Oboe and artistic direction
Born in Montreal and currently residing in Paris, oboist Christopher Palameta was a core member of the Tafelmusik Baroque Orchestra (based in Toronto, Canada) for five years before relocating to France to pursue work with many of Europe’s finest period ensembles. These include Pygmalion, Les Siècles, and La Grande Ecurie in France; Die Kölner Akademie in Germany; Vox Luminis and La Petite Bande in Belgium; The Gabrieli Consort in the UK; Il Pomo d'Oro in Italy; Capella Cracoviensis in Poland; and various other ensembles such as the Australian Brandenburg Orchestra, the Helsinki Baroque Orchestra, Suomalainen Barokkiorkesteri (the Finnish Baroque Orchestra), and MusicAeterna (Perm, Russia).
With these orchestras, he has toured on five continents and recorded over forty discs for the Sony BMG, Deutsche Harmonia Mundi, CPO, BIS, Alpha, Musique en Wallonie, Naxos, ATMA, Analekta, and Audax labels.
An ardent defender of unexplored repertoire for the oboe, he was awarded research grants in 2003 and 2006 from the Conseil des arts et des letters du Québec to exhume and re-establish the neglected instrumental works of Marin Marais into the oboist’s repertoire. His latest solo recording, devoted to Marais’ suites for oboe, has received international acclaim and was nominated in 2015 for the Preis der deutschen Schallplattenkritik (German Record Critics’ Award).
Christopher took his graduate degree from McGill University in historical oboes, where he studied with the late Bruce Haynes and the late Washington McClain. He is currently pursuing his PhD at the Royal Academy of Music in London (where he is supported by the Canadian Centennial Scholarship Fund's Belle Shenkman Award for the Study of Arts) and teaches historical oboes at the Sibelius Academy (Helsinki University of Arts).
Photo credit: Pierre-Etienne Bergeron
Jan Van den Borre
Jan Van den Borre plays regularly with ensembles such as Anima Eterna (Jos van Immerseel), Collegium Vocale (Philippe Herreweghe), Apotheosis (Korneel Bernolet), BachPlus (Bart Naessens), Le Concert d’Anvers (Bart Van Reyn), Huelgas Ensemble (Paul Van Nevel), Les Muffatti (Peter Van Heyghen), Vox Luminis (Lionel Meunier), Die Mannheimer Hofkappelle (Florian Heyerick), Le Parlement de Musique (Martin Gester), Les Agrémens (Guy Van Waas), Le Concert Lorrain (Christoph Pregardien), Il Fondamento (Paul Dombrecht), Il Gardellino (Marcel Ponseele), and the Millenium Orchestra (Leonardo Garcia-Alarcon).
With these ensembles he has made numerous recordings and played concerts all over Europe, the United States and Japan.
Jan studied Flute and Early Music Performance at the conservatories of Gent and Brussels, where his teachers were Eric Dequeker, Patrick Beuckels and Barthold Kuijken. After obtaining his Master’s Degree in Barthold Kuijken’s class he followed courses with Sigiswald Kuijken, Roy Goodman and Jordi Savall.
Photo credit: Wouter Maeckelberghe
Catherine Martin read music at St Anne's College, Oxford, completing her postgraduate at the Guildhall School of Music and Drama, London.
Catherine has been the leader of the Gabrieli Consort since 2005, also leading Die Kölner Akademie in Germany and the orchestra of the Early Opera Company. Catherine has appeared as guest leader with many other period instrument groups in the UK and abroad.
In demand as violin soloist and director, Catherine has directed concerts with Barokkanerne in Oslo and the Wroclaw Baroque Orchestra. She has worked with the Bournemouth Symphony Orchestra as advisor on baroque and classical performance style, and is a member of the Salomon String Quartet, exploring music of the Classical period from Haydn to Mendelssohn.
She teaches baroque violin at the Royal College of Music, London, and appears on numerous recordings for labels including Deutsche Grammophon (The Gabrieli Consort), EMI (Ensemble Galant), and Chandos (I Fagiolini).
Emily Robinson studied Baroque cello with Mats Lidström and Jennifer Ward-Clarke at London’s Royal Academy of Music. In 1998, with a scholarship from the Countess of Munster Musical Trust, she began studies in the repertoire of early music with Jaap ter Linden at the Royal Conservatory in The Hague, graduating in 2003 with a master’s degree in historical performance.
In 2004 Emily Robinson returned to England, where she joined the Orchestra of the Age of Enlightenment. She has since then played with various ensembles in Great Britain and abroad, including The Sixteen, the Academy of Ancient Music, Retrospect Ensemble, Les Muffatti, Il Complesso Barocco, Le Concert d’Astrée, Le Cercle de l’Harmonie, and Le Concert du Prince, Cecilia Bartoli’s new baroque orchestra based in Monte Carlo.
Brice Sailly studied with Olivier Baumont, Blandine Rannou and Kenneth Weiss at the Conservatoire de Paris, and meanwhile participated in masterclasses by Peter Hantaï, Skip Sempé and Fabio Bonizzoni.
A sought-after accompanist, Brice Sailly regularly plays continuo for vocal recitals given by Agnès Mellon and Dominique Visse, and performs with ensembles such as Capriccio Stravagante (Skip Sempé), Pulcinella (Ophélie Gaillard), Il Seminario Musicale (Gérard Lesne), Les Musiciens de Saint-Julien (François Lazarevitch), Les Paladins (Jérôme Corréas), Musicall Humors (Julien Léonard), and the Stockholm Bach Society.
Brice Sailly has performed as soloist (concertos by J. S. Bach, C. P. E. Bach, Mozart) and in recital at a number of festivals in France, Japan and Iceland.
He teaches harpsichord at the Conservatoire de Rueil-Malmaison and basso continuo at the Conservatoire de Toulouse.