Professor of Music, University of Oxford
Fellow and Tutor in Music, Magdalen College
Oxford OX1 4AU
Research interests – J.S. Bach, Wagner, English Consort Music (16th and 17th centuries), theory and practice of musical analysis and criticism, theories of musical performance, practice-based research in early music and chamber music
Bach's Continuo Group: Players and Practices in His Vocal Works. Studies in the History of Music, 3. Harvard University Press, 1987. 264 pp. [Japanese translation to be published by Tokyo Shoseki, 2008].[Italian translation of Chapter 1 for Longanesi, Milano in press]
Bach and the Patterns of Invention. Harvard University Press, 1996, 270 pp., paperback edition, 2004. ['Bach e i modelli dell'Invenzione' in Ovunque lontano dal mondo: Elogio della Fantasia, ed. Enzo Restagno (Milan, Longanesi & C, 2001), 7-46, trans. Giovanni Bietti - chapters 1 and 8]
Wagner and the Erotic Impulse. Currently in draft (72,000 words) [under contract to Harvard University Press]
Early Music Defended against its Devotees: A Theory of Historical Performance in the Twentieth Century. The Musical Quarterly 69 (1983), 297-322.
Muzyka dawna wzieta w obrone przed jej enthuzjastami: teoria wykonania historycznego w XX wieku [translation into Polish by Magdalena Nowak with author's 1997 Postscriptum], Canor 19 (1997), 27-39; translation into Korean by Hae-Guen Kang in Journal of the Music Research Center, Hangyang University (Seoul) 16 (2002), 89-115. English version of postscript available at http://weblearn.ox.ac.uk/site/human/music/staff_rooms/acstaff/ldreyfus/
The Metaphorical Soloist: Concerted Organ Parts in Bach's Cantatas. Early Music 13 (1985), 237-247. Also in J.S. Bach as Organist: His Instruments, Music, and Performance Practices, ed. George Stauffer and Ernest May. Bloomington: Indiana University Press, 1986, 172-189.
J.S. Bach's Concerto Ritornellos and the Question of Invention. The Musical Quarterly 71 (1985), 327-358.
The Articulation of Genre in Bach's Instrumental Music. The Universal Bach: Lectures Celebrating the Tercentenary of Bach's Birthday. Philadelphia: American Philosophical Society, 1986, 10-37.
J.S. Bach and the Status of Genre: Problems of Style in the G-Minor Sonata, BWV 1029. Journal of Musicology 5 (1987), 55-78.
The Hermeneutics of Lament: A Neglected Paradigm in a Mozartian Trauermusik. Music Analysis 10 (1991), 329-343.
Mozart as Early Music: A Romantic antidote. Early Music 19 (1992), 295-309.
Matters of Kind: Genre and Subgenre in Bach's Well-Tempered Clavier. A Bach Tribute: Essays in Honor of William F. Scheide, ed. Paul Brainard and Ray Robinson. Kassel: Bärenreiter Verlag, and Chapel Hill: Hinshaw, 1993, 101-119.
Hermann Levi's shame and Parsifal's guilt: A critique of essentialism in biography and criticism. Cambridge Opera Journal 6:2 (1994), 125-145.
Bachian invention and its mechanisms in The Cambridge Companion to Bach, ed. John Butt. (Cambridge: Cambridge University Press, 1997), 171-192.
Hermann Levi, The New Grove Dictionary of Music and Musicians, 2001.
Music and Motive in Thomas Mann's Wälsungenblut, Resounding Concerns, London German Studies VIII, ed. Rüdiger Görner (Munich: iudicium verlag, 2003), 86-113.
Tannhäuser y el erotismo musical en Wagner [Tannhäuser and Wagner's musical erotics]. ABAO-OLBE [Programme book of the Bilbao Opera Society], 55 (2006), 90-97
Beyond the Interpretation of Music, Dutch Journal of Music Theory – Tijdschrift voor Muziektheorie 12:3 (2007), pp. 253-272. Downloadable at: http://www.djmt.nl/cgi/t/text/get-pdf?c=djmt;idno=1203art01.
