Guest Mentors

We’ve been delighted to welcome the following Guest Mentors:

 

Pavlo Beznosiuk

Over the past 25 years Pavlo Beznosiuk has established a formidable reputation as one of Europe’s most respected Baroque violinists, with a busy international career as a soloist, chamber musician, concertmaster and director.

Pavlo has a long association with the Academy of Ancient Music (AAM). He first toured with the orchestra in 1985, and since then has appeared frequently as a soloist and director. Recent highlights include performances of Vivaldi’s ‘The Four Seasons’, concertos by Bach and Haydn, Tartini‘s ‘Devil’s Trill’ Sonata and Pergolesi’s Stabat Mater. He is currently the AAM’s leader.

Pavlo is Musical Director of the Avison Ensemble, with which he has recorded the complete output of Charles Avison as well as music by Vivaldi (Concerti op.8), Handel (Concerti Grossi op.6) and the entire published output of Corelli, released this year. In the mid-1980s he was involved in pioneering work in the use of renaissance violins with The Parley of Instruments, and was a key member of the ground-breaking medieval ensemble The New London Consort.

Pavlo teaches Baroque violin at the Guildhall School of Music & Drama and at the Royal Academy of Music.


richard-boothby-cropRichard Boothby

After studying with Nikolaus Harnoncourt in Salzburg, Richard Boothby founded the Purcell Quartet in 1984 and was a founder member of Fretwork in 1985. Since then his career has been bound up with these two groups with whom he records and tours; and through whom he plays the broadest range of repertory for the instrument from the earliest music to the latest contemporary music commissioned for viols.

With the Purcell Quartet he has recorded nearly 50 albums with them for Hyperion and Chandos. He tours Europe, Japan and the United States regularly with both ensembles. In 1998 he directed performances of Monteverdi’s ‘L’Incoronazione di Poppea’ with the Purcell Quartet; and in 2001 directed them in a fully-staged production of ‘L’Orfeo’, with Mark Padmore in the title role.

As a soloist, he has given many recitals of the rich solo repertory, and in 1994 he recorded the three Bach sonatas for viola da gamba and harpsichord with Shalev Ad-El for Chandos Records, to critical acclaim. He has given many recitals of the great suites by Antoine Forqueray, with whose music he feels a special affinity. He is professor of Viola da Gamba at the Royal College of Music in London.


Photo: Jack Liebeck

Photo: Jack Liebeck

Adrian Brendel

Adrian Brendel has travelled the world as soloist, collaborator and teacher. His early immersion in the core classical repertoire inspired an enduring fascination that has led to encounters with many fine musicians at the world’s most prestigious festivals and concert halls. His discovery of contemporary music through the works of Kurtag, Kagel and Ligeti in his teenage years opened a new and vital avenue that he continues to explore with huge enthusiasm alongside his passion for jazz and world music.

Adrian first studied the cello with William Pleeth, with whom he developed a deep attachment to chamber music. He then went on to study with Alexander Baillie and Frans Helmerson in London and Cologne, also frequently attending the masterclasses of György Kurtág, Ferenc Rados, members of the Alban Berg Quartet and his father Alfred Brendel. An acclaimed recording of Beethoven’s Cello Sonatas with his father is available on the Philips label, recorded during their recital tours of 2003/2004. Projects with contemporary composers and conductors during this time such as Kurtág, Thomas Ades and Peter Eötvös amongst many inspired him to cultivate new music in his concert programmes wherever possible. A recent three year project with Sir Harrison Birtwistle has led to premieres of his song cycle ‘Bogenstrich’ and a piano trio due for release on the ECM label in 2013. He also premieres York Hoeller’s cello concerto ‘Mouvements’ in January of the same year with NDR Hamburg alongside Bernd Alois Zimmermann’s ‘Canto di Speranza’.

In great demand as a recitalist and soloist, Adrian works with Aleksandar Madzar, Imogen Cooper, Till Fellner, Tim Horton and Kit Armstrong. His chamber music partners include Henning Kraggerud, Lisa Batiashvili, Lars-Anders Tomter, Andrej Bielow, Katharine Gowers and Alasdair Beatson to name a few. Over the last two years he has visited the Aldeburgh, Cheltenham, Verbier, Ernen, Salzburg, Sonoro, Enescu, Schubertiade and Ruhr international festivals, and is a frequent visitor to London’s Wigmore Hall, Berlin Philharmonie, Vienna Musikverein, Amsterdam Concertgebouw and many other important venues in Europe. He has performed concertos with the Academy of St Martin in the Fields, RSNO, SCO and many orchestras across Germany and eastern Europe. His annual visit to the International Musicians’ Seminar in Prussia Cove, founded by the late Sándor Végh as a perfect environment for music making, is of great personal and artistic importance.

