Versatile and passionate violinist with extensive experience performing with leading orchestras such as the Royal Concertgebouw Orchestra and the London Symphony Orchestra. Naomi has held a permanent position as first violinist with the Residentie Orkest The Hague since 2009.

She studied violin with Janice Graham at the Royal College of Music in London and previously with Peter Brunt and Kees Koelmans at the Conservatorium van Amsterdam. At the age of eight, she was admitted to the Young Talent program at the Utrecht Conservatory, where she studied with Joyce Tan.

Naomi is dedicated to nurturing the next generation of musicians, both individually and in ensemble settings. As founder and artistic director of the Young String Players Foundation (Stichting Jonge Strijkers Nederland), she coaches young musicians in chamber music and orchestral playing. Her teaching approach is tailored to each student's level, with a strong focus on technique, expression, and enjoyment. She is regularly invited to serve on competition juries and teaches at music festivals and summer courses.

Education

Royal College of Music, London
Utrecht Conservatory
Master of Music - 2005-2007
Teachers: Janice Graham, Eeva Koskinen

Conservatorium of Amsterdam
Bachelor of Music - 2000-2005
Teachers: Peter Brunt & Kees Koelmans

Utrecht and Amsterdam Conservatory
Young Talent Department - 1989-1999
Teacher: Joyce Tan

Secondary Education
Barlaeus Gymnasium / Montessori Lyceum Amsterdam
VWO diploma obtained in 1999

Professional Experience

Residentie Orkest The Hague
First Violinist | since 2009

Freelance Violinist
Performed with:

• Royal Concertgebouw Orchestra
• Rotterdam Philharmonic Orchestra
• Netherlands Philharmonic Orchestra
• Netherlands Chamber Orchestra
• London Symphony Orchestra
• Malaysian Philharmonic Orchestra
• Qatar Philharmonic Orchestra

In addition to her extensive experience in the Dutch music scene, Naomi has performed internationally in London, Asia, and the Middle East.

Young String Players Foundation (Stichting Jonge Strijkers Nederland)
Founder, Artistic & Executive Director | since 2015

• Repertoire selection and tailored part editing for young string players
• Coaching of upper strings and chamber music groups
• Responsible for auditions, production, fundraising, and concert organization
• Maintains sponsor relations and long-term partnerships, including with Nyenrode University
• Performances on national television and at the Royal Concertgebouw
• 2025 tour: New York & Carnegie Hall

Violin Teacher
Private lessons since 2003

• Over twenty years of experience teaching violin to young musicians, from beginners to advanced students
• Individual approach focused on technique, expression, and joy in playing
• Prepares students for recitals, competitions, ensemble projects, orchestra auditions, and entrance exams
• Promotes ensemble playing from an early age through chamber music and youth orchestra participation

Additional Activities

• Jury member at various national competitions for young musicians
• Teacher and coach at summer courses and string festivals
• Workshop leader and ensemble coach

Tomoko Honda studied at the Liszt Academy in Budapest, the Queen Elisabeth Music Chapel, and the Hochschule für Musik in Cologne. In 2001, she won First Prize at the Minerbio International Competition in Bologna, as well as at the Weiner Chamber Music Competition in Budapest. She also received Second Prize at the European Competition in Turin in 1998 and at the Carlo Soliva International Competition in 2000, and Third Prize at both the C. Togni International Piano Competition and the Zinetti International Chamber Music Competition in 2006.

Known for her refined palette and innovative explorations in contemporary music, she has performed as a soloist in some of the most prestigious concert halls and festivals, including Ars Musica, Klara Festival, and the Balsa Marni Festival in Belgium; Gaudeamus Muziekweek; the Trondheim Chamber Music Festival; Impulse Festival in Graz; the International Contemporary Music Festival in Budapest; and the Festival of Menton. She has collaborated with composers such as György Kurtág, György Ligeti, Peter Eötvös, Pascal Dusapin, Toshio Hosokawa, and George Crumb, premiering, performing, and recording numerous new works.

A passionate chamber musician, she performs in various settings, both with small ensembles and larger groups. Tomoko has appeared at venues such as the Opéra de Lille, the Van Gogh Museum, the Palais des Beaux-Arts, Flagey, and Wigmore Hall, and she has toured extensively across Europe, Asia, South America, and Japan. She has also recorded for television and radio, including BBC Radio 3 (UK), Radio Bartók and Hungarian National TV, Musique 3, and Klara (Belgium).

Since 2012, she has been working as a collaborative pianist at the Royal Conservatory of Brussels, and she regularly serves as an official accompanist at international competitions (such as the Adolphe Sax International Competition and the Jean-Marie Londeix International Competition).

