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Biography
Praised for his "beautiful tone" and "subtlety" (MusicWeb International), Hungarian-born László Rózsa enjoys a versatile career spanning performance, artistic research, and interdisciplinary collaboration.
László studied recorder with Peter Holtslag at the University of Music and Theatre Hamburg and at the Royal Academy of Music in London. As a soloist and chamber musician he has performed across the UK, Europe, North America, and China. László is the principal recorder player of Scotland's Dunedin Consort, and he has shared the stage with multiple other leading period orchestras, including Spiritato, La Nuova Musica, and Oxford Baroque. He has appeared numerous times on BBC Radios 3 and 4, and his playing can be heard on albums published by Linn Records, Resonus Classics, Veterum Musica, TNW Music, Huth-Records, and NMC Recordings.
Alongside his work in historical performance practice, László maintains a strong commitment to new music and artistic collaboration. He has premiered several new works for recorder and enjoys working closely with composers: recent projects include collaborations with Elizabeth Kelly, Stef Conner, Nicholas Olsen, Timothy Cooper, and István Láng. László is a founding member of Haptic (formerly Ensemble 1604), which explores and creates new music inspired by early modern repertoire, and of Scots Baroque, which experiments with a fusion of techniques and genres including improvisation and folk styles.
László holds a PhD in historical musicology from the University of Glasgow, where he taught as an Affiliate Lecturer before joining the ÀÖ²¥´«Ã½ in the autumn of 2023. He has also delivered lessons, workshops, and lectures at a range of institutions, including the Royal Conservatoire of Scotland, McGill University, the Royal Academy of Music, and the University of York.
Expertise Summary
Artistic research; Performance studies; Historically informed performance; Early modern music; Interdisciplinary practice; Human-AI musical collaboration; Contemporary & experimental music; Recorder-focused studies.
Teaching Summary
My teaching is centred on performance as a creative, reflective, and research-informed practice. I coordinate, convene, and teach Performance modules across all levels (undergraduate and… read more
Research Summary
My work explores musical performance as a creative, social and embodied practice, investigating how music is shaped across changing historical, artistic and technological contexts. Building on… read more
Recent Publications
2025. Stef Conner: Ghost Weavers: New Music Biennial 2025 . 08/29/2025 00:00:00
2023. Shadows That in Darkness Dwell . 11/24/2023 00:00:00
2022. Variations on Choice and Longing: Madre non mi far monaca & Italian chamber cantatas . Huth Records. 07/16/2022 00:00:00
2018. Rondeau Mélancolique . Veterum Musica. 04/01/2018 00:00:00
My teaching is centred on performance as a creative, reflective, and research-informed practice. I coordinate, convene, and teach Performance modules across all levels (undergraduate and postgraduate) within the Department. Embracing all genres of music, I encourage students to find their own artistic voice while cultivating creative self-expression, underpinning practical work with contextual understanding, engaging with performance as research, developing industry awareness, and co-creating projects with students.
I warmly welcome enquiries from prospective research students across a broad range of topics (see my Expertise Summary).
I am a Fellow of the Higher Education Academy (FHEA) and a recipient of the University's Lord Dearing Award for outstanding contribution to the development of teaching and student learning.
Current Research
My work explores musical performance as a creative, social and embodied practice, investigating how music is shaped across changing historical, artistic and technological contexts. Building on historically informed performance, it brings together inquiry into the past, interdisciplinary collaboration and emerging technologies to open up new artistic possibilities for music-making.
A key strand of my research examines the hyper-theatrical world of late-Renaissance Italian courts, investigating how social codes and ideals of 'everyday performances' shaped on-stage music performances, the role of simulation and dissimulation, and the performance aesthetics of early operas. This remains an active area of inquiry while also informing a broader programme that brings historical perspectives into dialogue with contemporary artistic practice.
Across this body of work, performance functions as a way of thinking, making and discovering. Recent outputs range from new compositions inspired by early modern repertoire to interdisciplinary collaborations with dancers and creative technologists, bringing together improvisation, embodiment and electroacoustic performance. Examples include and .
More recently, these questions have extended into human-AI musical collaboration, where I explore AI as a creative partner in live performance. Current research investigates performer-AI interaction, musical responsiveness and shared musical decision-making, while laying the foundations for future collaborations exploring how human and artificial performers can create new musical works together. An initial exploration of these ideas can be found in .