La Speranza is a group of string and wind players that bring chamber music performances on period instruments of repertoire spanning from the Baroque to early Romantic eras. Named after the Italian word for “hope”, La Speranza seeks to promote physical and emotional healing through their historically informed performances in Houston communities.
Each of our musicians have made historically informed performance practice (HIPP) a focus of their careers and are active performers in the United States and Europe. We present 3-4 formal concerts a year, as well as several free concerts in local hospitals and community centers.
Thomas Carroll, clarinet
With a sound described as “beautifully warm” (Herald Times) and “sweet and agile” (New York Times), period clarinetist and instrument builder Thomas Carroll performs extensively throughout North America and Europe on historical instruments. He holds degrees from Oberlin Conservatory, Indiana University, and The Royal Conservatoire of The Hague, where his major teacher on early clarinets and chalumeaux was Eric Hoeprich.
Internationally, Thomas has performed under such directors as Christophe Coin, Richard Egarr, Philippe Herreweghe, Jos van Immerseel, Allessandro Moccia, and David Stern; and has performed at numerous festivals as an orchestral and chamber musician including Oude Muziek Utrecht, Muziekzomer Gelderland, Young Euro Classic, Festival de Saintes, and Musica Antiqua Brugge in venues ranging from the Kozerthaus in Berlin to the Concertgebouw in Amsterdam. He has been featured as a concerto soloist with Lyra Baroque, Ensemble ad Libitum, and Grand Harmonie to critical acclaim. In North America, Thomas is the principal clarinetist with Boston-based Grand Harmonie and Houston-based Mercury: The Orchestra Redefined, and frequently collaborates with other early music specialists on the east coast including the Clarion Music and Handel and Haydn Societies and Boston Baroque. He has given faculty chamber recitals and guest lectures and masterclasses on both coasts and at the Hawaii Performing Arts Festival. Thomas is currently on the faculty of the Brookline Music School and maintains a private studio.
An interest in instrument mechanics and acoustics has led Thomas to a secondary career as an instrument builder and extensive research into 18th and 19th century wood treatment and seasoning. He studied woodworking and instrument construction with Linda Shortridge, Rob Turner, and Paul Beekhuizen, and builds chalumeaux, baroque, and classical clarinets, and basset instruments for use in historically-informed performance ensembles.
Dr. Mario Aschauer, fortepiano
Praised a performer with “unconventional ludic drive” by the press and listed among Austria’s thirty-five most outstanding researchers aged under thirty-five by the Austrian Science Fund in 2013, Mario Aschauer works as conductor, harpsichordist, and musicologist at the interface of music scholarship and performance.
His book on German Keyboard Treatises in the Second Half of the Eighteenth Century (Kassel: Bärenreiter, 2011) is considered a standard reference in the field. Further projects in early keyboard studies include the development of historical-style keyboard fingerings and notes on performance practice for new editions of prominent works by Beethoven and Schubert as well as a new edition of Mozart’s keyboard sonatas published by Bärenreiter.
As a performer on historical keyboard instruments Mario has built up a diverse repertoire specializing in Austrian Baroque music. He is member of the Calamus-Consort, which won first prize at the International H.I.F. Biber Competetion in 2009 and since then has been invited to numerous renowned early music festivals such as Resonanzen Wien, Bach Fest Leipzig (Germany), and Itinéraire Baroque en Périgord Vert (France). Their CD “Un dolce affanno” (Passacaille, 2012) features highlights from operas performed at the Vienna court around 1700 with chalumeau, clarinet, and harpsichord as solo instruments.
Having earned a degree in conducting from the Linz Bruckner Conservatory at the young age of seventeen, Mario had already conducted major works from the choral and symphonic canon before he graduated from high school. Shortly thereafter Mario began to specialize in the music of the late eighteenth century performed on period instruments with his Ensemble NovAntique Linz. Their repertoire is typically beyond the standard and includes large-scale sacred and symphonic works and oratorios by composers such as Gassmann, Gossec, Kraus, Salieri and Wagenseil. In addition, Mario also collaborates with other early music ensembles such as Progetto Semiserio Vienna, Harmony of Nations Baroque Orchestra, Ars Antiqua Austria, and L’Orfeo Baroque Orchestra, Ars Lyrica Houston, Houston Bach Society, and Mercury Houston.
