Margaret Faultless performs music from Monteverdi to the present day, but is best-known as a performer of eighteenth-century repertoire and historical performance practice. With a reputation as a distinguished leader and director of both period instrument and modern orchestras, Margaret is also instrumental in fostering the talents of the next generation of musicians in her capacities as Head of Historical Performance at the Royal Academy of Music, Director of Performance at the University of Cambridge and Director of Studies for the European Union Baroque Orchestra. For over twenty years she has been a co-leader of The Orchestra of the Age of Enlightenment, directing the orchestra on a regular basis; she also plays a significant role in their education programme for young professionals. For twelve years, Margaret led the Amsterdam Baroque Orchestra, notably as concert-master and soloist in their ten-year project to perform and record J.S Bach's Cantatas. As Artistic director of Music for Awhile she shapes the artistic programme of the ensemble including its annual Summer Festival. A passionate chamber musician, she was a member of the London Haydn Quartet for ten years, and played in a duo focusing on the sonatas of Beethoven and Brahms, investigating nineteenth-century performance traditions. Margaret also lectures on performance practice, her special interests being leadership and social interactions in ensembles before the age of silent conducting. She is an Honorary Fellow of Birmingham Conservatoire and an Honorary Member of the Royal Academy of Music.
Recorder player, Olwen Foulkes has worked with ensembles including the Orchestra of the Age of Enlightenment, London Handel Players, Monteverdi String Band, and La Serenissima. She has performed live on BBC Radio 3 and played for the Royal Shakespeare Company 2018 London season. Her debut solo disk ‘Directed by Handel’ was released in 2018 and her second disk will be released on BCR in late 2019.
Olwen developed her interest in Baroque dance under the tutelage of Mary Collins. She has given practical workshops on Baroque dance at Royal Academy of Music, choreographed a production of Venus and Adonis for Cambridge University Collegium Musicum, and is currently working on a project combining music and dance with Europa Danzante. Olwen graduated from Royal Academy of Music, London with a distinction and DipRam for her postgraduate degree in 2018.
Marnaves Summer Baroque is organised by the husband and wife team of Lucy Robinson (BA (York), PhD (Cantab)) and Andrew Wilson-Dickson (LRAM, ARCO, MA, Mus B (Cantab), D Phil (York)) who have been involved in early music for many years: performing, teaching and enabling.
Lucy is passionate about performing Baroque music on historically accurate instruments, not only studying the techniques of the time but also exploring the environment in which it was written - even what the musicians read and ate. While completing her PhD on the Forquerays, Lucy studied at the Brussels Conservatoire with Wieland Kuijken. Lucy has subsequently performed in venues from the Wigmore Hall to Fez to Sydney Opera House. Lucy has an international reputation for her research into Baroque music, especially into the viol and French music. She has published editions of Bach (Faber) and Couperin (Le Pupitre), and over 20 articles for The New Grove; she reviews regularly for Early Music. After 12 years as Head of Postgraduate Studies and Research at Royal Welsh College of Music and Drama - where she currently teaches the viol - she has recently published a cookery book: The Grain-free Vegetarian.
Andrew's interest in historical performance practice arose from the collision of the experiences of teaching at University (Leicester) and Music College (Cardiff). Although primarily a composer, he has always been seduced by the colours and articulation of baroque period instruments, which he evokes by playing solo and continuo music for harpsichord and organ. In South Wales, Andrew conducts the Welsh Camerata, a choir dedicated to the performance of a wide variety of period music. He is also at the centre of the period orchestra Devon Baroque. He recently completed a reconstruction of JS Bach's St Mark Passion for performance in Cardiff in 2016.
Tim Soar is an Alexander Technique teacher with many years' experience working with musicians. He has a particular reputation for the quality of his hands-on work. Tim divides his working time between Alexander teaching and making viols, and he is nearing the end of a major commission for a ground-breaking set of five late-sixteenth-century viols. Tim is an amateur recorder player, viol player and Aikido practitioner.