Música Ficta is one of the most distinguished and respected early music ensembles specialized in the performance of Latin American and Spanish baroque repertoire. Founded in Colombia in 1988, the ensemble has performed in the main churches and cathedrals of Latin America -where the most important music archives of the continent are found- as well as in some 30 countries in 4 continents. Its concerts and recordings have been broadcast through the most important radio stations in the American continent and Europe. Música Ficta's recordings have been issued by European and American labels. The vitality and scholarship of their performances have received 5 stars and praise from specialized critics. Their historically informed performances, based upon profound musicological research, make of Música Ficta a reference ensemble in Latin-American and Spanish repertoire. A feature of the ensemble is the recording of music that has never before been recorded, pouring light into valuable repertoire that has been forgotten for some 300 years. The NMM Live! Series is made possible by the USD Student Government Association and the South Dakota Arts Council through the Department of Tourism, and the National Endowment for the Arts.

Benjamin David Tufte (b. 1999) takes a multi-faceted approach to music ranging from performance and composition to education and outreach. Mr. Tufte maintains a passion for exploring all the repertoire that the piano has to offer, with a particularly keen interest in giving light to underperformed works. Recent solo performances include pieces by standard composers like Beethoven, Rachmaninoff, and Ravel sharing the stage with Margaret Bonds, Tōru Takemitsu, and Heitor Villa-Lobos. Notable chamber music performances include the complete duo sonatas by Dmitri Shostakovich, his piano quintet, and the piano quintet by Edward Elgar. Taking place at the Jacobs School of Music, Mr. Tufte has participated in concerts celebrating the 150th birthdays of composers Julián Carrillo (featuring a simulated 1/16th-of-a-tone piano!) and Charles Ives and the 100th birthday of Aurelio de la Vega. As a composer, he has also received commissions from the Boston-based duo Transient Canvas and the Utah Museum of Fine Arts (UMFA). The UMFA commission, titled "Two Pines. Manitou, Colorado", based on a painting of the same name by Birger Sandzén, was named a finalist in the New York City Contemporary Music Symposium’s 2021 call for scores. Benjamin is currently pursuing an Artist's Diploma from the University of Denver's Lamont School of Music under the tutelage of Dr. Steven Mayer. Prior to beginning his studies at DU, he completed a Performance Diploma in Piano with Jean-Louis Haguenauer and a Master’s Degree in Piano with Evelyne Brancart and André Watts at Indiana University Bloomington Jacobs School of Music. His Bachelor's Degree was completed at the University of Utah where he majored in both piano and composition, studying piano with Dr. Viktor Valkov and composition Drs. Devin Maxwell, Manuela Meier, Igor Iachimciuc, and Luke Dahn, respectively. He studied with Dr. Christian Bohnenstengel and MaryAnne Anderson at Southern Utah University. Festival appearances include the Wyoming International Chamber Music Festival, Piracicaba International Piano Festival, Roundtop Festival Institute, Brevard Music Center, Curtis SummerFest, and the Helen Taylor Johannesen International Piano Festival. Based in the Mountain West region of the United States, Ross McIntosh directs the Wyoming International Chamber Music Festival (WICMF), teaches viola and chamber music at the University of Wyoming, and serves as the Assistant Principal Violist of the Boulder Philharmonic. Recent orchestral engagement includes a period as Guest Principal Violist of the BBC Concert Orchestra. An active chamber musician, he performs regularly throughout the United States and Europe, and is delighted to appear frequently as part of the Swiss Chamber Concerts series in Geneva, Switzerland. Ross has shared the stage with artists such as Atar Arad, Joanna Blendulf, Daniel Blumenthal, Alexander Gebert, Stephanie Gurga, Annette von Hehn, Tomo Keller, David Lai, Tony Nys, Timothy Ridout, and Gyula Stuller; and has worked with composers that include Cheryl Frances-Hoad, Don Fruend, Kian Ravaei, Sir John Rutter, and Claire-Mélanie Sinnhuber. As founder and Artistic Director of WICMF, Ross brings together artists from around the world to create innovative chamber music experiences in the spectacular landscape of his home state. All festival concerts are presented free of charge in keeping with WICMF’s mission of making classical music more accessible and welcoming audiences from all walks of life to experience the unique connection fostered through live chamber music. McIntosh also revived ViolaFest West, the University of Wyoming’s annual viola festival, which brings students to Laramie for masterclasses, workshops, and performances exploring the artistry and versatility of the viola. The 2026 edition, presented in partnership with WICMF, features internationally acclaimed violist Roger Chase as guest artist. In addition to his work as a violist, Ross is an active organist, performing regularly in both sacred and secular settings. He serves as organist at the Cathedral of St. Mary in Cheyenne, Wyoming. His compositions have been performed throughout the Northern Hemisphere, spanning orchestral, chamber, and solo works, art songs, and popular arrangements. Through composing, he seeks to expand his musical voice beyond that of the classical violist. Ross’s teachers include Timothy Ridout, Pablo Hernan Benedi, Atar Arad, and James Przygocki. This program is funded by the Clayton & Odessa Lang Ofstad Foundation, Bank of America N. A., Co-Trustee, and by the Howard & Marjory Coker Memorial Fund

