Professor Peter Holman

Professor of Historical Musicology

p.k.holman@leeds.ac.uk

+44 (0)113 343 2545

D. Mus., M. Mus., B. Mus., Hon. RAM

Peter Holman 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, and musical director of Opera Restor’d. He is a leading figure in the musical life of the Essex-Suffolk borders, directing Essex Baroque Orchestra and the Suffolk Villages Festival. He was joint Artistic Director of the 1995 Boston Early Music Festival, and Consultant in Period Performance at the RNCM from 2002 to 2005. Peter has taught at many conservatories, universities, and summer schools in Britain, Europe and the USA, is a regular broadcaster, and is much in demand as a lecturer at learned conferences. He is chair of the editorial board of Early Music Performer, and a member of the editorial boards of Early Music, Musica Britannica and the Purcell Society.

• Music in Britain c.1550-1850
• The early history of the violin family
• The viola da gamba in eighteenth- and nineteenth-century Britain
• Instrumental ensemble music up to 1700
• Charles Dibdin and eighteenth-century English opera
• English psalmody c.1750-1850

Peter Holman’s research interests have been focussed on the history of stringed instruments, their repertories and the social context in which they developed. His first book, Four and Twenty Fiddlers: the Violin at the English Court 1540-1690 (Oxford: OUP, 1993; 2/1995) won the 1995 Derek Allen Prize awarded by the British Academy. He is at present working on Life after Death: the Viola da Gamba in Eighteenth- and Nineteenth-Century Britain, to be published by Boydell in 2008-9. He is also the author of a much-praised book on Henry Purcell (Oxford: OUP, 1994) and a study of Dowland’s Lachrimae (Cambridge: CUP, 1999). Much of his research into the violin, the viola da gamba, and early instrumental ensemble music arises out of his work as a performer, with The Parley of Instruments and other early music groups. His interest in Charles Dibdin arose out of his involvement with Opera Restor’d (which recorded three of his theatre works with Hyperion), as well as his interest in the Dibdin collection in the Brotherton Library, University of Leeds. Similarly, his interest in psalmody arose out of his Hyperion recordings with his choir Psalmody, and will lead to future publications.

Current Modules

• Peter Holman is on study leave 2007-8.

Module Coordinator for

• Peter Holman is on study leave 2007-8

Other Teaching

• MUSI3421 Minor Notation and Editing
• MUSI3540 Major Notation and Editing
• MUSI3822 Texts and Contexts (Handel and the Oratorio)
• MUSI1721 Texts and Contexts (Performance Practice)
• MUSI3120/3140 Dissertation
• MUSI5430M Editing and Archival Studies
• MUSI5060M Introduction to Musical Scholarship
• MUSI5462M Editorial Project
• MUSI5132/5162M Dissertation
• MUSI1320 Practical Skills (Baroque Chamber Music)
• MUSI1020 Music in History and Culture

• Peter Holman is on study leave 2007-8

Books (single authored)

• John Dowland: Lachrimae (Cambridge: CUP, 1999).
• Henry Purcell (Oxford: OUP, 1994).
• Four and Twenty Fiddlers: The Violin at the English Court 1540-1690 (Oxford: OUP, 1993; 2/1995). Winner of the 1995 Derek Allen Prize awarded by the British Academy.