Bach as Critic of Enlightenment, delivered at King's College London, 2 June 1994
Published Congress and Colloquium Papers
Zur Frage der Cembalo-Mitwirkung in den geistlichen Werken Bachs. Bachforschung und Bachinterpretation heute. Bericht über das Bachfest-Symposion 1978 der Philipps-Universität Marburg, ed. Reinhold Brinkmann. Leipzig: Neue Bach-Gesellschaft, 1981, 178-184.
The Capellmeister and his Audience: Observations on 'Enlightened' Receptions of Bach. Alte Musik als ästhetische Gegenwart: Bericht über den internationalen musikwissenschaftlichen Kongreß Stuttgart 1985, ed. Dietrich Berke and Dorothee Hanemann. Kassel: Bärenreiter, 1987, 180-189.
[Problems of Teaching and Research.] The Contemporary Humanities: Theory and Practice. Proceedings of a symposium on the occasion of the tenth anniversary of the Society of Fellows in the Humanities, April 1987. New York: Columbia University, 1988, 42-44.
Early Music and the Repression of the Sublime. Papers from 'The Early Music Debate: Ancients, Moderns, Postmoderns', Berkeley Early Music Festival and Symposium 1990. Journal of Musicology 10 (Winter, 1992), 108-112.
Music Analysis and the Historical Imperative. Papers from a Round table on "Music Analysis: Systematic vs. Historical Models" held at meetings of the International Musicological Society, Madrid, 1992, Revista de Musiologia: Actas del XV Congreso de la SIM, 16: 1 (1993) , 407-419.
Idiomatic Betrayals: François Couperin as composer for the viol. François Couperin: Nouveaux Regards. Actes des Rencontres de Villecroze 4 au 7 octobre 1995, III: 3. Paris: Éditions Klincksieck, 1998, 205-221.
Jean Baptiste Bréval. Drei leichte Sonaten für Violoncello und Bass (with Anne-Marlene Gurgel). Leipzig: Edition Peters, 1980.
Johann Sebastian Bach. Drei Sonaten für Viola da Gamba und Cembalo, BWV 1027-1029 [with Concluding Remarks and Critical Notes]. Frankfurt and Leipzig: C.F. Peters, 1985.
Abstracts of Papers Read at the Fifty-Eighth Annual Meeting of the American Musicological Society. 4-8 November 1992. Pittsburgh, Pennsylvania. Ed. Laurence Dreyfus. Madison, Wisconsin: A-R Editions, Inc., 1992.
Solo and Chamber Recordings
Johann Sebastian Bach. Sonatas for Viola da gamba and Harpsichord, BWV 1027-1029. Laurence Dreyfus, viola da gamba and Ketil Haugsand, harpsichord (Simax PCD 1024, 1986)
Marin Marais. Pièces de violes (1701). Laurence Dreyfus, viola da gamba and Ketil Haugsand, harpsichord. (Simax PCS 1053, 1989)
Historische Instrumente der Leipziger Sammlung, Historical Instruments of the Leipzig Collection. Antoine Forqueray, Suite No. 5 with Laurence Dreyfus, viola da gamba and Maria Bräutigam, harpsichord [=Rundfunk der DDR Produktion, Leipzig, 1977] (Christophorus 74605, 1990)
Jean-Philippe Rameau, Pièces de clavecin en concert, with Ketil Haugsand, harpsichord, and Catherine Mackintosh, violin, produced by Arne Akselberg and Laurence Dreyfus. (Simax PCS 1095, 1993) Nominated for a 1994 Gramophone Award
William Byrd, Songs and Sonnets, with Concordia, Rachel Platt, soprano, and Laurence Dreyfus, treble viol. (Meridian Records, 1994)
Sylvia McNair, The echoing Air: Music of Henry Purcell with Christopher Hogwood, harpsichord, Paul O'Dette, archlute, and Laurence Dreyfus, cello and viola da gamba. (Philips 446 081-2, 1995) Winner of the 1995 Grammy Award for the Best Classical Vocal Recording
Henry Purcell. The Complete Fantasias for Viols. Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (Simax PSC 1124, 1996) Winner of the 1997 Gramophone Award - Best Baroque (Non-Vocal) Recording. Diapason d'Or (April 2003). Choc du Monde de la Musique (April 2003).
