Academy of Ancient Music
For more than 40 years, the Academy
of Ancient Music has enriched the lives of thousands the world over with historically
informed performances of Baroque and Classical music of the highest calibre. Founded in
1973 by Christopher Hogwood, the orchestra has since performed on all six inhabited
continents and recorded an unrivalled catalogue of more than 300 CDs.
In 2006, Richard Egarr succeeded Mr. Hogwood as music director, and has since led the
orchestra on tours of Europe, Australia, Asia, and the US. His notable recordings with AAM
include J. S. Bach's "Brandenburg" concertos; Handel's complete instrumental works,
opp.1-7; music by the 17th-century English composer Christopher Gibbons, and Birth of the
Symphony: Handel to Haydn, the first release on the orchestra's in-house record label AAM
The AAM's artistic excellence has long been fostered by a range of guest artists. Pianist
Robert Levin and singers Dame Emma Kirkby, Dame Joan Sutherland, and Cecilia Bartoli were
among those who performed regularly with the AAM in the early days, and ongoing
relationships with mezzo-soprano Sarah Connolly, countertenor Iestyn Davies, and violinist
Richard Tognetti lie at the heart of the AAM's present-day artistic success.
The AAM's 2014-2015 season takes listeners on a musical grand tour, from Monteverdi's
L'incoronazione di Poppea to Mozart's magisterial piano concertos via Venice and the North
African coast. There are also plans for a tour of the US and Canada, with performances at
the Music Center at Strathmore in Maryland and Walt Disney Concert Hall in Los Angeles.
Planned releases on AAM Records this season include recordings of J. S. Bach's orchestral
suites and the 1727 version of the St. Matthew Passion.
The AAM is Associate Ensemble at the Barbican in London and
Orchestra-in-Residence at the University of Cambridge. Visit aam.co.uk for
Richard Egarr brings a joyful sense of
adventure and a keen, enquiring mind to all his music making. He is renowned for directing
from the keyboard, conducting, playing concertos (on the organ, harpsichord, fortepiano, or
modern piano), giving solo recitals, playing chamber music, and indeed talking about music
at any available opportunity.
Since 2006, Mr. Egarr has been Music Director of the Academy of Ancient Music, with whom
current plans include a three-year Monteverdi opera cycle at the Barbican in London, where
the orchestra is Associate Ensemble. In 2006, Mr. Egarr established the Choir of the AAM,
and opera and oratorio lie at the heart of his repertoire.
Mr. Egarr regularly appears as guest director with other leading ensembles, ranging from
Boston's Handel and Haydn Society to the Royal Concertgebouw Orchestra and The Philadelphia
Orchestra. He is currently principal guest conductor of the Residentie Orchestra in The
Hague and Associate Artist of the Scottish Chamber Orchestra. He holds teaching positions
at The Juilliard School and at the Conservatorium van Amsterdam.
During the 2014-2015 season, Mr. Egarr's plans in North America include an eight-concert
tour with the Academy of Ancient Music, with appearances at Walt Disney Concert Hall in Los
Angeles, his debut with the Seattle Symphony Orchestra, a return to the Handel and Haydn
Society, and a harpsichord recital at Carnegie Hall in February.
Mr. Egarr's extensive recording output, mainly for Harmonia Mundi, includes solo works by
Gibbons, Couperin, Purcell, Mozart, and J. S. Bach; an inspired collaboration with
violinist Andrew Manze; and numerous discs with the AAM, including J. S. Bach's harpsichord
concertos, "Brandenburg" concertos, and a MIDEM, Edison, and Gramophone award-winning
series of Handel discs. His latest releases are of J. S. Bach's St. John Passion and
orchestral suites with AAM on their own label, AAM Records, as well as Handel's harpsichord
suites for Harmonia Mundi.
Mr. Egarr trained as a choirboy at York Minster and Chetham's School of Music, and as an
organ scholar at Clare College in Cambridge and with Gustav and Marie Leonhardt, who formed
the inspiration for his work in historical performance.