Tom Beghin combines a career of performer with that of researcher and teacher. His work, widely praised for its eloquence and originality, revolves around historically informed performance on historical keyboards, mainly late-18th-century and early-19th-century pianos, as well as clavichords and harpsichords. His published work has spanned various media—from commercially released CDs to academic essays and books. Inside the Hearing Machine (EPR-Classic, 2017) exemplifies his current work as an artistic researcher: this recording of Beethoven’s three last sonatas (Opus 109, 110, and 111) on a first-ever replica of Beethoven’s Broadwood explores the multi-sensory world of a “deafly creating” composer. With classicist Sander Goldberg he coedited Haydn and the Performance of Rhetoric, winner of the 2009 American Musicological Society Ruth A. Solie Award. His monograph The Virtual Haydn: Paradox of a Twenty-First-Century Keyboardist (University of Chicago Press, 2015) followed his monumental recording of the complete solo Haydn (Naxos 2009/2011). Tom studied at the Lemmens Institute in Leuven, Belgium (with Alan Weiss), at the Musik-Akademie in Basel, Switzerland (with Jean Goverts and Rudolf Buchbinder), and obtained his doctoral degree with fortepianist Malcolm Bilson and musicologist James Webster from Cornell University (Ithaca, New York). He served on the faculty at the University of California, Los Angeles; was a fellow at the National Humanities Center (North Carolina); since 2003 has been Associate Professor at the Schulich School of Music of McGill University (Montreal, Canada); and since 2015, Research Fellow at the Orpheus Institute for Advanced Study & Research in Music in Ghent (Belgium). He is Principal Investigator of a research cluster, titled Declassifying the Classics, which focuses on the intersections of historical technologies and performance.
Erin Helyard has been acclaimed as an inspiring conductor, a virtuosic and expressive performer of the harpsichord and fortepiano, and a lucid scholar who is passionate about promoting discourse between musicology and performance. Erin graduated in harpsichord performance from the Sydney Conservatorium of Music with first-class honours and the University Medal. He completed his Masters in fortepiano performance and a PhD in Musicology with Tom Beghin at the Schulich School of Music, McGill University, Montreal. He was named the Westfield Concert Scholar (Cornell) on fortepiano for 2009-2010 and from 2003 to 2012 Erin was a central member of the award-winning Ensemble Caprice (Montreal). Helyard is particularly active in reviving in both score and performance neglected seventeenth- and eighteenth-century opera. As Artistic Director and co-founder of the celebrated Pinchgut Opera and the Orchestra of the Antipodes (Sydney) he has forged new standards of excellence in historically-informed performance. Erin duets in nineteenth-century repertoire on historical pianos with renowned Alkan exponent Stephanie McCallum and is a frequent guest conductor of the Australian Haydn Ensemble, performing keyboard concertos of Mozart, Haydn, and C. P. E. Bach. He recently released a solo album of Handel and Babell on a restored 1773 Kirckman harpsichord. He currently has in preparation a book manuscript focussing on Clementi, capitalism, and the female music market and has published on pedalling and historical performance practice. He is Senior Lecturer in Historical Performance and Musicology at the Melbourne Conservatorium of Music and appears by kind courtesy of that institution.