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NataliePresident Natalie Lebert. Natalie resumed playing the recorder roughly five years ago after having played the instrument as a child and is very excited about having a place to play in New York City. When she is not playing the recorder, Natalie has been known to perform classical theater with groups like The Queen's Company and Instant Shakespeare. Natalie was also a longtime member of Musica Viva New York and currently serves as the choir's music secretary.


Deborah PetersVice President Deborah Peters. Deborah took up the recorder in her late teens, playing in her university's Renaissance Ensemble (whose most noteworthy gig was background music at a fraternity pledge dinner-dance).  Since then, she has played in a number of amateur/semi-pro ensembles.  A firm believer in "Medieval Music by Any Means Necessary," Deborah also plays shawm, viol, and a variety of medieval stringed instruments.  She plays in the Viola da Gamba Dojo of New York, and studies vielle with John Mark Rozendaal and early music notation with Valerie Horst.


Judith WinkTreasurer Judith Wink. Judith started playing the recorder in college and hasn’t stopped since. For more than forty years she’s been taking classes and going to workshops. She’s also been going to concerts, where she finds how the instrument is supposed to sound. After a varied career as a teacher, technical writer, editor and concert manager, Judith is now retired, giving her more time to play early music. As she often explains, “Anything worth doing is worth doing badly.”


Judy Von F.Member-at-Large Judy Von Foerster. Judy first picked up a recorder about 30 years ago and tried learning from the Trapp Family Recorder Method book (you know the one) for a few months. Around 5 years ago, at a performance of a Monteverdi opera, seated directly behind a wonderful orchestra playing early instruments and so struck by the fabulous recorder players she felt sad that she'd left off and now might go through life never having the pleasure of playing music with other people. She bought a recorder, and found Deborah Booth.


Carol ScafatiWebmaster, Carol Scafati. Carol has been playing recorder for many, many years. It is her first and only instrument,  having taken it up when she heard her 8-year-old niece play Mary Had a Little Lamb, thinking it would be a piece of cake (which it wasn't). She is still at it, totally enjoying every minute. She currently studies with Deborah Booth. For additional information, you can view Carol's website.



Deborah ConductingMusic Director, Deborah Booth is an active recorder and flute performer of historical and modern instruments, and the co-founder and director of Ensemble BREVE.  Performances include the Handel & Haydn Society, the Orchestra of St. Luke‘s, Boston Early Music Festival, Amherst Early Music, Trinity Bach Vespers (NYC), St. Michael’s Baroque Ensemble, Dorian Baroque Orchestra, Big Apple Baroque, recorder soloist with the Ciompi Quartet, Gotham City Baroque Orchestra, Long Island Baroque Ensemble, Bacchanalia Baroque Ensemble, Ivory Consort and the Bacheler Consort.  Ms. Booth has toured extensively in the United States, Europe, Mexico, and South America.   Recent performances include Kleine Musik, a project featuring 17th and 21st century settings of “Kleine Geistliche Konzerte” by Heinrich Schutz and Ivan Moody (U. S. Premiere) and performances of Monteverdi’s opera, L’incoronazione di Poppea at the Borden Auditorium at Manhattan School of Music.  In 2016 Ms. Booth was the flute soloist for Mozart’s Concerto in G Major with Big Apple Baroque. The Times reviewed her performances as "technically precise and musically expressive."

Conversations, a recording of 17th and 18th century music for recorder and flute with harpsichord, organ, viola da gamba, cello, and bassoon was released in September, 2012.  The recording was reviewed in American Recorder : “rich approach, wonderful results, vigorous yet nuanced playing,  lively, clever and substantive conversation….”

In addition to her duties as Music Director of NYRG, Deborah is in demand nationally as a workshop director for the American Recorder Society and the National Flute Association and has taught on the faculty of Marymount Manhattan College.

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