Laurence Dreyfus FBA
Professor of Music, University of Oxford
Fellow and Tutor in Music, Magdalen College
Mailing address:
Magdalen College
Oxford OX1 4AU
Email:
laurence.dreyfus@magd.ox.ac.uk
Phantasm webpage
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
Publications
Books
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]
Articles
J.S. Bach's Experiment in Differentiated Accompaniment: Tacet-Indications
in the Organ Parts to the Vocal Works.
Journal of the American Musicological Society 32 (1979), 321-334.
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.
Inaugural Lecture
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) [1994], 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.
Musical Editions
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.
Edited Texts
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 2000. Nominated
for 2001 Gramophone Award - Best
Baroque Instrumental Recording.
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)
Current DPhil supervisions
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
Supervised PhD theses brought to completion
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.
External Activities
External Examining
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
External Organisational Responsibilities
American Musicological
Society, Performance Committee, 1987-89 (Chair, 1988),
Director-at-Large, 1989-91, Program Committee,
1991-93 (Chair, 1992)
American
Bach Society, Vice-President, 1992-94
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)
Keith Polk, German
Instrumental Music of the Late Middle Age: Players, Patrons and
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
Journal of
the Royal Musical Association, International Advisory Panel, since 2006
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
Papers/Lectures
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)
Brussels
Bach Academy (Philippe Herweghe, director) – Bach and the Rhetoric of
Invention – (November 2007)
Selected Performances since
1999 – See also dedicated Phantasm web page – www.phantasm.org.uk
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
Baroque Music
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