Many of the most outstanding performers in the current generation of Historical Performance specialists studied at the Academy. Our students receive intensive training in all aspects of historically informed performance practice and interpretation, with opportunities to focus on and develop their individual interests creativity.
The Academy offers Principal Study in the following period instruments:
Violin | Viola | Viola da Gamba | Cello | Double Bass | Harpsichord | Fortepiano | Lute/Theorbo | Recorder | Flute | Oboe | Clarinet | Bassoon | Sackbut
Historical Performance students at the Academy are encouraged to study repertoire from a variety of historical periods, and have opportunities to develop their skills in other interests (eg, harpsichord, recorder, viol). For recorder players and harpsichordists, this may include contemporary repertoire.
Academy students studying in other departments are encouraged to take up Historical Performance as a second study and are always welcome to perform in small and large-scale projects within the Historical Performance Faculty.
Emily Mould, Historical Performance Administrator
Telephone 020 7873 7379 / Email email@example.com
Co-leader of the Orchestra of the Age of Enlightenment
Director of training programmes for the OAE and European Union Baroque Orchestra
Experienced performer and recording artist
Head of Historical Performance since 2012
A personal message from the Principal
Advice for everyone auditioning for studies in 2017
BWV 150, BWV 81, BWV 562, BWV 193
Joanna Tapp gives a guided tour of the current exhibition exploring the collection of lutenist and guitarist Robert Spencer
A programme of French Baroque music from the Historical Performance Department directed by Lisa Beznosiuk
Solo voices and the timbre of a solo oboe predominate in today’s cantatas.
An intensive one-day project exploring the glories and wonders of ‘The Clock’ Symphony
Unusual texts are to the fore in this concert’s cantatas. Leichtgessinte Flattergeiste (‘Frivolous flibbertigibbets’) takes the palm for the most charming and least likely opening line in the entire repertoire
Brightness and darkness are juxtaposed in this concert, conducted by the Royal Academy of Music/Kohn Foundation Bach Prize winner Philippe Herreweghe
The final concert of the season focuses on celebratory works for Christmas and Michaelmas