About the tutors:

A number of researchers are starting to develop new approaches to historical performance research, and Transforming C19 HIP with its unique interdisciplinary approach and innovative research methodology, places Oxford at the forefront of this new wave of HIP research. The Summer Chamber Music Course will create a real opportunity for researchers and participants to explore artistic decision making and expression in 19th-century repertoire together.


Claire is a professional period instrument violinist and has been a member of the Orchestra of the Age of Enlightenment (OAE) since 2000. With OAE, Claire has performed and recorded a vast range of Baroque, Classical and Romantic repertoire, varying from self-directed chamber programmes to early twentieth-century symphonic repertoire and commissions by contemporary composers. In addition, Claire has played with many other period instrument ensembles including The Sixteen, Florilegium, Steinitz Bach Players and Collegium Musicum 90.

Claire was awarded an AHRC Fellowship in the Creative and Performing Arts in 2010, and she spent 4 years at Cardiff University researching early nineteenth-century violin playing and lecturing on historical performance before coming to the University of Oxford Music Faculty as a Research Fellow in 2014. In April 2016 Claire became Principal Investigator on the 5 year, AHRC funded Transforming C19 HIP project, leading a team of four researchers. Claire is also a Postdoctoral Research Fellow at Christ Church, Oxford.

Claire teaches Historical Performance classes at the Royal Academy of Music, London and has given lectures, workshops and masterclasses and coaching projects in many UK universities and conservatoires, as well as at the Koninklijk Conservatorium, Den Haag, Universität der Künste Berlin, Université de Poitiers, L’Université Paris-Sorbonne, Jeune Orchestre de l’Abbaye (Abbaye aux Dames, Saintes). She has presented a number of pre-concert talks at the Royal Festival Hall, Queen Elizabeth Hall London and on the radio for the BBC Proms. Claire is often asked to provide advice and coaching to soloists, orchestral leaders, and professional ensembles on early nineteenth-century string playing.


George Kennaway is a cellist, conductor, teacher, and musicologist. Born in Edinburgh, he studied at the universities of Newcastle and Oxford, the Guildhall School of Music, and the University of Leeds. He is currently Director of Music at the University of Hull, Visiting Research Fellow at the University of Huddersfield’s Centre for Performance Research, and Visiting Research Fellow at the University of Leeds.

From 2008-12 he was a post-doctoral researcher at the University of Leeds, investigating 19th-century annotated editions of string music. Before that, he was principal cello no. 2 in the Orchestra of Opera North for 28 years. He regularly appears as a soloist and chamber music player, on modern, 19th-century, and baroque cello. He recently performed unaccompanied 17th– and 18th-century solo cello works in Huddersfield, and in 2015 he made his third appearance as soloist with the Leeds Baroque Orchestra. With David Milsom and Jonathan Gooing, he is a member of the Meiningen Ensemble, a chamber group which explores applications of historical research to the 19th-century repertoire. He is in overall charge of early music at Hull University and directs Collegium Musicum Hull. He has conducted orchestras in the UK, Russia, Uzbekistan, Kazakhstan, Italy, and Lithuania, and currently conducts the Harrogate Philharmonic Orchestra, the Sheffield Chamber Orchestra, the Pennine Sinfonia, and the Hull University Symphony Orchestra. His book Playing The Cello 1780-1930 (Ashgate) appeared in 2014. Other publications include articles and book chapters on editions of Haydn cello concertos, opera orchestra contracts, theoretical aspects of historical performance and historiography, and the music of the Baltic states. He is the leading UK specialist in the music and art of the Lithuanian M. K. Čiurlionis, his most recent publication in this field dealing with Čiurlionis’s octatonic compositions. He has taught at the Royal Northern College of Music and the Lithuanian National Academy of Music.


