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.
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
recording of Handel's A minor recorder sonata. He later took up the
harpsichord, crumhorn and great bass shawm, earning a meagre living from
music for 2 years in the early 70s. Now retired following a career in
business, he enjoys (sedately) Domenico Scarlatti's wonderful treasure trove
on his Malcolm Rose harpsichord. He organised 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 . As NEMA secretary, he helped prepare the
successful follow-up conference "Vocal Sound and Style 1450-1650" in
conjunction with BREMF, held in Brighton on
20/21 October 2018. He is now in the process of organising a second
conference Vocal Sound and Style 1650-1830. His book
Vocal Traditions in
Conflict. Descent from Sweet, Clear, Pure and Affecting Italian Singing to
Grand Uproar was published in August 2019. Web site
, 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 the member of the
who, as a computer programmer
by profession, takes responsibility for the data-processing
and 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. She is a member of the Thames Valley Early Music Forum
and sings as a bass with Vivaldi's Women.
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.
is a freelance conductor, singer and independent scholar based in Canterbury, UK.
Formerly Director of Music at Canterbury Christ Church University, David has lectured
in music at Bristol University and taught at several Oxford colleges.
He has directed the Renaissance Singers (London) since 2010 and has conducted numerous other choirs,
including his own early music ensemble, Cantores. An advocate for public engagement with
music of all kinds and especially polyphony of the Renaissance, he has led hundreds of
early music workshops, residential schools and singing holidays in the UK and Europe,
working for every UK regional Early Music Forum, for commercial organisations such as
Run by Singers and for numerous private groups. He frequently speaks to online audiences about
repertoire, context, cultural and performance issues. His continuing research interests include the
rhetorical and devotional culture of the Renaissance, the relationship of votive music to the
practice of prayer, and the contemporary experiences of singers and audiences.
[More at www.davidallinson.com
and FaceBook ]
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 has held research and lecturing positions at universities
in the UK and is currently working on a project to catalogue
late seventeenth and early eighteenth-century music manuscripts
in Portugal. He is a keen performer as harpsichordist and
pianist and posts details of his published research on an
Andrew took over the editorship of
Early Music Performer
is an organ recitalist specialising in early music.
As well as the little book ‘The Performance of Early Organ Music’,
he has written articles on organ and early music topics alongside
freelance writing and reviewing in specialist early music and
organ magazines. For 20 years until its demise, he was the principal
concert and organ CD reviewer for the Early Music Review magazine.
In 2020 he was elected to The Royal Society of Musicians of Great Britain.
return to top