Dr. Andrew Woolley
(ex officio Editor of
Early Music Performer
(ex officio Publisher of Early Music Performer)
Ruxbury Publications, Scout Bottom Farm, Mytholmroyd, Hebden Bridge HX7 5JS
is a freelance polymath. He is essentially
an amateur, with pretensions to musicology. His house
is filling up with string instruments which he
can't quite play. He sees his role on the NEMA Council
as representing the informed listener and consumer
of Early Music, rather than the active practitioner.
After some months acting in the role he was elected Deputy
Chairman of Nema in November 2003.
, after 31 years teaching in Secondary
Schools and making and selling early musical instruments in
his spare time, is now working as a free-lance
teacher of harpsichord, organ and recorder. For 25 years
he has led the semi-professional early music
group "The Longslade Consort", and he is Festival Director
of the Leicester Early music Festival.
has been Director of Music at St. Mary de Castro Church, Leicester
for the past 45 years. He has a passion
for food and "John's Page" on the Leicester Early Music Festival
web site has a monthly recipe, usually
of his own devising. He has written for The Times Educational
Supplement, British Journal of Music Education and the Musical Opinion.
Hon. Administrator of NEMA
member of NEMA Council
was the editor of the Early Music Yearbook until 2012.
He conducts the Paragon Singers of Bath,
one of the south-west's leading chamber choirs, specialising particularly
in early music and contemporary music. He has also performed widely
as an accompanist, continuo player and singer
started the recorder after hearing
Carl Dolmetsch's rhythmic, stylish and in tune recording of
Handel's A minor recorder sonata. Robert
Salkeld at Morley College knocked off Richard's rough edges.
He earned a meagre living from music for
2 years in the early 70s. He recalls playing in an Ars Nova
series at Fenton House, and serving up his
own home brew afterwards. (Just try to get away with that
now “licensing reform” has been enacted!)
He did recording sessions with Paul Lewis
and others, played crumhorn for Musica Reservata with David
Fallows and Bernard Thomas, cornett with
Christopher Monk and contrabass shawm at outdoor gigs. Now
retired, he hacks away (sedately) at Domenico
Scarlatti's wonderful treasure trove on his Malcolm Rose
harpsichord and has dusted off his great bass shawm for occasional Waits events.
Nema's Conference Singing 1500-1900:
style, technique, knowledge, assumption, experiment,
which was held in July 2009, in cooperation with the
Music Department, University of York
, and the
York Early Music Festival
, after lecturing in higher education,
took early retirement to run a small publishing firm with
Ruth, my wife, specialising in beekeeping
and music. As well as acting as publisher to NEMA we publish
The Recorder Magazine and The Beekeepers Quarterly
is Chairman of the
Thames Valley Early Music Forum
which he helped set up in 1988. He
is an enthusiastic cornettist, curtal and recorder player and singer who
makes music several times a week with groups in
London, Oxford, Bracknell and his home town of High Wycombe.
David is a member of the
and, as a computer programmer
by profession, he takes responsibility for the data-processing
involved in producing the
and for the scripting on the web site.
studied at King's College, London with
Thurston Dart, and founded the pioneering early music group
Ars Nova while a student. He is now director of
The Parley of Instruments
and the choir Psalmody, musical director of
and musical director of Leeds Baroque
Orchestra. He is a leading figure in the musical life of
the Essex-Suffolk borders, directing Essex
Baroque orchestra and the annual Suffolk Villages Festival.
Peter has taught at many conservatories, universities,
and summer schools in Britain, Europe and the USA, and is
Emeritus Professor of Musicology at Leeds University.
He is a distinguished academic who believes in putting
his research into practice.
He is a regular broadcaster on
BBC Radio 3, and is much in demand as a lecturer at learned conferences.
He spends much of his time in writing and
research, and has special interests in the early history
of the violin family, in instrumental ensemble
music of the Renaissance and Baroque, and in English
music from about 1550 to 1850. He is the author
of the prize-winning book Four and Twenty Fiddlers:
The Violin at the English Court 1540-1690 (Oxford,
1993), a much-praised study of Purcell's music (Oxford, 1994),
and a book in the Cambridge Music Handbook
series on Dowland's Lachrimae (Cambridge, 1999). Peter was
Chairman of Nema until November 2003, and
will continue to attend Council meetings as a member of the editorial board of
Early Music Performer
studied at Royal Holloway College, Magdalen College,
Oxford and Nottingham University. He has held positions at the Royal
Northern College of Music, Green College, Oxford, Somerville College,
Oxford, the BBC, the British Library and King's College, London, and
edited a number of music journals. Since 2009 he has been Fellow, Tutor
and Director of Studies in Music at Fitzwilliam College, Cambridge.
Margaret Jackson-Roberts has been a
singer since childhood, mainly in tenor voice for the past
30+ years, and has sung as such with a number of auditioned
choirs. After undertaking doctoral studies on the medieval
muniments at Worcester cathedral she remains interested in
medieval monasticism and Latin church music from the middle
ages onwards, was elected a Fellow of the Academy of St Cecilia
in 2014, and has a hitherto unfulfilled ambition to play an
instrument (preferably the french horn) to a reasonable standard.
Her career was mainly spent in the civil service, including a
secondment to the House of Commons Library, but she now works
as an independent historical researcher.
Dan Tidhar was first introduced to the harpsichord at the
Jerusalem Early Music Workshop, where he was taught by
John Toll and Ketil Haugsand and has later been regularly
employed as tutor and accompanist. At university, Dan
studied harpsichord with Mitzi Meyerson in Berlin and
Ketil Haugsand in Cologne. In parallel to completing his
PhD in digital musicology (TU-Berlin, computerscience
department), he also completed a Masters in harpsichord
performance at the UdK-Berlin. Dan performs regularly as
a soloist as well continuo player with various ensembles,
such as The King’s Consort, Retrospect Ensemble, the
Amphion Consort, L'Avventura London, the Berliner Cembalo
Ensemble and others. Dan is often seen on stage by Cambridge
early music audiences as a player and/or tuner of
historical keyboard instruments. In recent years, he has
held various research fellowships and published on
harpsichord tuning and temperament, mainly in the context
of recording analysis.
stumbled in to recorders by accident
when a friend lent him a bass and a tutor in 1958. After attending
evening classes in consort playing under
tutelage he felt that he had learnt
a little. In 1980 after attending a recorder course which had
an "early music" section he saw some weird and wonderful windcaps and was hooked.
Then followed 15 years with Bernard Thomas
in The Southwark Waits at Morley College, graduating to
sordunes and curtals. Following an appeal
from NEMA, Mark became Treasurer and for several years
nobly took on the position of Chairman to add to
his burgeoning portfolio of voluntary activities.
Dr. Andrew Woolley
studied at the University of
Leeds, and in 2008 completed a Ph.D. on late seventeenth- and
early eighteenth-century English keyboard
music, supervised by Peter Holman. He is
a lecturer in music at Bangor University, and pursues research whenever he can.
At present he is working with Peter Holman
on an edition of Restoration theatre suites for Musica
Britannica. He is also a keen performer, as
a continuo harpsichordist and choral singer, and enjoys
playing Brahms and Debussy on the piano. Andrew takes over the editorship of
Early Music Performer
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