Simon Orr General manager Hedingham Castle
Emily Baines Belinda Paul Lizzie Gutteridge photographer: Chris Elmes
We perform ceremonial fanfares and intimate chansons, dances and theatre music on shawms, bagpipes, recorders, curtals and a variety of percussion—all reconstructions of historical instruments.
We would be delighted to discuss programmes for concerts, educational events, workshops, weddings and other celebrations. We can provide arrangements of famous works as well as a wealth of original material to suit every occasion.
Belinda Paul Emily Baines Lizzie Gutteridge Daniel Serafini Louise Anna Duggan
Arngeir Hauksson
Emily is a freelance recorder player, singer and musical director working all over the UK and Europe also specialising in a wide variety of historical/folk woodwinds.. She trained both as a recorder player and singer (soprano) first at the University of Hull, then the Koninklijk Conservatorium in The Hague and most recently at the Guildhall School of Music and Drama. Here she gained a MMus with distinction and was subsequently given a two year Guildhall Artist Fellowship in order to pursue both her performing and research interests. Following this she has worked as a guest lecturer at GSMD and the University of Hull and is now studying again as a scholarship student on GSMD’s Doctoral Programme.
In addition to research Emily performs regularly for many period instrument ensembles, contemporary groups, music festivals and theatres across Europe. These have included the Gabrieli Consort, BREMF Renaissance Players, L’Avventura London and The Harp Consort. She is a member and co-founder of Blondel (medieval and renaissance wind band), The Fellowshippe of Musickers and The Musicians of London Wall.
Her theatre work has included musician and musical director roles for Jericho House and Just Enough Theatre Companies and Shakespeare’s Globe Theatre. Globe productions have included: Richard III, A Midsummer Night’s Dream, Julius Caesar, Tis Pity She’s A Whore and The Globe’s premier Broadway transfers of Twelfth Night and Richard III in 2013 starring Mark Rylance. She was Musical Director on Jessica Swayle’s Olivier Award nominated, ‘Nell Gwynn’ at the Apollo Theatre directed by Christopher Luscombe and with music by Nigel Hess which premiered at the Globe in 2015.
Arngeir Hauksson was born in Iceland but came to London for his postgraduate studies on the guitar and the lute at the Guildhall School of Music and Drama.
Arngeir now specializes in historical plucked instruments from the medieval, renaissance and baroque periods performing on copies of original instruments. He also plays classical, folk and electric guitars, as well as percussion and the hurdy-gurdy.
Arngeir performs and records with many major English ensembles and opera companies. These have included The Sixteen, Ex Cathedra, City Musick, Blondel, Glyndebourne, English National Opera, English Touring Opera, Opera North, the BBC Concert Orchestra and BBC National Orchestra of Wales. He has for 10 years been a principal player and musical director for Shakespeare’s Globe Theatre, also performing in the National Theatre, London’s West End and on Broadway, New York.
He has a keen interest in new music and has collaborated with artists such as Damon Albarn, Sally Beamish, Tony Allen, Bruce Dickinson and William Lyons and he regularly performs in The Historic Royal Palaces, Hampton Court Palace and Tower of London.
His passion for early and contemporary music performance has led the creation of some exciting projects, most recently an experimental event at the National Gallery in which he premiered a work for solo sackbut by Fabrice Fitch. He performs with some of the world’s leading early music ensembles, including the Freiburger Barockorchester, The Gabrieli Consort and Players, QuintEssential, London Early Opera, and La nuova musica. As founder member of Il Nuovo Chiaroscuro and member of Camerata Antica he has performed extensively throughout the Europe and made appearances at the Brighton Early Music Festival and the Edinburgh Fringe Festival. Over the next months Daniel will be busy working on his own productions combing multiple art forms. The Wagnerian idea of Gesamtkunstwerk (total work of art) has profoundly influenced Daniel and is a concept he hopes to share with a wider audience—and one he believes should not be limited to the operatic stage. 
Lizzie champions the shawm, in all its glorious versatility. Having taken up the instrument as a part of the historical re-enactment movement to re-form Waits bands throughout the country, she then found herself drawn to pursue it further and realise it’s huge potential. Since 2007 Lizzie has studied with some of the country’s leading Renaissance wind players at summer schools in Cambridge, Dartington and then at the Guildhall. She plays a wide range of other historical instruments, including bagpipes, recorders, curtals and fiddles.
Trombones—historical, modern or plastic—are Daniel’s specialty. He also performs on a number of other historical instruments including the slide trumpet and the serpent.
She has recorded with the Academy of Ancient Music, Ex Cathedra and The Hanover Band; her operatic engagements include a stint at St Petersburg’s Hermitage Theatre and the Utrecht Festival. She co-founded the ensemble Concentus VII, an ensemble which brings the cantatas and chamber music of the mid 18th century to new audiences, performing in pubs and cafes as well as more traditional concert venues. Belinda is a specialist in 19th century performance practice and has performed many of the major romantic oratorio and orchestral works with orchestras in the UK and abroad. She studied romantic oboe with Marcel Ponseele, topping her year at Philippe Herreweghe’s Abbaye aux Dames course. As a member of the Fourier Ensemble (a piano and wind group) she has performed music from Mozart to Poulenc on original instruments. She has appeared with I Fagiolini and The City Musick, and taken part in in the West End transfer of the Globe’s production of Richard III, and in the National Theatre’s production of Everyman. She is a founding member of Blondel, and is a member of the wind band Syrinx. Not to neglect contemporary music, she has performed new works for early winds with the German group Triskelion. As percussionist productions include: Running Wild (Regents Park) Everyman, From Morning to Midnight, She Stoops to Conquer, Emperor and Galilean, Grief (National Theatre); The Tempest, As You Like It (RSC). As composer, credits include: Henry IV (RSC Education); An Incident at the Border (Trafalgar Studios/Finborough Theatre). Specially improvised film scores include: Macbeth (BAFTA Nominated), Theeb (Oscar Nominated). Folk and Medieval bands include: Joglaresa, The Askew Sisters, Blondel, The City Musick, The Artisans. Louise is a writer and founding member of Mountainear, a percussion led band. She studied at the Guildhall where she received the Lady Mayoress prize for overall excellence
Belinda fell in love with early music while studying modern oboe and recorder at the VCA (University of Melbourne.) She won a scholarship to study baroque and classical oboe in the Netherlands with Frank de Bruine and Ku Ebbinge, and is now based in London, playing with orchestras such as the Academy of Ancient Music (as principal and sub-principal), The Sixteen, Gabrieli Consort & Players and La Stagione Frankfurt.
Louise AnnaDuggan is a London based Percussionist, playing Frame Drums, Hammer Dulcimer, Tuned and Orchestral Percussion for the Theatre, the Stage, and the Studio.