Peter Bennett

Associate Professor


Peter Bennett joined the Department of Music in 2005 and has research and performance interests in the 16th – 18th centuries. He holds a B.A/M.A. in Natural Sciences from Cambridge University, an M.Mus. in Historical Musicology from King’s College, London, and a D.Phil. in Music from Oxford University with a dissertation on early 17th-century French sacred music. His research now centers on the music and institutions of early-modern France, with a particular focus on the intersection of music, religion, and politics in Louis XIII’s Paris.

Bennett has given papers at international conferences in the UK, France, Spain, and the USA, and his recent publications include: “Hearing King David in Early Modern France: Politics, Prayer, and Louis XIII’s Musique de la Chambre” (forthcoming in the Journal of the American Musicological Society, Spring 2016); a co-authored chapter with Georgia Cowart in The Cambridge Companion to French Music (Cambridge University Press, 2015): Sacred repertories in Paris under Louis XIII (Royal Musical Association Monographs, 2009); Antoine Boesset, Complete sacred music (2 vols, A.R. Editions, 2010); and “Collaborations between the Musique de la Chambre and the Musique de la Chapelle at the court of Louis XIII: Nicolas Formé’s Æternae Henrici Magni (1638) and the origins of the grand motet” (Early Music, August 2010).

For the academic year 2015/16, Bennett is the recipient of a Le STUDIUM Fellowship at Centre d’Études Supérieures de la Renaissance in Tours, where he is working on a project entitled Music, Liturgy, and Power: Louis XIII’s Paris and Provincial entrées, 1610-43. Other ongoing projects include a monograph provisionally entitled David’s Harp, Apollo’s Lyre: Music, Liturgy and Power at the French Court, 1570-1643.

Bennett is also active as a performer. He is Head of Harpsichord at the Cleveland Institute of Music, where he maintains a studio of mainly graduate harpsichord students, and is active in Cleveland as a continuo player, most notably with Apollo’s Fire. He was also director (1996-2002) of Ensemble Dumont, a consort of singers, viols, and continuo, with whom he appeared in the UK and Europe, performing at the Bruges and Innsbruck Early Music Festivals, the MDR-Sommer Festival, and the Wigmore Hall, London, and broadcast on the BBC, RAI (Italy), MDR/SWR (Germany), and R3 (Belgium). His recordings for Linn Records ( have received accolades from Gramophone Magazine (Editor’s Choice and Critics’ Choice) and Diapason, France (5*).

Haydn Hall


Baroque Music, Historical Performance Practice, Harpsichord/Continuo


DPhil Music, Oxford University, 2004