These are the musicians performing in concerts in 2021
Rachel Brown trained on modern flute at Manchester University and the Royal Northern College of Music with Trevor Wye. Recorder lessons with Ross Winters led to study of the baroque flute with Lisa Beznosiuk and Stephen Preston and an exploration of the many diverse classical and nineteenth-century flutes. As a soloist her recordings include the Quantz and C.P.E. Bach Concertos, Telemann Fantasias, and Quantz and Handel Sonatas. With the London Handel Players she has recorded three discs of Handel’s chamber music. She is principal flute with Kent Opera, the Academy of Ancient Music, the Hanover Band, the Kings Consort, Collegium Musicum 90, Ex Cathedra, and the Brandenburg Consort. She is author of the Cambridge University Press handbook to The Early Flute and has composed cadenzas for the new Bärenreiter edition of the Mozart Flute Concertos. Following great interest in her research, Rachel has published two volumes of her favourite Quantz sonatas, supported by subscribers worldwide. She teaches at the Royal College of Music in London.
Rachel Elliott studied piano and cello at the Purcell School, before moving on to read music at Selwyn College Cambridge. At this point, she took singing lessons from David Pollard, continuing with him afterwards at the Guildhall School of Music and Drama. Her performing career has been a combination of solo and ensemble work, collaborating with such groups as I Fagiolini, the Taverner Consort and Concordia in the UK, Les Arts Florissants and Il Seminario Musicale in France, and Ensemble Hippocampus in Spain. She has travelled internationally and performed at venues as diverse as the Funda Community Centre in Soweto and the Lincoln Center in New York. As well as live concerts, she has made many recordings, especially of Renaissance and Baroque music. More recently, Rachel has developed a career in education and now teaches singing, piano and class music to young people. She first appeared with The Bach Players in their first year of concerts, in 1997, and has been a consistent member of the group since then.
Kinga Gáborjáni is a Baroque cellist, and a viola da gamba and lirone player. She studied modern cello in her native Budapest before completing her postgraduate degree with distinction at the Royal Academy of Music in London in 2007, studying baroque cello with Jennifer Ward Clarke and viola da gamba with Richard Campbell. As an orchestral musician, Kinga has performed with most of the period orchestras in the UK and toured all over the world. She plays gamba and lirone continuo for Sir John Eliot Gardiner and the English Baroque Soloists. She was co-principal cellist for the English Touring Opera for eight years and she has been guest principal cellist with the Orchestra of the Age of Enlightenment and the English Concert. She is also a member of several chamber music groups, including the viol consort Newe Vialles.
Marta Gonçalves completed Music Conservatoire in Porto with Ana Maria Ribeiro. In 2003, she moved to London to study with Jaime Martin, as a scholar at the Royal College of Music. This is where she had her first experience with early flutes, completely transforming her musical journey. She then started to learn the baroque flute with Rachel Brown, alongside modern flute, at the RCM. Since then, Marta has performed with all the major period orchestras and ensembles in the UK, as well as in Portugal. She often appears as a soloist with Orquestra Barroca da Casa da Música, Porto, under the direction of Laurence Cummings, Andreas Staier, and others. She is Deputy Director of Music at The Music in Secondary Schools Trust and teaches flute in several schools across London. Marta believes passionately that music education should be accessible to all children, regardless of backgrounds and life opportunities.
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. She is a member of Florilegium, Passacaglia, and from 2009 to 2017 was a member of the viol consort Fretwork. She teaches viola da gamba at the Royal College of Music in London.
Marion Moonen studied flute at the Royal Conservatoire in The Hague with Paul Verhey and Frans Vester, and Baroque flute with Wilbert Hazelzet. She is a member of various ensembles and orchestras, including the Amsterdam Baroque Orchestra, the Kleine Konzert of the Rheinische Kantorei with Hermann Max, the Van Swieten Society, and Concerto d’Amsterdam. Since the formation of the ensemble Musica ad Rhenum in 1992 she has performed and recorded much of the repertoire for two Baroque flutes with flautist Jed Wentz. She features on recent recordings with Wilbert Hazelzet, the Van Swieten Society, the Attaignant Consort, and other chamber groups.
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.
Jean Paterson started life in West Wales, moving later to Hampshire, and now lives in Oxford. Her love of music began through the provision of free violin lessons at the local school, and through singing and dancing. As a player, she has had a career in the best of the UK’s period instrument orchestras and chamber groups, including many recordings, concerts and tours all over the world. Among others, she has played with English Baroque Soloists, the London Handel Orchestra, Florilegium, Oxford Bach Soloists, Instruments of Time and Truth, Orchestra of the Age of Enlightenment, and has for a long time been a principal player in English Touring Opera’s period instrument orchestra, The Old Street Band. As a teacher, she had a long association with the Hampshire County Youth Orchestra as violin coach, and now has an active teaching practice in her home town. Her violin teachers included Emanuel Hurwitz and Manoug Parikian, and on the baroque violin, Micaela (Mica) Comberti. She plays on an Italian instrument formerly owned by Mica, built by Fabrizio Senta in Turin in 1669.
Rachel Stott’ s career has been divided between performing wet ink manuscripts on modern instruments, interpreting faded manuscripts on period instruments, and creating entirely new manuscripts for both kinds of instruments. She is a long-standing member of The Bach Players and the Revolutionary Drawing Room, also performs contemporary music with Sopriola (soprano and viola/viola d’amore) and music from across the centuries with Trio Incantato (recorders, viola d’amore, viola da gamba). Rachel’s own compositions include four string quartets, song cycles to poems by Thomas Campion and Stevie Smith, and an opera for children, The Cuckoo Tree, based on the novel by Joan Aiken. Less conventional works include a tone poem, Odysseus in Ogygia (for six viola d’amores), Dark Arts in a Stony Place (for four trumpet marines), and Several World, a fugal piece for a hundred saxophones.
Silas Wollston: recognised as a leading early music specialist, Silas combines performance and academic research in a varied career. He studied the organ with John Scott before taking up an organ scholarship at Trinity College, Cambridge. He then went on to study harpsichord and fortepiano at the Guildhall School of Music and Drama and the Conservatoire Royale in Brussels. A longstanding member of the English Baroque Soloists, he played a major role in John Eliot Gardiner’s Bach Cantata cycle in 2000, performing the organ obbligato of BWV 146 on the Trost organ in Altenburg. He also has much experience as a choral director, working as Director of Music at Queens’ College, Cambridge, between 2011 and 2015. He has published research on the string music of Locke and Purcell, and on Handel’s compositional process. As well as The Bach Players, he is a member of the London Handel Players, the English Cornett and Sackbut Ensemble, and In Echo.