A native of Winston-Salem, North Carolina, she began her organ studies with John Mueller at the North Carolina School of the Arts. Her early interest in French music took her to France where she worked with Louis Robilliard and Xavier Darasse before returning to North Carolina to complete her undergraduate studies with Fenner Douglass. Following her victory at St. Albans, Kimberly Marshall was invited to play throughout Europe, including concerts in London's Royal Festival Hall and Westminster Cathedral, King's College, Cambridge, Chartres Cathedral, Uppsala Cathedral, and the Dormition Abbey in Jerusalem.
She has also performed on many historical organs, such as the Couperin organ at Saint-Gervais, Paris, the Gothic organ in Sion, Switzerland, and the Cahmann organ in Leufstabruk, Sweden. She especially enjoys tailoring programmes to the styles of the instruments she plays, as is evident from her recordings of Italian and Spanish music on historical organs. Her playing is informed by research into obscure repertoire and by a knowledge of performance practice, although she does not limit herself to early music. While at Stanford and the Royal Academy of Music, she gave performances of organ works by Ligeti in the presence of the composer, and she has been an advocate for music by Margaret Sandresky, Dan Locklair and Ofer Ben-Amots.
She is attracted to the organ by its vast possibilities of timbre and by the instrument's complex development since its invention in the third century BCE. Her work reflects this enthusiasm for musical creativity and historical awareness. In 1986, Kimberly Marshall received the D.Phil. in Music from the University of Oxford.
Her thesis, Iconographical Evidence for the Late-Medieval Organ, was published by Garland in 1989. More recently, she has developed this work in several articles and lecture/presentations and the CD recording “Gothic Pipes.” She has lectured on her research for the American Musicological Society, the Royal College of Organists, and the Berkeley Organ Conference. In recognition of her work, Kimberly Marshall was awarded a Fulbright Scholarship to continue her research and teaching during 1991 at the Sydney Conservatorium in Australia. Her edition of articles on female traditions of musicmaking, Rediscovering the Muses , was published by Northeastern University Press in 1993, and she contributed entries for the Grove Dictionary of Music 2000 and for the Oxford Dictionary of the Middle Ages.
Dr. Marshall's compact disc recordings feature music of the Italian and Spanish Renaissance, French Classical and Romantic periods, and works by J. S. Bach.
She has also released a recording of works for organ by female composers, “Divine Euterpe,” that includes music by Fanny Mendelssohn Hensel, Elfrida Andrée, and Ethyl Smyth. Kimberly Marshall was a recitalist and workshop leader during many National Conventions of the American Guild of Organists (Dallas, 1994; New York, 1996; Denver; 1998; Seattle 2000, Los Angeles 2004). From 1996-2000, she was affiliated with the Organ Research Center in Göteborg, Sweden, where she taught and performed; under the aegis of GOArt, she organized the conference “The Organ in Recorded Sound,” and has edited the proceedings of this, the first-ever conference devoted to sound recordings of the organ. During the summer of 2001, she appeared in Seoul for the Korean Association of Organists and in Toronto for the Convention of the Royal College of Canadian Organists.
Her recording of Chen Yi's organ concerto with the Singapore Symphony was released in 2003 on the BIS label, and her anthologies of late-medieval and Renaissance organ music were published by Wayne Leupold Editions in 2000 and 2004. Kimberly spent the spring of 2005 on sabbatical in Pistoia, Italy, where she researched early Italian organ music and performed on many historical organs, including those in Roskilde Cathedral (Denmark), the St. Laurenskerk, Alkmaar (Netherlands), the Jacobikirche Hamburg, as well as the famous Hildebrandt instrument in Naumburg, Germany, which Bach examined in 1746. During the summer of 2006, she presented concerts and workshops on early music in Sweden and Israel, and she will be a featured artist for the 2007 Early English Organ Project in Oxford.
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