Tutor biographies (in alphabetical order)

Zana Clarke (BA (Melb), B.Mus Hons (Melb), Dip.Ed (UNE), A.Mus.A) is a recorder specialist active in the areas of performing, teaching and composing. She has toured extensively throughout Australia, New Zealand, Europe and the UK, has recorded eight CDs, and is a popular conductor of seminars and workshops (both in Australasia and the UK). Zana has developed a unique approach to recorder teaching that has been the subject of in-depth articles in The Australian Music Teacher magazine (1998) and The Recorder Magazine UK 2003. She has carried out pioneering work in several new areas of recorder technique including vocalised recorder. Zana has also taught Medieval improvisation and early instrumental music at UNE and has conducted workshops in the Baroque repertoire across Australia and New Zealand. Zana is the founder of Orpheus Music, based in Armidale NSW. Orpheus publishes new Australian recorder music and retails recorder music from a wide range of other publishers under the name of Allspice Recorder Music. Orpheus Music also organises concerts, workshops, international music festivals and the annual Orpheus Music Recorder Course in Armidale. 

Patrice Connelly is the President of the Early Music Society of Queensland, and owner of retail and publishing business Saraband Music, which has published over 250 editions. She has an M.Mus (Hons) from the University of Sydney, and many other qualifications in a number of other subject areas. She studied viola da gamba with Ruth Wilkinson, and participated in overseas masterclasses with Catharina Meints, Mary Springfels and Laurence Dreyfus. She has been teaching viol since the late 1980s. In 2000 she founded the Australian Viola da Gamba Society and was its President from 2000-05. In 2009 and 2017 she was a winner of the Leo Traynor Competition for New Viol Music with one of her compositions also winning the Audience Prize. She is the convenor of the Brisbane Early Music Festival.

Jennifer Eriksson completed her initial musical studies at the NSW State Conservatorium on cello then studied the viola da gamba with Jaap ter Linden at the Rotterdam Conservatorium for three years where she completed postgraduate studies in baroque music. Jenny is widely recognised as one of Australia’s best known and most versatile viola da gambists. She has performed with the Australian Chamber Orchestra, the Victorian State Opera Orchestra, Salút Baroque, Sydney Chamber Choir, Joseph Tawadros, Mara!, Opera Australia, the Renaissance Players, The Early Dance Consort, The Sydney Consort, and The Australian Haydn Ensemble. Over the years she has also performed in Holland, Sweden, Germany, Singapore, New Zealand and New Caledonia as well as undertaking a residency at the Banff Arts Centre for Arts and Creativity, Canada.

In 2000 she founded The Marais Project with the aim of performing the complete works of the French baroque viola da gamba virtuoso, Marin Marais. As well as presenting an annual concert series, The Marais Project has performed live on the ABC’s “Sunday Live” broadcasts, Radio National’s “The Music Show” and recorded several studio concerts for ABC Fine Music. The ensemble released its first CD, “Viol Dreaming”, in October 2007. The following CDs “Love Reconciled”, “Mara! Meets Marais”, “Lady Sings the Viol”, “Smorgasbord”, “Spinning Forth” and “The Garden Party” all received critical and audience acclaim.

Yvette Friend studied Recorder as her principal study at the University of Queensland where she was awarded a Bachelor of Music with First Class Honours and a University Medal. Yvette regularly performs recorder repertoire old and new and has composed music for players of all levels. She has taught recorder for 25 years.

Phillip Gearing is highly regarded as organist, chamber musician, Lieder accompanist, orchestral keyboardist and continuo player, and choral director. He maintains a busy performing schedule which has taken him around Australia and to Britain, France, Germany and Scandinavia. Formerly a Senior Lecturer in Music at the University of Southern Queensland (1992-2014), Phillip is currently Director of Music at St Mary’s Kangaroo Point, Organist at St John’s College University of Queensland, accompanist to St Peters Chorale, organ tutor at three Brisbane schools, an examiner for the AMEB, and a Director of the Organ Historical Trust of Australia. He has played continuo with Darling Downs Sinfonia, Camerata of St John’s, Queensland Symphony Orchestra, Canticum Chamber Choir, and in 2015 and 2016 deputised for Erin Hellyer in opera rehearsals for Brisbane Baroque. Phillip plays regularly with the early music ensemble Austral Harmony.

