In the course of thirty years as a professional free-lance violinist, Alexandra has played with many professional ensembles, in the greater Washington D.C. and Denver areas. They include the Kennedy Center Opera House Orchestra; National Symphony Mostly Mozart Festival Orchestra; Washington Concert Opera; Washington Bach Consort; Colorado Sinfonia; Boulder Bach Festival; Denver Handel Festival; Mercury Ensemble; Colorado Chamber Orchestra; Suonare. She has had the honor of performing with Itzhak Perlman, Hilary Hahn, Jessye Norman, Denyce Graves, Christopher Hogwood, Jean-Paul Fouchécourt, Stanley Ritchie, and many other internationally known Classical performers; and with k.d. lang, Amy Grant, Willie Nelson, Ray Charles, Smokey Robinson, the Moody Blues, and many other major pop artists. Alexandra studied with Abraham Chavez, Giora Bernstein, David Abel, Elizabeth Adkins, and Cynthia Montooth. She plays a 1723 Georg Klotz violin, with bows by Louis Morizot and François Mouton.
Alexandra performs and records in Washington D.C. and New York with Opera Lafayette, an internationally acclaimed period-instrument ensemble specializing in French opera of the seventeenth and eighteenth centuries and recording for the Naxos label. They frequently collaborate with the New York Baroque Dance Company in exciting staged and semi-staged performances. In February 2012 they presented the modern premiere of Pierre-Alexandre Monsigny’s popular and controversial opera, Le Roi et le fermier, as invited artists at the Opéra Royal, Château de Versailles, France, to critical acclaim. Opera Lafayette’s seventh recording, of Philidor’s comic opera Sancho Pança, was released in October 2011. Alexandra has studied with Jaap Schröder, Reinhard Goebel, and Monica Huggett. She plays an unsigned Baroque violin, probably German and made in the mid-eighteenth century, and her Baroque and Classic bows are reproductions by Ralph Ashmead and H. F. Grabenstein.
Recent premieres of Alexandra’s works include her Duo for violin and bass drum (April 2010, in Lafayette, Colorado, with percussionist Jennie Dorris) and Strings, Wood, Air, for violin and clarinet, dedicated to clarinetist Mary Jungerman (May 2010, Denver, Colorado, with Mary). Arion, Alexandra’s 50-minute chamber opera for mezzosoprano, violin/electric violin, clarinet/bass clarinet, and percussion, based on the Greek mythological story of Arion and Periander, was premiered in Boulder, Colorado in 2007, with the support of a Boulder Arts Commission Mini-Grant. Stars, a substantial work for violin alone, composed in honor of Alexandra’s late father, the scientist John A. Eddy, was completed in June 2010 and will be premiered soon.
Alexandra has taught for over thirty years, in a wide range of musical areas: private violin, viola, and piano lessons both in her own studio and at community music schools, and classroom courses in music history, music appreciation, and music theory at the college, university, and graduate levels. She holds the Ph.D. in music history from Stanford University, and the B.A. in Music from the University of Colorado. A member of the string faculty of the Rocky Mountain Center for Musical Arts/Colorado Music Festival, she has served on the music history faculty of the College of Music and the Humanities Department at the University of Colorado, and at Sweet Briar College in Virginia. She has published articles on a wide variety of subjects in the history of music and performance.
Alexandra’s new book, Mirror of the Muses: Music as a Reflection of Culture in the Western Tradition, will be available from Cognella Press (cognella.com) in early 2015. Mirror of the Muses invites readers to understand musical works from Greek music of the Archaic and Classical periods through today’s Kronos Quartet performances in their historical, geographical, and conceptual contexts. It finds within the music itself fascinating clues to the thought, beliefs, customs and times of the people who composed and performed it and draws connections with artworks, historical events, social changes, and scientific discoveries. Readers will discover number symbolism in medieval sacred music; aristocratic interactions embedded in music of Louis XIV’s court; reflections of Baroque-period scientific theory in Bach’s music; Verdi’s operas as an expression of 19th-century political turmoil; early multiculturalism in Debussy; and the 20th-century redefinition of Classical music, as it began to merge with popular, jazz, rock, and world music.