Still Music of the Spheres. Consorts of William Byrd and Richard Mico, Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (Simax Classics PSC 1134, 1997) Nominated for the 1999 Gramophone Award - Best Early Music Recording.
JS Bach, Art of Fugue, BWV 1080 (1-11, 19). WA Mozart, Johann Sebastian Bach's Fugues arranged for Strings, K405, Fuga, K401 Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (Simax Classics PSC 1135, 1998).
Byrd Song, Consorts and Songs by William Byrd, Phantasm, Laurence Dreyfus, director, with Ian Partridge, tenor, and Geraldine McGreevy, soprano, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (Simax Classics PSC 1191, 1999). Booklet notes reprinted in The Viol 5 (2006-7), 18-19.
Matthew Locke, Consorts of Three and Four Parts, Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (Global Music Network, 2000).
William Lawes, Consorts in Four and Five Parts, Phantasm, Laurence Dreyfus, director (Channel Classics, CCS 15698, 2000). Editor's Choice, Gramophone, August
Fairest Isle, Barbara Bonney, soprano with Phantasm, Laurence Dreyfus, director, William Byrd, Though Amaryllis dance in green, O Lord how vain, and John Jenkins, Fantasy No. 9 a4 (Decca, 2000). Nominated for 2002 Grammy Award – Best Vocal Recording of the Year
William Lawes, Consorts in Six Parts, Phantasm, Laurence Dreyfus, director (Channel Classics, CCS 17498, 2002) Choc du Monde de la Musique (September 2002)
Orlando Gibbons, Consorts for Viols, Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (AVIE AV 0032, 2004) 2004 Gramophone Award Winner, finalist Gramophone Record of the Year
Michael East, Complete Fantasias a5, and Orlando Gibbons, Two verse anthems, Phantasm, Laurence Dreyfus, director, included in O Sapientia: Advent from King's College London, in collaboration with The Choir of King's College London, David Trendell, director (Herald HAVPCD 296, 2004).
Four Temperaments: Byrd, Ferrabosco, Parsons, Tallis. Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (AVIE AV 2054, 2005). Editor's Choice, Gramophone, June 2005. Nominated for Gramophone Award in Early Music, August, 2005.
John Jenkins, Six-Part Consorts. Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (AVIE AV 2099, 2006). Nominated for Gramophone Award in Early Music, June, 2006.
John Jenkins, Five-Part Consorts. Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (AVIE AV 2120, 2007). Finalist for Gramophone Award in Early Music, August, 2007.
Teaching, Supervision and Administrative posts
Recent Courses Taught (since 2000)
Advanced Aural Training 1st year undergraduates (KCL)
Richard Wagner 2nd year undergraduates (KCL)
JS Bach 3rd year undergraduates (KCL)
Advanced Performance Studies 3rd year undergraduates (KCL)
History Special Study 3rd year undergraduates (KCL)
Advanced Opera Study: Wagner's Parsifal MMus seminar (KCL)
The Cantatas of JS Bach MMus seminar (KCL)
Johannes Brahms in the 1860s MMus seminar (KCL)
Wagner and the Erotic Impulse MMus seminar (KCL)
History II and Analysis (FHS 2006) Magdalen College Oxford
History and Analysis (MODS 2006) Magdalen College Oxford
Chamber Music (FHS 2007, FHS 2008) Faculty of Music, Oxford
Wagner and Musical Eroticism (MSt seminar) Faculty of Music, Oxford
Performance Seminar (MPhil) Faculty of Music, Oxford
Bach and his musical world (FHS 2007) Faculty of Music, Oxford
Richard Wagner: Romantic operas and Faculty of Music, Oxford
music dramas (FHS 2008)