Contributions to books and conference proceedings

• ‘A Little Light on Lorenzo Bocchi: an Italian in Edinburgh and Dublin’, Music in the British Provinces 1690-1914, ed. R. Cowgill and P. Holman, (Aldershot: Ashgate, 2007), 61-86.
• ‘From Violin Band to Orchestra’, From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century, ed. J. Wainwright and P. Holman (Aldershot, 2005), 241-257.
• ‘Notation and Interpretation’, The ABRSM Performer’s Guide to Baroque Music, ed. A. Burton (London, 2002), 21-48
• ‘Eighteenth-Century English Music: Past, Present, Future’, Music in Eighteenth-Century England, ed. D. Wyn Jones (Aldershot: Ashgate, 2000), 1-13.
• ‘Performing Psalmody: a Personal View’, Georgian Psalmody 2: The Interaction between Urban and Rural Practice (Corby Glen, 1999), 91-4.
• Introduction, The Gallery Tradition: Aspects of Georgian Psalmody, ed. C.E. Turner (Ketton, 1997), ix-xi.
• ‘“Evenly, Softly, and Sweetly Acchording to All”: The Organ Accompaniment of English Consort Music’, John Jenkins and his Time: Studies in English Consort Music, ed. A. Ashbee and P. Holman (Oxford: OUP, 1996), 353-82.
• ‘Original Sets of Parts for Restoration Concerted Music at Oxford’, Performing the Music of Henry Purcell, ed. M. Burden (Oxford: OUP, 1996), 9-19, 265-71.
• ‘The Violin in Tudor and Stuart England’, The British Violin: Historical Aspects of Violin and Bow Making in the British Isles, ed. J. Milnes (Oxford, British Violin Making Association: 1999), 3-10.
• ‘Court and Country (1603-1660)’, and ‘Pride or Prejudice? (1715-1800)’, Fairest Isle, ed. D. Fraser (London: BBC, 1995).
• ‘Consort Music’, The Purcell Companion, ed. M. Burden (London, 1995).
• ‘Purcell and Roseingrave: A New Autograph’, Purcell Studies, ed. C.A. Price (Cambridge: CUP, 1995).
• ‘London: Commonwealth and Restoration’, The Early Baroque Era, ed. C.A. Price, Man & Music (London: Macmillan, 1993), 305-26.
• ‘Theatre Music 1603-1642’, The Seventeenth Century, ed. I. Spink, The Blackwell History of Music in Britain, 3 (Oxford: Blackwell, 1992), 282-305.
• ‘An Addicion of Wyer Stringes beside the Ordenary Stringes: The Origin of the Baryton’, A Compendium of Contemporary Musical Thought, ed. J. Paynter, R. Orton, P. Seymour and T. Howell (London and New York: Routledge, 1992), 1098-1115.
• ‘Music at the Court of Henry VIII’, Henry VIII: A European Court in England, ed. D. Starkey (London: Collins & Brown, 1991), 104-6.
• ‘The British Isles: Private and Public Music’, Companion to Baroque Music, ed. J.A. Sadie (London: OUP, 1990), 261-9.
• ‘Valentinian, Rochester and Louis Grabu’, The Well Enchanting Skill: Music, Poetry and Drama in the Culture of the Renaissance (Essays in Honour of Frederick W. Sternfeld), ed. J. Caldwell, E. Olleson and S. Wollenberg (Oxford: OUP, 1990), 127-41.