 

Shannon Luk is a diverse multi-instrumentalist. Hailing from Brisbane, Shannon has performed regularly on baroque violin, viola da gamba, viola and cello throughout Australia, United Kingdom and France. Originally majoring on viola and cello at the Queensland Conservatorium of Music, Shannon completed postgraduate performance studies on viola da gamba in 2015. 

He has performed in masterclass for Kenneth Weiss at the Mornington Peninsula Summer Music Festival,  Johannes Pramsohler at the Festival de Musique du Périgord Noir and played with Ensemble Diderot, Paris; Belsize Baroque, London; and is a regular player with Queensland Baroque.

Sarah Meagher began her musical life on recorder learning from Lynton Rivers. What started as a precursor to learning oboe remains an important part of Sarah’s musical interests. Sarah studied oboe with Jiri Tancibudek for a B Mus performance degree at the Elder Conservatorium. During this time Sarah remained committed to early music forming Ensemble Chanterelle. Following her degree, Sarah continued her oboe studies with Barry Davis at the Queensland Conservatorium. Sarah played Principal Oboe in the 1990s with the Queensland Philharmonic Orchestra until its amalgamation in 2000 with the Queensland Symphony Orchestra, where she now holds the Associate Principal position. Sarah has toured Canada and the USA, and given performances across several Australian states with the Southern Cross Soloists. Sarah has collaborated with the Badinerie Players and more recently with Austral Harmony.

Joseph Meyers completed his studies of the classical guitar at the Queensland Conservatorium of Music in 2002 where he was first introduced to the lute music of JS Bach and SL Weiss.  The seeds were sown, and since making the transition from guitar to the lute, the many winding paths of his musical life have come together in his quest to bring new energy to the music of old. Joseph is a highly regarded performer of solo and chamber lute works, especially the dance suites of Bach and Weiss on the 13 course baroque lute. He has performed solo and with numerous ensembles in Brisbane and interstate.

Hans-Dieter Michatz has been a performer and educator for more years than he cares to remember. His
unique blend of a European background and training – his teachers included
Ferdinand Conrad, recorder and
Barthold Kuijken, baroque flute
– and a deep affinity with modern Australian culture have influenced several
generations of musicians in his adopted country. As a reputable player of modern and baroque flute as well as
recorder, he has performed and recorded with many o
rchestras and early music groups, e.g.: as founding
member and principal flute with
the Australian Brandenburg Orchestra for many years, with Salut Baroque,
Ensemble Ecclectus
in Melbourne, and The Sydney ConsortHe features as principal recorder soloist in the ABC Classics recording of Bach’s Brandenburg Concerti and a number of Salut!, Sydney Consort, and Brandenburg Orchestra CDs. As a conductor, he pioneered landmark premier performances of Handel Oratorios and newly discovered works by J.D. Zelenka, as well as the first Australian performance of Vivaldi’s ‘Dixit Dominus’ RV 807. Hans-Dieter was Classical Coordinator and Performance Studies lecturer at the Australian Institute of Music (AIM) from 2009 to 2018, and has taught at the Sydney Conservatorium of Music since the early 1990s.  Since his flute career was cut short by focal dystonia, Hans-Dieter started concentrating on the recorder, including new ventures, such as premier performances on the Csakan, a walking stick recorder popular in 19th Century Vienna, resulting in the first Australian recording featuring the instrument on the recent release: SALUT! BAROQUE – The Special Collection.

