Sarah Huebsch, DM, performs on period and modern oboes throughout the Americas. Recently, Sarah directed several projects including “Sehet! wir gehn hinauf gen Jerusalem” (BWV 159) as part of the Bloomington Bach Cantata Project and “From the HeART,”a Valentine’s day and Elizabethan Era themed event leading up to IU Theatre and Dance’s production of Romeo and Juliet. Last spring, Sarah performed with Forgotten Clefs: A Renaissance Band at the Smithsonian and in the Young Performers Festival at the Boston Early Music Festival, representing the Historical Performance Institute at the Jacobs School of Music (Indiana University).

Sarah has been heard with the Washington National Cathedral Baroque Orchestra, Chatham Baroque, Bourbon Baroque, Chicago’s Callipygian PlayersSpire Baroque Orchestra, Indianapolis Baroque Orchestra, Grand Harmonie, Ensemble Lipzodes, Bach Society Houston, Pittsburgh Baroque Ensemble, New Comma Baroque, and the Fort Wayne Bach Collegium, among others.

An avid orchestral player, Sarah has played for regional orchestras in Indiana, Kentucky, and Illinois including the Evansville Philharmonic, Lafayette Symphony Orchestra, and Owensboro

SHuebschPromo-266 Symphony Orchestra, among others. Sarah has been a fellow at Music Academy of the West and the Bowdoin International Music Festival and has performed at Santa Fiora in Musica (Italy), Aspen Music Festival, Princeton Festival, Tafelmusik Summer and Winter Institutes, Amherst Early Music Festival Academy/Opera Orchestra, Baroque Performance Institute (Oberlin, OH), and Tafelmusik Baroque Summer Institute, among others.

Interviewed by WFIU-NPR in the summer of 2010 about the role of English horn in orchestra, Sarah finds joy in playing on low oboes–English horn, oboe d’amore, oboe da caccia. When she isn’t making reeds, Sarah works as the IU Jazz Department librarian at the Indiana University Cook Music Library.

A graduate of the Interlochen Arts Academy, New England Conservatory and Indiana University Jacobs School of Music, Sarah recently completed doctoral work in the Early Music institute at IU in performance practice (oboe and recorder), music literature, and music theory. Her document, “Staging Music in The Tempest at Drury Lane (1777-1787) explores musical events and activities at a late 18th Century production of The Tempest at Drury Lane, London. Sarah’s primary teachers have included John Ferrillo, Linda Strommen, Washington McClain, and Meg Owens with additional performance, theory, and musicology studies with David Weiss, Michael McCraw, Elisabeth Wright, Daniel R. Melamed, and Lyle Davidson.