Joanna Marsden is a ‘fabulous’ (the Whole Note) flautist based in Montréal, Québec. She has performed recently in Belgium, Canada, Mexico, the Netherlands, Spain, Portugal, the United Kingdom, and the United States “beautifully” (Luis Gago, Madrid) and “with notable rhetorical clarity” (Boston Musical Intelligencer).
She is a founding member of Montréal’s Poiesis and Symphonie Atlantique, a conductorless chamber orchestra based in the Netherlands dedicated to Classical and Romantic repertoire led from the violin by Rebecca Huber. She has performed with Les Idées heureuses, Arion, Rezonance Baroque, Compagnie Baroque Mont-Royal, the Ottawa Baroque Consort, and Boston’s l’Académie and worked with conductors including Ton Koopman, Florian Heyerick, and Peter van Heyghen among others. She collaborates with keyboardists Mark Edwards, Katelyn Clark, Gili Loftus, and Christophe Gauthier. Her début CD, Devienne Sonatas with Mark Edwards, will be issued by Centaur Records in February 2019.
Her main teachers include Wilbert Hazelzet (Royal Conservatory of the Hague), Claire Guimond (Schulich School of Music of McGill University), and John Solum (Vassar College). She was the second prize winner of the 2012 National Flute Association’s Baroque Artist Competition in Las Vegas.
She is a doctoral candidate in historical performance at McGill University’s Schulich School of Music under the guidance of Claire Guimond and Tom Beghin. Her research centres on the performing practices and repertoire of the French Flute School of the nineteenth century seen through the lens of period instruments. She addresses a wide repertoire, playing antique flutes by Tortochot (Paris, ~1770), Claire Godfroy l’aîné (Paris, ~1820), Jean-Louis Tulou (Paris, ~1841) and Isidore Lot (Paris ~1870).