The Queen’s Closet is comprised of period instrument performers, specialising in music of the Baroque and playing on instruments which are either original early instruments, or modern replicas of instruments from the 17th and 18th centuries.
Rebecca Struthers – Violin
Born in Nelson, Rebecca Struthers won an Associated Board Scholarship to study at the Royal Academy of Music in London. Afterwards she spent several years freelancing throughout Europe and the UK, returning home to join the New Zealand Symphony Orchestra in 1991. Rebecca leads Chiesa, an ensemble providing style-appropriate accompaniment to choirs in Wellington, and pursues a richly varied musical life that includes playing in contemporary ensemble Stroma and coaching young musicians. The Baroque violin journey began with lessons from Tafelmusik violinists and a Bach workshop with Maatsuki Suzuki. She performs on a restored 1730 Italian violin.
HyeWon Kim – Violin
Korean born New Zealander HyeWon Kim plays violin with major New Zealand orchestras as well as being a chamber musician, soloist and teacher.
HyeWon began her violin studies in Seoul at SunHwa Arts Conservatoire, continued her studies at the University of Auckland and the Guildhall School of Music and Drama – City of London University under David Takeno obtaining BMUS (Hons) and MMus degrees in violin performance.
While she was in the UK, HyeWon worked with BBC Philharmonic, Royal Liverpool Philharmonic, Halle, Scottish Chamber Orchestra, Royal Northern Sinfonia, London Mozart players and Southbank Sinfonia orchestras. Afterwards her journey continued to Japan, being a member of the Hyogo Performing Arts Center Orchestra.
Before coming to Wellington HyeWon lived in Spain working with Orquesta Sinfonica de Castilla y León , Orquesta de Cadaqués, Camerata XXI and BCN216 and is continuously invited to perform with them. HyeWon’s next tour will include Baden-Baden Festispiel hall series. She was a member of UBS Verbier festival orchestra Switzerland, Schleswig-Holstein festival orchestra Germany and Pacific Music Festival orchestra Japan.
Admires Jordi Savall and Hespèrion XXI, HyeWon’s violin was beautifully transformed to a Baroque one by Alan Clayton in Kelburn, Wellington.
Sophia Acheson – Viola
Sophia, from Christchurch, NZ, studied performance viola in Wellington with Donald Maurice where she graduated with first class honours. She was then invited to study in Barcelona with Ashan Pillai, violist with Pinchas Zukerman Chamber Players, and was subsequently awarded scholarships to study with Donald McInnes at the University of Southern California and later with Roger Myers at the University of Texas at Austin. During this period she furthered an interest in early music, learning the viola d’amore and viola da gamba, performing solo in the US at Berkeley and Evanston, and since her return to NZ, in Auckland.
In 2014 Sophia was appointed as principal violist of Orchestra Wellington. She has also enjoyed working with the New Zealand Symphony Orchestra, Auckland Philharmonia and Dunedin Symphony as a freelance musician. In 2016 her string quartet Kiwa was awarded a regional tour through through Chamber Music New Zealand, and again in 2017 with her harp trio Toru.
Jane Young – Cello
Jane Young is a New Zealand cellist who grew up in Auckland, has studied and worked in England, Australia, Mexico and the United States and currently lives in Lower Hutt. She holds performance degrees from the University of Auckland and the University of Arizona and enjoys chamber music, teaching, and playing with Orchestra Wellington. Inspired by Canadian group Tafelmusik’s performance in Wellington in 2012, Jane has also begun exploring historically informed performance on the baroque cello and plays a beautiful old cello which has been ‘converted’ to baroque specifications by Auckland luthier Annette Voll. The cello is named Walter!
LACHLAN RADFORD – DOUBLE BASS
Lachlan Radford completed his BMus with first class honours at Auckland University in New Zealand. Following this he relocated to London in 2010 after accepting The Elman Poole Music Fellowship with Southbank Sinfonia. He returned to New Zealand permanently in 2019 and is now enjoying a busy freelance schedule based in Wellington.
Within his classical career Lachlan has worked with several world-class orchestras, including the BBC Concert Orchestra, BBC National Orchestra of Wales, BBC Philharmonic, Metropole Orkest, the Philharmonia Orchestra, and New Zealand Symphony Orchestra. Lachlan was offered a permanent role with the Berkeley Ensemble in 2011, a significant highlight in his chamber and solo career.