Jew, Anti-Judaism and Antisemitism Faculty of Music, Oxford
in German Musical Culture (FHS 2008)
Archangelo and the Play of Styles (University of Oxford) – Alberto Sanna
Ideologies of String Playing, 1890-1920 (University of Oxford) – Stefan Knapik
JS Bach as Civic Musician (University of Oxford) – Burkhard Schwalbach
Current MPhil supervisions
Violin performance – Mandhira de Saram
Viola da gamba performance – Liam Byrne
Judith Silber, Mendelssohn's Reformation Symphony: From Concept to Published Work, Yale, 1986
Jeanne Swack, The Solo Sonatas of Georg Philipp Telemann: A Study of the Style and Sources, Yale, 1988
Matthew Dirst, Bach's Well-Tempered Clavier in Musical Thought and Practice, 1750-1850, Stanford, 1996
Rachel Cowgill, Mozart's Music in London, 1764-1829: Aspects of Reception and Canonicity, King's College London, 2000
John Moran, Techniques of Expression in Viennese String Music (1780-1830): Reconstructing Fingering and Bowing Practices, King's College London, 2001
Julia Severus, Die Artikulation bei den Klavierwerken von Joh. Seb. Bach, Technische Universität Berlin 2001 (served as 'Wissenschaftlicher Berater')
Rebecca Lloyd, Bach among the Conservatives: the Quest for Theological Truth, King's College London, 2006 – available in my Weblearn room
Alan Howard, Purcell and the Poetics of Musical Artifice: A study of the Fantasias and Sonatas, King's College London, 2006
Oxford Research and DPhil students examined
Gulliver Rallston (St. Peter's College), English Wagnerism, (Confirmation of Status, May, 2006), DPhil viva (internal examiner) March 2007.
Ozzie Johnstone (Christ Church), The Square Piano Transfer of Status (September 2006 and May 2007)
Carmel Croucamp, Habermas and Mozart's musical borrowings (Transfer of Status, May 2006, Confirmation of Status, May 2007)
Benjamin Hebbert (St Cross College), The London Music Trade, 1500-1725 (DPhil Viva February 2008)
University and College Administration
King's College London and the Royal Academy of Music, Chair, Centre for Advanced Performance Studies, 1992-95
King's College London, Head of Department of Music, 1995 –1999,
Director of Postgraduate Studies, 2004-05, School of Humanities, Research Committee member, 2001-05.
Magdalen College, Oxford, Subject Tutor in Music
Faculty of Music, University of Oxford, MPhil in Musicology and Performance
Co-course director, from 2006; Final Honours School Examiner, 2006-08; Sutton Trust Music Coordinator, 2007
Faculty of Music, University of Oxford, Committee on Library Provision, 2005-07; Bate Collection Directors, 2006-08; Finance Committee, 2008-2010.
Royal Academy of Music, MMus in Performance, 1996-2001
Oxford University, MPhil in Musicology and Performance, 2002-2005
Sibelius Academy (Helsinki), PhD in Performance, 1999, 2005
Cambridge University, MPhil in musicology (various dissertations), 2000-04
Cambridge University, BA in Music Tripos, Part II, 2008-2009
American Musicological Society, Performance Committee, 1987-89 (Chair, 1988),
Director-at-Large, 1989-91, Program Committee, 1991-93 (Chair, 1992)
Cambridge University Press, Senior Editor (with John Butt), Cambridge Musical Texts
and Monographs, 1994-1998. Series renamed, Musical Performance and Reception, since 1998
John Butt, Music Education and the Art of Performance in the German Baroque (1994)
Musical Theatre at the Court of Louis XIV: Le Mariage de la Grosse Cathos, ed. and trans.
