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The American harpsichordist, music teacher and researcher, Magret Gries, completed her Bachelor of Arts degree at Pacific Lutheran University. She continued pursuing interdisciplinary topics with graduate study in philosophy at Yale University and in 18th-century performance practice at Cornell University. She received her Ph. D. in music history from the University of Oregon, where, Adjunct Instructor of Musicology, she currently teaches continuo as and directs the Collegium Musicum.
Margret Gries has pursued a career in early music that has included both academic research and professional performance. For over thirty years she has been a recitalist and teacher, valued for leading discussions on performance questions as they relate to broader cultural and philosophical issues. She is known for her expertise as a harpsichordist and organist, and as an instructor of early string instrumental technique. She has also studied and performed extensively on Renaissance and Baroque violin and viola. She has been a founding member of many early music ensembles in the Pacific Northwest, including the Portland Baroque Orchestra under the directorships of Doug Leedy, Ton Koopman and Monica Huggett, the Seattle Pro Musica under the direction of Richard Sparks, and the ensembles La Capriole and Con Spirito. Since 1999, she has been the conductor and Music Director of the Jefferson Baroque Orchestra in Ashland, Oregon. In 2008, she became Music Director of the Oregon Bach Collegium in Eugene and helds this post until the 2024-2025 season, continues to encourage early music concerts through the activities with this ensemble. She had also served for many years as continuo harpsichordist and lecturer for the Vancouver Early Music Programme.
Gries has served as instructor in harpsichord at the University of Washington. She has also served as instructor in music, philosophy and humanities at Central Washington University and continues to offer a summer graduate course in Philosophy of Music there. Current research interests include performance practice, and keyboard history pedagogy. |