"...he is one of the finest players I've heard ...competitive with the best of the best."
Jerry Dubins, Fanfare Magazine

Acclaimed clarinetist Andrew Simon has appeared as soloist and guest lecturer on four continents. As Principal Clarinetist of the Hong Kong Philharmonic Orchestra, Simon has recorded solo works by Baermann and Stravinsky and has performed concerti over 70 times, including John Corigliano's Concerto for Clarinet and Orchestra which he studied with the Academy Award-winning composer.

Among his notable performances are those with the Mainly Mozart Orchestra (US), the Singapore Symphony, as well as giving the Australian and Asian premieres of the original, unpublished version of Copland’s Concerto. In addition, his recital CDs include “HOT” and his new release, “Ebony and Ivory,” for NAXOS Recordings.

As guest lecturer, he frequents institutions such as Yale University, the Sydney Conservatorium, the Royal College of Music in London, and the Central Conservatory in Beijing. Having recently given his concerto debuts in Lithuania, Taiwan and New Zealand, upcoming projects include concertos with Jaap Van Zweden as well as The SAR Philharmonic Orchestra.

A graduate of The Juilliard School, Simon is a Buffet-Crampon, Vandoren and Ishimori artist. He is also the first American-born musician to perform in North Korea.

Away from music, his adventurous streak has taken him to an ashram in India, a bungy jump in New Zealand, and a tennis match against John McEnroe (he lost).

For more information, visit AndrewMichaelSimon.com

I have been playing a brass instrument for over 50 years. During those years my life has been enriched working with musicians, actors, artists, dancers, sculptors, writers, film makers and photographers as my career as a player, arranger, teacher, mentor and conductor has unfolded.

I have been playing a brass instrument for over 50 years. During those years my life has been enriched working with musicians, actors, artists, dancers, sculptors, writers, film makers and photographers as my career as a player, arranger, teacher, mentor and conductor has unfolded.

My very first pro job was as co-Principal trumpet with the Royal Opera House. The Royal Opera House is one of the world's great musical institutions so this offered me the chance to work with illustrious conductors such as Carlos Kleiber, Sir Colin Davis and Sir Georg Solti. I then spent many years touring with the Philip Jones Brass Ensemble as the youngest ever recruit, as well as with the English Brass Ensemble and the London SInfonietta. With the PJBE we enjoyed almost rock star status in brass-mad countries like Japan, travelled the world and made some incredible recordings.

I took some time out to spend a week in the south of France competing in an international trumpet competition based in Toulon. I managed to come second but no disgrace as the winner was Hakan Hardenberger, but this experience fuelled my enthusiasm to develop a solo career.

Around this time I met the conductor John Lubbock who invited me to become a member of the Orchestra of St John's and I also teamed up with the musicians who are now collectively known as the Britten Sinfonia, one of the world's most celebrated and pioneering ensembles.

Nearly four years as principal with the BBC National Orchestra of Wales was a thrilling experience - great to play all those glorious romantic symphonies - but my heart was always in chamber music so I joined Fibonacci Sequence, a fabulous group created by pianist Kathron Sturrock and became a member of the London Mozart Players, eventually becoming its Chairman.

I've worked with some iconic names in music such as Witold Lutoslawski, Pierre Boulez, Sir Michael Tippett, Sir Peter Maxwell Davies, Sir Harrison Birtwistle, Shirley Bassey, Barbara Streisand, Michel Legrand and Sir Paul McCartney. I've met a few political figures such as Denis Healey, Tony Benn and Margaret Thatcher and quite a few of the Royals.

As a studio musician it was a privilege to perform on some of the 20th century's most memorable film soundtracks and to commission and premiere brilliant new works from leading contemporary composers. I've launched a brass education academy and my own record label, published several sets of arrangements, written methods and studies to support players with their technical development, and taught and mentored some wonderful players, many of whom have gone on to become music professionals too.

Invitations to become a member of two of the folk world's innovative groups, Brass Monkey and a Home Service were too good to miss and my appointment as musical director of Regent Brass, one of the UK's top brass bands, took me back to my roots in the brass band fraternity

I realise, as so many people do, that it was my so-called formative years and the teachers and supporters I met along the way, that underpin my approach to music and my values as a player.

