Hailed as “truly excellent” and “studded with stars in the making” (New York Times), New York Baroque Incorporated (NYBI) is a conductorless orchestra of period instruments in New York City, bringing vital, informed, and fresh performances of a wide range of 17th and 18th-century repertoire, as well as creating a vibrant landscape for collaborations between historical performance and living composers. NYBI has collaborated with renowned soloists including Richard Egarr, Vivica Genaux, Monica Huggett, Jakub Jòzef Orliński, and has performed at Carnegie Hall, the Metropolitan Museum of Art, the Morgan Library, Spoleto Festival USA, and Caramoor Center for Music and the Arts. Striving to make period instruments a living art form, NYBI has premiered works by Nico Muhly, Hollis Taylor, and Huang Ruo. The orchestra also dedicates itself to bring to life unknown works of the Baroque, and has revived and presented modern-day premieres of Cavalli’s Veremonda (1652), Aliotti’s Santa Rosalia (1687) and Seckendorff’s Proserpina (1777). Last season, NYBI launched Alchemy, with each program based on a classical element: water, air, earth, and fire.

The 2019-20 season will see New York Baroque Incorporated returning to Saint Thomas Church for two programs; the annual holiday tradition of Handel’s Messiah as well as C. P. E. Bach’s oratorio, The Last Suffering of Christ, both conducted Jeremy Filsell. Enriching the holiday season further, Richard Egarr joins NYBI in The Appel Room at Jazz at Lincoln Center to present J.S. Bach: Orchestral Festival, a joyous program of Brandenburg Concertos and Orchestral Suites. NYBI is also making an exciting debut at Columbia University’s Miller Theater with Reflecting Lully, a program shaped by Lully’s multicultural upbringing.