Periodical articles

• ‘Continuity and Change in English Bass Viol Music: the Case of Fitzwilliam Mu. MS 647’, The Viola da Gamba Society Journal*, 1 (2007), 20-50, on line at http://www.vdgs.demon.co.uk/publications-Journal.htm (opens in a new window)
• ‘Handel, the Viola da Gamba and its Players in London’, Händel-Jahrbuch, 53 (to appear in 2007).
• ‘What did Violin Consorts Play in the Early Sixteenth Century?’, Basler Jahrbuch für historische Musikpraxis, 29 (2005, published 2007), 53-65.
• ‘Storace’s Dictatory Nod: a Frustrated Composer at Drury Lane in 1788’, Early Music Performer, 18 (May 2006), 18-24.
• ‘Early Music in Victorian London: the Case of the 1845 Concert’, Ad Parnassum, 4, no. 8 (2006, published 2007), 7-40.
• ‘The First Early Music Concert in London’, Early Music Performer, 15 (May 2005), 4-21.
• ‘“A Solo on the Viola da Gamba”: Carl Friedrich Abel as a Performer’, Ad Parnassum, 2/4 (October 2004), 45-71.
• ‘Ann Ford Revisited’, Eighteenth-Century Music, 1 (2004), 157-181.
• ‘Thomas Busby, W.T. Parke, William Shield and a Symphonie Concertante by Pleyel’, Early Music Performer, 13 (January 2004), 25.
• ‘An Early Edinburgh Concert’, Early Music Performer, 13 (January 2004), 9-17.
• (with Clare Brown) ‘Thomas Busby and his “FAC SIMILES OF CELEBRATED COMPOSERS”’, Early Music Performer, 12 (August 2003), 3-12.
• ‘Did Handel Invent the English Keyboard Concerto?’, The Musical Times, 144 (Summer 2003), 13-22.
• ‘A New Source of Bass Viol Music from Eighteenth-Century England’, Early Music, 31 (2003), 81-99.
• ‘Recorder Music in England, c. 1680-1740’, Recorder Education Journal, 8 (2002), 16-20.
• ‘Compositional Choices in Henry Purcell’s ‘Three Parts upon a Ground’, Early Music, 29 (2001), 250-61.
• (with Richard Maunder) ‘The Accompaniment of Concertos in Eighteenth-Century England’, Early Music, 28 (2000), 636-650
• ‘The Colchester Partbooks’, Early Music, 28 (2000), 577-95
• ‘Venetian Voices’, Gramophone Early Music (Winter 1999/2000), 36-42.
• ‘An English Manuscript of Music by Marc-Antoine Charpentier’, Charpentier: Société Marc Antoine Charpentier Bulletin, 16 (1999), 13-17.
• ‘A New Source of Jacobean Lute Music’, The Lute, 39 (1999), 7-15.
• ‘Dowland: Lachrimae’, Goldberg, 6 (1999), 41-7.
• ‘The Crying Game’ [Dowland and Melancholy], BBC Music Magazine (September 1998), 39-40.
• ‘Henry Purcell and Joseph Gibbs: A New Source of the Three-Part Fantasias Z732 and Z734’, Chelys, 25 (1998), 97-100.
• ‘The Early String Quartet: Preconceptions and Misconceptions’, The String Quartet, BBC Music Magazine Special (USA, 1996), 29.
• ‘Thomas Arne and Artaxerxes’, The Musical Times, 137 (1996), 19-21.
• ‘Purcell and the Orchestra’, The Musical Times, 137 (1996), 17-23.
• ‘The Baroque Concerto’, The Concerto, BBC Music Magazine Special (London, 1995), 22-4.
• ‘A Changing Perception’ [The Symphony and the Audience], The Symphony, BBC Music Magazine Special (London, 1995), 20-1.
• ‘Mystery Man’ [Heinrich Biber], The Musical Times, 135 (1994), 437-41.
• ‘Eastern Uprising’ [Early Music in Eastern Europe], BBC Music Magazine, 2 (March 1994), 53.
• ‘“Col Noblissima Esercitio della Vivuola”: Monteverdi’s String Writing’, Early Music, 21 (1993), 577-90.
• ‘Pride or Prejudice? A Plea for English Eighteenth-Century Music’, The Musical Times, 133 (1992), 504-5.
• ‘The Importance of the Consort’ [The Origin of the Violin], The Strad, 103 (1992), 906-8.
• ‘Dido y Eneas: ¿ópera o masque?’, Scherzo, 5 (December 1989), 90-1.
• ‘Heirs and Graces. Princely Patronage: Music in the Royal Household’, The Listener (16 June 1988), 43-4.
• ‘Bartholomew Isaack and “Mr Isaack” of Eton: A Confusing Tale of Restoration Musicians’, The Musical Times, 128 (1987), 381-5.
• ‘The Harp in Stuart England: New Light on William Lawes’s Harp Consorts’, Early Music, 15 (1987), 188-203.
• ‘A New Source of Restoration Keyboard Music’, Royal Musical Association Research Chronicle, 20 (1986-7), 53-7.
• ‘An Orchestral Suite by François Couperin?’, Early Music, 14 (1986), 71-6.
• ‘Thomas Baltzar (?1631-1663), the “Incomperable Lubicer on the Violin”’, Chelys, 13 (1984), 3-38.
• ‘The English Royal Violin Consort in the Sixteenth Century’, Proceedings of the Royal Musical Association, 109 (1982-3), 39-59.
• ‘New Sources of Music by Robert Johnson’, The Lute Society Journal, 20 (1978), 43-52.
• ‘The “Symphony”’, Chelys, 6 (1975-6, pub. 1978), 10-24.
• ‘Continuo Realisations in a Playford Songbook’, ibid., 268-9.
• ‘Suites by Jenkins Rediscovered’, Early Music, 6 (1978), 25-35.
• ‘The Trumpet Sonata in England’, Early Music, 4 (1976), 424-9.
• ‘George Jeffries and the “Great Dooble Base”’, ibid., 79-81.
• ‘Preliminary Checklist of Music for One or More Bass Viols with or without Continuo Printed before 1800’, Chelys, 5 (1973-4, pub. 1976), 62-7.
• ‘Recreating Renaissance Theatre Music’, Recorder and Music Magazine, 3 (1971), 397-8.
• (with Clifford Bartlett) ‘Giovanni Gabrieli: A Guide to the Performance of his Instrumental Music’, Early Music, 3 (1975), 25-32.
• ‘The Instrumental and Orchestral Music of Samuel Wesley’, The Consort, 23 (1966), 175-9.