I was born in Leeds in 1956 to John and Eva Archibald, Salvation Army officers and keen amateur musicians. I and my older brother John, led itinerant lives as mum and dad were posted around the country often only staying in post for between six months and two years. Inevitably, approaching 5 years of age, I joined my brother John in the local Salvation Army young people's band on tenor horn and the daily ritual of practice began. Encouraged by traditional 'Sally Ann' values of community and support, I worked my way from 2nd horn through to solo euphonium, and eventually to cornet at the age of 14.

Eight schools later my mum signed me up for a music course at Clarendon College, Nottingham, introducing me to a world of formal music training which proved to be the most influential study period of my life. Clarendon College, with its maverick approach to music education, introduced me to avant-garde composers, exotic contemporary brass music, 12-tone row aural exercises and the vagaries of the Cornett and 'period' music before the term had become standard. Ernest Hall, the legendary British orchestral trumpeter, kindly awarded me the ARCM diploma despite his concern over the 'brass band' vibrato and suggested I should take more lessons.

At 18 I signed up to three years at the Royal Academy of Music in London, studying with William Overton (ex-principal trumpet with the BBC Symphony Orchestra) and the occasional lessons from James Watson (ex-principal trumpet RPO). It was during my study at the RAM that the English Brass Ensemble formed (originally called Albany Brass Ensemble) and my interest and passion for brass ensemble music developed from its early beginnings at Clarendon College.

The rest, as they say, is history.

Composer / Pianist / Artist, Anothai completed her bachelor degree with 1st class honour from Chulalongkorn University, Thailand, she then continued her studies in the Master programme in Music Composition at the University of Edinburgh under Professor Nigel Osborne in 2002. After graduated with a Master Degree and was awarded a distinction, she was awarded the scholarship from the University and the Overseas Research Students Awards Scheme, and obtain her PhD in Composition in May 2007.

Working on a cultural frontier, Anothai bases her musical research on the idea of intercultural and dialogues between cultures, integrating musical languages of a professionally trained, contemporary-style to the folk-based oral tradition and combing together various types of performers including professional musicians, folk-musicians, children and people with no musical background. Her compositions have been performed by the orchestras and ensembles in many countries. She was also regularly invited to be a jury for composition and performance competition both in Thailand and abroad. She has also been granted the Silpathorn Award in 2021 by the Office of Contemporary Art and Culture, Ministry of Culture of Thailand.

Dr. Smatya Wathawathana is a distinguished cellist, educator, and music therapist based in Thailand. With a rich academic background, she holds a doctoral degree in Development Administration from Suan Sunandha Rajabhat University, a master's degree in Music Therapy from Mahidol University, and a bachelor's degree from Chulalongkorn University's Faculty of Fine and Applied Arts.

Dr. Smatya's expertise extends beyond the concert hall, as she also serves as a music therapist at Chulalongkorn Memorial Hospital, specializing in working with dementia patients. Her innovative approaches harness the therapeutic power of music to enhance the well-being and quality of life for individuals facing cognitive challenges.

In addition to her roles in academia and healthcare, Dr. Smatya is an esteemed member of the Thailand Philharmonic Orchestra, where her skillful cello performances captivate audiences and enrich cultural experiences.

Currently, Dr. Smatya shares her wealth of knowledge and experience as a lecturer at the Princess Galyani Vadhana Institute of Music, inspiring and mentoring the next generation of musicians and music therapists. Her dedication to both artistic expression and compassionate service exemplifies her commitment to using music as a tool for healing, education, and connection within her community and beyond.

"Most engaging was countertenor Puntwitt Asawadejmetakul who has developed a range and power uncommon in this type of voice, and clearlybound for an international career"
-Bangkok Post-

"Puntwitt Asawadejmetakul is a countertenor who has developed a range and power uncommon in this type of voice, and clearly bound for an international career"
-Bangkok Post-

"Puntwitt as the charioteer, show a rare HEROIC side to the countertenor voice"
-The Nation-

"Thailand rising star"
-Bangkok Post-

"The fiery one"
-Bangkok Post-

Education

• Doctor of Fine and Applied Arts, Chulalongkorn University
  • Under supervision of Prof.Duangjai Thewtong Amatyakul
• Master of Fine and Applied Arts, Chulalongkorn University
  • Under supervision of Prof.Duangjai Thewtong Amatyakul
• Bachelor of Music, Conservatory of Music, Rangsit University (First Class Honor)
• St.Francis Xavia School
• Shaker Height High school

Tawanrat Mewongukote graduated with First Class Honors from the Faculty of Fine and Applied Arts at Chulalongkorn University in 2009. She was awarded a prestigious scholarship to undertake her graduate studies at Portland State University in Portland, Oregon. She was appointed as a teaching assistant at The Ohio State University for 3 years and then completed her Doctor of Musical Arts degree in clarinet performance at Boston University's School of Music, supported by another scholarship from Boston University. Throughout her time in the United States, Tawanrat found herself immersed in various musical endeavors, serving as a manager of the Boston University Wind Ensemble and participating in performances with esteemed ensembles. Additionally, she contributed to several recordings with different bands and orchestras, sharing her artistry with audiences through platforms like CD, Spotify, and Apple Music.

