Baroque Week.  Patron: Trevor Pinnock CBE   Artistic Director: Theresa Caudle

The tutors

For 2024, we’re pleased to welcome as tutors: Theresa Caudle (Artistic Director), Clare Beesley, Zoë Cartlidge, Mark Caudle, Daniel Collins, Satoko Doi-Luck, Robert Howarth, Rebecca Miles and Lynda Sayce, and Alice Poppleton returns as assistant tutor/assistant administrator. Visiting tutor Kath Waters will again lead a session on Baroque Dance.

Baroque Week has an unusually high tutor–student ratio amongst early music summer courses. We could have as many as twenty chamber music groups in a session, and each group can still receive tuition for at least half the session.  The tutors also combine to give a concert at the course on Wednesday evening.

Theresa Caudle’s career started on the cornett as a teenager, when she became leader of The London Cornett and Sackbut Ensemble. She subsequently became increasingly active as a baroque violinist, playing with many of the leading period-instrument ensembles in England, such as The English Concert, The English Baroque Soloists and The Brandenburg Consort. One of her main commitments has been to The Parley of Instruments, of which she was a principal member for twenty-five years and with which she made over fifty recordings. She directs her own ensemble, Canzona, and frequently directs several other ensembles here and abroad, including The Croatian Baroque Ensemble, Linden Baroque and Salisbury Baroque. She is leader of The Hanover Band in baroque repertoire and also leads Orpheus Britannicus, resident ensemble at Trinity Hall College, Cambridge. Theresa is a member of The Monteverdi String Band as well as playing regularly with The London Handel Orchestra and The Sixteen.  Her rare skill at combining cornett and violin playing is demonstrated on her solo CD of 17th century Italian sonatas, “Violino o Cornetto”, on the Nimbus Alliance label. After many years as a tutor at Baroque Week Theresa became Artistic Director in 2016.  She also organises several other very successful baroque courses at Benslow and Jackdaws.  In 2020 she formed Burghclere Baroque, an organisation promoting workshops and concerts where she lives in North Hampshire.

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 led 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 Devon, 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, returned each year as an Assistant Tutor, and was appointed a full tutor in 2021.  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.

Mark Caudle has performed and taught in Britain and Poland for more than 45 years. He is principal bass string player in The Parley of Instruments, St James’s Baroque and Canzona and plays with London Viols, The London Handel Orchestra and The Monteverdi String Band. He has taught at the Academy of Music in Katowice and the Royal College of Music, London (in the 1980’s) and at the Academies in Wrocław and Łódź, as well as on courses such as Cambridge and Benslow. A great number of CD’s recorded in UK and Poland include orchestral, chamber and solo viola da gamba music. For more than 10 years he was principal cellist with the Academy of Ancient Music and a member of Taverner Players, English Consort of Viols, Concerto Copenhagen, Arte dei Suonatori, Concerto Polacco etc.  Recent performing and editing projects include the viol in the Far East, new viola da gamba music by JS Bach and the viol music of G.Finger. He gave the first modern performances in London and Poland of newly discovered Sonatas by Abel from the Maltzan collection and has performed the 12 Fantasias for solo viola da gamba by Telemann in concerts in England and Poland. In 2013 he was presented with an Order for services to Polish culture by the Ministry of Culture.  He also makes instruments, including violins, cellos, bass violins and bows.

Satoko Doi-Luck takes pleasure in a diverse career as a historical keyboardist and a composer. Satoko regularly gives solo recitals as well as enjoys playing with orchestras, and has performed with Birmingham Opera Company, La Serenissima, the Shakespeare's Globe and the Orchestra of the Age of Enlightenment, with whom she has recently performed Bach’s Harpsichord Concerto on tour with Rachel Podger. Satoko was the Junior Fellow in Harpsichord/Continuo at the Royal College of Music, and also a participant of the Handel House Talent Scheme 2015-2016. ​As a keen chamber musician, Satoko is a founding member of Ensemble Molière and Ceruleo.  Ensemble Molière was a finalist in the York International Young Artists Competition 2017, and performs throughout Europe and in the UK. They are especially passionate about bringing French baroque repertoire to wider audiences in the UK. BBC Radio 3, the National Centre for Early Music (NCEM) and the Royal College of Music (RCM) appointed Ensemble Molière as their first New Generation Baroque Ensemble from October 2021 for two years. With Ceruleo, Satoko toured Burying the Dead - an original concert-play about the life and music of Henry Purcell - to various festivals in the UK including Buxton.

