Christopher Lyndon-Gee

Christopher Lyndon-Gee serves as Professor of Music within Adelphi University's College of Arts and Sciences, maintaining significant scholarly affiliations as a Visiting Scholar at Harvard University's Villa I Tatti (since 2000) and Fellow at Switzerland's Paul Sacher Foundation (since 2001).

His educational foundation includes:

• B.A. First Class Honours (Summa cum Laude) from University of Durham, Great Britain
• F.R.C.O. (Fellow of Royal College of Organists) with London University M.A. status
• Diploma di Perfezionamento in Conducting from Rome's Conservatorio S. Cecilia (DMA equivalent)

Professor Lyndon-Gee's research synthesizes Baroque and modern orchestral traditions through meticulous analysis of J.S. Bach's works as reinterpreted by Igor Markevitch. His methodology combines archival scholarship with practical conducting insights, revealing continuities between historical performance practices and 20th-century compositional techniques. This interdisciplinary approach bridges musicology, performance studies, and critical edition preparation.

His 2010-2011 publications for Naxos Records demonstrate concentrated expertise in Markevitch's orchestral corpus, particularly examining transcription techniques across 'The Musical Offering' and piano concertos. These works highlight his unique position at the intersection of academic musicology and professional conducting practice.

Major recognitions include:

• Five-time GRAMMY nominee (Conducting)
• Seven-time Penguin Guide Rosette winner
• Artist of the Year (1993, Australian National Critics Circle)
• MacDowell Fellowship (awarded twice)
• Five-time Fanfare Magazine 'CD of the Year'

As an educator, he guides students through Western music history's evolution while incorporating his conducting expertise into pedagogy. His funding profile features prestigious competitive fellowships supporting long-term scholarly projects, with Villa I Tatti and Paul Sacher affiliations enabling sustained research into Renaissance-modern musical connections. International collaborations with Naxos, Australian orchestras, and European institutions form the backbone of his creative output.

Though no formal research lab exists, his Naxos recording projects and institutional partnerships provide students with access to professional musicological documentation processes and performance scholarship.