For over three decades, pianist Luis Sanchezhas maintained an active career as soloist, collaborative artist, and teacher. He has appeared in concerts in the United States, South America, Europe, and Asia. He is currently Professor of Piano and Director of Keyboard Studies at Texas A&M University-Commerce. Dr. Sanchez joined the Steinway Artist Roster in 2012. In May 2021, he joined the Frances Clark Center for Piano Pedagogy as Director of International Initiatives. Praised for his artistry, dazzling technique, and inspiring performances, Luis Sanchez has presented recitals and master classes at Steinway Hall in London, Birmingham Conservatoire (UK), Sala delle Muse at the Teatro Petruzzelli (Bari, Italy), Chiesa di Sant’Agnese in Agnone (Rome, Italy), National Cheng Kung University (Taiwan), the Grieg Academy (Bergen, Norway), the Norwegian Academy of Music (Oslo, Norway), Hangyang University (Seoul, South Korea), the Piano Concert Series International (Louisiana), and throughout the United States. He has also been featured soloist with the Orchestra of New Spain (Dallas), The Texarkana Symphony, Fort Wayne Philharmonic Orchestra, the Ball State Symphony Orchestra, and the Texas A&M University-Commerce Wind Ensemble. Luis Sanchez enjoys a successful teaching career. Current and former students have been recipient of prizes at national and state competitions including the Texas Music Teachers Association Performance Contest, the National Young Musicians Showcase Competition, the Muncie Symphony Junior Concerto Competition, the Tuesday Musical Club Young Artist Competition in San Antonio, The UT Arlington Competition Festival, among others. Additionally, his students have been accepted at numerous summer programs including Piano Texas, Chautauqua Piano Program, Rebecca Penneys Piano Festival, International Masterclasses and Festival in Moulin d’Ande (France). He thoroughly enjoys teaching a diverse group of students from different corners of the United States as well as from Venezuela, Colombia, China, Bulgaria, Russia, Sri Lanka, Taiwan, Colombia, and South Korea. Since 2014, he has frequently joined the faculty of InterHarmony International Music Festival in Germany and Italy. He has been a frequent presenter at the Texas Music Teachers Association Convention, Music Teachers National Association, the Southeastern Historical Keyboard Society Conclaves, the Hawaii International Conference on Arts and Humanities, and national and regional College Music Society conferences. Dr. Sanchez has served as an adjudicator for numerous competitions and festivals, throughout the United States and internationally. Equally at home with the fortepiano and the modern piano, Dr. Sanchez pursued further studies in fortepiano and XVIII century performance practice with Malcolm Bilson, Andrew Willis, and Liv Glaser (Oslo, Norway).  In 2012, he was commissioned to write an article on Phil Belt (American builder of fortepianos) for the New Grove Dictionary of American Music and Early Music America. Born in Argentina, Dr. Sanchez holds degrees from the National Conservatory of Music “Carlos López Buchardo” and Ball State University.  His teachers include Ana Litovsky-Grunwald, Graciela Beretervide, Robert Palmer, and Rebecca Penneys. The NMM Live! Series is made possible by the USD Student Government Association and the South Dakota Arts Council through the Department of Tourism, and the National Endowment for the Arts.

USD Music Department Rawlins Guest Artists Micheal Baron and Priscilla Navarro, featuring the NMM's Mason & Hamlin grand piano (NMM 15722).

USD Music Department Cello and Bass Studios will be joined by world-renowned cellists Prof. Emilio Colón and Cara Colón. This performance will feature instruments from the Cancelosi Collection at the NMM.