A graduate of the University of Sydney, the Guildhall School of Music and Drama (London), the City University (London) and the University of Leeds (UK), Neal Peres Da Costa is a world-renowned performing scholar and educator. He is Professor of Historical Performance within the Historical Performance Division (which he founded and of which he was Chair from 2006-2016) and Program Leader of Postgraduate Research at the Sydney Conservatorium of Music. His monograph Off the Record: Performing Practices in Romantic Piano Playing (New York: Oxford University Press, 2012) is hailed as a book that ‘no serious pianist should be without’ (Limelight, 2012) and honoured as ‘a notable book’ on Alex Ross’s 2012 Apex List. In 2012, it was the subject of a five-part series broadcast by ABC Classic FM during the Sydney International Piano Competition and an interview with Christopher Lawrence for the ABC Classic FM Music Makers programme. During 2015-16 Neal was a chief editor (with Clive Brown and Kate Bennett Wadsworth for the new Bärenreiter Urtext performing edition of the complete Brahms chamber works for one solo instrument and piano) which has received critical acclaim. Bärenreiter have commissioned Neal (with Clive Brown) to produce editions of the Beethoven and Eberl Sonatas for violin and piano. Neal has recently received prestigious Australian Research Council (ARC) funding for a three-year Discovery Project (2017-19) for performance research in 19th-century piano playing.

Neal regularly performs with Australia’s leading ensembles including the Australian Chamber Orchestra, Sydney Symphony Orchestra, Pinchgut Opera, the Song Company, the Australian Haydn Ensemble and Ironwood. He has performed at the Festival Baroque, the Peninsula Summer Festival, the Music Viva Festival, the Australian Festival of Chamber Music, the York Early Music Festival (UK) and Pegasus Music (US). He is involved in on-going projects with the Australia Haydn Ensemble including, in 2017, performances of Beethoven’s Piano Concerto no. 5, and a recording of Beethoven’s Piano Concertos nos. 1 and 3 to be released in 2017. With Ironwood, Neal undertakes cutting-edge creative research that has led to performances and recordings of late-Romantic chamber repertoire in period style which have received critical acclaim. Neal has an extensive collection of historical pianos including grand pianos by Collard and Collard (English c.1840), Erard (French c.1869), and Streicher (Viennese replica c.1868).

Winner of the 2008 Fine Arts ARIA for Best Classical Recording for Bach’s Sonatas for violin and obbligato harpsichord (ABC Classics, 2007) with Richard Tognetti and Daniel Yeadon, Neal’s discography includes: Bach’s Complete Sonatas for Viola Da Gamba and Harpsichord with Daniel Yeadon (ABC Classics, 2009), The Baroque Trombone with Christian Lindberg and the ACO (BIS, 2009); The Galant Bassoon with Matthew Wilke and Kees Boersma (Melba, 2009); Baroque Duets(Vexations 840, 2011) which he directed with Fiona Campbell, David Walker and Ironwood; Music for a While with Ironwood and Miriam Allan (2012); 3 with Genevieve Lacey and Daniel Yeadon (ABC Classics, 2012); Mozart: Stolen Beauties with Anneke Scott and Ironwood (ABC Classics, 2015) and most recently Brahms: Tones of Romantic Extravagance (ABC Classics, 2016). He has also recorded extensively on the Channel Classics label with Florilegium, the British ensemble which he co-founded in 1991 and of which he was a member for 10 years.


Anneke Scott began her studies at The Royal Academy of Music, London with Pip Eastop and Andrew Clark. She was subsequently awarded prestigious scholarships to further her studies in France (with Claude Maury) and Holland (with Teunis van der Zwart), where she concentrated on aspects of period horn playing.

Since her graduation from The Royal Academy of Music in 2000 she has been in demand with ensembles in the UK and continental Europe. She is principal horn of Sir John Eliot Gardiner’s Orchestre Révolutionnaire et Romantique and The English Baroque Soloists, Harry Christopher’s The Orchestra of the Sixteen, Fabio Biondi’s Europa GalanteIrish Baroque OrchestraDunedin Consort and PlayersThe Kings Consort and Avison Ensemble as well as appearing regularly as a guest principal with orchestras and ensembles worldwide.

