Catherine Mackintosh continues to be probably one of the most dynamic violinists around the British early music picture. She analyzed violin with Aurea Pernel and Silvia Rosenberg on the Royal University of Music, London. During her pupil years, she researched chamber music with Kenneth Skeaping and sang in Roger Norrington’s Schütz choir. She was after that honored a three-year scholarship or grant (1967-1969) to wait the European Workshops of Early Music in Bruges, where she performed on the first violin and viola, the viola d’amore, as well as the viol. In 1969, she helped present the Consort of Musicke and in addition joined the British Consort of Viols. In 1973, she became the very first concertmistress from the Academy of Old Music, a posture she kept until 1987. With this orchestra, she produced important recordings beneath the path of Christopher Hogwood, including Handel’s Messiah, the entire Mozart symphonies, and Vivaldi’s L’estro armonico as well as the Four Periods (writing the single parts in these concertos with Alison Bury, John Holloway, and Monica Huggett). In 1984, Mackintosh founded the Purcell Quartet, with which she documented trio sonatas by Lawes, Purcell, Biber, Corelli, Handel, and Leclair. That same season, she became co-concertmistress using the Orchestra of age Enlightenment, with which she produced the first documenting on period musical instruments of Vivaldi’s concertos for viola d’amore. In 1997, she documented Bach’s violin sonatas with Maggie Cole. Mackintosh can be an important teacher of the first violin, having educated a new era of period-instrument string players. She’s taught on the Royal University of Music, London (1977-1999), with the Royal Scottish Academy of Music and Dilemma (from 1988).