Tawanrat feels immensely honored and forever indebted to have studied under the transformative guidance of eminent clarinet mentors Ajarn Mongkol Piromkrut, Peter Goldberg, Prof. Dr. Nophachai Cholthitchanta, Dr. Yos Vaneesorn, Dr. Barbara Heilmair, Dr. Caroline Hartig, Ethan Sloane, David Martins, and Richard Stoltzman. Their wisdom has profoundly shaped her musical voice and spirit.

Upon returning to Thailand, Tawanrat sought to contribute to her community by organizing music events such as the Brass Ensemble of the Royal Concertgebouw Orchestra concert in 2019 and the annual Thailand International Trombone Festival. With gratitude for the opportunities bestowed upon her, she also held the role of Vice President at International Cultural Promotions, organizing Bangkok’s International Festival of Dance & Music. Currently, Tawanrat serves as a full-time lecturer at the Princess Galyani Vadhana Institute of Music, where she is dedicated to inspiring the next generation of musicians. She also finds joy as a clarinetist of the Royal Bangkok Symphony Orchestra.

“Dancing and making music at the same time, that's what violin playing is to me.”

From September, Maria-Paula Majoor, violinist and principal of the Matangi Quartet, will join the ArtEZ Conservatory teaching team as principal subject teacher of Violin. Maria-Paula's background fits perfectly within the new curriculum of the Classical Music department, of which realistic preparation for the current field of work is a spearhead.

Maria-Paula Majoor studied at the Royal Conservatory of The Hague and at the Musikhochschule Freiburg. During her studies she met the other members of the Matangi Quartet. Together they have formed one of the leading string quartets of our time since 1999. With the Matangi Quartet she continued her studies at the Dutch String Quartet Academy under the direction of Stefan Metz (Orlando Quartet) and received lessons from internationally renowned musicians, including the members of the Amadeus Quartet. They were then intensively guided for several years by Henk Guittart (violist, Schönberg Quartet).

In addition to her work as principal of the Matangi Quartet, Maria-Paula enjoys playing with various ensembles, orchestras or instrumentalists. Last year she gave a concert with pianist and ArtEZ teacher Sepp Grotenhuis in the Muziekgebouw aan 't IJ and played her 'new Stradivarius'. “One of the most inspiring concerts I have ever given. Playing with such a fantastic pianist and on a violin that I built myself, so... to be continued....”

Matangi Quartet
The members of the Matangi Quartet: Maria-Paula Majoor (primarius), Daniel Torrico Menacho (violin), Karsten Kleijer (viola) and Arno van der Vuurst (cello) are the figureheads of the new generation of classical musicians. The quartet is known for its glowing and temperamental playing and surprising programming. They shared the stage with greats from classical music, but also with cabaret artists such as Herman van Veen, bandeonist Carel Kraayenhof, jazz trumpeter Eric Vloeimans, jazz pianist Michiel Braam and DJ Kypski.

The Matangi Quartet is at the forefront of developing new trends in the world of classical music. The members are looking for new and stimulating concert forms that provide the audience with a more intense concert experience. New audiences are sought by adding images, light and initiating crossovers. In the coming years, the Matangi Quartet wants to focus on developing the artistic content of the classical concert and in particular on the artistic freedom of the re-creating musician and his communication with the audience.

www.matangi.nl

Tomoko Honda studied at the Liszt Academy in Budapest, the Queen Elisabeth Music Chapel, and the Hochschule für Musik in Cologne. In 2001, she won First Prize at the Minerbio International Competition in Bologna, as well as at the Weiner Chamber Music Competition in Budapest. She also received Second Prize at the European Competition in Turin in 1998 and at the Carlo Soliva International Competition in 2000, and Third Prize at both the C. Togni International Piano Competition and the Zinetti International Chamber Music Competition in 2006.

Known for her refined palette and innovative explorations in contemporary music, she has performed as a soloist in some of the most prestigious concert halls and festivals, including Ars Musica, Klara Festival, and the Balsa Marni Festival in Belgium; Gaudeamus Muziekweek; the Trondheim Chamber Music Festival; Impulse Festival in Graz; the International Contemporary Music Festival in Budapest; and the Festival of Menton. She has collaborated with composers such as György Kurtág, György Ligeti, Peter Eötvös, Pascal Dusapin, Toshio Hosokawa, and George Crumb, premiering, performing, and recording numerous new works.

