Described as "truly excellent" and "studded with stars in the making" by the New York Times, New York Baroque Incorporated (NYBI) is a conductorless orchestra of period instruments based in New York City. With a passion for breathing life into 17th and 18th-century repertoire, the orchestra delivers vibrant and informed performances while nurturing dynamic collaborations between historical performance and contemporary composers. NYBI has shared the stage with renowned soloists, including Richard Egarr, Vivica Genaux, Monica Huggett, Jakub Jòzef Orliński, and has graced prestigious venues such as Carnegie Hall, the Metropolitan Museum of Art, the Morgan Library, Spoleto Festival USA, and Caramoor Center for Music and the Arts. In a bid to elevate period instruments as a living art form, NYBI has premiered works by Nico Muhly, Hollis Taylor, and Huang Ruo, and has also resurrected unknown works of the Baroque, presenting modern-day premieres of Cavalli's Veremonda (1652), Aliotti's Santa Rosalia (1687), and Seckendorff's Proserpina (1777). 2018-2019 season NYBI launched Alchemy, with each program exploring a classical element: water, air, earth, and fire.

In the 2019-20 season, New York Baroque Incorporated made a triumphant return to Saint Thomas Church with two programs: the beloved holiday tradition of Handel's Messiah, as well as C. P. E. Bach's oratorio, The Last Suffering of Christ, both conducted by Jeremy Filsell. Adding to the festive cheer, Richard Egarr teamed up with NYBI in The Appel Room at Jazz at Lincoln Center to present J.S. Bach: Orchestral Festival, a jubilant program of Brandenburg Concertos and Orchestral Suites. NYBI also made an exciting debut at Columbia University's Miller Theater with Reflecting Lully, a program inspired by Lully's multicultural upbringing.