Mario has edited Schubert’s opera fragment Adrast, D. 137, for the New Schubert Edition and gave it its world premiere in Vienna in 2010. The recording of the concert was broadcast on BBC Radio and won the “Pasticcio Prize” from the Austrian Broadcasting Corporation (ORF). Mario’s current research for a new book on Anton Bruckner’s creative process was selected for prestigious fellowships from the Austrian Science Fund and the Max Kade Foundation, Inc. (New York). The project also entails a recording of selections from Bruckner’s sketches on a mid-19th-century fortepiano similar to the composer’s own instrument. Mario is member of the advisory boards of the New Bruckner Complete Edition (Vienna) and the Anton Bruckner Institut Linz.
As Assistant Professor of Music Mario teaches music history, historically informed performance and early keyboard instruments at the Sam Houston State University School of Music (Huntsville, TX). He holds an MA in harpsichord performance from the University of Music and Performing Arts, Vienna, an MPhil and a PhD in musicology from the University of Vienna—all of which he earned “with distinction”—as well as a degree in conducting from the Linz Bruckner Conservatory. He has since returned to teach at these institutions. Between 2008 and 2014 Mario held a position as researcher at the Austrian Academy of Sciences (Vienna). In 2012/13 he was a postdoctoral fellow and visiting guest lecturer at the Yale School of Music.
Georgeanne Banker, bassoon
A New York native, bassoonist Georgeanne Banker has performed throughout the United States, Canada, and Europe. Georgeanne frequently performs on historical and modern bassoons and is a co-founder and bassoonist of the San Francisco-based conductorless orchestra One Found Sound. Georgeanne has appeared with a variety of ensembles including The Carmel Bach Festival, Mercury – The Orchestra Redefined, The Santa Rosa Symphony, Monterey Symphony, Magik*Magik Orchestra, and the Lake Tahoe Music Festival Orchestra, where she appeared as a soloist in 2016. Enthusiastic about both very old and very new music, she can also be found playing various shawms and dulcians with The Whole Noyse, and she can be heard on the albums of indie artists including Gem Club, Christina Vantzou, and Viking Moses, and on the soundtrack of the Oscar-nominated animated short The Dam Keeper.
Sadie Glass, horn
Recognized for her “polished tone,” Sadie Glass has a passion for early music and education. Featured in Early Music America’s (EMAg) January 2017 Early to Rise Series, Glass is developing praise as an emerging baroque and natural horn specialist.
Glass performs as soloist and orchestral hornist with period-instrument ensembles across America, including American Bach Soloists (San Francisco, CA), Musica Angelica (Long Beach, CA), Mercury: the Orchestra Redefined (Houston, TX), Valley of the Moon Music Festival (Sonoma, CA), and Corona del Mar Baroque Festival (Corona del Mar, CA).
With a passion for education, Glass is on faculty at the Pacific Union College in Angwin, CA, where she provides lessons to horn and trumpet majors, coaches chamber ensembles, and teaches academic courses. Glass has also been a teaching artist at Valley Vibes Orchestra, an El Sistema Program in Sonoma, where she worked with young trumpet and trombone players. As an administrator, Sadie is the Marketing and Social Media Director for Valley of the Moon Music Festival and was the Associate Director for the New Millennium Concert Series for two seasons.
Glass completed a Master’s degree at the University of Illinois at Urbana-Champaign, studying with Bernhard Scully and earned her Bachelor’s degree from University of Wisconsin Stevens Point, studying with Dr. Patrick Miles. In her free time, Glass enjoys traveling and spending time outdoors with her husband and two dogs, Callie and Macy.
Joanna Becker, violin
Violinist Joanna Becker received her Bachelor’s Degree from Yale College and her Master’s Degree from the Shepherd School at Rice University, where her principle teachers were Sergiu Luca and Ken Goldsmith. She pursued additional studies in performance and musicology at the Mannes College of Music and Hunter College, in New York City. In Houston, she performs regularly with Mercury, the Orchestra Redefined, and the Texas New Music Ensemble, among other orchestral and chamber ensembles. Joanna had the honor of participating in the Da Camera Young Artist Program in 2012. She teaches violin students of all ages in her private studio and at the YES Preparatory School. Before moving to Houston, she played for five years in the New Haven Symphony and was faculty at the Neighborhood Music School in New Haven. She has performed around the United States as well as in Europe and South America.