Rebecca Harris-Warrick and Carol G. Marsh (1995)
Julianne C. Baird, Introduction to the Art of Singing by Johann Friedrich Agricola (1995)
Valerie Walden, One Hundred Years of Violoncello: A History of Technique and Performance
Practice, 1740–1840 (1998)
Bernard Brauchli , The Clavichord (1999) – Awarded the Nicholas Bessaraboff Prize for
2001, honoring the best book-length organological study in the English language
published in 1998/99
Suzanne J. Beicken, trans and ed. Treatise on Vocal Performance and Ornamentation by
Johann Adam Hiller (2001)
Hugh Macdonald, ed., Berlioz's Orchestration Treatise: A Translation and Commentary (2002)
Daniel Leech-Wilkinson, The Modern Invention of Medieval Music: Scholarship, Ideology,
Performance (2002) – Winner of the Royal Philharmonic Book Award
John Butt, Playing with History: The Historical Approach to Musical Performance (2002),
Finalist for British Academy Book Prize
James Garratt, Palestrina and the German Romantic Imagination Interpreting Historicism in
Nineteenth-Century Music (2002)
Michael Musgrave, Bernard D. Sherman , eds., Performing Brahms: Early Evidence of
Performance Style (2003)
Christopher Hogwood, ed, The Keyboard in Baroque Europe (2003)
John Haines, Eight Centuries of Troubadours and Trouvères: The Changing Identity of
Medieval Music (2004)
Performance Practice (2005)
University of Cambridge, Elector to the Professorship of Music, 1994-1998
Early Music, Oxford University Press, Editorial Board, since 1995
Royal Musical Association, Member of Council, 1994-1998
London Bach Festival, Musician Patron, since 1995
Bach-Abel International Viola da gamba competition, Cöthen, Germany, Jury, 1997 and 2000
Saga Trust, Trustee, British Library Sound Archive, 1999-2005
Elector to the Chair of Music, Trinity College Dublin, since 1999
Higher Education Funding Council for England (HEFCE), Member of Music Panel, 1999-2001
Eighteenth Century Music, Cambridge University Press, Editorial Board, since 2002.
The British Academy, Ordinary Fellow, since 2002. Conference Officer for Section H11 (History of Art and Musicology), 2004-2007
Arts and Humanities Research Board (AHRB). Member of Music and Performing Arts Panel , 2003-2004
CHARM, Centre for the History and Analysis of Recorded Music, International Advisory Panel, since 2004
Bach Network UK, Oxford University, Trustee, 2005-2006
Royal Academy of Music Bach Prize, Juror, 2006-7
Conferences and Symposia
Waynflete Anniversary Symposium – 7 June 2008 - Why analyse music? – Karol Berger (Stanford), Susannah Clark (Merton Oxford), Jonathan Cross (Christ Church Oxford)
Public lectures and Concerts
BBC Radio 3 – Interview on historical specificity of J.S. Bach (23 October 1999)
Patterns of Authority in Musical Interpretation: Historical Performance at the Crossroads. Sibelius Academy (Helsinki), Florida State University-Tallahassee, January 2000, Dublin Institute of Technology, Chaired Lecture in the Humanities (4 December 2000), School of Music, Indiana University (4 April 2003)
Performing the music of William Byrd: Sundry contexts and a false pretext, Karl Geiringer Memorial Lecture, University of California- Santa Barbara (January, 2000), Florida State University-Tallahassee (January 2000)
Bachian Poetics for a Post-Christian Age, Duke University (20 April 2000), Peabody Conservatory, Johns Hopkins University (13 December 2000), Birmingham Conservatoire (27 November 2000), Institute of Advanced Musical Studies, King's College London (14 March 2001).
Toward a 'Musical' Analysis of Thomas Mann's Wälsungenblut, Institute of Germanic Studies, University of London (31 March 2001)
A Musicology of Sound Recordings: A Warning, Saul Seminar, National Sound Archive, British Library (26 June 2001)
Text-Setting or Text-Slaying: Bachian Poetics in the St John Passion, the Donald J. Grout Lecture, Cornell University (7 April 2003), and Iceland Academy of Arts, Reykjavik (3 April 2003)
Outlines of Elizabethan and Jacobean Consort music, Tokyo, Japan, Rikkyo University (April 2003)
Hearing Bach's Art of Fugue, Tokyo, Japan, University of the Arts – Geidai (April 2003) and at Seoul, Korea, Hangyang University (May 2003)
Wagner and the Erotic Impulse, five public lectures as British Library's Lectures in Musicology, a series co-sponsored by Royal Holloway, University of London, (December 2003 - May, 2004). Also delivered in part at Trinity College Dublin, (April 2004), and at University of Oslo, Norway ( May, 2004).