Contributions to encyclopaedias

I have contributed to The Longman New Universal Dictionary, The New Grove Dictionary of Opera, The New Oxford Companion to Music, and The Viking Opera Guide, and wrote or revised the following articles for the The New Grove Dictionary of Music and Musicians (London: Macmillan, 2001) (major articles are in bold):

John Adson, Thomas Arne, Thomas Baltzar, Bass Violin, Philip Beckett, Ambrose Beeland, Thomas Blagrave, Capel Bond, Henry Bowman, William Brade, William Byron, William Cole, Charles Dieupart, Thomas Farmer, Daniel Farrant, Gottfried Finger, Edward Finch, James Fisin, Francis Forcer, John Gamble, Joseph Gibbs, Louis Grabu, Thomas Greeting, William Gregory, William Hall, William Howes, George Hudson, Bartholomew Isaack, Simon Ives, Gottfried Keller, Robert King, Benjamin Lamb, John Frederick Lampe, John Lenton, Matthew Locke, London, Music at Court - king’s band, other secular musicians, Davis Mell, Richard Motley, Stephen Nau, Valentine Oldis, Nicolas Pickart, Francis Pigott, Henry Purcell and the Purcell family, Quinte, Valentine Reading, Benjamin Rogers, Daniel Roseingrave, Joseph Shirley, Obadiah Shuttleworth, Robert Smith, Thomas Simpson, Robert Taylor, Sylvanus Taylor, Tollett family, Violin - history and repertory to 1600, Maurice Webster, William Williams, William Young.

I was area advisor for seventeenth-century musicians for The Oxford Dictionary of National Biography (Oxford: OUP, 2004).

Reviews

I have contributed reviews and other journalism to BBC Music Magazine, Chelys, Early Music, Early Music History, Early Music News, Early Music Performer, Early Music Review, Early Music Today, Gramophone Early Music, Goldberg, Journal of the Royal Musical Association, The Listener, The Lute, The Musical Times, Music & Letters, Notes and The Times Literary Supplement.

Editions (critical & other)

• (with Andrew Woolley) Restoration Theatre Suites, Musica Britannica (forthcoming).
• (with John Cunningham) M. Locke, Consort Music, Musica Britannica (forthcoming).
• C. Dibdin, The Sadler’s Wells Dialogues, 1772-1780 (Wellington NZ: Artaria Editions, 2007).
• (with Sally Drage) Vital Spark of Heav’nly Flame [anthology of eighteenth- and nineteenth-century English parish church music for Passiontide and Easter] (London: Faber Music, 2000).
• attrib. J. Haydn, Deutschlands Klage auf den Tod des großen Friedrichs Borußens König [including a reconstruction of the lost baryton part], Dr Holman’s Restorative, 1 (St Albans: Corda Music, 1998).
• J. Eccles, The Mad Lover (1701), Restoration Theatre Suites, 2 (St Albans: Corda Music, 1998).
• J. Paisible, She Wou’d and She Wou’d Not (1702), Restoration Theatre Suites, 1 (St Albans: Corda Music, 1997).
• (with Sally Drage) A Christmas Celebration [anthology of eighteenth- and nineteenth-century English parish church music] (London, Faber Music, 1997).
• F. Geminiani and J. Oswald, Trio Sonatas on Scots Tunes, Orpheus Caledonius, 3 (Edinburgh: Hardie Press, 1994).
• W. McGibbon, Three Sonatas for Two Flutes or Violins and Continuo, Orpheus Caledonius, 2 (Edinburgh: Hardie Press, 1991).
• W. McGibbon, Three Sonatas for Flute or Violin and Continuo, Orpheus Caledonius, 1 (Edinburgh: Hardie Press, 1991).
• Nine Dances from the Court of Elizabeth (reconstructed from virginal MSS) (Corby: Earlham Press, 1983).
• Seven Dances from the Court of Henry VIII [reconstructed from British Library, R.A. MS 58] (Corby: Earlham Press, 1983).
• P. van Wilder, Fantasia con Pause et Senza Pause (Corby: Earlham Press, 1983).
• N. Matteis, Concerto in C for Three Trumpets [with reconstructed string, recorder and timpani parts] (London, Nova Music, 1982).
• C. Coleman and N. Lanier, Two Suites in Five Parts, The Royal Wind Music, 3 (London: Nova Music, 1982).
• W. Croft, Complete Harpsichord Works, ed. H. Ferguson and C. Hogwood [addition of two hitherto unknown suites] (London: Stainer & Bell, 2/1982).
• Notari, Canzona Passaggiata for Violin and Basso Continuo (London, Nova Music, 1981).
• G. Fantini, Twelve Dances for Trumpet in C and Basso Continuo (London, Nova Music, 1981).
• J. Bassano, Four Fantasias in Five Parts, The Royal Wind Music, 2 (London: Nova Music, 1981).
• A. Bassano, Pavans and Galliards in Five Parts, The Royal Wind Music, 1 (London: Nova Music, 1981).
• N. Matteis, Suite in D minor, Ayres for the Violin: Book 4 (London: OUP, 1981).
• J. Paisible?, Sonata in D for Trumpet/Oboe, Two Violins and Basso Continuo (London: OUP, 1981).
• G. Keller, Sonata 1 in D major for Trumpet or Oboe, Strings and Basso Continuo (London: OUP, 1981).
• J. Weldon, Suite in D minor for Two Violins and Basso Continuo (London: Nova Music, 1980).
• J. Theile, Sonata à 4 for Two Violins, Trombone, Bassoon and Basso Continuo (London: Nova Music, 1980).
• Music at the Royal Court of London ca 1620: Pieces by Nicholas Lanier, Thomas Holmes, Robert Johnson and Thomas Ford (Celle: Moeck, 1980).
• M. Locke, Suite in G from Tripla Concordia (London: Nova Music, 1980).
• W. Daman, Fantasia di Sei Soprani (London: Mapa Mundi, 1980).
• G. Finger, Sonata in C for Oboe/Trumpet, Violin and Basso Continuo (London: Nova Music, 1979).
• G. Finger, Two Sonatas for Two Treble Recorders, Two Oboes and Basso Continuo (London: Nova Music, 1979).
• G. Finger, Sonata in B flat for Two Oboes/Violins and Basso Continuo (London: Nova Music, 1979).
• The Division Recorder [collected edition of English ground basses for recorder], 2 vols. (New York: Shattinger, 1979).