Nayeon Kim, violin
Nayeon’s career focuses on music from the Renaissance through the early Romantic era with period instruments. She pursued her second Master of Music degree in the Historical Performance program at The Juilliard School studying under Monica Huggett and Cynthia Robert and graduated recently.
Originally from South Korea, Nayeon has received an Artist Diploma as well as a Master of Music degree from the Yale School of Music under the tutelage of Hyo Kang. While there, she was a graduate fellow for the Yale Baroque Ensemble, performing a wide variety of repertoire from early 17th century Baroque opera to contemporary chamber music in collaboration with New Music New Haven series.
Shortly after graduating with her bachelor’s degree with honors from Seoul National University in South Korea, Nayeon won a position with the Bucheon Philharmonic Orchestra in Korea, where she remained for five years before coming to the United States.
Nayeon has participated in many festivals including Dans les Jardins de William Christie, the Berkeley and Boston Early Music Festivals, the Oregon Bach Festival, Leipzig Bachfest, and the Norfork Chamber Music Festival. She has performed alongside such distinguished musicians as William Christie, Jordi Savall, Masaaki Suzuki, Robert Levin, Nicholas McGegan, Richard Egarr, Monica Huggett, Rachel Podger, and Robert Mealy.
Nadia Lesinska, violin
Bulgarian-born violinist Nadia Lesinska has garnered an exceptional career spanning continents and genres. As a specialist in baroque violin technique, Nadia performs throughout the country, and is a frequent guest with Ars Lyrica Houston, Austin Baroque, Bach Society Houston, Houston Baroque, Mercury Baroque, and Viols of Houston. She can be heard on five commercial recordings, including Handel’s Op.6 Concerti Grossi, Vivaldi’s L’Estro Armonico, and Rameau’s Les Indes Galantes with Mercury Baroque, Colonna’s Psalmi ad Vesperas with the Houston Chamber Choir, and Ars Lyrica’s GRAMMY-nominated recording of Hasse’s Marc Antonio e Cleopatra. As a modern violinist, Nadia’s credits include the Houston Grand Opera, Houston Ballet, Los Angeles Pops Orchestra, and San Juan Capistrano Symphony. An active recitalist and chamber musician, Nadia can be heard throughout the year in her own concert series and as a collaborator with many of Houston’s top musicians. In addition to classical music, Nadia is also a frequent jazz violinist and fiddler. A graduate of Chapman University, Nadia’s teachers included Paul Manaster and Todor Pelev. She received her period performance training from Oberlin’s Baroque Performance Institute and from studies with Jann Cosart, Marc Destrube, Marilyn McDonald, and Cynthia Roberts. Nadia resides in Houston with her husband, viola da gamba player Jordan Witherspoon.
Yvonne Smith, viola
Based in Houston, Texas, Yvonne Smith is an accomplished performer on modern and historical violas. She appears regularly with Bach Society Houston, Mercury, La Follia Austin Baroque, and Ars Lyrica Houston and gives several solo performances of Baroque repertoire every season. Her career was featured in the May 2017 issue of Early Music America’s EMAg in the article “Early to Rise”.
Yvonne is a dedicated chamber musician who has appeared with numerous ensembles and festivals in both modern and historical contexts, including a residency at the Cedar Valley Chamber Music Festival (Cedar Falls, IA). Additionally, Yvonne studied at the American Bach Soloists Academy and the Berwick Academy at the Oregon Bach Festival and worked with Elizabeth Blumenstock, Marc Destrube, Adam LaMotte, Robert Mealy, and Rachel Podger, among others.
Born in Ames, Iowa, Yvonne began piano lessons with her mother at the age of three and began studying the viola at her elementary school in upstate New York at the age of 9. She earned her Master of Music and Bachelor of Music degrees in Viola Performance from the Shepherd School of Music at Rice University under the tutelage of Joan DerHovsepian and James Dunham.
In addition to several performances with La Speranza, Yvonne’s 2017-2018 season includes performances and a recording of clarinet quintets of Brahms and Mozart as well as appearances with the Grant Park Orchestra, Houston Grand Opera, Mercury, Bach Society Houston, Ars Lyrica Houston, and La Follia Austin Baroque.