Outside of the classical world Lachlan can be found working in other genres. His trio, More Like Trees, blend a fusion of flamenco and drum’n’bass on acoustic instruments and have played festivals across UK and Europe. In recent years he has also performed and recorded with award-winning artists such as DJ Yoda, Heritage Orchestra, Lazy Habits, MC Tali, and Reeps One.
Lachlan’s enthusiasm for passing on his musical experience to a younger generation is helped by his diverse and genre-defying background. He was Double Bass Professor in London at the Junior Guildhall of Music & Drama from 2012 – 2018. He continues to teach in both privately and at schools in Wellington.
Lachlan plays on a Jérôme Thibouville-Lamy bass and uses the Kaplan Medium Tension Strings by D’Addario as a D’Addario Orchestral Artist.
Sharon Lehany – Hoboy (Baroque Oboe) – Orchestra manager
Sharon is a versatile musician with a background in brass and woodwind playing. At university in the Unites States she divided her time as a musician, playing oboe in the Mason Gross School of the Arts wind ensemble, and mellophone in the Rutgers University marching band. A Fulbright scholar, she studied for her PhD in genetics at Trinity College Cambridge, UK, before moving to New Zealand. Since moving to Wellington she played primarily brass, including winning NZ championships with Wellington Brass on three occasions, and played freelance trumpet in Wellington. Sharon has returned to her roots as a double-reed player, specialising in Hoboy (Baroque Oboe). Her instrument is a boxwood Oberlender replica made by Harry Vas Dias. She plays exclusively on her own hand-made reeds, having worked with overseas baroque specialists to deploy her modern reed-making skills in the service of making the somewhat fickle baroque hoboy reed. Sharon is currently studying with Marianne Pfau.
Samantha Owens – baroque oboe – HISTORICAL ADVISOR
Samantha Owens is an historical musicologist who studied modern oboe with Ross and Susan McKeich in Christchurch, prior to completing a BMus degree in oboe performance under the tutelage of Ronald Webb and Luigi Ferletti (New Zealand Symphony Orchestra). Having been introduced to baroque performance by Peter Walls while studying at Victoria University of Wellington, she subsequently took hautboy lessons with Bruce Haynes (Montreal), Michel Henry (Paris) and Alfredo Bernardini (Amsterdam) and has performed professionally with period bands in both New Zealand and Australia. In 2015, Sam returned to Wellington following fourteen years employed at the University of Queensland in Brisbane. She is currently Professor of Musicology at Victoria University, where her research centres on seventeenth- and eighteenth-century German and British court music, and the reception of German music and musicians in Australasia, 1850–1950. Recent publications have included a monograph, The Well-Travelled Musician: John Sigismond Cousser and Musical Exchange in Baroque Europe(Woodbridge, Suffolk: Boydell Press, 2017) and two edited books, J. S. Bach in Australia: Studies in Reception and Performance, with Kerry Murphy and Denis Collins (Melbourne: Lyrebird Press, 2018) and Searches for Tradition: Essays on New Zealand Music, Past & Present, with Michael Brown (Wellington: VUP, 2017). A Fellow of the Australian Academy of the Humanities since 2012, Sam has also held visiting fellowships at the Herzog August Bibliothek in Wolfenbüttel (2004), Clare Hall, University of Cambridge (2007–2008), and – as an Alexander von Humboldt Fellow – at both the Martin-Luther-Universität Halle-Wittenberg (2009–2010) and the Bach-Archiv Leipzig (2018).
Gordon Lehany – Natural Trumpet, baroque horn and recorder – artistic director
Gordon’s musicking is focussed primarily on early music, specialising in playing natural trumpet, natural horn and recorder. He primarily plays with The Queen’s Closet and recently has also played natural trumpet with the Masterton Singers and Hawke’s Bay Orchestra on repertoire including Haydn’s Creation, Bach Christmas Oratorio and Classical repertoire, and in solo recitals. Starting out in music on violin at the age of 7 he later took up cornet to play in British brass bands in Yorkshire and Scotland. He played at the highest level of brass banding in the UK, playing solo cornet in British Open championships and national finals with Whitburn Band, before studying trumpet with Bryan Allen and David James. After moving to New Zealand he won three national brass band titles with Wellington Brass and played regularly with Orchestra Wellington, Hawke’s Bay orchestra and other freelance trumpet-playing before focussing primarily on natural trumpet in 2018.
Academically he undertook a three year research project into mental illness, historicism and the interpretation of the music of Robert Schumann, in collaboration with researchers at Edinburgh University, presenting the findings at the International Conference of the Royal College of Psychiatrists (UK) in 2010.
