For 2019, we’re pleased to welcome as tutors:
Theresa Caudle (Artistic Director),
Jane Francis, and
Depending on the number of participants, we hope that
and Jacob Garside will return as assistant tutors.
The baroque dance specialist
Mary Collins will also be returning for another workshop.
Baroque Week has an unusually high tutor—student ratio
amongst early music summer courses. We could have as many
as eighteen chamber music groups in each session, and each
group can still receive tuition for at least half the
Theresa Caudle is well known in the early music world as a
baroque violinist and cornettist. She was a principal member
of The Parley of Instruments for 25 years. She now
regularly leads The Hanover Band and also plays with many
leading period instrument ensembles including The London
Handel Orchestra and The Monteverdi String Band. Theresa has
her own ensemble, Canzona, but also directs other ensembles
here and abroad, both professional and amateur, such as The
Croatian Baroque Ensemble and Salisbury Baroque. Theresa
also organises several other very successful baroque courses
at Benslow and Jackdaws.
Ann Allen plays baroque oboe, shawms and recorder with
leading ensembles and orchestras throughout Europe including
Academy for Ancient Music, Ad Fontes and L’Arpa Festante.
She has appeared at the Coliseum in a rock opera by Damon
Albarn and at the Globe Theatre in the award winning
production of Richard III. She formed the medieval group
Mediva while at the RAM which has reached the finals of
prestigious competitions as well as recording several CDs.
She also directs the baroque ensemble Il Bacio and jointly
runs the double reed ensemble Syrinx. She set up her own
festival in Basel, Switzerland mixing early music with
modern music and presenting it in new and unusual ways.
Amanda Babington, violin, recorder and musette, plays with
many of the leading period-instrument ensembles including Les Talens
Lyrique, Dunedin Consort, Ex Cathedra, and the Gabrieli Consort and
Players. Her chamber music ensembles, including Four’s Company,
Northern Baroque and Aberdeen Early Music Collective, have busy
schedules of concerts and workshops and she directs the University of
Manchester Baroque Orchestra. She is a Visiting Performance Fellow at
Aberdeen University and a lecturer in Academic Studies at the Royal
Northern College of Music. An expert on Handel, her edition of his
Dettingen Te Deum and Dettingen Anthem is published by Bärenreiter.
Clare Beesley specializes in historical flutes from
Renaissance to Romantic periods and performs in solo
recitals, ensemble and orchestral settings Europe-wide.
Frequently performing with Concerto Amsterdam, Accademia
Amsterdam and Collegium Musicum Den Haag, recent engagements
include concerts with Amsterdam Baroque Orchestra and il
pomo d’oro. She directs the flute consort Catch As Catch
Can, and will lead the Accord Renaissance Flute Course in
France in May 2018. Awarded a Masters degree with
distinction by the Royal Conservatory of the Hague, her
current research concerns interrelationships between late
18th century notions of gender, aesthetics and flute tone.
Steven Devine enjoys a busy career as a music director and
keyboard player. Since 2007 he has been the harpsichordist
with London Baroque in addition to his position as
Co-Principal keyboard player with the Orchestra of the Age
of Enlightenment. He is also the principal keyboard player
for The Gonzaga Band, Apollo and Pan, The Classical Opera
Company and performs regularly with many other groups around
Europe. He has recorded over thirty discs with other artists
and ensembles and made seven solo recordings. He made his
London conducting debut in 2002 at the Royal Albert Hall and
is now a regular performer there — including making his
Proms directing debut in August 2007 with the Orchestra of
the Age of Enlightenment. He has conducted the Mozart
Festival Orchestra in every major concert hall in the UK and
also across Switzerland. Steven is Music Director for New
Chamber Opera in Oxford and with them has performed
repertoire from Cavalli to Rossini. For the Dartington
Festival Opera he has conducted Handel’s Orlando and
Purcell’s Dido and Aeneas.
