For various practical reasons the Consortium is not open for new members at the moment.
Jelma van Amersfoort (Holland). Jelma van Amersfoort is a musicologist and a performer on lutes and early guitars. She studied guitar and lute at the Conservatorium van Amsterdam and the Royal Northern College of Music in Manchester (UK), and musicology at the University of Amsterdam. Her research interests include 18th- and 19th-century guitar-accompanied song, 19th century women composers (particularly Pauline Duchambge (1776-1858)), and the performance practice of early guitars. Jelma published in Early Music and TVNM, teaches guitar and lute, and worked for many years as a data analyst and programmer. See her website.
Luis Briso de Montiano (Spain). Luis Briso de Montiano studied classical guitar at the Real Conservatorio Superior de Música in Madrid, where he obtained his degree. He has been teaching in this institution and in other conservatories for more than three decades. In the field of musicology, his book Un Fondo desconocido de Música para guitarra. Música española y francesa para guitarra (c. 1790 – c. 1808) en la Biblioteca Histórica Municipal de Madrid (Ópera Tres, 1995) was the first sign of his interest in the Spanish guitar music of the eighteenth and nineteenth centuries.
† Andrew Britton (UK). Andrew Britton worked initially as a language teacher and translator and held various positions within Bristol’s library and museum services. During his early years, he played both electric and acoustic guitar, but in 1974 abandoned them in favour of the classical instrument, studying first with Audrey Byard at Bristol Spanish Guitar Centre, and subsequently with John Edwards, John Mills, Duncan James and Stephen Gordon. He taught the guitar privately and at Bath Spa and Bristol Universities for several years. At the same time, he performed in solo, chamber and concerto concerts throughout South West England, and participated in the master classes of Roberto Aussel, Eliot Fisk, Carlos Bonell, Jonathan Leathwood and others. Around 1995 he developed an interest in historical guitars and period performance and studied the nineteenth-century guitar and its repertoire with Tom Kerstens in Bath. From 2006 he was actively involved in CHOMBEC (Centre for the History of Music in Britain, the Empire and the Commonwealth), based at the University of Bristol. He is the author of several local history studies and The guitar in the romantic period: its musical and social development, with special reference to Bristol and Bath (PhD diss., Royal Holloway College, University of London, 2010).
Thomas F. Heck (USA). Thomas F. Heck organised the creation of the Guitar Foundation of America (GFA) in 1973. Since then he has served it in various capacities: Director, Archivist, Contributing Editor of Soundboard, and lately Online Research Resources Librarian. For most of his career (1978-2000) he was professor and Head of the Music/Dance Library at the Ohio State University. In addition to authoring Mauro Giuliani: virtuoso guitarist and composer (Columbus, 1995, revised as an e-book in 2012), he co-authored Picturing performance: the iconography of the performing arts in concept and practice (1999). He has contributed articles to The New Grove dictionaries of music … in various editions since 1980, and remains engaged in guitar-related research and publication.
Christopher Page (UK). Christopher Page is a Fellow of the British Academy, Professor of Medieval Music and Literature in the University of Cambridge and from October 2014 Gresham Professor of Music at Gresham College, London (founded 1597) for three years, replacing Christopher Hogwood. A Fellow of Sidney Sussex College, Cambridge, He holds the Dent Medal of the Royal Musical Association awarded for outstanding services to musicology. In 1981 he founded the professional vocal ensemble Gothic voices now with twenty-five CDs in the catalogue, three of which won the coveted Gramophone Early Music Record of the Year award. He has published numerous books and articles on medieval music, most recently his 350,000 word study, The Christian West and its Singers: The First Thousand Years, published by Yale University Press in 2010. He serves on the editorial boards of the journals Early Music (OUP) and Plainsong and Medieval Music (CUP). Christopher Page was elected a Fellow of the Society of Antiquaries in 2008. See his personal page.