A passionate chamber musician, she performs in various settings, both with small ensembles and larger groups. Tomoko has appeared at venues such as the Opéra de Lille, the Van Gogh Museum, the Palais des Beaux-Arts, Flagey, and Wigmore Hall, and she has toured extensively across Europe, Asia, South America, and Japan. She has also recorded for television and radio, including BBC Radio 3 (UK), Radio Bartók and Hungarian National TV, Musique 3, and Klara (Belgium).

Since 2012, she has been working as a collaborative pianist at the Royal Conservatory of Brussels, and she regularly serves as an official accompanist at international competitions (such as the Adolphe Sax International Competition and the Jean-Marie Londeix International Competition).

The Austrian Bassoonist joined the Singapore Symphony Orchestra in 2008.

In 2016 he joined the Artistic Faculty for New Music Ensemble and Experimental Music at the Yong Siew Toh Conseravtory of Music at the National University of Singapore and he is Visiting Guest Faculty for Collaborative Winds, Experimental Music and Pedagogy at thePrincess Galyani Vadhana Institute of Music in Bangkok.

Christoph is also co-founder of SETTS (Southeastern Ensemble  for Today’s and Tomorrow’s Sounds) Singapore first professional Ensemble for contemporary music.

He is a graduate of the Conservatory Vienna where he studied Performance with Michael Werba (Principal Bassoon, Vienna Philharmonic Orchestra) and Music Education. In Masterclasses with Valerij Popov , William Waterhouse, Karl Öhlberger, Christian Beuse (focused on Baroque-Interpretation) and Pascal Galloise (focused on temporary playing-techniques) complemented his studies.

Already during his university years Christoph was able to gather experience in various ensembles of the Viennese concert life such as the Wiener Kammerorchester. As a substitute player at the State Opera of Vienna and the Vienna Philharmonic Orchestra he was able to work, tour and record under such Conductors like Zubin Mehta, Seiji Ozawa, Maris Jansons, Ricardo Muti or Nikolaus Harnoncourt,…

Christoph is an active performer as a soloist in various recitals and with Orchestras (Concertos from Mozart, Weber, Pauer, Hartl,..)

Before moving to Singapore Christoph was working as Solo-Basoonist at the Orchester der Vereinigten Bühnen in Wien for their productions and at the music-school of Tulln teaching Bassoon, Music Theory and the Symphonic Windband.

In Tulln he was able to build a very successful bassoon studio on pre-univerity and was therefore selected to be one of the co-authors of the current valid syllabus for bassoon on public music schools in Austria and installed together with his colleague Cordula Bösze a composition workshop. In addition to this he was invited to coach on music-colleges and universities and to sit on panels for competitions.

Christoph is committed to bring the best out of his students and has taught many students from the absolute beginner to graduate level.

Being an active performer, devoted teacher and through his intense engagement in contemporary music he is always trying to widen his musical horizon.

I have been playing a brass instrument for over 50 years. During those years my life has been enriched working with musicians, actors, artists, dancers, sculptors, writers, film makers and photographers as my career as a player, arranger, teacher, mentor and conductor has unfolded.

Being a musician is a vocation, it is all-consuming. It is creative, opens doors, influences my thoughts and actions and even who might be my friends. It can be risky, passionate, stimulating, nerve-wracking, disciplined, mind broadening, frustrating and sometimes, if I'm making heavy weather of my travel arrangements, a little dull.

My very first pro job was as co-Principal trumpet with the Royal Opera House. The Royal Opera House is one of the world's great musical institutions so this offered me the chance to work with illustrious conductors such as Carlos Kleiber, Sir Colin Davis and Sir Georg Solti. I then spent many years touring with the Philip Jones Brass Ensemble as the youngest ever recruit, as well as with the English Brass Ensemble and the London SInfonietta. With the PJBE we enjoyed almost rock star status in brass-mad countries like Japan, travelled the world and made some incredible recordings.

I took some time out to spend a week in the south of France competing in an international trumpet competition based in Toulon. I managed to come second but no disgrace as the winner was Hakan Hardenberger, but this experience fuelled my enthusiasm to develop a solo career.

Around this time I met the conductor John Lubbock who invited me to become a member of the Orchestra of St John's and I also teamed up with the musicians who are now collectively known as the Britten Sinfonia, one of the world's most celebrated and pioneering ensembles.