BBC Radio 3 - Proms Interval Feature – JS Bach's Magnificat (10 August 2004)
Historical Recordings: A problem for musicologists, an opportunity for musicians
(February 2005), Sibelius Academy Helsinki
Beyond the Interpretation of Music – delivered as the 'Oude Muziek Lezing' at the Utrecht Early Music Festival (August 2005)
12-17 December 1999 Four Performance by Phantasm (two programmes each in Wroclaw and Poznan) – with support of British Council
22 January 2000 Florida State University Tallahassee
25 January 2000 Los Angeles, Calif. Music in Historic Places Ebell Club,
27 January 2000 University of California-Santa Barbara
14 April 2000 Swarthmore College, Swarthmore, Pennsylvania
15 April 2000 Duke University, Durham, North Carolina
16 April 2000 University of Minnesota, Bach Festival
24 April 2000 Stiftung Kloster Michaelstein – Blankenburg-Harz
25 April 2000 Leipzig, Bosehaus, 2000 Bachfest, Bach-Archiv
26 April 2000 Amsterdam – Leonhardt – Bartolotti house.
30 April 2000 Berlin – Lange Bach-Nacht – Schauspielhaus am Gendarmenmarkt – 2 recitals
22 May 2000 Utrecht - Channel Classics 10th Anniversary concert - Vredenburg
15 June 2000 London – St John's Smith Square – Lufthansa Festival of
28 July 2000 Trondheim, Norway, Olavsfestdagene
11 October 2000 London Royal Academy of Music, Bach's Musical Offering, Director, Duke's Hall
31 October 2000 London Bach Festival – Bach viola da gamba sonatas with Ketil Haugsand - St Andrew's Holborn
13 December 2000 Washington DC – Kennedy Center for the Performing Arts– Fortas Chamber Music series
16-18 December 2000 4 performances in Washington DC, Georgetown University,
Folger Consort, with Christ Church Cathedral Choir, Stephen Darlington
1-4 February 2001 Guest Director, Amsterdam Bach soloists, 3 concerts in Utrecht, Haarlem and Amsterdam (Waalse Kerk)
28-30 June 2001 Three recitals at West Cork Chamber Music Festival, Bantry House, Co. Cork
1 August 2001 Joroinen Music Days, Juva, Finland
5 August 2001 Daroca Festival of Early Music – Daroca, Spain,
2 February 2002 Istanbul, Turkey, Cemal Resit Rey Concert Hall, Baroque Series
7 February 2002 Brussels, Belgium, Musée instrumental
20 April 2002 Lincoln, Nebraska, University of Nebraska
22 April 2002 St Paul Sunday Morning – National Public Radio (USA) - 1 December 2002 - One-hour broadcast of Phantasm on St Paul Sunday - interview with live performance - Minnesota Public Radio and affiliated Public Broadcasting networks in the USA (ca. 500,000 listeners)
5 July 2002 Haapsalu, Estonia - Early Music Festival (in co-operation with the British Council)
6 July 2002 Prague, Czech Republic - 3rd International Music Festival – Summer Festivities of Early Music - Fantasy for Viols - Instrumental music of Rudolphine Prague and Jewels of English consort music - Baroque Library Hall, Prague (in co-operation with the British Council)
12 February 2003 London, Wigmore Hall, 'The Queen's Command ' - collaboration with Trevor Pinnock and the English Concert, and Simon Callow, reciter, music of Byrd, Gibbons, and Ferrabosco
21 April 2003 Shizuoka, Japan, Shizuoka Museum of Art
22 April 2003 Tokyo Rikkyo University
23 April 2003 Tokyo National University of Arts - Geidai
24 April 2003 Tokyo, Japan Musashino bunka kaikan
26 April 2003 Kobe, Japan
27 April 2003 Aioi, Japan
29 April 2003 Kumho Art Hall – Phantasm recital - Seoul
