Praised for his “beautiful tone” and “subtlety” (MusicWeb International), Hungarian-born László Rózsa enjoys a versatile musical career as a recorder player, researcher, and educator.

László studied recorder with Peter Holtslag at the University of Music and Theatre Hamburg and at the Royal Academy of Music in London. As a soloist and chamber musician he has performed across the UK, Europe, North America, and China. László is the principal recorder player of Scotland’s Dunedin Consort, and he has shared the stage with multiple further leading period orchestras, including Spiritato, La Nuova Musica, and Oxford Baroque. He has appeared numerous times on BBC Radios 3 and 4, and his playing can be heard on albums published by Linn Records, Resonus Classics, Veterum Musica, TNW Music, and Huth-Records.

László is passionate about contemporary music, and he has premiered several new works for his instrument. He enjoys collaborating with composers; recent projects include working with Nicholas Olsen, Timothy Cooper, and István Láng. László is a founding member of the chamber groups Ensemble 1604, which aims to explore and create new music that engages directly with the sound world of early music, and Scots Baroque, which experiments with a fusion of techniques and genres including improvisation and folk styles.

Besides his performing career, László nurtures a growing profile as a researcher. He holds a PhD degree in historical musicology from the University of Glasgow where his thesis was supervised by John Butt and David McGuinness. His research focuses primarily on performative and sociocultural aspects of early modern Italian music, and he is a member of the Hungarian Musicological Society.

László is a committed educator, and he has taught lessons, led workshops, and delivered lectures in various institutions, including McGill University, the Royal Academy of Music, and the University of York. He currently works as an instrumental tutor at the Junior Conservatoire of the Royal Conservatoire of Scotland, and he teaches performance practice at the University of Glasgow.

www.laszlorozsa.com

Paul Sharp’s career has encompassed performing with many of the leading ensembles in the UK
and internationally, in both orchestral and historical music spheres, in the world’s most prestigious
venues from the Sydney Opera House and Carnegie Hall to St Mark’s Basilica, Venice. He was a
foundation scholar of the Royal College of Music where he graduated in joint first study trumpet
and natural trumpet, winning the David Mason Prize for Trumpet.

Paul has performed as principal trumpet with the English Baroque Soloists, The Kings Consort,
Gabrieli Consort and the Academy of Ancient Music. He has performed regularly as guest principal
trumpet with the Orchestra of the Age of Enlightenment including under their principal
conductors, Sir Simon Rattle, Vladimir Jurowski, Sir Mark Elder and Sir Charles Mackerras.
He first performed with Sir John Eliot Gardiner and the English Baroque Soloists in their Bach
cantata pilgrimage tour in 2000 and has played regularly since with both the EBS and Orchestre
Révolutionnaire et Romantique in many major tours and recordings of the music of Bach, Berlioz
and Beethoven.

As principal trumpet of the Dunedin Consort, Paul has recorded Bach’s B Minor Mass, Christmas
Oratorio and Magnificat and Handel’s Samson, Esther and Ode for St Cecilia’s Day. He has
recorded solo obbligato parts alongside James Bowman, Ian Bostridge, Mary Bevan, Elizabeth
Watts and Iestyn Davies. He has made numerous recordings with Arcangelo with whom he gave a
concerto performance at the Wigmore Hall in 2017.

Paul has for many years played regularly with the Philharmonia including as principal trumpet,
and with such eminent conductors as Riccardo Muti, Kurt Masur, Gustavo Dudamel, Esa-Pekka
Salonen and Andris Nelsons. In 2012, he took part in the complete cycle of Mahler symphonies
with Lorin Maazel.

He has performed as principal trumpet with the English Chamber Orchestra, Chamber Orchestra
of Europe, Mahler Chamber Orchestra and Cappella Andrea Barca, Sir András Schiff’s chamber
orchestra.

Paul has been Professor of Natural Trumpet at the Royal College of Music since 2014 and in 2020
was appointed Head of Brass at Westminster School.

Alison McGillivray was born and brought up in Glasgow. She studied cello at the Royal Scottish Academy of Music and Drama with William Conway and at the Royal Academy of Music with Jennifer Ward Clarke. She has recorded Geminiani’s Op. 5 Cello Sonatas (Linn Records) and CPE Bach’s Cello Concerto in A major with the English Concert (Harmonia Mundi USA). She was principal cello with the English Concert and The Academy of Ancient Music, and plays with Concerto Caledonia, Concordia, The Early Opera Company and The Bach Players. During 2000 she played cello and viol in John Eliot Gardiner’s Bach Cantata Pilgrimage. She is professor of baroque cello at the Royal Scottish Academy of Music and Drama and at the Guildhall School of Music and Drama. She also helps to run Katherine McGillivray’s Get a Life Fund, a charity to fund sabbaticals for musicians.

