School of Humanities and Sciences
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Artist in Residence in Music
BioNow celebrating 30 years with the internationally celebrated St. Lawrence String Quartet, Lesley Robertson (viola) is proud to make her life at Stanford University where along with her SLSQ colleagues she directs the chamber music at the Department of Music. Ms. Robertson teaches viola, coaches chamber music, and also spearheads the SLSQ's Emerging String Quartet Program at Stanford and the SLSQ's annual Chamber Music Seminar. A graduate of the Curtis Institute and the Juilliard School, Ms. Robertson also holds a degree from the University of British Columbia where she studied with her mentor, Gerald Stanick. A founding member of the SLSQ, Ms. Robertson tours regularly, performing 100+ concerts worldwide per season (this season in Berlin, Florence, London, New York, Toronto, and others) but also nurtures close ties to the Stanford community performing in various classes, dormitories, laboratories, hospitals, and in Stanford's glorious Bing Concert Hall. She participated in the Marlboro Festival for several years and and toured with Musicians from Marlboro before co-founding the SLSQ. She has served on the jury of several international competitions including the Banff International String Quartet Competition, the Melbourne International Chamber Music Competition, and in spring of 2015, the Wigmore Hall International String Quartet Competition. Ms. Robertson plays on a viola (1992) made by fellow Canadian John Newton and a bow (2016) by Francois Malo.
Associate Professor of Music
BioJesse Rodin strives to make contact with lived musical experiences of the distant past. Focusing on the fifteenth century, he immerses himself in the original sources, singing from choirbooks, memorizing melodies and their texts, even recreating performances held at weddings, liturgical ceremonies, and feasts. As Director of the Josquin Research Project (josquin.stanford.edu), he uses digital tools to explore a large corpus of Renaissance music. As Director of the ensemble Cut Circle (cutcircle.org), he works with world-class singers to recapture early music’s intensity and grit.
Rodin is the recipient of awards and fellowships from the Guggenheim Foundation, the Université Libre de Bruxelles, the American Council of Learned Societies, the American Society of Composers, Authors, and Publishers, the Harvard University Center for Italian Renaissance Studies, and the American Musicological Society. For his work with Cut Circle he has received the Prix Olivier Messiaen, the Noah Greenberg Award, Editor’s Choice (Gramophone), and a Diapason d’Or.
He is the author of "Josquin’s Rome: Hearing and Composing in the Sistine Chapel" (Oxford University Press, 2012), editor of a volume of the "L’homme armé" masses for the New Josquin Edition (2014), and co-editor of "The Cambridge History of Fifteenth-Century Music" (2015). His articles have appeared in the Journal of the American Musicological Society, Music & Letters, Acta Musicologica, and other major journals. With Cut Circle he has released recordings of music in the Sistine Chapel in the time of Josquin (2012), the late masses of Guillaume Du Fay (2016), and the complete songs of Johannes Ockeghem (2020); an album devoted to two exceptionally difficult anonymous masses of the fifteenth century is forthcoming in January.
Current projects include a monograph that explores how fifteenth-century polyphony happens in time. Drawing on his combined experiences as a scholar and performer, Rodin argues that composers activated the compositional building blocks of fifteenth-century style to create a powerful and dynamic range of musical experiences (Cambridge University Press).
At Stanford Rodin directs the Facsimile Singers, which helps students develop native fluency in old musical notation. He has organized symposia on medieval music pedagogy, musical analysis in the digital age, and the composer Johannes Ockeghem. He co-teaches “Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting,” in which students explore historical sources, attend to issues of aesthetic experience and sustainability, and cook medieval recipes in Stanford’s Teaching Kitchen.