Historical Performance

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.

Historical Performance: Your Experience

See also: Performance, the central driving force behind all Academy studies



Emily Mould, Historical Performance Administrator
Telephone 020 7873 7379 / Email historical@ram.ac.uk

Margaret Faultless

Head of Historical Performance: Margaret Faultless

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


Sir Ralph Kohn, 1927–2016


Academy alumni, students and staff pay tribute to a remarkable man


Auditions 2016


Advice for everyone auditioning for studies in 2017


Royal Academy of Music/Kohn Foundation Bach Cantatas

05.03.2017 日曜日 12:00, Duke’s Hall

BWV 154, BWV 656, BWV 215

Academy Baroque Orchestra free

10.03.2017 金曜日 19:00, Duke’s Hall

Academy Baroque Orchestra present a concert of Haydn

Nancy Nuttall Early Music Prize free

16.03.2017 木曜日 17:00, Duke’s Hall

The Nancy Nuttall Early Music Prize for historically informed performances of pre-1800 chamber music

Music for the ‘Sun King’

24.03.2017 金曜日 19:30, Duke’s Hall

Academy Baroque Ensemble performs side-by-side with the London Handel Players in a collaboration with choreographer Mary Collins and her dancing partner Steven Player

Royal Academy of Music/Kohn Foundation Bach Cantatas

02.04.2017 日曜日 12:00, Duke’s Hall

BWV 103, BWV 135, BWV 104

Royal Academy of Music/Kohn Foundation Bach Cantatas

07.05.2017 日曜日 12:00, Duke’s Hall

BWV 150, BWV 81, BWV 562, BWV 193

Royal Academy of Music/Kohn Foundation Bach Cantatas

25.06.2017 日曜日 12:00, Duke’s Hall

Solo voices and the timbre of a solo oboe predominate in today’s cantatas.

Royal Academy of Music/Kohn Foundation Bach Cantatas

08.10.2017 日曜日 12:00, Duke’s Hall

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

Royal Academy of Music/Kohn Foundation Bach Cantatas

05.11.2017 日曜日 12:00, Duke’s Hall

Brightness and darkness are juxtaposed in this concert, conducted by the Royal Academy of Music/Kohn Foundation Bach Prize winner Philippe Herreweghe

Royal Academy of Music/Kohn Foundation Bach Cantatas

03.12.2017 日曜日 12:00, Duke’s Hall

The final concert of the season focuses on celebratory works for Christmas and Michaelmas


twitterでフォローする@RoyalAcadMusic@RoyalAcadMusic #historical
@RoyalAcadMusic • 2月 15
Fascinating insights into #historical performance from @RachPodger at her masterclass today.
@RoyalAcadMusic • 11月 21
Laurence Cummings is back in the building, rehearsing Baroque Orchestra for Friday’s concert. #historical
@RoyalAcadMusic • 11月 19
Watch: Head of #Historical Perf Margaret Faultless on asking questions to composers from centuries ago bit.ly/2g1Zazb


‘The challenge is to search for ways of being true to the music and to ourselves as performers’

Margaret Faultless