Mark Husey ['hue-zee] has been widely acclaimed as "a musical Renaissance man" for his gifts as a conductor, organist, accompanist, and tenor. A native of Harford County, Maryland, he now resides in Columbia, South Carolina.

In 1991, he received the Bachelor of Music from Westminster Choir College (Princeton, New Jersey), where he studied organ with Eugene Roan and voice with Lorna MacDonald.  The recipient of numerous academic and performance awards there, he was greatly influenced by the work of Frauke Hassemann, Glenn Parker, and Joseph Flummerfelt.  A chorister and soloist in The Westminster Choir, he served as its accompanist in Spoleto Festivals in the United States and Italy in 1993.

As a scholarship student at the Yale School of Music (New Haven, Connecticut), Mr. Husey studied organ with Charles Krigbaum and harpsichord with Richard Rephann, performing in master-classes for Marie-Claire Alain and Daniel Roth.  Mr. Husey is presently a candidate for the Master of Arts in Pastoral Liturgy and Music from Saint Joseph's College (Rensselaer, Indiana), where his professors have included Sr. Marilyn Schauble, OSB (voice), Fr. Richard Fragomeni (liturgy and theology) and Fr. Lawrence Heiman, C.PP.S. (Gregorian chant and paleography).

As a tenor, Mr. Husey was featured as Quintus soloist in a 1991 Spoleto Festival production of Vecchi's madrigal comedy "L'Amfiparnaso" in Spoleto, Italy, and in 1993 was featured as tenor soloist in that festival's premier of Janáček's  "Sedmdesat tisíc" for men's chorus. He received critical acclaim from The Washington Post for a 1996 performance of "Stabat Mater" settings of Pärt and Scarlatti with Musikanten, under the direction of Kerry Krebill.  A tenor in the Grammy-winning Atlanta Symphony Orchestra Chorus, he was featured in a solo octet in performances of Mendelssohn's "Elijah," conducted by John Nelson in 2002, as well as in a solo ensemble with that group's Chamber Chorus for performances of Bach's motet "Singet dem Hernn," conducted by chorusmaster Norman Mackenzie.

As accompanist and pianist, Mr. Husey received critical acclaim in The Washington Post for performances of Argento's "Peter Quince at the Clavier" with the Alexandria Choral Society in 1994, under the direction of Kerry Krebill. He performed as accompanist to Cantors Faith Steinsnyder and David Perper in Cantors Assembly conventions at Kutscher's Resort and Carnegie Hall.  Mr. Husey was the pianist and co-producer for the Atlanta premier of Lee Hoiby's setting of Dr. Martin Luther King's "I have a dream," performed in February 2003 with soprano Sabrina Coleman Clark. He has played continuo with New Trinity Baroque (Atlanta, Georgia), the Columbia Pro Cantare (Columbia, Maryland), and the National Chamber Orchestra (Rockville, Maryland).

Mr. Husey has performed solo organ recitals at Washington National Cathedral and Princeton University Chapel, as well as at venues in Canada, England, Wales, Belgium, the Netherlands, Finland, Sweden, Estonia, and the Czech Republic. He received first prize in the 1991 Music Teachers' National Association Organ Competition in Miami, Florida, as well as in the 1994 Baltimore-Washington American Guild of Organists Young Artist Competition. He holds the distinction of being one of the few organists reviewed in Opera News, for a 1995 performance of his original organ transcription of Tchaikovsky's "Iolanta," with an international cast of the Opera Camerata of Washington under the baton of Micaele Sparacino at Lisner Auditorium, to the standing ovation of a capacity audience. He has made broadcast appearances on BBC2 Radio, National Public Radio, CBS This Morning, and in the PBS documentary The Jew in the Lotus.

Mr. Husey has conducted several regional premiers of masterpieces of historic sacred choral literature, while promoting its liturgical and catechetical value. He is currently on the faculty of the Philip and Patricia Frost School of Music at the University of Miami, and sings tenor in the professional chorus of Florida Grand Opera.  He plays continuo for the Tropical Baroque Festival Orchestra and the Miami Bach Society, with former members of the Florida Philharmonic Orchestra.  Future performances include his original organ transcription as accompaniment to Donizetti's "La Favorita," performed by Opera Bel Canto of Washington, DC.