Francis Knights studied at the universities of London, Oxford and Nottingham. He has held music directorships at several Oxford colleges, and research positions at the Royal Northern College of Music and King’s College, London; since 2008 he has been Director of Studies in Music at Fitzwilliam College, Cambridge. His research interests include organology, cathedral music, performance practice and manuscript sources, his compositions have been performed in St Paul’s, Portsmouth, Lichfield, Oxford and Dublin cathedrals, and he has edited a number of music journals. Francis studied harpsichord with Robert Woolley and David Roblou and organ with Harry Bramma, and is currently engaged in a long-term project to perform the complete Fitzwilliam Virginal Book, on harpsichord, virginals, clavichord and organ.  www.francisknights.co.uk

Dan Tidhar was first introduced to the harpsichord at the Jerusalem Early Music Workshop, where he was taught by John Toll and Ketil Haugsand and has later been regularly employed as tutor and accompanist. At university, Dan studied harpsichord with Mitzi Meyerson in Berlin and Ketil Haugsand in Cologne. In parallel to completing his PhD in digital musicology (TU-Berlin, computerscience department), he also completed a Masters in harpsichord performance at the UdK-Berlin. Dan performs regularly as a soloist as well continuo player with various ensembles, such as The King’s Consort, Retrospect Ensemble, the Amphion Consort, L'Avventura London, the Berliner Cembalo Ensemble and others. Dan is often seen on stage by Cambridge early music audiences as a player and/or tuner of historical keyboard instruments. In recent years, he has held various research fellowships and published on harpsichord tuning and temperament, mainly in the context of recording analysis.  www.cambridge-baroque-labs.com 

The Cambridge Renaissance Ensemble was founded in 2015 to explore the music of the 16th and 17th centuries, particularly the Tudor consort repertoire. Directed by Francis Knights, its first performance was of fantasias and consort songs by William Byrd at the Fitzwilliam Museum. As well as the core wind ensemble, various solo singers and players of keyboard, string and plucked instruments are involved, and most of the editions used have been specially prepared. Future projects include music from the Tudor Court, the In Nomine tradition, music by Byrd and works from 17th-century Vienna and Bohemia.  francis-knights.webnode.com/cambridge-renaissance-ensemble/