Nearly four years as principal with the BBC National Orchestra of Wales was a thrilling experience - great to play all those glorious romantic symphonies - but my heart was always in chamber music so I joined Fibonacci Sequence, a fabulous group created by pianist Kathron Sturrock and became a member of the London Mozart Players, eventually becoming its Chairman.

I've worked with some iconic names in music such as Witold Lutoslawski, Pierre Boulez, Sir Michael Tippett, Sir Peter Maxwell Davies, Sir Harrison Birtwistle, Shirley Bassey, Barbara Streisand, Michel Legrand and Sir Paul McCartney. I've met a few political figures such as Denis Healey, Tony Benn and Margaret Thatcher and quite a few of the Royals.

As a studio musician it was a privilege to perform on some of the 20th century's most memorable film soundtracks and to commission and premiere brilliant new works from leading contemporary composers. I've launched a brass education academy and my own record label, published several sets of arrangements, written methods and studies to support players with their technical development, and taught and mentored some wonderful players, many of whom have gone on to become music professionals too.

Invitations to become a member of two of the folk world's innovative groups, Brass Monkey and a Home Service were too good to miss and my appointment as musical director of Regent Brass, one of the UK's top brass bands, took me back to my roots in the brass band fraternity

I realise, as so many people do, that it was my so-called formative years and the teachers and supporters I met along the way, that underpin my approach to music and my values as a player.

I was born in Leeds in 1956 to John and Eva Archibald, Salvation Army officers and keen amateur musicians. I and my older brother John, led itinerant lives as mum and dad were posted around the country often only staying in post for between six months and two years. Inevitably, approaching 5 years of age, I joined my brother John in the local Salvation Army young people's band on tenor horn and the daily ritual of practice began. Encouraged by traditional 'Sally Ann' values of community and support, I worked my way from 2nd horn through to solo euphonium, and eventually to cornet at the age of 14.

Eight schools later my mum signed me up for a music course at Clarendon College, Nottingham, introducing me to a world of formal music training which proved to be the most influential study period of my life. Clarendon College, with its maverick approach to music education, introduced me to avant-garde composers, exotic contemporary brass music, 12-tone row aural exercises and the vagaries of the Cornett and 'period' music before the term had become standard. Ernest Hall, the legendary British orchestral trumpeter, kindly awarded me the ARCM diploma despite his concern over the 'brass band' vibrato and suggested I should take more lessons.

At 18 I signed up to three years at the Royal Academy of Music in London, studying with William Overton (ex-principal trumpet with the BBC Symphony Orchestra) and the occasional lessons from James Watson (ex-principal trumpet RPO). It was during my study at the RAM that the English Brass Ensemble formed (originally called Albany Brass Ensemble) and my interest and passion for brass ensemble music developed from its early beginnings at Clarendon College.

The rest, as they say, is history.

Composer / Pianist / Artist, Anothai completed her bachelor degree with 1st class honour from Chulalongkorn University, Thailand, she then continued her studies in the Master programme in Music Composition at the University of Edinburgh under Professor Nigel Osborne in 2002. After graduated with a Master Degree and was awarded a distinction, she was awarded the scholarship from the University and the Overseas Research Students Awards Scheme, and obtain her PhD in Composition in May 2007.

Working on a cultural frontier, Anothai bases her musical research on the idea of intercultural and dialogues between cultures, integrating musical languages of a professionally trained, contemporary-style to the folk-based oral tradition and combing together various types of performers including professional musicians, folk-musicians, children and people with no musical background. Her compositions have been performed by the orchestras and ensembles in many countries. She was also regularly invited to be a jury for composition and performance competition both in Thailand and abroad. She has also been granted the Silpathorn Award in 2021 by the Office of Contemporary Art and Culture, Ministry of Culture of Thailand.

Dr. Smatya Wathawathana is a distinguished cellist, educator, and music therapist based in Thailand. With a rich academic background, she holds a doctoral degree in Development Administration from Suan Sunandha Rajabhat University, a master's degree in Music Therapy from Mahidol University, and a bachelor's degree from Chulalongkorn University's Faculty of Fine and Applied Arts.

Dr. Smatya's expertise extends beyond the concert hall, as she also serves as a music therapist at Chulalongkorn Memorial Hospital, specializing in working with dementia patients. Her innovative approaches harness the therapeutic power of music to enhance the well-being and quality of life for individuals facing cognitive challenges.

In addition to her roles in academia and healthcare, Dr. Smatya is an esteemed member of the Thailand Philharmonic Orchestra, where her skillful cello performances captivate audiences and enrich cultural experiences.

