The HuCPeR 19th Century Salon

Dr 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, the Salzburg Mozarteum, and the University of Leeds. He was a member of the Scottish Chamber Orchestra and the Orchestra of Opera North for 30 years, and now regularly appears as a soloist and chamber music player, on modern, 19th-century, and baroque cello. He was a member of the CHASE research project in 19th-century music editions at the University of Leeds, Director of Music at the University of Hull, and is currently Visiting Research Fellow at the Universities of Huddersfield and Leeds. He is a member of the Meiningen Ensemble, a chamber group which explores practical applications of historical research to the 19th-century repertoire. He has published a monograph on 19th-century cello performance practice, and articles and book chapters on textual and theoretical aspects of 19th-century performance research. He is also the leading British specialist in the art and music of the Lithuanian M.K. Čiurlionis (1875-1911), and has frequently lectured on Čiurlionis and aspects of Baltic music both in the UK and in Lithuania. He has taught at the Royal Northern College of Music and the Lithuanian National Academy of Music.

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.

Anna Scott is a Canadian pianist-researcher interested in challenging understandings of canonic composers and their works in-and-through provocative acts of musical performance. In 2014 she was awarded a practice-led PhD in early-recorded Brahms performance practices by Leiden University (NL) and the DocArtes Doctoral Programme in the Musical Arts at the Orpheus Institute (BE) under the supervision of Daniel Leech- Wilkinson and Bruce Haynes†. A busy solo, chamber and lied pianist renowned for her startling performances of nineteenth-century repertoires from Schubert to Debussy, Anna also teaches and supervises Masters and PhD students at the Royal Conservatory of The Hague (NL), Leiden University and the Orpheus Institute; she was recently appointed Assistant Professor at Leiden University’s Department of Creative and Performing Arts; and she is on the coordination team of the DocArtes Doctoral Programme in the Musical Arts at the Orpheus Institute. 

Emily Worthington specialises in playing period clarinets from the 18th to early-20th century. She has played with orchestras 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 La Chambre Philharmonieque. As a chamber musician, Emily was selected for young artists’ residencies at the Festivals of Saintes and Utrecht and broadcast on Netherlands Radio 4. Emily now co-directs Boxwood and Brass, a historical ‘Harmonie’ or wind ensemble specialising in the music of the late-18th and early-19th centuries. Boxwood & Brass released its debut CD in 2016 to universal critical praise. Emily’s research, which concentrates on 19th and 20th-century performance practice and early recordings, has been supported by an AHRC Doctoral Award and an Edison Research Fellowship. Emily is a Lecturer in Music Performance at the University of Huddersfield and has acted as a guest tutor and lecturer at various UK conservatoires as well as Chetham’s School of Music and the Abbaye aux Dames de Saintes.

Dr Inja Stanović is Croatian pianist and researcher, born in Zagreb and currently residing in Sheffield, UK. As a pianist, Inja has performed throughout the world, including concerts in Croatia, Australia, France, Germany, Italy, Slovenia, Mexico, the United Kingdom, and the United States. Inja’s education started in Croatia at the Ino Mirković School of Music, licensed under the P. I. Tchaikovsky Moscow State Conservatory, where she studied under Marina Ambokadze. She completed two postgraduate degrees at the Schola Cantorum, Paris, with Eugene Indjic. Shortly after, Inja moved to the USA to complete a Masters degree at the Boston Conservatory with Michael Lewin. Recently, Inja finished her PhD at the University of Sheffield, focusing on nineteenth-century performance practice relating to the work of Frédéric Chopin. Besides being an active pianist, Inja has published articles in HARTS and Mind Journal and Swedish Musicological Journal, and is currently preparing a book chapter for Cambridge Scholars Publishing “Music and Sound Art: Composition, Performance, Philosophy”. Inja has held various academic posts, including research fellowship at the Sydney Conservatoire and visiting lectureship at the Birmingham Conservatoire. Most recently, she has won the prestigious Leverhulme Trust Early Career Fellowship, hosted by the University of Huddersfield. Inja is conducting a three year research project under the title “(Re)constructing Early Recordings: a guide for historically informed performance”. 

Jeroen Billiet (°Tielt, Belgium 1977) studied the horn with Luc Bergé at the Royal Conservatories of Ghent and Brussels, and obtained a Master degree in music performance magna cum laude in 2001. He has since specialized in historical horns and currently plays principal horn with leading ensembles as le Concert d'Astrée (Emmanuelle Haim), B'Rock  (René Jacobs) and Insula Orchestra (Laurence Equilbey). He is a founding member of the Mengal Ensemble, a collective of Belgian horn players exploring unknown repertoire for their instrument.

After his post-graduate study "200 years of Belgian Horn school" (Orpheus Institute 2008) he has continued researching the practice of horn playing in Belgium, resulting in a large number of published articles, music productions and recordings.

Jeroen is a full-time research associate and teacher of natural horn at the School of Arts-University College Ghent, a faculty member of the Royal Conservatory of the AP-institute in Antwerp and currently is preparing a Doctorate in Arts on the legacy of the romantic Ghentian horn tradition at Ghent University.

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