30 April 2003 Hangyang University, Seoul
1 May 2003 Kumho Art Hall - Seoul (sponsored by Hangyang University) – 'The Art of Love and Persuasion' - Early Dance performance - collaboration with Mary Collins and Jürgen Schrape, Renaissance and Baroque dancers
24-25 June 2003 Korsholm Music Festival, Vaasa, Finland– two concerts
6 July 2003 York Early Music Festival – Autumn Leaves: Lawes, Jenkins, and Purcell a6
10 July 2003 Quebec Canada - City of Québec Summer Festival – Consort Kaleidoscope a4
11 July 2003 La Domaine Forget, P.Q. Canada
18-26 August 2003 Stavanger Chamber Music Festival, Stavanger (Norway) –
four concerts with Phantasm – BBC Radio Live Broadcast
4 September 2003 Utrecht Early Music Festival – Lawes a6
22 September 2003 Oxford, Christ Church Cathedral – Gibbons programme
10 June 2004 Spitalfields Festival – Purcell Fantasias Byrd Songs with Geraldine McGreevy – BBC
11-14 August 2004 Stavanger Chamber Music Festival, Stavanger (Norway), Bach viola da gamba sonatas, Marais Pièces de violes with Ketil Haugsand
16 January 2005 Paris, Cité de la Musique, Grande Halle, La Foi militante, with the Choir of St John's College Cambridge –Tudor consort and choral music
21 April 2005 Reykjavik, Iceland (together with residency at Iceland Academy of Arts) – Gibbons, Purcell, Locke, Bach,
30 May 2005 London, Wigmore Hall, Phantasm with Andrew Manze as part of the From Sweden Festival – 17th-century Swedish and English consort music
12 June 2005 Aldeburgh Festival – Byrd and Purcell with Geraldine McGreevy, soprano
21 June 2005 Istanbul Music Festival – Byrd and Purcell with Geraldine McGreevy, soprano
30 July 2005 Dordogne Festival, Ton Koopman, director, Phantasm – Perilous Polyphony
29 August 2005 Utrecht Early Music Festival – Jenkins and Gibbons a6
17 September 2005 London, Queen Elizabeth Hall, South Bank Centre, Early Music Weekend, Thomas Tallis quincentenary
25 November 2005 Byrd, Gibbons and Purcell with Geraldine McGreevy, soprano, Holywell Music Room, Oxford
27 November 2005 Bach viola da gamba sonatas with Ketil Haugsand, Germany
10 January 2006 English and French music for two bass viols, with Jonathan Manson, Old Library, Magdalen College
10 March 2006 Four Temperaments, Phantasm, Holywell Music Room, Oxford
12 May 2006 Barcelona Early Music Festival, Auditorio, Flights of Fancy
28 June 2006 Korsholm Music Festival, Vaasa, Finland– two concerts of English and French Music for Two Bass viols, with Mikko Perkola
12 August 2006 Hereford Cathedral, Three Choirs Festival, Phantasm, Tomkins, Jenkins, Purcell, Lawes
16 October 2006 Royal Academy of Music, Bach sonatas with John Butt – to mark presentation of Royal Academy Bach Prize
25 November 2006 Holywell Music Room, Oxford, Music for Five and Six Viols by Tomkins, Jenkins, and Lawes (with Mikko Perkola and Liam Byrne)
10 December 2006 Magdalen College - Musical Moment (with John Butt) to conclude the 2nd Dialogue meeting of the Bach Network UK
23 August 2007 Edinburgh International Festival - Byrd Mass and Consort songs –Phantasm with Theatre of Voices (Paul Hillier)
2 February 2008 Phantasm – Faculty of Music Residency – Magdalen Auditorium (Jenkins and Lawes a5)
16 April 2008 Brussels – Palais des Beaux-arts (Conservatoire) – Bozar series – Phantasm recital (Gibbons, Lawes, Jenkins, Purcell)
21 June 2008 Leipzig Bachfest – Bach sonatas and Marais with Ketil Haugsand