Currently, Dr. Smatya shares her wealth of knowledge and experience as a lecturer at the Princess Galyani Vadhana Institute of Music, inspiring and mentoring the next generation of musicians and music therapists. Her dedication to both artistic expression and compassionate service exemplifies her commitment to using music as a tool for healing, education, and connection within her community and beyond.

Singaporean violinist Gabriel Lee enjoys a multi-faceted career: he performs in diverse sound worlds with his baroque and modern violins, and builds new frontiers in the Southeast Asian musical landscape as a music educator and entrepreneur. His playing has been described as having a “breathtaking intensity, grabbing listeners by the lapels without letting go”, and “a passion and concentration that was hard to surpass” (The Straits Times).

Gabriel has performed solo recitals in the United States, Singapore, Malaysia and Myanmar, and has been featured as a soloist with the Baltimore Baroque Band, Singapore Symphony Orchestra, Red Dot Baroque, Resound Collective, Asian Cultural Symphony Orchestra, Orchestra of the Music Makers, Malaysia Bach Festival, Jakarta Festival Orchestra, PSPA International Ensemble, Braddell Heights Symphony Orchestra and the Peabody Conductor’s Orchestra. He is also sought after as an orchestral musician, having won a first violin position with the Annapolis Symphony Orchestra and freelanced professionally with the Baltimore Symphony Orchestra, Singapore Symphony Orchestra, Guiyang Symphony Orchestra, Metropolitan Festival Orchestra and the Bangkok Symphony Orchestra.

As a baroque violinist, Gabriel has performed solo with Enrico Onofri and the Resound Collective, Baltimore Baroque Band, Red Dot Baroque, Malaysia Bach Festival and the Jakarta Festival Orchestra. He has also performed in the Wilmington Bach Festival, Amherst Early Music Festival, Music at St. Bartholomew’s series, and collaborated with UMBC’s Camerata Chamber Choir. He studied with Risa Browder and played in masterclasses with Lucy van Dael, Ryo Terakado, Julie Andrijeski and Emlyn Ngai.

Constantly seeking to innovate and incorporate technology in his teaching, Gabriel has published and presented research in the Australian and New Zealand Viola Society Journal, Australian Strings Association’s Stringendo Magazine, Juilliard Symposium, ABRSM Music Teacher Conference, Princess Galyani Vadhana International Symposium and the Performer’s Present International Artistic Research Symposium. 

He is currently Managing Director of the SEA Music Academy Online, Adjunct Faculty at the Yong Siew Toh Conservatory of Music and the School of the Arts, Founder and Director of the Music Society of Myanmar and has conducted masterclasses and coached various ensembles in Singapore, Indonesia, Malaysia, Thailand, Myanmar and Cambodia. As a competition adjudicator, Gabriel has served on the jury of the Alessandro Giuliani Violin Competition, Euroasia Strings Competition, NAFA Concerto Competition, Singapore Music Teachers’ Association’s Le Petit Performers’ Festival and Asia Arts Festival. He is also a member of the ABRSM Music Education Advisory Committee and the Forte Product Council.

Gabriel has received various awards and scholarships, including the JC Van Hulsteyn Award in Violin and the Paul Abisheganaden Grant for Artistic Excellence. He graduated with two Master of Music degrees in Violin Performance and Baroque Violin Performance from the Peabody Conservatory, and a Bachelor of Music (Hons) degree from YSTCM as Valedictorian of his cohort.

Gabriel plays on a 1902 Degani on loan from the Rin Collection. 

Tawanrat Mewongukote graduated with First Class Honors from the Faculty of Fine and Applied Arts at Chulalongkorn University in 2009. She was awarded a prestigious scholarship to undertake her graduate studies at Portland State University in Portland, Oregon. She was appointed as a teaching assistant at The Ohio State University for 3 years and then completed her Doctor of Musical Arts degree in clarinet performance at Boston University's School of Music, supported by another scholarship from Boston University. Throughout her time in the United States, Tawanrat found herself immersed in various musical endeavors, serving as a manager of the Boston University Wind Ensemble and participating in performances with esteemed ensembles. Additionally, she contributed to several recordings with different bands and orchestras, sharing her artistry with audiences through platforms like CD, Spotify, and Apple Music.

Tawanrat feels immensely honored and forever indebted to have studied under the transformative guidance of eminent clarinet mentors Ajarn Mongkol Piromkrut, Peter Goldberg, Prof. Dr. Nophachai Cholthitchanta, Dr. Yos Vaneesorn, Dr. Barbara Heilmair, Dr. Caroline Hartig, Ethan Sloane, David Martins, and Richard Stoltzman. Their wisdom has profoundly shaped her musical voice and spirit.

