Early Music Access Project sparks meaningful connections among audiences, musicians, community partners, and artistic collaborators by presenting accessible, engaging performances that infuse the experience of early music with contemporary relevance.
Early Music Access Project envisions a world where the richness of early music inspires and connects people across diverse communities. When artists, audiences, and stories converge at the center of the creative process, we share ownership of musical experiences, break down traditional hierarchies, empower underrepresented voices, and celebrate the contributions of every participant—from the stage to the audience.
Early Music Access Project envisions a world where the richness of early music inspires and connects people across diverse communities. When artists, audiences, and stories converge at the center of the creative process, we share ownership of musical experiences, break down traditional hierarchies, empower underrepresented voices, and celebrate the contributions of every participant—from the stage to the audience.
OUR VALUES
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New Audiences
We believe in demystifying classical music and inviting those unfamiliar with the genre into the world of early music. By creating relaxed and welcoming environments, we ensure that even the "uninitiated" feel included and inspired, cultivating a deeper connection to the art form through shared experiences and accessible price points. Empowering Voices We believe that music is a powerful tool to uncover and illuminate history and culture. By centering stories and voices that have historically not been heard, we foster a deeper appreciation of our shared heritage and create space for meaningful dialogue between past and present. Collaboration
We believe that partnering with artists across disciplines and sharing ownership of the creative process not only enriches our understanding but draws our audiences into the enthusiasm of our performers. The Unexpected We believe in embracing curiosity and the unexpected by presenting programming that challenges assumptions about early music. Our signature style combines bold storytelling, unique collaborations and venues, and theatrical elements. Through these immersive, audience-centered experiences, we invite listeners to rediscover music in fresh and exciting ways. Shared Discovery We believe that there is always more to learn and discover about early music, and we seek to weave historical narratives with contemporary relevance. We ground our performances in research, and we prioritize sharing our discoveries with our audiences at performances and in educational settings. |
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DAVID MCCORMICK, ARTISTIC DIRECTOR
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Leading the charge for early music in the 21st century, David McCormick is a multi-instrumentalist, scholar, and educator recognized for curating imaginative performances, creating educational opportunities for students of all ages, and guiding prominent arts organizations through the challenges of our time.
In 2021, David took the helm of Early Music America as its sixth executive director, where he is working to create a more inclusive, equitable space for all who engage with historical performance. He was previously executive director of Shenandoah Valley Bach Festival and Charlottesville Chamber Music Festival, shepherding both organizations through pandemic-era challenges by creating dynamic virtual platforms. As artistic director of Early Music Access Project, David plays baroque violin, vielle, and rebec, and transforms thoughtful research into dynamic programming. He has adapted his research on 17th-century composer Giovanni Antonio Pandolfi as a Case Western Reserve University graduate student into a one-act murder mystery play performed at the 2022 Indianapolis Early Music Festival. In 2020, David was awarded a fellowship with the Robert H. Smith International Center for Jefferson Studies to investigate the repertoire of free and enslaved Black musicians associated with Monticello, culminating in an ongoing series of live and virtual concerts, the “Expanding the Narrative” web series, an executive producer credit for the feature film Black Fiddlers, and lectures at The Juilliard School, Indiana University, and Case Western Reserve University. David is a founding member of Alkemie, a medieval ensemble based in New York City, with whom he has appeared at Indianapolis Early Music Festival, Music Before 1800, Amherst Early Music Festival, and Berkeley Early Music Festival. He was also founding artistic director of Charlottesville-based baroque ensemble Three Notch’d Road, and has performed with Washington Bach Consort, Mountainside Baroque, North Carolina Baroque Orchestra, and as featured guest artist for the Bach-Handel Festival at his alma mater, Shenandoah University. He is a 2017 recipient of Shenandoah Conservatory’s Rising Stars Alumni Award. David’s two decades of experience as a public school and private lesson teacher have led to a lifelong passion for educational programming and audience engagement. David was president of the Charlottesville Music Teachers Association for two years and he has offered performance practice workshops for educators, students, and performers through Virginia Music Teachers Association, James Madison University, Fordham University, Fairmont State University, and others. His grant-winning educational programs have reached thousands of young students throughout Virginia. David’s instruments include a vielle by Karl Dennis, a rebec by Kate McWilliams, and a violin by Jonathan Vacanti, with period bows by Louis Bégin, Michelle Speller, Ralph Ashmead, and H. F. Grabenstein. |
BOARD OF DIRECTORS
Dana Patek (President) teaches privately as The Singing Piano Teacher and is an active member of the Wednesday Music Club (past president) and the Charlottesville Music Teachers Association.
Lisa E. Goehler (Treasurer) is treasurer of Early Music Access Project and the Crozet Community Orchestra. She is an amateur violinist and early music enthusiast.
Kristin Jensen (Secretary) is a project manager at the University of Virginia Library and serves on the Board of Directors for Victory Hall Opera.
David McCormick see bio above
Lisa E. Goehler (Treasurer) is treasurer of Early Music Access Project and the Crozet Community Orchestra. She is an amateur violinist and early music enthusiast.
Kristin Jensen (Secretary) is a project manager at the University of Virginia Library and serves on the Board of Directors for Victory Hall Opera.
David McCormick see bio above
ADVISORY BOARD
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Blanton Alspaugh is a multiple-Grammy-winning producer with Soundmirror, Inc. of Boston.
Karin Brookes is Administrative Director of the Historical Performance program at the Juilliard School and former Executive Director of Early Music America. Ruth E. Chodrow is a pet house call veterinarian and an amateur recorder and bass viola da gamba player. Patrick Dailey (countertenor) is an acclaimed performer who serves on the voice faculty of Tennessee State University as well as co-founder and founder of Early Music City and the W. Crimm Singers, and president of the International Florence Price Festival. Sarah Darling is a baroque violinist and modern violist, playing with A Far Cry, Boston Baroque, co-directing the Harvard Baroque Orchestra, and serving on the faculty of the Longy School. Amanda Gookin (cello) is founder of Forward Music Project, former Executive Director of the Shenandoah Valley Bach Festival, and founder of Amanda Gookin Artist Services. Megan Gray is a violist and educator currently teaching at Woodberry Forest School. |
Janet Kaltenbach was the Executive Director of the Charlottesville Symphony Society from 2009 to 2025.
Brian Kay is a specialist in ancient songs and historical plucked instruments and percussion. Miki Liszt is Artistic Director of Miki Liszt Dance Company in Charlottesville. Loren Ludwig is a researcher and performer on historical stringed instruments. Fred Everett Maus is an Associate Professor of Music at the University of Virginia. Reginald L. Mobley is a professional countertenor and the Programming Consultant for the Handel and Haydn Society of Boston. David Perry is a former clarinetist and arts administrator in Charlottesville, and is presently working in the arena of nonprofit fundraising technology. Jonathan Woody is a bass-baritone and composer and active performer of early music. Among other groups, he performs regularly with the Choir of Trinity Wall Street in New York, NY. |