Robert Mealy

photo: Susan Wilson

One of America’s leading baroque violinists, Robert Mealy has been praised for his “imagination, taste, subtlety, and daring” by the Boston Globe; the New Yorker recently called him “New York’s world-class early music violinist.” He has recorded over 50 cds of early music on all major labels, ranging from Hildegard of Bingen with Sequentia, to Renaissance consorts with the Boston Camerata, to Rameau operas with Les Arts Florissants. At home in New York, he is a frequent leader and soloist with the New York Collegium, Early Music New York, and the ARTEK early music ensemble.

In 2004 Robert was appointed concertmaster of the internationally-acclaimed Boston Early Music Festival Orchestra, and led them in their recent Grammy-nominated recording of Conradi’s Ariadne, as well as the critically-hailed premiere of Mattheson’s Boris Godenouw. The Boston Phoenix remarked of that production that “the most exceptional music came from the pit. Concertmaster Robert Mealy played more music than anyone onstage or off, every measure of it with erudition and compelling energy.”

Robert regularly appears at international music festivals from Berkeley to Belgrade, and from Melbourne to Versailles. A devoted chamber musician, he is delighted to be a member of the celebrated Renaissance violin band The King's Noyse, which records for harmonia mundi usa, and the new 17c ensemble Spiritus Collective, along with Fortune’s Wheel. He served for over a decade as an instrumental soloist and leader with the Boston Camerata.

A keen scholar as well as a performer, Robert has lectured and taught historical performance techniques at Columbia, Brown, Rutgers, Oberlin, and U.C. Berkeley. He was recently appointed director of the Yale Collegium, and also directs the Harvard Baroque Chamber Orchestra. For his work with both institutions, he recently received Early Music America's Binkley Award for outstanding teaching and scholarship. Mr. Mealy served for several years as the Hogwood Fellow of the Handel and Haydn Society, to advise on scholarship and performance, and he regularly teaches historical improvisation and technique at workshops across North America.

For more information on his concerts and teaching, visit his website at

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