An Evening at Home: Music on the Octave Virginal Experience the delicate, sparkling sound of the National Music Museum’s rare 1694 Guarracino octave virginal as harpsichordist Faythe Vollrath transports audiences to the intimate musical salons of 17th-century Italy. Featuring the NMM’s Guarracino virginal (NMM06041) and Ridolfi harpsichord (NMM04657). Recorded September 26, 2025, in the Janet Lucille Wanzek Performance Hall at the National Music Museum, Vermillion, South Dakota. Performers | Faythe Vollrath Immerse yourself in the sounds of 17th-century Italy with An Evening at Home: Music on the Octave Virginal, performed by acclaimed harpsichordist Faythe Vollrath. This special program offers the rare chance to hear the NMM’s 1694 Guarracino octave virginal, a small keyboard instrument once favored for practice, song accompaniment, and private entertainment in the Italian home. Its delicate voice—sounding an octave higher than a standard keyboard—brings a light, crystalline quality to Baroque repertoire that is seldom experienced in modern concerts. Praised by The Wall Street Journal for her “subtly varied tempo and rhythm that sounds like breathing,” Faythe Vollrath is an active soloist and chamber musician whose artistry has been heard in distinguished venues across the United States and internationally. She is equally at home in historically informed performance and in interpreting contemporary works for historic instruments, bringing a fresh vitality to every program. Her creative approach has led to distinctive performances, from pairing Japanese harpsichord works with Japanese art to playing in unconventional spaces such as a columbarium during Oakland’s Garden of Memory event. An Evening at Home promises an evocative journey into the elegance, intimacy, and charm of music as it might have been heard in an Italian home over 300 years ago. This program is funded by the Clayton & Odessa Lang Ofstad Foundation, Bank of America N. A., Co-Trustee. NMM Live! is made possible by the USD Student Government Association and the South Dakota Arts Council through the Department of Tourism, and the National Endowment for the Arts. About the instruments featured in this program: Octave Virginal by Onofrio Guarracino (1694) – Naples, Italy Built by Naples’ most notable 17th-century harpsichord maker, this octave virginal exemplifies the Neapolitan school’s distinctive style with its rectangular maple case, dovetailed corners, and finely crafted parchment rose. Tuned an octave above normal pitch, it produces a light, sparkling tone once favored for practice, song accompaniment, and private music-making in the home. (NMM06041) Harpsichord attributed to Giacomo Ridolfi (ca. 1660–1690) – Rome, Italy This Roman harpsichord features a single manual with two sets of 8' strings, housed in an original outer case with delicate moldings and fine boxwood and cypress keys accented by ivory studs. Though later converted to a piano in the 18th century, it retains much of its original craftsmanship and elegance, offering insight into the refined artistry of Italian keyboard building in the late Baroque. (NMM04657)

Cancelosi Chamber Music Series  Step back in time as world-class early music specialists Cléa Galhano (recorder), Elisabeth Wright (harpsichord), and Tulio Rondón (baroque cello) bring the elegance and drama of 17th-century Italy and French Baroque to life on the NMM’s historic Neapolitan and 1785 Germain harpsichords and1683 Ruggeri cello. Recorded September 14, 2025, in the Janet Lucille Wanzek Performance Hall at the National Music Museum, Vermillion, South Dakota Performers | Cléa Galhano, Elisabeth Wright, & Tulio Rondón Immerse yourself in the expressive beauty of Early Italian XVII and French Baroque music. This exquisite program, performed on period instruments by three internationally celebrated early music artists—recorder virtuoso Cléa Galhano, harpsichordist Elisabeth Wright, and baroque cellist Tulio Rondón—explores works by Domenico Gabrielli, Bartolomé de Selma y Salaverde, Ercole Pasquini, Girolamo Frescobaldi, Giovanni Battista Fontana, Dario Castello, François Couperin, Jean Barrière, and Joseph Bodin de Boismortier. The performance will feature the National Music Museum’s historic 1530 Neapolitan harpsichord (NMM 14408), 1785 Germain harpsichord (NMM 03327), and 1683 Ruggeri cello, offering audiences an authentic listening experience that connects directly to the sound world of the Baroque era. Brazilian recorder player Cléa Galhano has graced stages from Carnegie Hall to Wigmore Hall and has been featured at major international early music festivals. Her artistry and scholarship have made her a sought-after soloist and collaborator worldwide. Joining her is Elisabeth Wright, a leading figure in historical performance and 2024 recipient of Early Music America’s Howard Mayer Brown Award for lifetime achievement, whose career as both performer and educator has shaped generations of early music specialists. Completing the ensemble is Venezuelan-born baroque cellist Tulio Rondón, known for his vivid, passionate performances and deep expertise in historical performance practice, honed through studies at The Royal Conservatory in The Hague. Together, these three acclaimed musicians will transport listeners through a rich tapestry of baroque sonorities—delicate ornamentation, intricate counterpoint, and expressive phrasing—revealing the elegance and vitality of music from Italy and France’s golden ages. Whether you are a dedicated early music aficionado or new to the genre, this concert offers a rare opportunity to experience historically informed performance on treasured instruments from the National Music Museum’s world-class collection, all in the intimate, rich acoustic setting of the museum. This program is funded by the Clayton & Odessa Lang Ofstad Foundation, Bank of America N. A., Co-Trustee. The NMM Live! Series is made possible by the USD Student Government Association and the South Dakota Arts Council through the Department of Tourism, and the National Endowment for the Arts. About the Instruments featured in this concert: Germain Harpsichord (1785) – Paris, France Crafted by master maker Jacques Germain, this late-18th-century French harpsichord features a luxurious two-manual design with a variety of tonal colors, including the distinctive peau de buffle stop. Despite a mid-20th-century rebuild, its original soundboard and refined, resonant tone remain remarkably well-preserved, showcasing the elegance and craftsmanship of the French harpsichord tradition. (NMM14408) Neapolitan Harpsichord (ca. 1530) – Naples, Italy One of the world’s oldest playable harpsichords, this Renaissance-era treasure offers a rare sonic link to musical life 500 years ago. Lightly built with a single set of strings per note, it is adorned with carved cornucopias and an original decorative rose, preserving the beauty and intimacy of early Italian keyboard design. (NMM03327) Violoncello by Francesco Ruggeri (1683) – Cremona, Italy The oldest cello in the NMM’s Cancelosi Collection, this 17th-century Cremonese masterpiece is celebrated for its dark, rich, and powerful tone. Ruggeri’s craftsmanship and materials give the instrument a depth of sound that continues to inspire performers more than three centuries after its creation.