Gerhard Penn (Austria/Switzerland). Gerhard Penn was born in Graz, Austria where he obtained a PhD in chemistry in 1984. After post-graduate studies he moved to Basel, Switzerland, where he is working as a chemist. He started playing the guitar in 1972 and is mainly self-taught. Since 2003 Gerhard has been researching the history of the guitar in the 19th century, particularly in Vienna. This has resulted in the discovery of numerous new documents which shed new light on the career of Mauro Giuliani in Vienna. Other guitarists and composers Gerhard is currently investigating are Louis Wolf, Matteo Bevilacqua and Franz Tandler. Gerhard’s archival work has brought back to light lost or forgotten compositions by François de Fossa, Wenzeslaus Matiegka and Ferdinand Rebay which are now published in modern editions and recorded by leading guitarists. In 2007 Gerhard Penn founded together with Andreas Stevens the biannual Lake Konstanz Guitar Research Meeting with the objective to bring together guitar researchers from all over the world in a dedicated conference. For his research work Gerhard received the Chitarra d’oro award at the 2015 Alessandria International Guitar Competition in Italy.
Panagiotis Poulopoulos (Greece/Germany). Panagiotis Poulopoulos is Assistant Curator in the Department of Musical Instruments at the Deutsches Museum, Munich. His diverse academic background comprises a BA in Conservation of Antiquities and Works of Arts, a MMus in Musical Instrument Research, and a PhD in Organology from the University of Edinburgh for his thesis ‘The Guittar in the British Isles, 1750-1810’. Moreover, he has extensive training and experience in the documentation, preservation and exhibition of musical instruments having worked for various projects in the National Museums Scotland and the Edinburgh University Collection of Historic Musical Instruments. Apart from his museum activities, he has been tutor for ‘Music and Technologies’ at the University of Edinburgh and ‘Scholar-in-Residence’ at the Forschungsinstitut für Technik- und Wissenschaftsgeschichte of the Deutsches Museum. Additionally, he is the recipient of various scholarships, awards and research grants, and has regularly presented papers at international conferences organised by the Galpin Society, AMIS, CIMCIM, and other acknowledged institutions. He is also the author of several articles as well as contributor to the ‘New Grove Dictionary of Musical Instruments’. Link to museum profile.
Richard Savino (USA). Guitarist/lutenist Richard Savino has been a featured performer throughout the US and abroad. His sponsors include the Frick Collection, Cloisters (Metropolitan Museum of Art, NY), Boston Early Music Festival International Series, Tage Alter Musik, Regensburg, London Early Music Network, Shrine To Music Museum, San Francisco/Seattle/ Vancouver/Victoria Early Music Societies, the Portland and Los Angeles Baroque Orchestras, the International Guitar Festival in Gargnano, Italy, the Guitar Foundation of America Festival and the National Guitar Summer Workshop. He has been Visiting Artistic Director of the Aston Magna Academy and Music Festival (1993, 1995, 2005, 2009), the Connecticut Early Music Festival (2002), and from 1994 – 1997 was Coordinator of Performance Practice at the Monadnock Music Festival in New Hampshire. See his website.
Paul Sparks (UK). Paul Sparks studied music at the University of Sussex, mandolin with Hugo d’Alton, and lute with Robert Spencer. During the 1980s, he worked as a mandolinist and guitarist with various British orchestras, gave several recitals of mandolin and guitar music on BBC Radio 3, and completed his PhD thesis – A History of the Neapolitan Mandoline from its Origins until the early Nineteenth Century (City University, 1989). He has written three books for Oxford University Press – The Early Mandolin (1989, with James Tyler), The Classical Mandolin (1995), and The Guitar and its Music (2002, with Tyler) – and has been a writer and/or production executive for numerous BBC television music documentaries, including profiles of Jacques Brel, Artie Shaw, Jake Thackray, and Dudley Moore, as well as histories of Experimental Music, and the BBC Radiophonic Workshop.
Erik Stenstadvold (Norway). Erik Stenstadvold is professor at the Norwegian Academy of Music, Oslo. He is a noted guitar historian and has published numerous articles on issues related to nineteenth-century guitar music and performing practice. His book, An Annotated Bibliography of Guitar Methods, 1760-1860 (Pendragon Press, 2010) has become a standard reference work on early guitar tutors. Stenstadvold has played a prominent role in the revival of the French guitarist-composer Antoine de Lhoyer, and has edited a three-volume critical edition of Lhoyer’s complete guitar duets (Chanterelle Edition, 2008). In 2010 he was appointed Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture for his services to French music, in particular his work on Lhoyer. He was awarded the honorary prize Chitarra d’Oro for his musicological research at the 2008 Alessandria International Guitar Competition in Italy. Stenstadvold has also played several CDs on period instruments, in particular two world-premiere recordings of guitar duets by Antoine de Lhoyer (with Martin Haug) and two other recordings featuring François de Fossa’s arrangements for two guitars of nine quartets attributed to Haydn (with Jukka Savijoki). See his personal page.
