Projecting “a warmly musical personality”, Julia Brown's many recordings on Naxos hail her as an “unquestionably first-class artist and superb technician… exceptionally sensitive”.  Her organ and harpsichord recordings of W. F. Bach, J. S. Bach, Buxtehude and Scheidemann have gained high critical acclaim.  In demand as a historical keyboardist and collaborative artist, Brown’s performances include chamber music, orchestral repertoire, and continuo playing in addition to solo recitals.  Brown has appeared in concert in North and South America and in Europe, having performed at the Oregon Bach Festival, Astoria Music Festival, Chico Bach Festival, American Guild of Organists Regional and National Conventions, Organ Historical Society Conventions, Latin American Organist Conventions, and National Public Radio. Julia was a founding member and president of ABO - Brazilian Association of Organists (1996-1999). While living in Brazil she performed frequently on the Arp Schnitger organ in the city of Mariana and the Cavaillé-Coll organ in Campinas.  Born in Rio de Janeiro, Brown studied piano(Fernando Lopes, Mauricy Martin), harpsichord (Edmundo Hora, Helena Jank) and organ (Elisa Freixo),in her native Brazil before receiving her MM and DMA from Northwestern University as a student of Wolfgang Rübsam. Julia is currently Director of Music and Organist at Mayflower Congregational Church in Grand Rapids, Michigan and accompanist for the Calvin Alumni Choir.


Brown is unquestionably a first-class artist and superb technician, but she also proves a serious Buxtehudian and an exceptionally sensitive stylist regarding the critical aspects of balancing voices and ensemble-building.” Classics Today 10/10 Review of Buxtehude vol. 5

The playing is fine, and projects a warmly musical personality.”  BBC Magazine April 2003 review of Buxtehude vol. 2

(Brown's) ability to match music and organ is quite unique – what a tremendous ear, sense of timing, and relaxed style of playing!”. The Organ Vol. 80 No. 317, review of Scheidemann Vol. 3