Adrian is artistic director of the Plush festival, held every summer in Plush, Dorset since 1995. The programme is devoted to classical and contemporary chamber music, Lieder recitals, modern jazz, folk and world music concerts, featuring over 100 contemporary works and 200 musicians from around the world.

Fortunately for an itinerant musician, travel is a passion for Adrian. He has participated in musical outreach projects as far afield as Bolivia, Argentina, Ukraine, Romania and east Africa in recent years, for example to present Baaba Maal’s Senegalese music festival from Podor for BBC Radio 4 in December 2012. He broadcasts regularly for radio stations around the world, most recently recording an album with Nils Wogram’s modern jazz group Root70 for Deutschlandfunk in October. Attempts to broaden his and the cello’s musical horizons have fostered projects with a range of different artists, more recently including Norwegian multi-instrumentalist Stian Carstensen, Patti Smith and Argentinian Bandoneonist Marcelo Nisinman.

Outside of his performing life, Adrian divides his time between south London, Berlin and Plush.


carole-cerasi-cropCarole Cerasi

In the last 25 years Carole Cerasi has established herself at the very front rank of performers and recording artists in her field. Her many performances have received great critical acclaim and her recordings have garnered an impressive series of awards.

Carole has given recitals throughout Europe, performing in major festivals, as well as in Japan, Singapore, Colombia, Canada and the States.

Known for her expressive and virtuosic interpretations, fluidity of phrasing and refined touch, she has delighted audiences and critics alike in repertoire extending from Byrd, Froberger, the French clavecinistes, Bach and sons, to Haydn and early Beethoven.

A highly respected teacher, Carole is Professor of Harpsichord and Fortepiano at the Royal Academy of Music, the Guildhall School of Music and Drama and the Yehudi Menuhin School.


Michael Collins

One of the leading exponents of the clarinet today, Michael Collins is one of the most complete musicians of his generation. With a continuing, distinguished career as a soloist, he has in recent years also become highly regarded as a conductor and in 2010 took the position of Principal Conductor of the City of London Sinfonia. Recent guest conducting and play-directing highlights have included engagements with the Philharmonia Orchestra, Academy of St Martin in the Fields, Ulster Orchestra, and the HPAC Orchestra in Kyoto, Japan.

Highlights last season included a return to the Philharmonia Orchestra as conductor for a regional tour as well as a Royal Festival Hall concert with violinist Alina Pogostkina in February 2016. As a soloist, he works with the Charlotte Symphony and the City of Birmingham Symphony Orchestra. Future plans include OSESP Sao Paulo, as well as returns to the Melbourne and Adelaide Symphony Orchestras. Recent play-direct engagements include Adelaide, Tasmanian and Melbourne Symphony orchestras, the Hong Kong Sinfonietta, as well as Kuopio Symphony. As a conductor, he returned to the Swedish Chamber Orchestra, conducting Vaughan Williams’ Symphony No 5 and Beethoven’s Symphony No 3 and also conducted the BBC Scottish Symphony Orchestra in a programme of Mozart and Bartok.

Michael Collins has been committed to expanding the repertoire of the clarinet for many years. He has given world and local premières of works such as John Adams’ Gnarly Buttons, Elliott Carter’s Clarinet Concerto – for which he won a Gramophone award for his recording on Deutsche Grammophon – Brett Dean’s Ariel’s Music and Turnage’s Riffs and Refrains, which was commissioned by the Hallé Orchestra. Collins has gone on to perform Turnage’s work with the Residentie Orkest, Royal Flanders and Helsinki Philharmonics, as well as the London Philharmonic Orchestra. Collins has received the Royal Philharmonic Society’s Instrumentalist of the Year Award in 2007 in recognition of his pivotal role in premièring repertoire by some of today’s most highly regarded composers.

In great demand as a chamber musician, Collins performs regularly with the Borodin and Takács quartets, András Schiff, Martha Argerich, Stephen Hough, Mikhail Pletnev, Lars Vogt, Joshua Bell and Steven Isserlis. His ensemble, London Winds, celebrated its twenty-fifth anniversary in 2013 and the group maintains a busy diary with high calibre engagements such as the BBC Proms, Aldeburgh Festival, Edinburgh Festival, City of London Festival, Cheltenham International Festival and Bath Mozartfest. He has a regular relationship with the Wigmore Hall and was one of their Artists in Residence in 2015/16.

