Kraig Williams, Director (recorders), was a brass musician in school, dabbling in the recorder. After college (BS Stanford ’77; MBA Santa Clara ’82), work took Kraig to Munich with his wife and two young daughters. While in Germany the girls learned recorder at music school. Upon returning to the Bay Area Mr. Williams began playing recorder trios with his daughters in church services. Kraig then started getting serious about recorders, and began (and continues) to study under Letitia Berlin. As he continued to hone his skills as a musician, Mr. Williams formed a series of recorder and mixed ensembles exploring Renaissance and Baroque music. Beyond the roles of recorder student and performer, he is also recorder teacher and impresario. In this last role Kraig created in 2007, (and continues as director of) the early music concert series at Foothill Presbyterian Church, filling the need for early music concerts in the South Bay Area. This series is run in conjunction with the Foothill Presbyterian Church Music Series. Mr. Williams works as a business operations manager for a large networking company in San Jose by day, and produces CDs and DVDs of the early music concerts at Foothill in what little time remains.
Stevie White (recorders) learned to play recorder about 30 years ago, but got serious about it only when she retired after a lifelong career as a physical therapist. She studies recorder under Judy Linsenberg, and is a very active member of the Bay Area recorder community, also playing in the Mid Peninsula Recorder Orchestra, and The Crones.
Mike Megas (recorders) was required to take music by the San Francisco public schools and discovered he liked it. He started with flute and later added piano and then recorders. He played piccolo in an Air Force band then continued to dabble with chamber music while completing degrees in math and engineering and subsequently working as a software developer. Mike has also performed as a member ofCamerata California.
Greta Haug-Hryciw (recorders, percussion) is a third
generation Fog Town (San Francisco, CA) native. Her
mother’s family were visual artists – grandmother a
student of Beniamino Bufano, grandfather one of the
WPA muralists of Coit Tower; her father’s family were
symphony musicians – grandfather and grandmother
violinists; father a high trumpet specialist. Early exposure
to great music shaped her understanding and appreciation
of it (even though she didn’t like to practice the piano). In
order not to waste the artistic DNA, Greta took up the
recorder in high school. For several years she played with
the San Francisco branch of the New York Recorder Workshop. Then, as her musical interests diversified, she sang with The Loose Canons, a women’s world song ensemble, from 2000-2007. She has studied music with several Bay Area professionals, including recorderist Hanneke van Proosdij, percussionist Peter Maund and didjeridoo virtuoso Stephen Kent. She has produced a number of small concerts and handles and helps to organize as well as teach at music workshops. Greta is frequently a guest conductor for several chapters of the American Recorder Society (ARS) and was co-director of the American Recorder Orchestra of the West (AROW) from 2005-2010. She has been music director for Half Moon Bay’s Coastal Repertory Theatre (CA), is the founder of the recorder quartet, SDQ, and teaches private and group recorder lessons to students of all ages. She and her husband, Lloyd, work together every day at their photography studio in San Francisco, accompanied by their two schipperkes.
Carol S. Tillman (lever harp) began singing in a
children’s choir at an early age and continued to sing
in choirs through college and beyond. As a member
of different choirs, she has performed many choral
works with the San Jose Symphony, the Mid-Summer
Mozart Festival Orchestra, and Symphony Silicon
Valley. Majoring in English Literature and
Linguistics in college, Carol studied voice and piano
while pursuing a minor in music, but didn’t follow
her lifelong dream of playing the harp until after
college. She took up the pedal harp in 1996,
studying the Salzedo Method under Karen Thielen. A
few years after taking up the harp, she attended a harp conference and was drawn to the rich tones and sculptural lines of the Camac “Aziliz” Celtic harp, produced by the French harp-maker in Brittany. Ultimately, she switched to the Celtic lever harp, which she finds easier to transport than the pedal harp. Her fully-levered 34-string “Aziliz” harp uses Camac’s carbon fiber strings that are played the same way as gut and nylon strings, but which are more resilient than gut or nylon strings.
Bruce Perkins (guitar, recorder) studied guitar at Cal
State Fullerton with David Grimes and Reed
Gilchrist. CSUF was an early adapter of a classical
guitar program, seeing the guitar as a legitimate, main
stream instrument. Performed solo guitar concerts and
played with The Friends of La Habra guitar ensemble,
led by Reed Gilchrist. Was a member of Tom
Axworthy’s recorder orchestra in southern CA, and
more recently, AROW (American Recorder Orchestra
of the West) led by Richard Geisler and Greta Hryciw.
Carl Myers (cello) has been playing cello for 17 years. Originally from
Saint Louis, MO, he received his Bachelors in Computer Engineering from Purdue University in 2006. Carl spent three years in Seattle working for an eminent technology company while spending his free time playing with the Sammammish Symphony Orchestra. Mr. Myers has since moved to the Bay Area, works for a Palo Alto startup and also plays with the Nova Vista Symphony.
Bill Andersen (keyboard) studied piano in his youth, left music, and returned to it as a brass musician in the Marching Band at the University of California, Berkeley. Bill rediscovered piano, immersing himself this time in Gershwin and “the standards”. His wish would have been to play in piano lounges, but he became an engineer instead, continuing piano as a love and a therapy, at home and in church. Kraig Williams got Bill exposed and interested in baroque music, and Bill’s been hooked ever since.