Judit Molnar is a Hungarian born soprano, educator and emerging researcher. She performs as a soloist at recitals, oratorios and operas across Europe and in her adopted country Australia. Judit graduated from the world-famous Liszt Academy of Music in 2008. During her time of study, she won several prizes for her singing and made her operatic debut in the role of Adina in L’elisir d’amore in 2007. Judit sang the role of Musetta (La Boheme), Lola (Cavallerie rusticana), Fáni (Az igazmondó juhász), Spirit and First Witch (Dido and Aeneas), and Serpina (La serva padrona). On the concert stage Judit has performed as soloist with the North-Hungarian Symphony Orchestra, Interoperett, Lehar Festival Bad Ischl, Queensland Pops Orchestra, Vienna Pops Orchestra, Queensland Symphony Orchestra and the Canberra Symphony Orchestra in diverse repertoire ranging from Handel’s oratorios to spectacular New Year’s Eve Galas. Aside from her singing engagements she began lecturing at the Miskolc University in 2008 and has held the position of Lecturer in Voice for three years.

Based in Brisbane since 2012, Judit was granted a most prestigious Distinguished Talent Visa by the Australian Government as an internationally recognised artist with exceptional and outstanding contributions to the arts.
She is also an active chamber musician: in addition of being a founding member of the ‘Arioso Chamber Ensemble’ she is the soprano soloist of the ‘Artico Ensemble’ and the artistic director and founder of her own ensemble ‘Fragments’. Judit is a DMA candidate at the Queensland Conservatorium focusing on the vocal chamber music of György Kurtág.

Lucinda Moon studied baroque violin with Sigiswald Kuijken at the Royal Conservatorium in The Hague. She is Music Director of Genesis Baroque and performs and records with the Elysium Ensemble, Van Diemen’s Band, Latitude 37, Accademia Arcadia, NZ Barok and Restoration Baroque (NZ).

Eve Newsome is an experienced performer having held oboe and cor anglais positions with the Melbourne Symphony Orchestra and Orchestra Victoria and performed internationally with the Melbourne Symphony Orchestra; the Adelaide Symphony Orchestra; the Australian Chamber Orchestra; the Singapore Symphony and the New Zealand Symphony Orchestra. She is a passionate chamber musician, soloist and concert organiser and as a pedagogue specialises in oboe, chamber music and optimal practising and performance for instrumental musicians. Eve is Senior Lecturer at the Queensland Conservatorium Griffith University, where she has been teaching since 2009. She is active nationally and internationally having been involved in many teaching and performing related organisations such as the Sibelius Academy, Finland; the Queensland Double Reed Society and the Tyalgum Music Festival, NSW.

In addition, she has developed the Flow Method, and is an optimal practice and performance music coach.

 

Michael O’Loghlin is a performer on viola da gamba as well as modern stringed instruments. His passion for early music began as an undergraduate at Sydney University, where he studied under Donald Peart and Winsome Evans. He then studied further in Europe with José Vazquez and Nikolaus Harnoncourt, also taking masterclasses with Wieland Kuijken. During this time he performed in many European countries with the Clemencic Consort and other specialist Baroque music ensembles. He has a PhD from the University of Queensland, where he is an Honorary Research Fellow. His book Frederick the Great and His Musicians: the Viola da Gamba Music of the Berlin School was published in 2008 and has been reprinted. He is a founding member of the Badinerie Players, Brisbane’s ensemble for Baroque music on original instruments, and was formerly a double bass player in the Queensland Symphony Orchestra.

Peter Roennfeldt is well known as a keyboard performer, lecturer, researcher and workshop presenter.  His involvement in early music is primarily as director of choral repertoire and as continuo player with various ensembles.  During the 1990s his vocal ensemble Cantilena Singers performed both standard major works and much unfamiliar repertoire including first local performances of works by Charpentier, Lalande, Zelenka and Buxtehude.  In recent years he has extended his interests into nineteenth century repertoire through acquisition of two Viennese pianos, and currently he directs Soirées Musicales Quintette which performs Lieder and partsong repertoire from this period. As a researcher Peter has published three books and numerous articles relating to the history of music in Queensland, focusing on individual musicians, organisations and performance traditions and also various cultural buildings.  For seven years until 2009 Peter was Director of Queensland Conservatorium Griffith University, where for more than 30 years he lectured in music history and co-ordinated the choral and early music programs, and currently he is Professor Emeritus.

