Professor Peter Seymour

Peter Seymour specialises in Performance Practice, in particular as it applies to later Renaissance, Baroque, Classical and early nineteenth-century repertoire; he has a particular specialisation in vocal music, both solo and choral, and in keyboard music. He conducts and plays harpsichord, fortepiano, modern piano and organ; he has recorded in each of these roles for BBC, ITV, WDR-Köln, NDR, as well as radio stations in USA, Greece, Denmark, Italy, Hong Kong. The most significant of these recordings were in early Lieder, especially in exploring ornamentation; in the keyboard music of CPE Bach, including his last six publications Für Kenner und Liebhaber from the 1780s; and baroque choral music, often using his own editions – the most significant of these was an edition and commercial recording of the first version (1727) of Bach’s St Matthew Passion.

He founded and directed Yorkshire Baroque Soloists from 1973, Yorkshire Bach Choir from 1979 and has been Artistic Adviser to York Early Music Festival from 1977. He was awarded D Mus by University of York in 1994 and promoted to Professor of Music in 2009.

He has supervised nineteen successful PhD submissions, one M Phil submission and on retirement was supervising five PhD students. He has continued to give informal assistance to these students. All these submissions have been in Performance Practice, involving research via performance and in topics ranging from early seventeenth- to early nineteenth-century repertoire. Additionally, he established and taught the MA in Performance from 1986.

1989 he conducted the WDR specialist early music choir Corona Coloniensis making several recordings and giving concerts each year until 2002. He conducted the University Chamber Choir and University Choir from 1984 until his retirement and the University Baroque Ensemble over a similar period.

His regular choral conducting is now limited to Yorkshire Bach Choir with whom he has recorded Bach B Minor Mass; St John Passion; Mozart Requiem in a completion commissioned from Duncan Druce; Bach Family Motets (ed. PS); Monteverdi, Vesperae Della Beata Vergine (using a new edition of Monteverdi’s version for voices and continuo instruments only); Victoria Psalms and Motets (ed. PS).

As a keyboard player on harpsichord, fortepiano, organ and modern piano he has concentrated on solo vocal music, especially early Lieder, and on Baroque and Classical chamber music. He has directed Yorkshire Baroque Soloists since the latter part of his undergraduate studies and this, often alongside Yorkshire Bach Choir, has appeared regularly in his research, recordings and concerts.