“I feel very fortunate to receive coaching from such an expert team of tutors.  Their dedication to achieving

high standards gives us strong motivation to perform to the best of our ability. Theresa provides excellent

leadership throughout the course.  All the tutors provide the highest standard of advice.”

Rebecca Miles studied recorder and baroque violin at Trinity College of Music, and in 1987 made her London debut at the Wigmore Hall as winner of the Moeck Medal for solo recorder. She has performed and recorded well over one hundred discs with almost all of the leading London period instrument orchestras, appearing throughout Europe, as well as South America, Japan, Hong Kong and Australia. As an obbligato recorder player and violinist she has worked with orchestras including The English Concert, The Sixteen, The Academy of Ancient Music, Collegium Musicum 90, Canzona and The Gabrieli Consort. Most recently she performed in the critically acclaimed orchestra Arcangelo's performances at Glyndebourne and with ENO at The Young Vic. Having recorded concertos with The King’s Consort, The Orchestra of The Age of Enlightenment, the Hanover Band and The Brandenburg Consort, she has also recorded solo recorder for film and television. A former Professor of Recorder at Trinity College of Music, she now teaches at Winchester College as well as giving lecture recitals, master classes and examining at the UK Conservatoires.

Peter Collier directs the Manchester-based Telemann Baroque Ensemble and has appeared as harpsichordist with the Hallé 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, bringing his many keyboard instruments and vast music library.

“The course exceeded my expectations - tuition and conducting so good, and everyone so nice”

Alice Poppleton (Assistant Tutor/Assistant Adminstrator) is a freelance violinist and viola player with an early music specialism. Having received distinctions from both The Royal Welsh College of Music and Drama and The Royal Academy of Music, Alice is now enjoying a varied career, performing, touring and recording with many leading period ensembles such as: Gabrieli Consort and Players, English Concert,  Canzona, The Orchestra of the Age of Enlightenment, La Nuova Musica and Hanover Band. Alice is also passionate about community music. In 2020, Alice founded and is now the Director of Thinking Music (shortlisted for the Music and Drama Education Awards 2024), a charity that connects rural primary schools and universities to make music together. Thinking Music is currently based at Bristol University where Alice delivers lectures in community music. Alice is delighted when these threads combine: inclusive chamber music projects for Brighton Early Music Festival, The Wigmore Hall and Brecon Baroque Festival and orchestrally with The Orchestra of the Age of Enlightenment. Alice loves the rich tapestry of creative projects in her working life.

Lynda Sayce is one of Europe’s leading lutenists with over 100 recordings to her name;  in her latest venture, Sounds Historical, she also plays the viol and flute. Lynda read Music at St Hugh’s College, Oxford, then studied lute with Jakob Lindberg at the Royal College of Music. She performs regularly as soloist and continuo player with leading period instrument ensembles worldwide, and is principal lutenist with La Serenissima, The King’s Consort and Ex Cathedra. She directs the lute ensemble Chordophony, whose repertory and instrumentarium are based entirely on her research. Lynda has also performed with many leading modern instrument orchestras and opera companies, and was chosen by Sir Simon Rattle to play lute continuo for the Berlin Philharmonic Orchestra’s epic staging of Bach’s St Matthew Passion, performed in Europe and the US. Her discography ranges from some of the earliest surviving lute music to the jazz theorbo part in Harvey Brough’s ‘Requiem in Blue’ and the latest album from Russian folk rock legend Boris Grebenchshikov. She holds a Ph.D for her research on the theorbo, teaches lute and continuo at Birmingham University, and has published widely.