Upon returning to Thailand, Tawanrat sought to contribute to her community by organizing music events such as the Brass Ensemble of the Royal Concertgebouw Orchestra concert in 2019 and the annual Thailand International Trombone Festival. With gratitude for the opportunities bestowed upon her, she also held the role of Vice President at International Cultural Promotions, organizing Bangkok’s International Festival of Dance & Music. Currently, Tawanrat serves as a full-time lecturer at the Princess Galyani Vadhana Institute of Music, where she is dedicated to inspiring the next generation of musicians. She also finds joy as a clarinetist of the Royal Bangkok Symphony Orchestra.

Grandma, grandpa and parents: all of them studied music. The fact that Peter Veale took up the violin and piano at the age of six was therefore of no surprise to anyone. Gaining acceptance for his wish to change to oboe later required some persuasiveness on his part, however. But it was well-invested. Peter Veale, born in New Zealand and brought up in Australia, soon drew attention to himself with the help of the best local teachers.

Even before beginning to study with Heinz Holliger in Freiburg, he played in the radio orchestra in Adelaide – “that was an important learning experience for me, and I’m very glad that I was able to have it when I did.” Since then, becoming an orchestra musician no longer counts among Peter Veale’s goals. But there are other perspectives instead. He learned the conductor’s craft under Francis Travis, something which he doesn’t see in a purely practical light: “Every musician benefits from looking at music and its performance from the other side as well.” In addition to his work as a member of ensemble recherche (1986-94) and Ensemble Musikfabrik, Veale is active as soloist, chamber musician, lecturer, author (“The Techniques of Oboe Playing” – written together with Claus-Steffen Mahnkopf), and as editor of the series “Contemporary Music for Oboe”. More than 50 works have been composed for Peter Veale to date.

In the context of the Ruhrtriennale production “Delusion of the Fury” (2013) with the Ensemble Musikfabrik, Peter Veale discovered his love for the instrument koto, later also bass koto, which has accompanied him ever since.

Komsun Dilokkunanant is a Thai horn player, natural horn specialist, and chamber musician whose work spans performance, arrangement, composition, and interdisciplinary collaboration. Since 2013, he has been a full-time lecturer at the Princess Galyani Vadhana Institute of Music (PGVIM), Thailand, and has served as Dean of the School of Music since 2019. His commitment is to nurture the next generation of musicians while promoting professional sustainability, support creativity, and well-being in the arts.

Komsun earned his Doctor of Musical Arts (D.M.A.) in Horn Performance and Pedagogy at the University of Iowa, with secondary studies in Music Education and Orchestral Conducting. He previously completed a Master of Music and a Guildhall Artist Diploma at the Guildhall School of Music and Drama in London, following his Bachelor of Music (First Class Honours) and Professional Diploma (Distinction) at the Hong Kong Academy for Performing Arts. His doctoral research explored strategies for developing classical music audiences, a theme reflected in much of his creative work.

As a performer, Komsun has appeared with ensembles including the Thailand Philharmonic Orchestra, Malaysian Philharmonic Orchestra, Hong Kong Philharmonic Orchestra, Hong Kong Sinfonietta, Macao Orchestra, the Royal Bangkok Symphony Orchestra, and the Leipziger Instrumental Ensemble. He contributes to a group’s dedication to expanding the repertoire for woodwind chamber music and engaging audiences with innovative performances and interdisciplinary projects. His notable works include Three Little Pigs: From Fables to Music Performance, Musical Tales and the Virtual Experiences, and Sawasdee Peter and His Wolf, which combine music, narration, and visual arts to engage diverse audiences, especially young listeners.

His compositions and arrangements, such as Echoes of Nora, Sudsakorn and the Hermit, and Upcycle Music Inspired by Plastic Bottles in the Beautiful Sea, blend classical traditions with contemporary storytelling, and have been featured at Princess Galyani Vadhana International Music Festival, ClarinetFest®, the Singapore Flute Festival, and the International Double Reed Society conference.

Komsun has received awards and grants from Fund for Classical Music Promotion under the Patronage of Her Royal Highness Princess Galyani Vadhana, the Leverhulme Trust, the Royal Thai Government, the National Research Council of Thailand, the Ministry of Culture’s Office of Contemporary Arts, and the British Council Thailand’s Connections Through Culture initiative. Alongside his teaching, performing, and composing, he remains deeply committed to creative audience engagement, musician well-being, and the future of music education.