Satoko Doi-Luck regularly gives solo harpsichord recitals;
recent venues include Handel House and The Plumley
Collection. As a continuo player she has performed with
Birmingham Opera Company, La Serenissima and Shakespeare’s
Globe. Satoko is a founder member of Ceruleo and runs
Ensemble Molière which focuses on French baroque repertoire
and has performed in festivals in Graz, Bruges, and Utrecht.
Satoko was a Junior Fellow in Harpsichord/Continuo at the
Royal College of Music, and was also a participant in the
Handel House Talent Scheme 2015–2016.
Jane Francis is a cellist and viola da gambist with many
years of playing, tutoring, and teaching experience. She has
played with many leading ensembles and artists and given
solo recitals on the viola da gamba partnered by Colin
Booth, John Wellingham, Helena Brown, and Peter Lea Cox. She
was a co-director of the South West based ensemble Continuo
that specialised in “one to a part” performances of Bach
Cantatas. She is a regular player with Marches Baroque and
plays in a Renaissance viol consort along with David
Hatcher, with whom she runs a Viol Consort course at
Hawkwood College, where for many years she ran annual
baroque chamber music courses. She is the longest serving
tutor on Baroque Week, and tutored for a great many years on
the Easter Early Music Week. With performing and teaching
being inextricably linked for her, she has worked abroad in
Finland, Hungary, and the Ukraine, to pursue the very best
concepts that develop the art of teaching and musicianship.
Kate Semmens is a soloist with many leading groups and opera
companies, and has sung with some of the UK’s finest choirs
with conductors including Sir John Elliot Gardiner, Paul
McCreesh, John Butt and Eric Whitacre. Kate has been
particularly involved in historic performances, including
singing the title role in the first modern performance of
John Stanley’s Teraminta for Opera Restor’d and
performances of Cavalli’s Erismena, from the original
English edition bought by the Bodleian Library in 2009.
Kate is developing a reputation as a teacher, including at
Dartington, and teaching and giving masterclasses alongside
Nancy Argenta and Ingrid Antrott on a summer school for
Oratorio. Together with Steven Devine, Kate has also been
giving day workshops for Early Music Fora across the
Zoë Cartlidge (Assistant Tutor) is a young player and
teacher of modern and baroque oboes who attended Baroque
Week as a bursary student four years ago and has returned
each year since as an Assistant Tutor. She has played with a wide variety of groups including the London Symphony Orchestra, the
Orchestra of the Swan, the Opéra de Baugé festival
orchestra and Canzona.
Jacob Garside (Assistant Tutor) is a young cellist and viola da gamba
player specialising in music of the 16th to 18th centuries. He studied
with Jonathan Manson at the Royal Academy of Music and now plays with
the chamber group Figo and with other groups including the Zeitgeist
Chamber Orchestra, Bellot Ensemble, Newcastle Baroque, The 18th Century
Sinfonia, The Bishop's Consort and Canzona.
Alice Poppleton (Assistant Tutor) is a young violinist and viola player. She studied at the Royal Academy of Music and the Royal Welsh College of Music and Drama with Rachel Podger, Nicolette Moonan and Jane Rogers. She now plays with many period ensembles including Figo, Instruments of Time and Truth, La Nuova Musica, Music For Awhile and Canzona.
Peter Collier directs the Manchester-based Telemann Baroque
Ensemble and has appeared as harpsichordist with the Halle
Orchestra, the Lancashire Chamber Orchestra, Cheshire
Sinfonia and Northern Baroque. After many years as Course
Director he has retired but continues to attend as a
harpsichordist, to manage the music library and to organise
Mary Collins is an Early Dance specialist whose research
and teaching approach has inspired musicians to look afresh
at the dance music that is at the heart of the baroque
repertoire bringing, in turn, a fresh perspective on the
great composers of the baroque era. Reviving original
choreography and gesture for historical performance, Mary
promotes a vibrant, multi-disciplinary approach to music
making, valued by artists and audiences alike. A
practitioner and researcher, she performs regularly with the
London Handel Players and Florilegium, giving master
classes, lecture-recitals and workshops to dancers and
musicians throughout the world.