For 2020, we’re pleased to welcome as tutors:
Theresa Caudle (Artistic Director),
David Miller, and
Jacob Garside and
Alice Poppleton will return as
assistant tutors, and
Tom Hammond-Davies and
Oliver Webber will each visit for a morning.
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.
Zoë Cartlidge was
introduced to the baroque oboe whilst
studying modern oboe at the Guildhall School in London, and quickly fell in love with the
beautiful sound and feel of the instrument. She had many performance opportunities at the Guildhall on both instruments, from solo
and concertante parts with the Guildhall Baroque Orchestra under Pavlo
Beznosiuk, to orchestral roles with the London Symphony Orchestra under
Simon Rattle. Zoë
is passionate about teaching, running a private practice from home in
Surrey, and freelances around the UK and other European countries,
playing regularly with groups such as Canzona, the Istante Collective,
the Hanse Band and the Opéra de Baugé Festival Orchestra. She first
attended Baroque Week as a Bursary Student in 2015 and has gladly
returned each year since as an Assistant Tutor. When
she is not playing music, Zoë likes to go walking, taking part in
actions protesting social and climate issues, and - her most recent
hobby - beekeeping.
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.
Credit: Snooty Fox Images
David Miller is a long-established soloist and continuo player on
lute, chitarrone and early guitars. He performs and records with all the finest
English period orchestras and ensembles as well as a number of top opera companies.
Amongst David's numerous recordings are the award-wining solo disc with Elin Manahan Thomas
Ravish'd with Sacred Extasises; his solo album The Famous Weiss, and
Biber's Rosary Sonatas with Rachel Podger, which won the Gramophone Baroque Instrumental
Award in 2016. David has performed and taught at Dartington
International Summer School since the mid-1990s, and is Professor of Lute at the Guildhall
School of Music and Drama.
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
Jacob Garside (Assistant Tutor) is a freelance cellist and viola da gamba
player based in London. He has played for St James Baroque, City Bach Collective, Canzona, La Nuova Musica, Oxford Baroque Soloists, Royal Northern Sinfonia, the viol consort Newe Vialles, The 18th Century
Sinfonia and Newcastle Baroque, and is a founding member of FIGO. He studied
with Jonathan Manson at the Royal Academy of Music and is currently studying the viol with Reiko Ichise and Richard Boothby at the RCM (Postgraduate Artists Diploma) where he is supported by the Linda Hill Scholarship.
Alice Poppleton (Assistant Tutor) is a freelance violinist and
viola player. She plays with many leading period ensembles including Instruments of Time and Truth, La Nuova
Musica, Canzona and Music For Awhile, and is a founding member of FIGO. Alice also enjoys facilitating community music making. Her tutors at Bristol University, the Royal Academy of Music and the Royal Welsh College
of Music and Drama included Rachel Podger, Nicolette Moonan and Jane Rogers.
Tom Hammond-Davies (Visiting Tutor) is an award-winning choral conductor who lives and works in Oxford. He was an Organ Scholar at Hertford College, Oxford and then studied choral conducting at the Royal Birmingham Conservatoire with Paul Spicer. Tom founded the Oxford Bach Soloists in 2017. This pioneering project has set out to perform the complete vocal works of J S Bach in chronological sequence, in monthly concerts. He is also director of the Blenheim Singers and the Wooburn Singers and has guest-conducted the New Mozart Orchestra, International Baroque Players, and Oxford Bach Choir.
Oliver Webber (Visiting Tutor) is an internationally acclaimed baroque violinist. He is the artistic director of the Monteverdi String Band and has directed programmes ranging from 17th century chamber music to Hasse operas with ensembles throughout Europe. He is the leader of Ludus Baroque (Edinburgh) and principal and guest leader with the Gabrieli Players, the Early Opera Company, and the London Handel Orchestra. Oliver makes his own gut strings, and bringing the fruits of scholarly research to life on the concert platform is a driving force behind his work.
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