^{FIRST PUBLISHED 07 MAY 2026}

Described as 'an incredible player' (Classic FM) Miriam Monaghan leads a varied career as a recorder player, conductor, composer/arranger and teacher. Since graduating from the Guildhall School of Music and Drama, she became the first recorder player to be profiled in BBC Music Magazine's Rising Star: Great Artists of Tomorrow feature. Miriam has recorded for Disney at Abbey Road Studios; won a City Music Foundation award for soloists and was asked by Classic FM to give a recorder lesson to former Top Gear presenter James May. She is a founding member of Palisander recorder quartet, an ensemble which tours internationally and has received several awards for ensemble playing. Miriam acts as the group's music director, curating programmes and arranging or composing much of Palisander's repertoire.

What was it like as a young musician growing up on the Isle of Wight, and how has it affected your musical tastes?

It wasn’t a traditional route into classical music but I loved growing up on the island. We were really lucky to have two major music festivals (Bestival and Isle of Wight Music Festival) which had a huge influence on me. I played in a ska fusion band that taught me a lot about taking influences from unconventional places - this has stayed with me and so my playlists are quite chaotic mash-ups of different tastes.

What is your idea of perfect happiness?

A sunny afternoon with my young children where I am not concerned by what time it is, or needing to be anywhere.

What is it that you most dislike? Feel free to explain why, or not!

AI! I find it a bit alarming to see so many creatives using AI in a really casual way, for concert promotional materials, programme notes and even repertoire suggestions. I think musicians should be looking sideways at the effect it is having on the art/design industry and try to safeguard our craft from it a bit more.

What is your earliest musical memory?

My granny used to take me to a toddler group where we could play percussion instruments and sing nursery rhymes. I have some very clear memories of a particularly 90’s looking glittery egg shaker.

How has classical music influenced your life outside of performing?

I turn to classical music for all the big moments in life - my wedding, losses, child-birth etc but what I love about classical music is how it is also there for you in the day-to-day moments, whether you need a bit of head space, a mood lift or to calm down a teething baby.

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^{Maddalena Casulana | Il Vostro Dipartir | Palisander}

What’s so special about HIP/early music performances?

Early Music is so special because it is like a time capsule. I just love that we are able to recreate melodies enjoyed by audiences at specific points and places in history; and even better that in our sector there is space for a bit of artistic license and interpretation. It’s magic to hear musicians still finding something new in a 500 year old tune.

Who is your favourite composer, and why?

I absolutely love Henry Purcell, I’m absolutely gutted he didn’t write any recorder sonatas. I love the enormous variety in his repertoire - from operas, to fantasias, to catches and ground basses that are second to none. It’s awful that he died so young (36) - imagine the creative possibilities if he and Handel had crossed over in London.

^{Henry Purcell | 'First Act Tune: Jig' from The Fairy Queen, Z.629 | Palisander}

If you could meet anyone from the past, who would it be?

I would love to play in a consort with Anthony Holborne (1545-1602).

^{Anthony Holborne | Coranto 'The Fairie Round' | Palisander}

Would you like to put the spotlight on a teacher, a mentor or an ensemble that has had a significant influence on your journey so far, and why?

Clare Norburn (The Telling) has shown our ensemble so much kindness, encouragement and guidance over the years - we are really indebted to her. We first met on the BREMF Early Music Live! scheme in 2015, and since then she has taught us so much about how to take a creative idea and turn it into a workable project that will provide the group with income and stability over several years. Thank you Clare!

Describe a particularly challenging or rewarding moment in your musical journey.

I found the time immediately after graduating from Guildhall very challenging. You work so intensely on your craft and then when you’re released into the real world, you realise there’s no obvious career path or job interview waiting for you. I wondered if I had the emotional capacity to withstand the initial challenges involved in carving out a freelance career but I’m so happy I stuck with it.

What made you choose the recorder?

I started playing the recorder at a young age, just because there was one available to me. I’ve always felt an affinity with the instrument and so even when I was encouraged to go on and learn ‘proper woodwind’ instruments I never felt the need to turn away from the recorder. When I got to a level where I started to find out about the wealth of repertoire, different sizes and models, I was all-in and have never looked back.

What do you enjoy most about being part of Palisander, and how do you overcome any challenges?

Something that feels so special working with Palisander is that we are very much friends first, almost familial, having spent more than a decade working so intensely together (the other three members are actually Godmothers to my daughter). It means that we are always there for each other in the face of any challenges - we tend to have a ‘band together’ approach to supporting each other through anything that comes our way. Within the group we treat each other with kindness and are hyper-focused on our music making and ensemble development. This helps keep us moving forwards and wanting to devote such enormous portions of our life to the group!

Could you share with us any special moments in Palisander's history so far?

We have been very lucky to travel extensively as a group and shared some very special concert experiences that way - a few that stand out are our first ever concert abroad, on the magical Mont St Michel in France, a real pinch-me moment for us all; climbing up for a look around the Parthenon a few hours before our extremely late-night show in Athens and turning to Lydia at the base of Mount Fuji and agreeing we were both very pleased we never gave up the recorder! Performing live on BBC2 Newsnight with a few hours notice felt deliriously special too, once we’d had a minute to absorb what had just happened.

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^{Palisander perform 'Saturn' fom Kepler's Planets | words and music by Miriam Monaghan}

What's the concept behind the 'Palisander Playbook'?

Palisander are extremely passionate about the role of recorder ensemble playing in community music and education settings. In our programming I have always been focussed on contributing to recorder ensemble repertoire, and so over the years have developed a large base of unique arrangements and compositions. Palisander are publishing these in various ensemble sizes and levels, for the wider recorder community to access. In our Playbook Live! events, kindly supported by Continuo Foundation, we will host pop up recorder orchestra days around the UK, exploring this repertoire.

Hear Palisander perform their 'Double, double toil & trouble' programme live on Saturday 20th June as part of the Oxford Early Music Weekend. You can read more about their latest album (of the same name) in this Continuo Connect feature. CDs are available from Palisander’s website, and the recording can also be found on all major streaming platforms.