The NMM welcomes Michele Benuzzi to play an unattributed Italian harpsichord, made about 1700, which is possibly the only surviving instrument of its kind in the United States. Built in the 3x8 configuration, this is the second time the instrument will be played publicly since its restoration by NMM graduate Susana Caldeira. Recorded October 3, 2025, in the Janet Lucille Wanzek Performance Hall at the National Music Museum, Vermillion, South Dakota. Performers | Michele Benuzzi Specializing in historic performance, Benuzzi will present a Musical Journey through 17th-Century Europe. The program offers a survey through the countries and national styles of various European nations. Starting point in Italy, with compositions by L. Luzzaschi and G. Frescobaldi, followed by Spain, France, and Germany, before crossing the English Channel to conclude with works from the refined Elizabethan literature. Michele Benuzzi studied the harpsichord with Ottavio Dantone and obtained a harpsichord Performing Diploma at the Royal College of Music, London. He also studied musicology at the University of Pavia. In 2003, he won third prize at the seventeenth Yamanashi International Harpsichord Competition in Japan. He regularly performs in major festivals in Europe, Australia and Asia. He promoted and played the opera omnia of Domenico Scarlatti's Sonatas, which were performed from 1995 to 2002 in France. He founded Arcomelo, a group performing seventeenth and eighteenth-century music, examining baroque music - especially problems concerning execution on historic instruments. With Arcomelo, he recorded the harpsichord concertos by C. Ph. E. Bach for “La Bottega Discantica,” receiving excellent reviews. In 2007, he recorded the harpsichord concertos and symphonias by W. F. Bach. In collaboration with Japanese recorder player Mitsuko Ota, he recorded all of Vivaldi’s Flautino and Flauto Concertos, receiving a nomination in the Japanese “The record Geijutsu magazine” (May 2013). As a soloist, he recorded Scarlatti's Sonatas using the 1764 Hass instrument in the Russell Collection in Edinburgh. For London Independent Records, he released "Hamburg 1705," featuring music by Händel, Graupner and Mattheson, using the 1730 Dulcken harpsichord in the Barnes Collection. For Brilliant Classics, he recorded works by J. W. Hässler on a 1773 Falkener harpsichord in the Russell Collection. All his solo recordings were acclaimed by international magazines, and the Hässler CD received 5 stars from “Musica” (July, August 2012). In 2011, he recorded with Arcomelo the chamber music and solo harpsichord music by J. A. Benda in a 6 CD box. In 2014, the complete Ch. Nichelmann Sonatas in a 2 CD set and in 2015 the Sonatas by J. Galles. He has begun recording the complete keyboard works of J. W. Hässler, the first volume of which received 5 stars from “Musica” (March 2018). For these recordings he used a harpsichord, Silbermann piano, clavichord and an original Broadwood square piano dated 1798. Recently he recorded the complete harpsichord music by J. L. Krebs in 5 CDs. Benuzzi's next project will be recording the six harpsichord sonatas by J. E. Altenburg, the complete Sonatas by Ch. S. Binder, and the “Certamen Musicum” by J. P. Kellner. The NMM Live! Series is made possible by the USD Student Government Association and the South Dakota Arts Council through the Department of Tourism, and the National Endowment for the Arts. In Collaboration with the Italian Cultural Institute, Chicago Featuring an Italian harpsichord from the NMM’s collection, made about 1700