of music by Francesco Geminiani, performed on a 1772 Kirkman harpsichord. A solo recording of works by J.S. Bach, performed on a copy of an 18th-century Flemish instrument, will be released in 2013. Hank Knox can also be heard on numerous recordings with Arion and Tafelmusik Baroque Orchestras for early-music.com, ATMA, Analekta, CBC, Titanic and Collegium labels, as well as on national broadcasts for Radio-Canada and CBC.

Hank Knox teaches harpsichord and continuo in the Early Music program at McGill University in Montreal, where he also conducts various instrumental and chamber music ensembles including the McGill Baroque Orchestra. A William Dawson Scholar in recognition of his achievements in Early Music, Knox held the post of Director of McGill’s Early Music program for over 20 years and was awarded the Thomas Binkley prize for an outstanding university collegium director by Early Music America in 2008. Knox continues to direct a series of Baroque operas for Opera McGill, which have included Purcell’s Dido and Aeneas, Lully’s Thésée, Monteverdi’s L’incoronazione di Poppea and Il ritorno d’Ulisse, and Handel’s Agrippina, Giulio Cesare, Alcina, Semele, Imeneo, Radamisto and, most recently, Rinaldo.

Hank Knox earned a Master of Music in harpsichord performance from McGill University, where he studied with John Grew, which he followed by studies in the Netherlands, in Italy and with Kenneth Gilbert in Paris. When he is not playing or conducting, Knox may be found hurtling down a ski hill not too far from his home in Montreal.

Elinor Frey
is a leading Canadian-American cellist, gambist, and researcher. Her albums on the Belgian label Passacaille and Canadian label Analekta – many of which are world premiere recordings – include Giuseppe Clemente Dall’Abaco Cello Sonatas, winner of a Diapason d’Or, and Early Italian Cello Concertos, winner of the 2023 JUNO Award for Classical Album of the Year (small ensemble). Her critical editions of Dall’Abaco’s cello music is published in collaboration with Walhall Editions.

Elinor is the artistic director of Accademia de’ Dissonanti, an organization for performance and research, and she has performed throughout the Americas and in Europe in recital and with numerous chamber ensembles and orchestras (Rosa Barocca, Constantinople, Les idées heureuses, Il Gardellino, Tafelmusik, Pacific Baroque Orchestra, etc.). In March 2023, she performed Boccherini and Sammartini concertos with the Australian Brandenburg Orchestra.

Recipient of dozens of grants and prizes supporting performance and research, including the US-Italy Fulbright Fellowship (studying with Paolo Beschi in Como, Italy) and a recent research residency at the Orpheus Institute in Ghent, Elinor holds degrees from McGill, Mannes, and Juilliard. She teaches Baroque cello and performance practice at McGill University and the Université de Montréal and is a Visiting Fellow in Music (2020–2023) at Lady Margaret Hall, Oxford University. Frey was awarded Québec’s Opus Prize for “Performer of the Year” in 2021.