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
Academy alumni, students and staff pay tribute to a remarkable man
Advice for everyone auditioning for studies in 2017
BWV 154, BWV 656, BWV 215
Academy Baroque Orchestra present a concert of Haydn
The Nancy Nuttall Early Music Prize for historically informed performances of pre-1800 chamber music
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
BWV 103, BWV 135, BWV 104
BWV 150, BWV 81, BWV 562, BWV 193
Solo voices and the timbre of a solo oboe predominate in today’s cantatas.
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