Michael Collins records exclusively for Chandos and has covered a wide range of repertoire in his prolific recording career, which also includes releases on Deutsche Grammophon, Decca, EMI and Sony. Recent releases include a disc of British Clarinet Concertos with the BBC Symphony Orchestra which features Collins as soloist and conductor, as well as a disc of Brahms and Reinicke Clarinet Sonatas with pianist Michael McHale. Collins’s 50th Birthday was celebrated with a Chandos release of Weber Concertos conducted and performed by himself with the City of London Sinfonia. He has also recorded the concertos by Corigliano, Adams, Carter, as well as Spohr, Copland and of course Mozart. In the Queen’s Birthday Honours of 2015, Michael Collins was awarded an MBE for his services to music.

 Michael Collins plays exclusively on Yamaha clarinets.


reiko-ichise-cropReiko Ichise

Tokyo-born gamba player Reiko Ichise read musicology at Kunitach College of Music, where she started playing gamba. She came to the UK to pursue her study with Richard Boothby at the Royal College of Music. She has established herself as one of the country’s leading gamba players, and is in great demand as a soloist and continuo player, regularly performing with many leading orchestras and ensembles, including English Baroque Soloists, Academy of Ancient Music and Gabrieli Players. She is a member of prestigious ensembles including Fretwork, Florilegium and Passacaglia and serves as professor of gamba at the Royal College of Music.


 Elizabeth Kenny

Elizabeth Kenny is one of Europe’s leading lute players. Her playing has been described as “incandescent” (Music and Vision), “radical” (The Independent on Sunday) and “indecently beautiful” (Toronto Post). In twenty years of touring she has played with many of the world’s best period instrument groups and experienced many different approaches to music making. She played with Les Arts Florissants 1992-2007 and with the Orchestra of the Age of Enlightenment 1997-2015 and still returns to initiate seventeenth century projects such as The Hypochondriack and A Restoration Tempest. Her research interests have led to critically acclaimed recordings of Lawes, Purcell and Dowland, and to the formation of her ensemble Theatre of the Ayre. As well as regular collaborations with singers such as Robin Blaze, Ian Bostridge and Nicholas Mulroy in recital, she has a great fondness for the viol consort repertory and has recorded William Lawes’ Royal Consort with Phantasm, as well Dowland’s Lachrime (forthcoming in 2016). As a soloist she is committed to a diverse range of repertoire, from the ML Lutebook (a much-praised CD released on Hyperion records) to new music for lute and theorbo: she has premiered works by James MacMillan and Benjamin Oliver. With Theatre of the Ayre she is a judge for the NCEM International Composers’ Competition in 2016.

Liz Kenny is a Professor of Musical Performance Performance at the University of Southampton, and professor of Lute at the Royal Academy of Music. She guest-edited a Dowland themed issue of Early Music, bringing performers and scholars together in celebration of the 450th anniversary of the composer’s birth, in 2013. She was an artistic advisor to the York Early Music Festival from 2011 to 2014.


manson_catherine_cropCatherine Manson

Catherine Manson enjoys a versatile performing career as a soloist and chamber musician.

As first violinist of the classical London Haydn Quartet she has performed in venues such as Carnegie Hall, the Library of Congress, the Concertgebouw in Amsterdam and London’s Wigmore Hall. The quartet’s series of recordings of the Haydn quartets on the Hyperion label has met with high critical acclaim internationally.

She was appointed as leader of the Amsterdam Baroque Orchestra in 2006. Together with the orchestra’s director, Ton Koopman, she has recorded the six obbligato sonatas by Bach, Haydn’s concerto for violin and organ and the complete chamber music by Buxtehude. They have given many concerts together throughout Europe.

Highlights in recent months have included appearing as a soloist and director with Tafelmusik in Canada and performing all the Bach concerti at London’s South Bank. In a duo partnership with pianist Alasdair Beatson she will next week complete a cycle of Beethoven sonata recitals with a concert recorded by the BBC.

Teaching has always been an important part of her musical life; in 2001 she co-founded and now directs MusicWorks, presenting chamber music courses for young musicians. In addition to giving classes and seminars at King’s College, the Royal Academy of Music and Royal College of Music she has taught at the Baroque Performance Institute in Oberlin College, USA, the Granada International Festival’s ‘Musical Interpretation’ course, the Domaine Forget chamber music courses in Canada and given masterclasses at Juilliard School, Yale and Indiana Universities.

 

 

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