THE ACADEMY OF ANCIENT MUSIC

Director: Christopher Hogwood
Associate Conductor: Paul Goodwin

10 Brookside, Cambridge, CB2 1JE

Telephone: 01223 301509
Fax: 01223 327377

Web: http://www.aam.co.uk
Email: aam@aam.co.uk

    The original Academy of Ancient Music was established in the eighteenth century for the purpose
    of studying and performing 'old' music. The modern revival of The Academy was founded by Christopher Hogwood in 1973 to give audiences an experience of music as it might have sounded
    at the time it was written. The ensemble brings together specialists in every branch of baroque and classical performance style, playing instruments of the appropriate period in appropriate numbers -
    it expands from the four musicians who performed Purcell's 1683 set of trio sonatas up to the 180 members of the orchestra and chorus who recorded for CD and video Haydn's Creation, using the same forces Haydn had at his first public performance in the Burgtheater in Vienna. Extending its
    policy of working with directors other than Hogwood, it has now appointed Paul Goodwin as Associate Conductor.

    The Academy of Ancient Music thrives on diversity - its activities are global and range from
    concerts to sound recordings to videos. It is especially well known for its pioneering recordings
    on the Decca L'Oiseau-Lyre label. As important as the praise they have received from critics
    and music lovers, is the debate - sometimes heated - they have stimulated and which has been
    seminal to the development of the 'early music' movement. Decca's encouragement of a spirit of experimentation has allowed a wide audience to hear what otherwise would only be written
    about by musicologists. Thanks to the advice of expert Neal Zaslaw, the recordings of all
    Mozart's symphonies revealed for the first time the world of difference in the way Mozart
    wrote for orchestras of widely varying sizes and composition in each of the major musical
    centres for which he composed. In their complete cycle of Mozart's piano concertos, Robert
    Levin's talent for improvisation and his intense study of Mozart's compositional style is giving
    audiences the chance to know the excitement of hearing a new cadenza every time a Mozart
    piano concerto is performed. The initial surprise with the Haydn symphony project was the musicological advice that Haydn did not use harpsichord continuo in his performances at
    Esterhaza. Controversy over the evidence still smoulders, and we can imagine
    Haydn enjoying the argument.


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