About Us
Harmonious Blacksmith combines the best of creative conceptual programming with the fire of virtuoso
performing and improvising. Uniquely focused on the connection between composition and improvisation
in Renaissance and Baroque music, Harmonious Blacksmith looks back to the age-old practices of
improvising dance music and ornamenting songs.
The Name
The name Harmonious Blacksmith comes from the title of a famous set of harpsichord variations by George Frederic Handel. Although the title was supplied by his publisher, not Handel himself, it remains a compelling image - not just as a blacksmith whistling while working, but also as musicians shaping harmonies into works of art. Harmonious Blacksmith also alludes to Pythagoras's ancient discovery of acoustics, as he passed a blacksmith's forge and noticed the higher and lower pitches of smaller and larger hammers striking the anvil.
History
Harmonious Blacksmith was founded in 2006 by harpsichordist Joseph Gascho and recorder player Justin Godoy.
They met while studying at the Peabody Conservatory in Baltimore, performing together in the Peabody Renaissance
Ensemble under the direction of Mark Cudek. They also performed together at the Amherst Early Music Festival, the International
Baroque Institute at Longy, and in numerous recitals in the Baltimore/DC area. 
Since its founding, HB has been ensemble-in-residence at An Die Musik LIVE! in Baltimore.
Their first season in 2006 included a sold-out performance, and concluded with their debut in
Boston at the Boston Early Music Festival Fringe.
Their 2007 season finished with acclaimed performances at the Washington Early Music Festival
and the Magnolia Baroque Festival, where they were joined by guest violinist Ingrid Matthews.
Acclaim
"On Sunday afternoon, before a sizable audience in the fitting elegance of the ballroom of the Garrett-Jacobs Mansion (Engineers Club), the engaging ensemble known as Harmonious Blacksmith gave a concert inspired by the tale of Bach's moonlit activity, featuring the kinds of things he may have diligently copied, along with some of his own compositons. It all added up to an appealingly diverse program sensitively delivered on period instruments.
Highlights included Joseph Gascho's elegant solo harpsichord playing of music by Buxtehude and Reinken, and Justin Godoy's mellow tone and nimble articulation on the recorder in several item, inclouding a deftly shaded Bach sonata. There were fine contributions, too, during the afternoon by violinist Christine Hauptly Annin and cellist Nika Zlataric. "
Baltimore Sun Online; November 18, 2009
"And it proved spectacular in an program titled "The Excitement of Improvisation" that was performed last night in Gray Auditorium. Soprano Ah Hong sang works by Italian composers of the late Renaissance and early Baroque, investing each with heartfelt emotions and phrasing of subtlety and beauty. The singing alternated with a dazzling display of virtuosity by harpsichordist Joseph Gascho, violinist Ingrid Matthews, recorder player Justin Godoy, cellist Nika Zlataric and John Lenti, on theorbo and lute. This virtuosity manifested itself most strongly in an uncanny ability to create highly inventive music on the spot. Or to combine reading and improvisation in ensemble that could turn on a dime or sustain a wondrous rush of rhythm. Often, the whole thing sounded just a step or two away from more modern idioms in which improvisation figures prominently; that's probably one reason that young people in last night's audience related so well to what they heard."
Winston Salem Journal; June 20, 2008
"Harmonious Blacksmith, the lively early music ensemble, filled the Garrett-Jacobs Mansion in Mount Vernon with sounds once heard at Zimmermann's Coffee House in Leipzig, Germany, when Bach and Telemann hung out there. Naturally, the program included Bach's Coffee Cantata, a light-hearted look at caffeine and love. The work received a nimble performance, with particularly charming singing from bass-baritone Francois Loup and soprano Meghan McCall. Joseph Gascho produced considerable finesse and flourish at the keyboard in Bach's D minor Harpsichord Concerto, BWV1052, with solid backing from a string foursome. Even more impressive was the account of Telemann's Paris Quartet No. 6, with Gascho, violinist Elizabeth Field, cellist Nika Zlataric and Justin Godoy, whose technical bravura and range of expressive nuance on the recorder provided extra charm."
Baltimore Sun; May 20, 2008
"Terry Riley's In C, a 1964 work viewed as a flashpoint of the minimalism revolution, took on a wonderfully earthy, sometimes gritty quality as lutes, recorders, harpsichords and more churned away. Some of the articulation turned fuzzy, but the hypnotic power of the piece emerged strongly as the players explored the surprising possibilities for melodic action within the narrow range set up by Riley. Narrower still is Piano Phase, a 1967 composition for two pianos by Steve Reich...here appropriated by a pair of harpsichords, and played with admirable concentration by Joseph Gascho and Elena Tsai, the music made its tense, kinetic points. In a very different style was Ryohei Hirose's Meditation for solo recorder. Better known for its soft-grained warbling in Renaissance and Baroque repertoire, the recorder is called on to screech, slur and squeak, as well as sing and whisper. Justin Godoy did all of that skillfully, finding import in each wildly darting flurry, each lingering murmur."
Baltimore Sun; April 9, 2008
"Thursday morning, June 14, gave rise to what many have reported to be one of the best fringe events they have heard at BEMF: that by Harmonious Blacksmith...From the beginning, the listener had a feeling of connection with them. They were lively, enthusiastic and expressive in their playing, creating seamless sets of compositions, with divisions and superb improvisations on those compositions. As stated in the program notes, they devote much attention to diminutions. Their fourth set of pieces—Susanne Ung Jour, Ricercar (improvisation) and Sonata 7 (Bertoli)—was particularly wonderful to listen to. Their version— voice, bass recorder, lute, harp, theorbo and 'cello—ended with a 'cello solo that was greeted with a roar of approval by the capacity audience, which could hardly contain itself, almost like being at a rock concert."
American Recorder Society Magazine; September 2007