He plays on a hand made Ehe III model natural trumpet by David Staff, a baroque horn by Matthew Parker and recorders by Joachim Rohmer, Hans Neuwland and Moeck. Specialising in ventless and vented natural trumpet-playing he travels to Switzerland to study natural trumpet with Julian Zimmermann and studies with Mark Bennett. He is in regular contact with the small group of specialists worldwide who are pursuing performance on entirely authentic natural trumpets.
Peter reid – Trumpet and cornetto
Peter Reid plays trumpet for Bach Musica and freelances with other Auckland orchestras and ensembles. He studied music at Auckland University then the Trinity College of Music in London and subsequently performed in the UK and Europe.
He specialises in the period instruments – the cornetto and the baroque trumpet, which have enabled him to travel beyond his base in Auckland to perform with La Compania and Academia Arcadia in Melbourne and Australian Baroque Brass in Sydney. He particularly enjoys the interaction and intimacy of small ensemble music and has toured twice with Chamber Music New Zealand. He is a founding member of the ensemble Affetto, formed in 2010, their debut CD ‘Affetto’released Sept 2017.
In 2019 Peter is looking forward to playing with Renaissance dance troupe Capriol in Auckland in May, with The Queen’s Closet in Wellington in June, touring with NZ Barok with their ground-breaking Baby Baroque productions, Monteverdi’s Vespers in September with Ludovico’s Band in Melbourne, and a new Affetto programme ‘The Other Four Seasons’ in September with baritone Will King.
Craig Bradfield – Baroque bassoon
Craig began his performance study on modern bassoon at the Victorian College of the Arts in Melbourne with Genardy Bergaslavsky and Harold Evans. In the seventeen years spent in Melbourne, he performed with many orchestras including the State Orchestra of Victoria, Tasmanian Symphony, Australian Philharmonic and the Melbourne Symphony Orchestra.
Forever the student, Craig’s further studies have included lessons with the late William Waterhouse (BBC Symphony), Zoltan Harzanyi (Budapest Symphony) and Ole-Kristian Dahl (Oslo Philharmonic). He is currently in the doctoral program at Waikato University, majoring in baroque bassoon under the tutelage of Lyndon Watts in Melbourne and has had lessons from the great Italian bassoonist Alberto Grazzi.
Before returning to New Zealand Craig lived in Malaysia and Israel performing and teaching and on his return home has been busy freelancing with many orchestras and chamber groups around New Zealand. On baroque bassoon he performs with Vox Baroque and NZ Barok.
Craig plays on a wonderful replica of a Johann Poerschman (c. 1680-1757) designed instrument, made by the New Zealand born, London based instrument maker, Mathew Dart.
peter Maunder – sackbut and recorder
Peter has had extensive experience as a symphonic trombonist with major orchestras in the UK and in New Zealand as a member of the New Zealand Symphony Orchestra and Orchestra Wellington. He has also been involved in Brass bands at the highest level in the UK and New Zealand as a player, conductor and arranger. Peter has also performed with Yorkshire Baroque Soloists and Ex Cathedra in the UK and in Wellington the Tudor Consort and more recently Eternity Opera’s “Orfeo” playing sackbuts and recorders.
Kris Zuelicke – harpsichord
Kristina Zuelicke was raised in the United States and has been performing and teaching music in New Zealand since moving here from Germany in 2003. Kris holds degrees in music from Miami University as well as Indiana University and recently graduated from the New Zealand School of Music with a Doctor of Musical Arts in Harpsichord Performance, supervised by Douglas Mews, Samantha Owens, Erin Helyard and Peter Walls. Study grants, including the Freemasons Lankhuyzen/Whetu-Kairangi and Therle Drake scholarships, enabled her to study for two summers in Boston with Mark Kroll.
Kris enjoys performing both early and contemporary music for harpsichord, such as a work by Lutoslawski for a recent Stroma concert. Ongoing research on the revival harpsichord has led to academic papers on the subject, including one given at the 2018 New Zealand Musicological Society Conference.
Laurence reeSe – percussion
American-born timpanist and percussionist Laurence Reese is a graduate of The Juilliard School in New York and The Royal College of Music in London. He has been the Section Principal Timpanist of the New Zealand Symphony Orchestra since 1998. His interest in early music was sparked by a live performance in the early ’80s of Michael Praetorius’ Terpsichore, leading to a haphazard and never-ending pursuit of the performance traditions of percussion and timpani in the Medieval, Renaissance and Baroque periods. Larry has a small but ever-growing collection of original and period-correct kettledrums and hand percussion instruments.