These are the musicians performing in concerts in 2017
Anna Curzon, originally from Buckinghamshire, studied music at Nottingham University before gaining the Seary Charitable Trust scholarship to study at the Royal Academy of Music in 2010. It was there, while studying with Richard Deakin and Nicolette Moonen, that her passion for historical performance was born. A member of the 2012 European Union Baroque Orchestra, she also plays with the Wallfisch Band, and has recently been selected to participate in the Orchestra of the Age of Enlightenment’s scheme for young professionals. A busy chamber player, Anna founded the Curzon Quartet in 2013, and plays with Ars Eloquentiae and Oxford Baroque. As a ‘modern’ violinist, Anna performs with the Bournemouth Symphony Orchestra and the Royal Liverpool Philharmonic Orchestra.
James Eastaway has played the oboe since the age of 11, but only seriously considered a career in music after taking up the baroque oboe while studying medicine at Edinburgh University. He has played with most of the British period instrument orchestras, and also groups such as the Orchestre Champs Élysées, Amsterdam Baroque Orchestra, and the Australian Chamber Orchestra, in repertoire ranging from Purcell to Wagner. James has worked most regularly with the English Baroque Soloists, Orchestre Révolutionnaire et Romantique, Orchestra of the Age of Enlightenment, and London Handel Orchestra. As a soloist he has performed, broadcast and recorded concertos and chamber music. He is Professor of Baroque and Classical Oboes at Trinity College, London, and has also taught for the Académies Musicales de Saintes. Alongside his concert schedule he continues to work as a doctor.
Rachel Elliott studied piano at the Purcell School, before going to Selwyn College, Cambridge, to read music. She then spent two years on the post-graduate Early Music course at the Guildhall School of Music and Drama, where her singing teacher was David Pollard. Her career has been divided between solo and ensemble singing. She has worked with English groups such as I Fagiolini, Concordia, the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, and the New London Consort. She has also sung with the French ensembles, Les Arts Florissants and Il Seminario Musicale, and works regularly with the Spanish group Hippocampus. Her recordings include lute songs by Campion with Nigel North, discs of music by Purcell, Charpentier and Rameau with New Chamber Opera, music for voice and viol consort by Gibbons with Concordia, as well as a disc of Vivaldi motets for solo soprano. Most recently she has recorded a recital of music by Monteverdi, Frescobaldi, and Caccini for the Spanish label Arsis.
Kinga Gáborjáni studied music in her native Budapest before coming to London for postgraduate work at the Royal Academy of Music, where she studied baroque cello with Jennifer Ward Clarke and the viola da gamba with Richard Campbell. Since then she has played with leading orchestras, including the Amsterdam Baroque Orchestra, the Gabrieli Consort and Players, The English Concert, the Orchestra of the Age of Enlightenment, and the English Baroque Soloists. She also plays chamber music with Triologue and other groups. Among her recordings, she played with the English Baroque Soloists on their recording of Bach’s Brandenburg Concertos for the SDG label.
Reiko Ichise was born in Tokyo, where she read musicology at Kunitachi College of Music and started to play viola da gamba. She came to London to pursue her study at the Royal College of Music with Richard Boothby. She now performs regularly with many orchestras and ensembles throughout the world and is a member of Fretwork, Florilegium, and Passacaglia. She teaches viola da gamba at the Royal College of Music in London.
Catherine King was brought up in Elgar country and after studies at Cambridge and in London, returned to the Welsh Borders. Much of her very full career has revolved around early music (with numerous recordings) but always alongside later and contemporary repertoire. Concerts range from Verdi Requiem in Symphony Hall Birmingham and Elgar in Worcester Cathedral to medieval songs in the USA and Spain (caves and ancient churches), from Bach throughout Europe, and Italian Baroque arias in Genoa to Scottish twentieth- and twenty-first-century songs in Warsaw. She has had many works written for her, including song cycles by Larisa Vrhunc, Tansy Davies, and Barry Ferguson. Her numerous CDs include Bach ‘Alto arias’, Galuppi ‘Forgotten arias’, and ‘Airs de cour’ (all on Linn). Family life includes a 1930s yacht and mountaineering holidays.
Nicolette Moonen grew up in Amsterdam bilingually, in a Dutch-French musical family – an experience that later encouraged her to learn the main European languages. In 1992 she moved to live in London. Her taste in music has been shaped by a love of languages. She is passionate about the connection between language and music, and has a special affinity for French music. In 1996 she founded The Bach Players of which she is the artistic director and leader. She teaches at the Royal Academy of Music in London and has directed the baroque orchestra at Dartington from 1998 to 2013. Nicolette studied with Jaap Schröder and Sigiswald Kuyken, and has played with most British and other European baroque orchestras (Amsterdam Baroque Orchestra, English Baroque Soloists, Orchestre Révolutionnaire et Romantique, the Orchestra of the Age of Enlightenment, among many). She has been invited to lead ensembles such as Collegium Vocale Gent, La Chapelle Royale, Ex Cathedra, the European Union Baroque Orchestra, and English Touring Opera.
