As Director of Florilegium much of Ashley’s time is spent
working and performing with Florilegium, the ensemble he co-founded
in 1991. They have a busy touring schedule and each year perform
at major international festivals and concert series throughout Europe
as well as the Americas. Florilegium have been recording with Channel
Classics since 1993 and have to date made over 20 recordings on
this Dutch label.
in Sussex, Ashley won a recorder and flute scholarship to the Royal
Academy of Music in London where he was awarded first class honours.
He went on to complete his post-graduate studies there in 1991 with
a scholarship from the Countess of Munster Musical Trust studying
recorder with Peter Holtslag and baroque and classical flute with
Lisa Beznosiuk. That same year he won first prize in the Moeck International
Recorder Competition, resulting in a solo debut recital at London’s
Wigmore Hall. This led to a debut solo recording project for the
English label Meridian Records of recorder and Italian baroque flute
music which was released in 1994.
performed as a soloist throughout Europe, the Americas, the Far
East and Australia, in prestigious venues including the Concertgebouw
(Amsterdam), The Frick Collection (New York), Teatro Colon (Buenos
Aires) and the Sydney Opera House. He frequently records programmes
for radio and television and as well as his many recordings with
Florilegium for Channel Classics, he has been recording as a solo
artist for the same label since 1998. His solo discography on Channel
Classics includes the complete Bach Flute Sonatas (two volumes)
as well as a recording of music for period harp and flute with works
by Mozart, Rossini, Gluck, Nadermann, Bochsa and Tulou. Volume 1
of the Bach Sonatas was described by Gramophone magazine as “exceptional…prepare
to be uplifted” and it went on to be selected as one of the
magazines favourite CDs for 2001.
From 1997-2000 Ashley was a frequent guest principal flautist with
the Sydney based Australian Chamber Orchestra when they performed
on period instruments. This position involved several national tours
each year as well as recordings for CD and national radio.
in demand as a teacher he has given masterclasses and lectures in
Australia, Singapore, the Americas, Czech Republic, Bulgaria, Portugal,
Norway and the UK. In 1998 he was made an Associate of the Royal
Academy of Music and this was followed in 2000 with Honorary Membership
of the Royal College of Music, where he has been Professor since
he was appointed to the new position of Head of Historical Performance
at the Royal College of Music. Since his appointment he has directed
numerous projects including an annual series of Bach Cantata concerts,
and concerts at festivals in London and further afield. In addition
he has directed tours to Italy and Australia with students from
Historical Performance. For two years Ashley and his students were
involved in recording all the music examples used in the permanent
Medieval and Renaissance galleries in the Victoria and Albert Museum.
In February 2014 Ashley was appointed to a Personal Chair at the
Ashley made his professional opera conducting debut, directing Purcell’s
Dido and Aeneas, with Florilegium, solo singers and a chorus from
the RCM at the Bath International Music Festival.
Florilegium started working with Bolivian Baroque music; initially
with a concert at the Wigmore Hall, Ashley led the group in performances
in Bolivia 2004 and every two years since then, and they made recordings
there in 2004 and 2006, and a third CD was recorded in the Waalse
Kerk in Amsterdam, which was released in January 2010.
he directed three Bolivian national tours with Arakaendar Bolivia
Choir, the choir he formed in that country in January 2006 to perform
and record Bolivian Baroque music. Their first CD, released to critical
acclaim in 2007, won a number of awards and was nominated for a
2008 BBC Music Magazine award. In February 2008 he directed a European
tour with the Choir and Florilegium, including a concert tour in
The Netherlands, a concert at the Royal College of Music and a live
BBC Radio 3 broadcast.
was awarded the 2008 Hans Roth Prize; this prestigious Bolivian
award has been given to him in recognition of the enormous assistance
he has given to the Bolivian native Indians, their presence on the
international stage and the promotion and preservation of this music.
one of the rising stars of the world of period performance, Bojan
Cicic is fast making a name for himself with his sensitive and virtuosic
playing. He regularly leads both period and modern orchestras, including
groups such as the Budapest Festival Orchestra, le Cercle d'Harmonie,
the European Union Baroque Orchestra, and Classical Opera Company.