Taro Takeuchi (Japan and UK). Taro Takeuchi was born in Kyoto, Japan. After completing his degrees in law and music in Tokyo, he studied early music at the Guildhall School of Music and Drama. He now lives in London and he has been in great demand as a soloist and ensemble player. Taro has toured most European countries, Australia, New Zealand, Taiwan, the USA and Japan. As a continuo player he has worked with The English Concert, The Royal Opera House, The Orchestra of the Age of Enlightenment, Berlin Philharmonic, as well as Sir Simon Rattle, Rachel Podger and Nigel Kennedy. He has made numerous recordings for Deux-Elles, EMI, Hyperion Records, Harmonia Mundi, the BBC and others. His solo recordings Folias!, The Century That Shaped the Guitar and Affectuoso: Virtuoso Guitar Music from the 18th Century were received with critical acclaim and high praise. See his website.
Ulrich Wedemeier (Germany). Ulrich Wedemeier first studied classical guitar at the Hochschule für Musik und Theater Hannover and subsequently specialized in playing lutes and historical guitars. Besides being active as a soloist and with renowned early music ensembles, he concentrates on CD and radio productions. In 2004 he received an ECHO KLASSIK award with the ensemble MUSICA ALTA RIPA for the CD “Telemann Vol. 1”, and in 2006 again an ECHO KLASSIK with HAMBURGER RATSMUSIK for the CD “Lübecker Virtuosen”. Ulrich Wedemeier is a guest at many opera houses. Concert tours have brought him through all of Europe, the USA, Southeast Asia, and Japan. His research about Madame Sidney Pratten led to his solo recording „velvet touch“, played on original Pratten-guitars. The book „Gitarre Zister Laute“ documents his collection of plucked instruments from 1600 to 1900. See his website: www.guitarcollection.de.
James Westbrook (UK). Dr James Westbrook is a British-based organologist whose particular interest is in guitar construction. He is the author of two popular books: Guitars through the Ages (2002) and The Century that Shaped the Guitar (2006) as well as co-author of The Complete Illustrated book of the Acoustic Guitar (2012). He has given papers for The Classical Guitar Festival of Great Britain, European Guitar Teachers Association, The American Musical Instrument Society and The San Francisco Conservatory of Music. James has recently published in Early Music, The Journal of the Lute Society and the Soundboard Journal and contributed a chapter in Inventing the American Guitar: The Pre-civil War Innovations of C. F. Martin and his Contemporaries. In 2010 James was awarded the O’May studentship, for his Doctoral research into Guitar Making in Nineteenth-Century London at the University of Cambridge. He is a consultant and specialist for Brompton’s a London auction house, specializing in musical instruments, as well as a part-time luthier and restorer. James is currently a member of the Research staff at The University of Cambridge, Music Faculty, and he holds a Wolfson College, Cambridge, Research Fellowship; investigating ‘The Life and Work of David Rubio’. See his website and personal page.
Tony Bingham (UK). Tony Bingham has sold his famous Hampstead premises, and although now officially retired will continue to run run his business just up the hill from the shop. He is planning to work on several unfinished projects, one of the first being an illustrated catalogue of his trade cards. See his website.
Brian Jeffery (UK). Brian Jeffery is the author of the biography Fernando Sor Composer and Guitarist, of which he is preparing a third edition. In 2013 he published a new edition of the Arte de tocar la guitarra española (1799) of Fernando Ferandiere, this time with an introduction of forty pages (compared with the four-page introduction in his original modern edition of that work in 1977) incorporating much new information. He now has in its final stages of preparation a book on the Spanish songs of the war in Spain 1808 to 1814, not especially about the guitar but in which the principal composer is Fernando Sor. In 2003 the annual guitar festival at Alessandria in Italy awarded him their Golden Guitar for his work in that field. In 2012 the Guitar Foundation of America appointed him to its Hall of Fame. He is the owner and director of the publishing firm Tecla Editions (www.tecla.com) which specializes in editions of guitar music at a high level of research and presentation.