Kath Waters (visiting tutor) gained a degree in Performing Arts, majoring in Dance, at Middlesex Polytechnic and went on to gain the Teachers Certificate for Post-Graduate and Professional Dancers at London College of Dance. She is an experienced examiner and moderator, skilled in Classical Ballet, Contemporary Dance, Musical Theatre, Choreography and Historical Dance. Kath is Resident Choreographer and Movement Director for the Year Out Drama Company, based in Stratford-Upon-Avon; she also choreographs UK touring productions for Heartbreak Productions based in Leamington Spa. Kath’s interest in Early Dance developed during her years with Stratford Renaissance Dance, a company for whom she ultimately became Artistic Director. Her interest in Baroque Dance was inspired by internationally renowned specialist Mary Collins with whom she continues to collaborate.  Kath is co-founder of Baroque music and dance company Apollo’s Revels; she delivers courses in Baroque Dance and safe dance practice for the Historical Dance Society; she also teaches and performs with Riccardo Barros as a member of Mercurius Company  in the UK and Europe.

Daniel Collins is a countertenor and conductor. He was a chorister at Christ Church, Oxford, and gained a music scholarship to Charterhouse School in Surrey, where he attained Grade 8 in organ, piano and violin.  He was then awarded a choral and academic scholarship to Magdalen College, Oxford. After obtaining a first-class honours degree in Music, he studied vocal performance at The Royal College of Music. Since 2006 he has been singing with many of the world’s top choral and instrumental ensembles, including Tenebrae, The Gabrieli Consort, The Orchestra of the Age of Enlightenment, and The Sixteen, with whom he has been singing regularly since 2008. Recently he has performed as a soloist in venues including the Sistine Chapel, Wigmore Hall, Barbican theatre, and the Wien Konzerthaus. Alongside his work with The Sixteen, he was a member of the choir at the church of All Saints, Margaret Street for over 15 years. As a conductor, Daniel has founded his own concert series in North London, his own amateur chamber choirs in Naples, Lichfield, and in London, and has directed choirs, both professional and amateur, across London (including recently conducting The Sixteen in concert). In 2021, Daniel formed the Peregrine Orchestra, a chamber orchestra based in London, and also founded Live@StMark's (soon to become the Peregrine recital series), a concert series aimed at supporting emerging artists and ensembles by giving them paid performance opportunities and experience. He has held Director of Music posts at St. Barnabas, Dulwich and St. Mark's, Hamilton Terrace.

Robert Howarth read music at the University of York and is fast establishing a enviable reputation as director from the harpsichord and conductor of early and classical repertoire. He has led a number of programmes with the Orchestra of the Age of Enlightenment such as Messiah in Spain and Moscow; Monteverdi Vespers 1610 (recorded for OAE Released), The Glory of Venice – Gabrieli and contemporaries - and Bach Lutheran Masses. He regularly co-directs La Serenissima, most recently for Vivaldi’s Ottone in Villa, and he is Director of Music at The University Church, Oxford. Robert has conducted Messiah with The Hallé Orchestra, Danish Radio Symphony Ochestra, Bilbao Symphony Orchestra, Real Filharmonia de Galicia, the Irish Baroque Orchestra, Bournemouth Symphony Orchestra and the Royal Seville Symphony Orchestra; St Matthew Passion with the RTE National Symphony Orchestra; Mozart, Haydn and Rameau with The English Concert; Monteverdi and Rossi with the Early Opera Company; Bach and Handel with the English Chamber Orchestra; Bach Cantatas with the Salzburg Mozarteum Orchestra and Athalia for the Ambronay Festival. Other projects include Charpentier Actéon and Purcell King Arthur for the Dartington International Summer School.  Robert was  also Music Director for Claire van Kampen’s play Farinelli and the King in London and New York. As a harpsichordist Robert has performed concertos with The Orchestra of the Age of the Enlightenment and The Avison Ensemble, as well as numerous solo and lecture recitals across the UK. With Steven Devine he is Co-Principal Keyboard Player at the OAE, as well as having played with many of the main UK and European Early Music Ensembles. He will gladly bore you stiff talking about tuning and temperament.