He is the leader of Florilegium and La Nuova Musica, and is directing
several programmes with the Academy of Ancient Music in 2015.
Recent projects have included a recording of the Brandenburg Concertos
with Florilegium, Vivaldi's Summer with the European Union Baroque
Orchestra, and his BBC Proms debut alongside Rachel Podger and Kristian
Bezuidenhout. He is increasingly busy with his own group, Suonar
Cantando, who will perform this year in Ghent, at the Festival de
Sablé, and at the Early Music Festival in Utrecht.
Bojan plays on a violin by Rugieri made around 1680, kindly loaned
to him by the Jumpstart Junior Foundation.
Morsches spent her formative years in Alexandria, Virginia, studying
cello with David Hardy under the auspices of the scholarship Fellowship
and Apprenticeship Programs of the National Symphony Orchestra in
Washington, D.C. During the summer months she participated in orchestral
and chamber music courses at the New England Music Camp, Eastern
Music Festival and the Apple Hill Center for Chamber Music in New
Hampshire. She has been invited as a guest artist and coach at Apple
Hill since 2002.
She pursued a liberal arts education at Smith College, where she
graduated magna cum laude, Phi Beta Kappa and First Group Scholar
with degrees in Music and German Literature, and was recipient of
the Ernst Wallfisch Memorial Prize in music upon graduation in 1990.
Jennifer was subsequently accepted into the studio of Timothy Eddy
at the Mannes College of Music in New York City, where she received
her Master's degree. She continued to study with Mr. Eddy at the
State University of New York at Stony Brook, where she received
her Doctorate of Musical Arts in 1995. During her post-graduate
years, she was a Fellow at the Bach Aria Festival, the Quartet Program
and the Tanglewood Music Center. She received regular chamber music
coaching sessions with members of the Juilliard String Quartet,
Eugene Lehner, Louis Krasner, Felix Galimir, Julius Levine and Gilbert
Kalish, and was awarded the C.D. Jackson Prize for outstanding merit
and contribution at Tanglewood in 1994. That summer she was also
invited to perform with Yo-Yo Ma as part of Wynton Marsalis' educational
music videos, recorded by Sony, which have been aired on television
worldwide. She was a member of the Cassatt String Quartet in New
York City from 1995-96.
A growing interest in period instrument performance led her to London
in 1996. Since then she has been in great demand as both continuo
cellist and chamber music collaborator in the UK as well as on the
Continent. As principal cellist of the highly acclaimed baroque
ensemble Florilegium, with whom she regularly records for Channel
Classics, she has toured extensively throughout the globe and performs
regularly at, among other venues, the Wigmore Hall, Royal Festival
Hall and Royal Albert Hall. Jennifer performs and tours chamber
music in Germany with Trio 1790 (CPO records) and in the Netherlands
with the quartet, Island (Centaur Records). Additionally, she is
a member of the Orchestra of the Age of Enlightenment, the English
Baroque Soloists, Orchestre des Champs Elysees and the Amsterdam
Baroque Orchestra. This past spring she was invited to be the continuo
cellist for Luc Bondy's production of Hercules at the Nederlands
Opera. She also regularly performs in recital with countertenors
Michael Chance and Derek Lee Ragin.
