about

Clare Beesley enjoys a busy and varied career as a flute-player, specialising in historical performance practice on early flutes spanning the Renaissance to Romantic periods.

Educated first at the Birmingham Conservatoire (UK), Clare received a BA (Hons) degree in modern flute (1997) and a Masters degree (with commendation) in baroque flute (1999). She then pursued her interest in early music at the Royal Conservatoire of the Hague (The Netherlands) under the tutelage of Wilbert Hazelzet (baroque and classical flutes) and Kate Clark (renaissance flute). She received further Bachelor and Master degrees in historical performance practice (the latter with distinction for achievements in renaissance consort playing) in 2004 and 2006.

As an orchestral player, Clare works with Concerto Amsterdam, Collegium Musicum Den Haag and Accademia Amsterdam. Recent engagements have included performances with Amsterdam Baroque Orchestra, Barokksolistene, Das Kleine Konzert and Combattimento. She leads the Renaissance flute consort Catch As Catch Can which has enjoyed numerous performances in the UK, Italy, The Netherlands and Austria. Alongside Earl Christy (lute/theorbo) she performs as the duo Chelys Sonora which has appeared in festivals and concert series in Belgium, The Netherlands, and UK. In 2017 Clare formed the flute and accordion duo Calliope with Pete Churchill and they made their debut in the same year at MOON in Ortigia (Italy). A review of one of their 2019 Sussex performances can be read here.

Clare is an enthusiastic teacher and ensemble coach, and has tutored on the summer chamber music course Baroque Week since 2010. She is fortunate to tour the globe in her role as a grade and international diploma examiner for the Associated Board of the Royal Schools of Music and since 2016 has adjudicated as flute specialist for AMIS (Association for Music in International Schools) Solo and Ensemble Music Festival at The American School of the Hague. Clare is an external PhD Student (Buitenpromovendus) at the University of Utrecht. Her research explores the gendering of timbre in the later 18^thcentury, with a special focus on the career and connections of Marianne Davies, who transformed from a child prodigy flautist to a pioneering travelling virtuosa of the glass armonica. She is supervised by Dr. Rebekah Ahrendt and promoted by Prof. dr Emile Wennekes.