Dr Peter Leech

I have held the following posts as Musical Director (MD) or Guest Musical Director (GMD)

Costanzi Consort (2017-present) MD

City of Bath Bach Choir (2016) GMD

Cardiff University Chamber Choir (2016-present) MD

St Catharijne Cantorei, Brielle (2015-present) GMD

Coro di Teatro Comunale, Bologna (2010) GMD

Harmonia Sacra (2009-present), MD

Cappella Fede (2008-present), MD

Aylesbury Choral Society (2004-2014) MD

Eszterhazy Chamber Choir and Orchestra (2002) GMD

Coro Euridice, Bologna (2005 and 2010), GMD

Bristol Philharmonic Orchestra (2005) GMD

Royal Scottish National Orchestra Chorus (2002-3) GMD

City Chamber Orchestra of Hong Kong (2002) GMD

Chandos Chamber Choir, London (2002-2004) MD

Frideswide Ensemble of Oxford (1999-2009) GMD

Bristol Bach Choir (1999-2008) MD

City of Oxford Choir (1998-2005) MD

Cathedral Singers of Christ Church, Oxford (1997-1999) MD

The Song Company (1996) GMD

Tasmanian Symphony Orchestra (1994) GMD

The Tudor Choristers, Melbourne (1994-95) MD

St Peter's Cathedral, Adelaide (1994-1995) MD

Adelaide University Choral Society (1994-1995) MD

New Holland Baroque Chamber Orchestra (1993-1995) MD

The Handel Bande, Melbourne (1992) MD

Ensemble Eszterhaza, Melbourne (1990-1995) MD

Libra Contemporary Ensemble (1991-1993) MD

Melbourne Conservatorium of Music Symphony Orchestra (1991) GMD

Melbourne Youth Orchestra (1991-1992) GMD

Percy Grainger Youth Orchestra (1991) Assistant MD

Geminiani Chamber Orchestra (1991) GMD

Australian Girls Choir (1988-89) MD

Adelaide University Chamber Orchestra (1988) GMD

Flinders University Choral Society (1986) MD

Academic positions

• Honorary Research Fellow, School of Arts & Humanities, Swansea University (2008-14)
• Tutor at City Literary Institute, London (2000-02)
• Lecturer in Musicology at Colchester Institute (1996-99)

Speaking engagements

• Benedictus UK (2015)
• Renaissance Society of America (New York, 2014)
• Utrecht Early Music Festival (2013)
• York Early Music Festival (2008)

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I teach at both undergraduate and post-graduate levels, taking first year classes in Repertoire Studies, second year classes in Performance Practice and Organology (The Long Eighteenth Century c.1700-c.1830), third year classes in Performance Practice and Organology (The Long Seventeenth Century c.1550-c.1700), as well as the supervision of Masters students undertaking the dissertation component of the MA course.

My Year 2 and Year 3 Performance Practice classes cover important musical treatises published from c.1550 through to the early nineteenth century, with many specific case studies dealing with aspects of musical ornamentation, expression, source studies, interpretation and understanding original music prints and manuscripts and critical thinking.   

I am also involved with Advanced Performance Forum and seminar aspects of the taught MA courses.

In 2018 and 2019 my Masters Dissertation students (working on C17 solo violin music of Giuseppe Colombi, and the tragedie lyrique of Andre Campra, respectively) achieved high distinctions and were recommended for continuing their research at PhD level.

My core research has dealt with vocal and instrumental music of the seventeenth and eighteenth centuries, with areas including music and musicians in the British Royal Catholic chapels 1660-1714, music and musicians in the British Jesuit diaspora 1580-1773, late 17th century instrumental and vocal music in England, 18th century choral and instrumental music in Rome and eighteenth-century Russian Orthodox choral music.

Specific research topics (many yielding publications) have included vocal and instrumental associated with Queen Catherine of Braganza, King James II (in England and in exile), as well as sacred music asosciated with Cardinal Henry Benedict Stuart (1725-1807) in Rome and sacred music performed for the Russian Tsars during the eighteenth and early nineteenth centuries.