Recordings

• More than 60 recordings on the Hyperion label. For those currently available, see http://www.hyperion-records.co.uk/.

Radio / TV broadcasts

• Regular broadcasts on Radio 3 and 4.

Public Performances

• 2000-to date Founder and director of Leeds Baroque Orchestra and Choir
• 1996-to date Founder and director of the chamber choir Psalmody
• 1995 Co-director of the Boston Early Music Festival, U.S.A.
• 1988-to date Founder and director of the Suffolk Villages Festival and Essex Baroque Orchestra
• 1985-to date Co-founder and musical director of Opera Restor’d
• 1979-to date Co-founder and current director of The Parley of Instruments
• adult education:
  • 1993-to date Director of The Parley of Instruments summer school, for the performance of Baroque music part of Cambridge Early Music Summer Schools.
  • 1990-2002 Director of the Easter Baroque opera course at Little Benslow Hills, Hitchin, as well as chamber music and orchestral weekends.
  • 1989-93 Director of Essex Youth Chamber Orchestra

Keynote & invited lectures

Occasional lectures for:

• The Royal College of Music
• The Royal Academy of Music
• The Royal Northern College of Music
• Brussels Conservatoire
• London University Extension Course
• Oxford University
• King’s College, London
• The British Library
• Royal Holloway and Bedford New College
• Newcastle University
• Huddersfield University
• Essex University
• The University of East Anglia
• Reading University
• Victoria University, Wellington, New Zealand
• Auckland University, New Zealand
• University of Canterbury, Christchurch, New Zealand
• University of Otago, Dunedin, New Zealand
• Toft’s University, New York
• The University of Maryland
• Cornell University
• The British and European Study Centre

Conference papers (oral)