Olaf Reimers studied modern cello in Freiburg, London, and Düsseldorf, before going to The Hague in 1989 to study baroque cello with Jaap ter Linden. Since 1993 he has played music from the sixteenth to the twentieth centuries with ensembles in, especially, Germany and the UK. He leads the group Caterva Musica in Gelsenkirchen, and plays regularly with a number of other groups, including Ensemble 1700 and Musica Fiata in Cologne, and John Eliot Gardiner’s English Baroque Soloists and Orchestre Révolutionnaire et Romantique. He teaches baroque cello at Franz Liszt Hochschule für Musik in Weimar.
Pawel Siwczak studied at the Frederic Chopin Academy of Music in Warsaw and then at the Royal Academy of Music in London. He studied harpsichord and fortepiano with Carole Cerasi (in London) and Wladyslaw Klosiewicz (in Warsaw), as well as clavichord with Terence Charlston (in London). He is active as a performer, both with orchestras such as Gabrieli Consort & Players and Orchestra of the Age of Enlightenment, and as a soloist and with chamber ensembles, especially his two groups Four Temperaments and Triologue. He teaches at the Royal Academy of Music and at Morley College in London. His website is here.
Robert Smith – not the sevententh-century English composer – is an English baroque cellist and viola da gambist. He studied viola de gamba with Mieneke van der Velden (Amsterdam) and Paolo Pandolfo (Basel); he also studied baroque cello with Wouter Möller, Jaap ter Linden, and Viola da Hoog. He was principal cellist for the European Union Baroque Orchestra in 2005/6. He now plays with the Amsterdam Baroque Orchestra and the ensemble Fantasticus, among many others. He lives in Amsterdam. His own website is here and Fantasticus’s is here.
Rachel Stott is a performing musician and composer. She played for a number of years with the Orchestra of the Age of Enlightenment, London Classical Players, and other period instrument orchestras, while also exploring new music with Opus 20 String Ensemble, Music Projects of London and the New Music Players, of which she was a founder member. She is the viola player of the Revolutionary Drawing Room, with whom she has performed throughout the UK and continental Europe, and she plays viola d’amore in the Ariosti Duo.
Oliver Webber’s education took him to Wells, Cambridge, London, and The Hague, and laid the foundations for his approach to historical performance. He is the artistic director of the Monteverdi String Band, and has directed programmes ranging from sevententh-century chamber music to Hasse operas. He is the leader of Ludus Baroque, and principal and guest leader with the Gabrieli Players, the Early Opera Company, the London Handel Orchestra, and the Hanover Band; he recently led the string band for the Taverner Consort’s ground-breaking recording of Monteverdi’s Orfeo. He is also a member of the Parley of Instruments, Passacaglia, and the London Handel Players. Oliver makes his own gut strings: here as elsewhere seeking to apply research to concert performance. He teaches at the Guildhall School of Music and Drama in London.
Silas Wollston was a chorister at St Paul’s Cathedral. During his teens his flair for composing and arranging music flourished. While at Cambridge University he directed performances of Purcell’s Fairy Queen for the Opera Society, as well as a series of concerts with students playing on historical instruments. He went on to study the harpsichord at the Guildhall School of Music and Drama, London, and the Conservatoire Royale, Brussels. Since then he has played for all the major British early music groups and was principal continuo player for John Eliot Gardiner, performing as a soloist in the Bach Cantata Pilgrimage in 2000. Silas is passionate about seventeenth-century music and has written a PhD thesis on the repertoire of Charles II’s violin band. He is also a council member of the Handel Institute. From 2011 to 2015 he was Director of Music at Queens’ College, Cambridge. He is now an Affiliated Lecturer at the Music Faculty in Cambridge.
Adrian Woodward (Woody) has a wide and varied career playing early music, classical modern music, and improvisation. He studied the trumpet, piano, and old instruments at Trinity College of Music, the Royal College of Music in London, and the Schola Cantorum Basiliensis. Woody plays and records with all of the UK’s well-established period instrument orchestras, including the Gabrieli Consort and Players, the Orchestra of the Age of Enlightenment, and the King’s Consort. Since 1997 he has worked regularly as musical director and multi-instrumentalist performer at Shakespeare’s Globe Theatre, playing period and modern scores in productions of Shakespeare and new writing. This year he is both musical director and player for Broken Heart, a new play written for the Sam Wanamaker Playhouse.