On modern cello, Jennifer participates in chamber music festivals
such as El Paso Pro-Musica, Bravo! Colorado, Consonances Festival
in Saint Nazaire, France, the Barossa Music Festival in Australia
and the Flanders Festival in Belgium. She has given world premieres
of chamber works by David Matthews, Ben-Zion Orgad, Luna Pearl Wolff
and Michael Wolpe. She has performed live on BBC Radio 3, BBC World
Service, Deutschlandfunk, CBC (Canada), ABC (Australia), WGBH-Boston,
WQXR-New York and NPR in the United States.
viola da gamba
was born in Tokyo and began her musical training as a pianist. She
read musicology at the Kunitachi College of Music where she started
playing the viola da gamba, having lessons with Yukimi Kanbe and
she came to Britain, winning the foundation scholarship at the Royal
College of Music, to study gamba with Richard Boothby. Whilst there,
she won the concerto prize and completed her post graduate study
with distinction. Since leaving the RCM, she has established herself
as one of the leading gamba players in the UK.
has performed extensively throughout the UK as chamber musician
and soloist, appearing in venues including the Royal Festival Hall,
Wigmore Hall and the Royal Opera House.
worked with many leading conductors and orchestras including Sir
John Eliot Gardiner and the English Baroque Soloists, Sir David
Willcocks and the English Chamber Orchestra, Paul McCreesh and the
Gabrieli Consort, and Kurt Masur and the London Philharmonic Orchestra.
regularly works with early music ensembles such as Concordia, Passacaglia,
Charivari Agreable and the Early Opera Company. She has recorded
chamber music for Lynn, Metronome, ASV and deux-elles. Since 2001
she has been a core member of Florilegium
Charlston was born in Blackpool, Lancashire. From an early age,
he was drawn to the sound and repertoire of old instruments, especially
the harpsichord, which he first experienced through recordings and
BBC Radio 3 broadcasts. He studied piano and organ from childhood
and later took degrees in Oxford and London, and in organ, harpsichord
and musicology beginning his career in church music. As a harpsichord
and organ soloist, he has toured extensively within Europe, as well
as to Japan, the USA and South America giving courses and master
classes in Germany, Greece, Italy, Mexico and USA.
well known to chamber music audiences and performs and records with
most of today’s leading period singers, instrumentalists and
ensembles. He was a member of the quartet London Baroque between
1995 and 2007 with whom he gave nearly 500 concerts worldwide. Like
many a Lancashire man, he has gravitated south but is proud to be
a patron and guest director of Lancashire Sinfonietta. His wide
repertoire spans from the 16th century to the present day and reflects
his passionate interest in keyboard music of all types and styles.
recorded over 50 commercial CDs on harpsichord, organ, virginals,
clavichord and fortepiano and can be heard on the Deux-Elles, Harmonia
Mundi, Naxos, ASV, Channel Classics and BIS labels. Recent recordings
include Baroque music on the Silbermann style organ belonging to
the St. Albans International Organ Festival. For the National Trust
he has recorded all the playable keyboard instruments of the Fenton
House Collection in Hampstead, London. His harpsichord and organ
recordings have been well received in the musical press, and he
can be frequently heard on BBC Radio 3.
to an international performing career, he is much in demand as a
teacher. He taught academic studies, performance practice and harpsichord
at the Royal Academy of Music, London where he founded the department
of Historical Performance (1995) and now teaches basso continuo
and clavichord. He also lectures for the London centre of Lawrence
University, Wisconsin and has given master classes in Italy, Germany,
Greece, USA and Mexico. He is professor of harpsichord at the Royal
College of Music, London and International Visiting Tutor in Harpsichord
Studies at the Royal Northern College of Music in Manchester.
is an important advocate of English and continental keyboard music
of the 17th and 18th centuries and his fascination with this repertoire
has resulted in a number of pioneering concerts and recording projects.
These include editions and recordings of all Matthew Locke’s
organ and harpsichord music, Carlo Ignazio Monza’s Pièces
modernes pour le Clavecin, and a recording and interactive edition
of the keyboard music of Albertus Bryne. His recording of William
Byrd’s My Ladye Nevell Booke can be heard on the British Library’s
Turning Pages website and he made the world premiere recording of
the recently discovered keyboard manuscript of Antoine Selosse.