• 2007 Bristol (invited), Dublin (invited), Bristol, London (invited)
• 2006 London (invited), Warsaw), Hull (invited), Durham (invited)
• 2005 Middelburg (invited), York (invited), London, Basle (invited)
• 2004 London (invited), Manchester (chair, proceedings committee)
• 2003 Birmingham, London
• 2002 Logrono, Spain
• 2000 Dublin
• 1999 York, Durham
• 1998 London, Royaumont near Paris (invited), Oxford, York
• 1997 Hampton Court, Clacton, Eisenstadt (invited)
• 1996 Birmingham, Cardiff (keynote)
• 1995 London, York, London (2)
• 1994 Edinburgh
• 1993 Cleveland, Ohio (invited), Utrecht (invited), Oxford
• 1992 Tiverton (invited), Hitchin
• 1990 London
• 1989 Utrecht (invited)
• 1988 Edinburgh
• 1985 Oxford, Boston (invited)
• 1984 Durham
• 1983 Strasburg

Other

I have written numerous notes for recordings on the Archive, Amon Ra, Arcana, Argo, Ars Musici, Astree, Chandos, Channel Classics, Decca, Erato, Globe, Harmonia Mundi, Hyperion, L’Oiseau Lyre, Metronome, Oryx, Philips, Silva Screen, Sony, Vanguard and Virgin Classics labels.

• AHRC-funded research leave, 2008.

• University of Huddersfield / Musicology (2003-7)

• Ph.D.:Oxford University (2), Cambridge University, King’s College, University of London (2), Goldsmith’s College, University of London, the University of Leeds (2), University of Otago, New Zealand.

• Friends of Cambridge Early Music Summer Schools

• 2004 Leeds, International Conference on Baroque Music (Proceedings Committee)
• 2004 Manchester, International Conference on Baroque Music (Chair, Proceedings Committee)
• 1996 Birmingham, International Conference on Baroque Music (Proceedings Committee)

• Committees and Consultancies
  • LUCEM (Leeds University Centre for English Music), Director
  • Musica Britannica, Editorial Committee
  • Purcell Society, Editorial Committee
  • Early Music, Editorial Board, Guest Editor (May 1999), Consultant Editor (November 2000)
  • Early Music Performer, Chairman, Editorial Board
  • National Early Music Association, Chairman (1997-2003)
  • Royal Northern College of Music, Consultant in Period Performance (2001-2004)
  • Boydell and Brewer, Editor (with Dr Rachel Cowgill) of the series ‘Music in Britain 1600-1800’
  • Hyperion Records, Series Director of the English Orpheus series
• Refereeing and Reviewing
  • Early Music
  • Journal of the Royal Musical Association
  • Journal of the American Musicological Society
  • Royal Musical Association Research Chronicle
  • Chelys
  • Early Music Today
  • Early Music Review
  • Early Music Performer
• Adjudication of Early Music Competitions
  • 2007 Suffolk Villages Festival Young Artists Competition
  • 2006 London, Musica Britannica Sir Anthony Lewis Memorial Prize Competition
  • 2005 London, Broadwood Harpsichord Competition
  • 2004 London, Musica Britannica Sir Anthony Lewis Memorial Prize Competition
  • 2003 Royal Academy of Music, Early Music Competition
  • 2002 Guildhall School of Music, Early Music Competition
  • 1988 Boston MA, Erwin Bodky Competition
  • 1986 London, Early Music Network Young Artists Competition

Current Research Students

• Sally Drage, The Performance of English Parish Church Music 1750-1850.
• Min-Jung Kang, The Trio Sonata in Seventeenth-Century England.
• Nancy Hadden, The Renaissance Flute.
• Francisco del Amo, The Life and Music of Anthony Poole.
• Andrew Woolley, The Harpsichord in Education in Britain c.1660-1720.
• Fiona Smith, Small Recorders in Eighteenth-Century Britain.
• Therese de Goede, Continuo Realisation in Seventeenth-Century Italy.

Past Research Students

• John Cunningham, ‘Music for the Privy Chamber: Studies in the Consort Music of William Lawes, 1602-1645’ (University of Leeds, 2007).
• Michael Robertson, ‘The Consort Suite in the German-Speaking Lands (1660-1705)’ (University of Leeds, 2004).
• Peter Leech, ‘Music and Musicians in the Stuart Catholic Courts, 1660-1718’ (Anglia Polytechnic University, 2004).
• Brian Brooks, ‘Breslau MS 114 and the Violin in Early Seventeenth-Century Germany’ (Cornell University and the University of Leeds, 2003).
• David Knight, ‘The Organs of Westminster Abbey’ (King’s College, London, 2001).

Director of Leeds Baroque Choir and Orchestra. Based in the Music School, it recruits from students, music teachers and good amateurs across the north of England, and puts on concerts and workshops in Leeds and elsewhere.