Christine grew up in a small town with a vivid music scene where she was very active as a guitar and trombone player. It wasn’t until she was 16 that she took up the double bass but she knew immediately that it was going to be her main instrument.

She studied with inspiring teachers in Mannheim, Salzburg, Amsterdam and The Hague and went on to make a name for herself as a continuo player and enjoys a diverse career as such, as well as a stylish player for later repertoire performed on period instruments. She performs regularly with the Orchestra of the Age of Enlightenment, Academy of Ancient Music, The English Concert, The King’s Consort, L’Orfeo Barockorchester and Amsterdam Baroque Orchestra.

When Christine is not performing, she is supervising Café Botanico in Berlin, a restaurant with a permaculture garden in the heart of Neukölln.

Graham O’Sullivan fell under the spell of early flutes whilst an undergraduate reading English Literature at Cambridge, studying first with Rachel Brown and later with Lisa Beznosiuk at the Royal Academy of Music and Barthold Kuijken at the Royal Conservatory of Music in The Hague, where his studies were supported by scholarships from both the Countess of Munster Music Trust and Leverhulme Trust. Whilst studying in The Netherlands Graham was selected to join the European Union Baroque Orchestra for their tours in 2000. Since then, as an orchestral musician, Graham has worked with most of the UK’s leading baroque ensembles, including Dunedin Consort, the Academy of Ancient Music, The English Concert, The Sixteen, The English Baroque Soloists and The Gabrieli Consort and Players. Graham has played both flute and recorder for Dunedin Consort for over twenty years and can be heard on a number of the ensemble’s acclaimed recordings, including those of Bach’s Passions, his Mass in B minor, and Monteverdi’s Vespers. As a chamber musician Graham can most frequently be heard performing with his wife, the harpsichordist Mie Hayashi, and gambist Susanna Pell in their ensemble The Herschel Trio, based in the north of England.

Anneke Scott is a leading exponent of historical horn playing. Her work takes her throughout the globe and throughout the centuries of music with a repertoire incorporating music and instruments from the late seventeenth century through to the present day.

Anneke is principal horn of a number of internationally renowned period instrument ensembles including Sir John Eliot Gardiner’s Orchestre Révolutionnaire et Romantique and the English Baroque Soloists, ensemble Pygmalion, The Orchestra of the Sixteen, the Irish Baroque Orchestra, and the Dunedin Consort and Players and many others. She is similarly in great demand as a guest principal horn regularly appearing with orchestras and ensembles worldwide.

Anneke enjoys an international solo career and discography embracing three centuries of virtuosic horn works. Her expertise in baroque horn repertoire ensures that she is frequently to be heard performing the famous obligato arias of composers such as Bach and Handel as well as solo concertos from this period. Her critically acclaimed solo recordings also include three discs focussing on the music of the leading Parisian horn player of the nineteenth century; Jaques-François Gallay.

Anneke enjoys collaborating with a wide group of musicians and is a key member of a number of chamber music ensembles including nineteenth century period brass ensemble The Prince Regent’s Band, the harmoniemusik ensemble Boxwood & Brass, historic wind ensemble Syrinx and ensembleF2. She regularly works with leading period keyboardists including Steven Devine, Neal Peres da Costa, Geoffrey Govier and Kathryn Cok and period harpist Frances Kelly.

She teaches at the Royal Welsh College of Music and Drama, Trinity Laban Conservatoire of Music and Dance, University of Birmingham and on the online teaching platform Play with a Pro. In 2018 she was awarded Fellowship of the Royal Academy of Music and in 2019 she was one of the recipients of the International Horn Society “Punto Award”. More information on her work can be found at www.annekescott.com

Sarah was born in Aberdeen and grew up on the Black Isle and in Glasgow. After studying violin at the Royal College of Music she returned to Scotland and has enjoyed a varied, exciting career based in Edinburgh and touring all over the world. As well as Dunedin Consort she plays with several orchestras and chamber groups including Hebrides Ensemble, Scottish Chamber Orchestra, BBC Scottish Symphony Orchestra and Scottish Ensemble.

As a member in the early days of Chamber Orchestra of Europe, Sarah worked regularly with Nikolaus Harnoncourt which helped develop her interest in early music and historically informed performance. It was further nurtured, as a member of Scottish Chamber Orchestra, by working with musicians such as Sir Charles Mackerras, Frans Brüggen, Emmanuelle Haïm and Trevor Pinnock. This led to Sarah borrowing a baroque violin and bow and grasping every opportunity to play them with groups such as Concerto Caledonia and (now-disbanded) Scottish Early Music Consort. Dunedin Consort was forming at the time and before long was programming repertoire involving instrumentalists as well as singers. Sarah feels fortunate and proud to have been involved since those early days and very much enjoys being part of Dunedin Consort’s continuing evolution.

As well as a passion for early music Sarah also has a special interest in contemporary music and embraces the challenges presented by playing new music on gut strings.