For many years she has had a keen interest in chamber music which led her to become a founder member of The Etesian Ensemble. Through this ensemble she met the fortepianist Kathryn Cok with whom she formed a duo specialising in Classical and Romantic repertoire for horn and fortepiano. Kathryn and Anneke were selected as two of Making Music’s Concert Promoters Network Artists for 2008–2009 and toured Holland in 2009 as part of the Organisatie Oudemuziek Netwerk. Their debut disc of virtuosic music for natural horn and fortepiano from early nineteenth-century Vienna was released in June 2011 by Challenge Classics. She is also a founder member of ensembleF2 with whom she performed the Mozart Horn Quintet at London’s Wigmore Hall in April 2009.

In 2005–2006 she undertook research at the University of Birmingham’s Centre for Early Music Performance, where she currently teaches period horns. As a result of this research she was interviewed in 2006 by BBC TV for the BBC2 series The People’s Museum discussing the Hofmaster horns housed at Edinburgh University. In 2005 she was invited by The Bate Collection, Oxford to perform in concert on one of their magnificent original Hofmaster horns dating from the mid 18th-centur. Since then Anneke has had an active working relationship with the collection which recently resulted in a CD featuring horn works from the late seventeenth through to the early twentieth century all performed on instruments from the collection.

In 2010 Anneke was awarded a Gerard Finzi Travel Scholarship to undertake research in Paris in preparation for her recording of the Jacques-François Gallay Douze Grands Caprices on natural horn release by Resonus Classics in October 2012. This was to form the first disc in a series of three, all featuring the works of Gallay. The second, with the natural horn ensemble Les Chevaliers de Saint Hubert, was released in 2013 with the third, featuring operatic fantasias with Steven Devine (piano) and Lucy Crowe (soprano) is due for release in early 2015.

Anneke’s activities are not confined to period performance. She has performed the music of Ligeti with The London Sinfonietta, and can be heard on two albums with The Nigel Waddington Big Band. In 2013 she recorded John Croft‘s work …une autre voix qui chante… for solo hand-horn, a work written especially for her.

In 2007 Anneke was elected an Associate of the Royal Academy of Music, an honour awarded to past students of the Academy who have distinguished themselves in the music profession and made a significant contribution to their field.


Emily Worthington studied modern and historical clarinets at the University of York, the Royal College of Music and the Abbaye aux Dames de Saintes in France. Her teachers included Lesley Schatzberger, Alan Hacker, Tim Lines, Barnaby Robson, Colin Lawson, Jane Booth and Lorenzo Coppola. She now specialises in playing period clarinets from the 18th to early twentieth century.

Together with bassoonist Robert Percival and horn player Anneke Scott, Emily directs Boxwood and Brass, a historical ‘harmonie’ or wind ensemble specialising in the music of the late-18th and early-19th centuries. Boxwood & Brass’s debut CD, Music for a Prussian Salon, was released on Resonus Classics in Autumn 2016.

As an orchestral musician, Emily freelances with ensembles across the UK and Europe, including the Orchestra of the Age of Enlightenment, Academy of Ancient Music, The Gabrieli Players, Spira Mirabilis, Le Cercle de l’Harmonie and Le Concert Spirituel. As a member of Quatuor Odam, Emily was previously selected for young artists’ residencies at the Festivals of Saintes and Utrecht and broadcast on Netherlands Radio 4.

Emily is also active as a musicologist. In 2013 she completed a PhD at the University of York entitled ‘The Modernisation of Wind Playing in London Orchestras, 1909–1939’, funded by a Collaborative Doctoral Award from the AHRC and Music Preserved. She continued her research into playing styles on early recordings as an Edison Visiting Research Fellow at the British Library, and in 2014 she was selected to participate in the BBC New Generation Thinkers workshops.

In 2015, Emily was appointed to the post of Lecturer in Music Performance at the University of Huddersfield, where she contributes to a range of modules, many focussing on solo and ensemble performance skills. She has also given visiting lectures and seminars at various conservatories and universities