What does an ensemble do when its repertoire stopped expanding 250 years ago? The Aulos Ensemble, like other early music groups, faces this dilemma, and has faced it longer than most. Aulos' answer has been to constantly re-invent itself—not by changing personnel, as its elite membership has remained intact for the last 15 years—but by constantly exploring new projects, embracing an ever-widening group of guest artists, and forging new recording alliances.

Formed in 1973 by five Juilliard graduates, The Aulos Ensemble was at the forefront of a movement that captured the imagination of the American listening public. In 1978 with the release of their recording, Masterpieces of the High Baroque, Aulos' reputation for exhilarating performances informed with scholarly insight was firmly established. Aulos brought an uncompromising standard of excellence in performance that resulted in invitations from virtually all of America’s major chamber music presenters. This exposure helped create a new audience awareness for the rich rewards of this repertoire performed on "period instruments," and comments such as "scintillating," "virtuosic," and "authentic baroque performance at its best" from America's most respected music critics. Back for a third appearance on the BCMS, Aulos members Christopher Krueger, transverse flute; Marc Schachman, baroque oboe; Linda Quan, baroque violin; Myron Lutzke, baroque cello; and the indomitable harpsichordist Arthur Haas have more new projects to transport us to a more tranquil time and place