The premier competition for young recorder soloists is the biennial SRP Moeck competition. The aim is to encourage young players of talent, and to help them in their professional aspirations. Competitors must show that they are able to sustain a full recital programme at a professional level. The Competition is international and entries are welcomed from recorder players of a suitable standard who are under thirty years of age on 1st November in the year of the Competition.
The final of this prestigious competition takes place on Friday 14th November 2025 at 2pm.
We are pleased to introduce the three finalists for this year’s competition:
Lucas Biegel, Olivia Petryszak and Eunsol Lee.
Lucas Biegel
Lucas Biegel is currently studying recorder in the concert class of Prof. Dorothee Oberlinger, Matthijs Lunenburg and Olga Watts at the Mozarteum University in Salzburg. Concert engagements have taken him to the Innsbruck Festival of Early Music (AT) and the Handel Festival Halle (DE). He has also performed at the Liebenberg Flute Festival (DE), the Menuhin Festival Gstaad (CH), the Miszla Baroque Academy (HU) and the Forum Alte Musik Sankt Gerold in Feldkirch (AT). His musical activity is mainly characterised by self-organised concerts with a wide variety of ensembles.
In February 2020 he was a finalist at the third Tel Aviv International Recorder Competition (IL) and in 2024 at the German Music Competition in Bonn (DE). In March 2025 he won the special prize of MDR Klassik on the occasion of the German Music Competition in Leipzig (DE).
As a student of the music special classes of the Goethe-Gymnasium/Rutheneum since 1608 Gera, he undertook numerous concert and competition trips from 2010 to 2015, which had a decisive influence on his basic musical understanding.
He has refined his musical precision on the recorder in master classes with Erik Bosgraaf, Maurice Steger, Michael Form, Carsten Eckert, Kees Boeke, Walter van Hauwe and Pedro Memelsdorff, among others.
Olivia Petryszak
British-Polish recorder player Olivia Petryszak is a celebrated recorder player across Europe and further, known for her distinctive sound and approach to music-making.
Olivia works regularly as a collaborator, improviser, arranger and composer in a variety of settings. A graduate of the Guildhall School of Music and Drama and Akademia Muzyczna w Krakowie, Olivia’s playing has so far taken her to perform across Europe, with leading ensembles and opera companies including The Academy of Ancient Music, Opera North, Capella Cracoviensis, Polska Opera Królewska and as part of the band at Shakespeare’s Globe.
Olivia is dedicated to improving the reputation of the recorder, not only through her own writing and performance but also in the commissioning of new works and in her published writing on the perception of the instrument and how we can improve it.
Eun Sol Lee
Eun Sol Lee was born in 2002 in Seoul, South Korea. At age 12, she started playing the recorder under the tutelage of Jeong Sook Park, Miran Cha, and Jinhee Cho. In 2016, after only two years of studying the recorder, Sol won the biggest competition for recorder in Korea, the Chuncheon National Recorder Competition. That year, she was also the youngest competitor to win the overall grand prize.
In 2019, Sol was accepted into the Bachelor Program at the University of Music and Performing Art Vienna in the studio of Carsten Eckert and graduated with honours in 2023. She is currently pursuing her Master’s Degree at the Mozarteum University Salzburg in the studio of Dorothee Oberlinger. She was selected as the 2025 Soprano Sumi Jo Scholar in recognition of her achievements as a music student.
Sol is passionate about chamber music as a member of the recorder consort AS TIME GOES BY – A New Consort of Music and the recorder duo Duo[.]Punkt. Over the past few years, she has performed all over Europe and Asia, including Vienna, Berlin, Bratislava, Seoul, and Tokyo. Building on this international experience, the debut album of AS TIME GOES BY – A New Consort of Music will be released in the second half of 2025
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This year’s adjudicators panel will be headed up by Dorothee Oberlinger, with William Lyons and Peter Kofler.
Dorothee Oberlinger
The recorder player, ensemble leader, conductor, festival director and university professor Dorothee Oberlinger is one of today’s leading international figures in the field of early music. She has been honoured with national and international music prizes such as the Opus Klassik, Echo Klassik, the Diapason d’Or, the ICMA Award and the Telemann Prize of the City of Magdeburg.
Since 2002, she has worked as a soloist with Ensemble 1700, which she founded, as well as with renowned baroque ensembles and orchestras such as the Sonatori de la Gioiosa Marca, Musica Antiqua Köln, Arte del Mondo, B’Rock, the Akademie für Alte Musik Berlin, the Academy of Ancient Music, Al Ayre Espagnol, Il Suonar Parlante, Zefiro and Concerto Köln. After studying in Cologne, Amsterdam and Milan, she made her international debut in 1997, winning first prize in the international SRP/Moeck competition in London’s Wigmore Hall. Since then, she has received numerous invitations to perform at most major festivals and concert halls such as the Grand Théatre Bordeaux, Teatro Colón Buenos Aires, Grand Théâtre de Genève, Laeszhalle Hamburg, KKL Luzern, Tonhalle Zürich, Auditorio Nacional Madrid, Théatre Champs-Elysees Paris and DeSingel Antwerp, etc.
