Miriam's passion for historical performance was ignited during her undergraduate years at the University of York where she studied Music and particularly enjoyed modules such as 'Editing Early Music' and 'Music and Patronage in 17th Century England'. After performing Vivaldi's double cello concerto with the departmental Baroque Ensemble at the National Centre of Early Music, she became increasingly keen to play a period instrument, and for her dissertation conducted an investigation The revival of period performance in the second half of 20th Century. Shortly after graduating in 2016, Miriam was generously lent a Baroque cello and gained a place to study for a Masters in Historical Performance at the Royal Academy of Music on Baroque cello and viola da gamba with Jonathan Manson.
Whilst at the Academy, Miriam took part in a great many projects which she found incredibly enriching and informative. Highlights include playing continuo under the direction of Laurence Cummings in Handel's Semele, and also under the direction of Philippe Herreweghe for the Academy's Bach series. If not playing the Baroque cello, Miriam found herself performing on the viola da gamba and sometimes even Baroque dancing! Alongside the course, Miriam attended summer schools across Europe, such as one with professors from the Juilliard Historical Performance Faculty in Tuscany, and as part of the Britten-Pears Young Artist programme working on Bach Cantatas with Philippe Herreweghe.
Since graduating from the Royal Academy in July 2019, Miriam has been leading a busy freelance life in London (pandemic allowing), and is delighted to have become a La Serenissima Emerging Artist chair holder. Exciting future chamber music projects include a festival of Early Music written by women which is currently being organised by the Judith Collective having successfully secured funding through the Royal Academy's SoundCrowd project; as well as a recording of Uccelini works with the Noxwode ensemble. Miriam also enjoys performing in larger scale works with groups such as Newcastle Baroque, Yorkshire Baroque Soloists, Eboracum Baroque, and Endelienta Baroque. A passionate viola da gamba player, Miriam was a guest with the Royal College of Music viol consort for their Lachrimae project in early 2020, and is very much looking forward to spending more time playing this repertoire. Aside from performing in conventional concert settings, Miriam is passionate about widening opportunities for classical music participation. Miriam is part of the Live Music Now outreach scheme with the Canario Ensemble, and she is a school strings teacher in North London.
Eboracum Baroque Messiah Recording
Britten-Pears young artists post Bach Cantatas concert in the amazing hall at Snape Maltings.
Noxwode Ensemble with Bojan Čičić in St Martin in the Fields
Final concert of the course run by the Juilliard Historical Performance department at the Piccola Accademia di Montisi, Tuscany. Here we are playing a Boyce trio sonata.
The bass team at Dartington International Summer School, post-performance of Bach's St. Matthew Passion. We were coached by Richard Tunnicliffe.
Vox Magicae, post-concert in Bishop's Castle Town Hall. A programme of Renaissance and Baroque chamber music.
Coaching from Lucy Russell with the Kellie Consort string players.
Rehearsing a Corelli trio sonata in Spain. This was part of the programme taken to Spain on tour with the choir of Gonville and Caius college, Cambridge.
Eboracum Baroque at Wimpole Chapel.
Eboracum Baroque in Clare College, Cambridge.
After performing Vivaldi's double cello concerto at the National Centre for Early Music.
A selection of programmes