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Lina Söderholtz, the ensemble's youngest and latest acquisition, with a command of long extended Baroque line and a tonal range way beyond her years, is presently studying Baroque violin at Postgraduate level at the Royal Conservatory in The Hague, under Elisabeth Wallfisch. Lina graduated from the Kungliga Musikhögskolan I Stockholm (Royal Academy of Stockholm) in 2003; she is a member of The New Dutch Academy -- a young period instrument orchestra specialising in unknown Baroque and early Classical repertoire.

Sarah Saunders began her training in the Vienna Konservatorium immediately after school. Following a degree at Birmingham University she embarked on joint studies in Baroque oboe and recorder in Utrecht and Amsterdam, studying with Frank de Bruine and Saskia Coolen. She later continued her studies with Alfredo Bernardini, the outstanding Rome-born Baroque oboist prominent with, amongst others, Hesperion XX, le Concert des Nations, la Petite Bande, Freiburg Barock, The English Concert and Bach Collegium Japan.

Phoenix Rising has appeared at major festivals in Brighton, Norfolk and Norwich and Stratford upon Avon, and elsewhere in the English Midlands. Further UK appearances in 2005-6 are plotted; the evidence is that they are often asked back by grateful promoters.

Plans are afoot, too, for more appearances on the European mainland, including a Swedish tour this summer.

Although the Conservatoire helps liaise with fixing concerts in local Amsterdam churches, the only real way of getting concerts worldwide, short of engaging an agent to secure them, is by personal contact.

Often it's the best way -- though even 'cold calling' can sometimes lead to one or two concert promoters taking a 'chance'.

The fact that Sarah is a known performer in England and Scotland, both operating as a soloist and appearing with ensembles such as Armonico Tributo, the Corelli Orchestra, Florilegium, the Dunedin Consort and Ludus Baroque and in Europe with La Stagione Frankfurt, Cappella Obliqua in Basel and Accademia Amsterdam -- and that the group has done useful education work for the Warwick Festival's outreach programme -- places Phoenix Rising on a stronger footing when seeking to secure appearances in the UK.

Talented young performers who can communicate nowadays, and who are prepared to encourage children of school age, in and out of school, can be a veritable gold mine for burgeoning festivals and venues trying to 'up' their profile and funding with The Arts Council.

'The schools work is something we've all enjoyed,' Sarah enthuses. 'We try not just to demonstrate the instruments and to play, but also to place the music in a wider historical context, in such a way as to intrigue the children and hold their attention.

'We talk about the role of music within the court, the different roles of secular and sacred music, and the role of the composers as craftsmen -- as artisans, every bit as much as artists; just as painters were in Renaissance times, or coopers or basket-weavers -- or the masons, sculptors and craftsmen who built and beautified the medieval churches and cathedrals.'

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