In addition to her intensive involvement with Baroque music, Dorothee Oberlinger has also repeatedly devoted herself to contemporary music and the avant-garde. She has been a professor at the Mozarteum University Salzburg since 2004, where she headed up the Institute for Early Music from 2008 to 2018 and developed it into an internationally-recognised institution for the study of historical performance practice. She is the festival director of two important early music festivals in Germany, the Potsdam Sanssouci Music Festival and the Bad Arolsen Baroque Festival.
Dorothee Oberlinger is a guest conductor of international ensembles and orchestras. She made her international debut as an opera conductor at the Göttingen Handel Festival in 2017 with the production of Handel Lucio Cornelio Silla, followed by, among others the opera productions Polifemo by Bononcini (2019), the Telemann opera Pastorelle en musique (2021), I portentosi effetti de la madre natura by Giuseppe Scarlatti (2022), Nebucadnezar by Reinhard Keiser (2022/23), Adriano in Siria by Carl Heinrich Graun (2024), G. F. Handel’s Alcina (2023/24), and Orlando Generoso by Agostino Steffani (2025).
Dorothee Oberlinger is an honorary citizen of her home town of Simmern. In 2021, she was awarded the Federal Cross of Merit First Class of the Federal Republic of Germany by the Federal President for her cultural services.
William Lyons
William Lyons is an established presence in the field of Historical Performance. He studied recorder at the Guildhall School of Music & Drama and was a founder member of the ground-breaking ensemble, The Dufay Collective. William is now artistic director of the acclaimed renaissance wind band The City Musick, and a regular session musician, his performances heard on numerous film scores. William is a Leverhulme Research Fellow, and Professor of Historical Performance at the Royal College of Music. He has published essays and reviews in academic journals and is currently completing his doctoral thesis at Royal Holloway, University of London. He is also a composer for theatre and film, having worked as composer and musical director at The Shakespeare’s Globe Theatre in London from 1998 to 2015. He has composed, arranged, and acted as historical adviser on many films, including most recently Hamnet. In 2019 he won the award for Best Original Score for his work on the Oscar winning The Favourite.
Peter Kofler
Born in 1979 in Bolzano, Peter Kofler began his musical training at the ‘Claudio Monteverdi’ conservatory there. He continued his studies in Munich, where he studied organ and church music with Harald Feller and harpsichord with Christine Schornsheim. Kofler regularly performs under renowned conductors such as Sir Simon Rattle, Franz Welser-Möst, Bernhard Haitink, Riccardo Muti, Daniel Harding, Esa-Pekka Salonen, Giovanni Antonini and Thomas Hengelbrock. He is a founding member and harpsichordist of the baroque orchestra ‘L’Accademia Giocosa’.
Peter is a regular guest at international music festivals and has already worked with Anne-Sophie Mutter, Lisa Batiashvili, Anna Prohaska, Michael Volle, Dmitry Sinkovsky and Gabór Tarkövi. As a soloist or chamber music partner, he has performed with the Berlin Philharmonic Orchestra, the brass section of the Berlin Philharmonic Orchestra, the Munich Philharmonic Orchestra and the Chamber Orchestra of Europe. He works closely with the recorder player and conductor Dorothee Oberlinger and the Bavarian Radio Symphony Orchestra.
As an organ soloist, he has already played at important venues such as Notre-Dame de Paris, the Lucerne Culture and Congress Center, Berlin Cathedral, the Berlin Philharmonie, the Elbphilharmonie Hamburg, St. Stephen’s Cathedral in Vienna, the Frauenkirche Dresden and St. Michaelis in Hamburg. Since August 2008, Kofler has been organist at the Jesuit Church of St. Michael in Munich. He was awarded the Bücher-Dieckmeyer Foundation’s prize for the promotion of church music in Bavaria. He is also the initiator and artistic director of the international organ festival ‘Münchner Orgelherbst’ at St. Michael’s and teaches organ and choir conducting at the University of Music and Performing Arts in Munich.
His artistic work is complemented by CD and radio productions (ZDF, BR, RAI, Deutsche Grammophon, Sony Classical, Querstand, Raumklang, Tudor, OehmsClassics, Solo Musica, All of Bach). The organ CD Transkriptionen received much praise in the press and was nominated for the ‘Preis der deutschen Schallplattenkritik’.
In February 2024, Peter Kofler completed the complete recording of all of Bach’s organ works with a total of 16 CDs. The first volume was awarded the ‘Editor’s Choice’ by the British music magazine Gramophone.