Fran Koiner, cello
Francis Koiner is an active performer, teacher, and clinician in the Houston area. Ms. Koiner regularly performs with Mercury, the Orchestra Redefined; Kingwood Chorale and Chamber Orchestra; and also serves as principal cellist with both Clear Lake Symphony and Pasadena Philharmonic. She has also performed with the Houston Gilbert and Sullivan Society and the Symphony of Southeast Texas, among others. Before moving with her husband to Houston, she performed in New York with the Cornell Contemporary Chamber Players, the Cornell Festival Orchestra, the Syracuse Symphony Orchestra, Tri-Cities Opera, Ithaca Opera, and the Binghamton Philharmonic.
As an instructor at San Jacinto College-Central and in her home studio, as well as teaching in clinics in the Houston area, teaching and sharing her love of the cello hold an important place in Ms. Koiner’s life. She has teacher trained at the Chicago Suzuki Institute, the DFW-WOW Suzuki Institute in Dallas, and the Central Pennsylvania Suzuki Institute. As a Masters student at Rice University, Ms. Koiner instructed non-major cello students. She attended the Bowdoin Summer Music Festival in Brunswick, Maine, as the performing and teaching assistant to Marc Johnson of the Vermeer Quartet. Ms. Koiner’s past teachers include Elizabeth Simkin, Desmond Hoebig, Christopher French, and Norman Fischer, and she earned a B.M.,summa cum laude, from Ithaca College in 1999 and an M.M. from Rice University in 2004. She studied at Bowdoin with Steven Doane and Rosemary Elliot of the Eastman School of Music and has performed in master classes for David Ying and the Ying Quartet.
Ms. Koiner splits her time as a musician with her role as a homeschooling mother to her two daughters, 9 and 6.
Paul Ellison, double bass
Performing solo and ensemble concerts as well as giving master classes on the double bass and period instruments on four continents, Paul Ellison is the Lynette S. Autrey Professor of Double Bass and chair of strings at Rice University’s Shepherd School of Music, Visiting Artist-Faculty University of Southern California and guest tutor at the Yehudi Menuhin School, the Royal College of Music, and Bass Club, England. Current summer positions include principal bass at the Grand Teton Music Festival, faculty/performer at the Sarasota Music Festival and faculty/performer at Festival Domaine Forget, Quebec.
Former students hold titled positions in major ensembles and institutions of higher learning on five continents. Previous positions include principal bass of Houston Symphony, Houston Grand Opera, Santa Fe Opera, Aspen Festival Orchestras (also faculty), professor of double bass and chair of strings at the University of Southern California, and president of the International Society of Bassists. Ellison was the first to receive both the diploma and teaching certificate from Institut International Rabbath, Paris. “…The treat of the afternoon turned out to be hearing the double bass as a solo instrument…Paul Ellison…demonstrated virtuosity. [The] bass shines as [the] music festival gets underway.”
Andrew Schneider, keyboard
A Houston native, Andrew Schneider is a pianist, harpsichordist, organist, conductor, composer, music copyist, vocal and instrumental coach. He obtained his B.Mus. in composition at Rice University. In 2009, he was a finalist in the ASCAP Morton Gould Young Composers Competition. His compositions, including a growing body of music for educational-level ensembles, evince his complete faith in the relevance of traditional musical aesthetics and forms, in the conservative spirit of “reality being infinitely more interesting than fiction.” He thus considers it essential to be a well-informed musical citizen about all aspects of the concert music tradition. Throughout this, he is avidly interested in understanding music intrinsically, rendering it relevant to the present age.
To that end, Andrew considers being an active performer a key part of being an informed composer. Among his most formative influences in the realm of performance has been Thomas Jaber, whose effortless finesse in providing supportive accompaniment has rubbed off well, especially in the art of realizing continuo from figures. Since 2012, Andrew has been playing harpsichord continuo with period instrument ensemble Mercury Houston, including as part of the Texas Early Music Festival since 2014. He has also played Handel’s Messiah with the San Antonio Symphony and the Kingwood Chorale, and Haydn’s Creation with the Woodlands Chorale.
From 2012-16, Andrew served as organist at St. Michael Catholic Church in Houston, and since then has been an active church organist throughout the Houston area. Likewise, he has been a staff accompanist at LSCS-Kingwood since 2014. Recently, Andrew made his music directorial debut in Sweeney Todd and Rita, and his operatic coaching debut in Ariadne auf Naxos. He has also coached the leading role in Die schweigsame Frau for a 2016 Pittsburgh production. In his spare time, Andrew enjoys history, literature, linguistics, cartography, and murder mysteries.