Wendy Russell is an oboist and recorder player. Originally trained as an oboist, she has played with leading orchestras including the New Zealand and Melbourne Symphony Orchestras. Wendy studied recorder with renowned Australian player Ros Bandt, and she has a post-graduate diploma in recorder performance from the Victorian College of the Arts. Wendy currently works for Education Queensland and recorder playing forms an integral part of her classroom teaching practice. Her recorder ensembles are regular award winners at local Eisteddfods and her primary school ensemble has been invited to perform at events such as the Abbey Medieval Festival, and Brisbane Shakespeare Festival. She teaches at Chevallum State School on the Sunshine Coast.

Polly Sussex was born in Australia but moved to New Zealand at an early age. She studied Violoncello and Piano in Prague and at the Royal Academy of Music in London. Later she studied for her B.Mus. Hons., and Ph. D. (The Violoncello Sonatas of Luigi Boccherini) at the University of Otago, New Zealand. She also holds Diplomas in Teaching and in Arts Administration from the University of Auckland, New Zealand.

More recently, she became interested in the Viola da Gamba. In 2007 and 2008, Polly undertook postgraduate studies in Viola da Gamba at the Hochschule fuer Kuenste, Bremen, North Germany and at the Scola Cantorum in Basel, Switzerland. She plays all sizes of Viola da Gamba, including the Pardessus.

Polly Sussex performs, teaches Piano, Violoncello and Viola da Gamba; she also researches Baroque Cello and Viola da Gamba music of the seventeenth and eighteenth centuries. Polly performs with the Baroque chamber groups, Affetto, Vivente and Hausmusik. 

Shaun Warden is a Sydney-based historical violin specialist. He has studied, and had lessons with violinists such as Stephen Freeman, Midori Seiler, Marina Robinson, Richard Gwilt, Rachael Beesley, Stefano Montanari and Catherine Mackintosh. He has also participated in masterclasses with Tafelmusik, Stefano Montanari, Louis Creac’h and Michael Tsalka. He is currently a DMA candidate at the University of Sydney. Shaun’s research focuses on 17th century bowing styles. He has recorded for the ABC on multiple occasions and performs with the Bach Akademie Australia, Australian Brandenburg Orchestra, Pinchgut, Sinfonia Australis and the Muffat Collective.

Brent Wissick (Professor) has taught cello, viola da gamba, and chamber music at UNC since 1982. A member of Ensemble Chanterelle and principal cellist of the Atlanta Baroque Orchestra, he is also a frequent guest with American Bach Soloists, Folger Consort, Boston Early Music Festival, Concert Royal, Dallas Bach Society, Vancouver Early Music Festival and Collegio di Musica Sacra in Poland. With these ensembles has recorded for the Centaur, Albany, Koch, Radio Bremen, Bard and Dux labels as well as in the soundtrack for the Touchstone film Casanova. His online video article, “The Cello Music of Bononcini” can be viewed in the peer-reviewed Journal of Seventeenth-Century Music and several of his teaching videos are posted on the website of the Viola da Gamba Society of America. He served as president of that society from 2000 through 2004 and chaired its international Pan-Pacific Gamba Gathering in Hawaii during the summer of 2007.

In addition to teaching cello at UNC, he directs its Cello Choir, Viol Consort and Baroque Ensemble; he also teaches classes in Historical Performance Practices and String Methods for Music Education Students as well as a First-Year Seminar in the Physics of Music with Laurie McNeil, chair of the Physics Department. He has served as mentor of the Kenan Music Scholars and is chair of the String Area.

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