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Practising Performance

Masterclasses and Performance Workshops

These masterclasses offer students an invaluable insight into the musicianship, performance skills and technical expertise of some of the world’s most celebrated performers. Participants and listeners find the experience inspirational and stimulating, both musically and intellectually.

Performance students are able to attend public and internal masterclasses in addition to regular performance workshops run by the Director of Performance, Margaret Faultless and guests.

In the Practising Performance series, the Faculty of Music has hosted classes with Michael Chance, Nicholas Cleobury, Ross Duffin, Richard Egarr, Sir Mark Elder, Ketil Haugsand, Steven Isserlis, Andrew Kennedy, Joanna MacGregor, Nicholas Mulroy, Sir Roger Norrington, Verity Sharp, Jeremy West and many other significant performers.

Collaborations with CMPS and CRASSH have resulted in masterclasses with Richard Goode, Roy Howat, Yundi Li, Robert Levin and Angela Hewitt.

The timetable for Michaelmas 2020 is as follows:

15 October 2020, 2:30pm: Chi-chi Nwanoku OBE In Conversation with Maggie Faultless, Director of Performance 

22 October 2020, 2:30pm: Alexander Technique for Performers with Poppy Walshaw (maximum 20 participants) 

29 October 2020, 2:30pm: Performers in Conversation - Tom Poster and Mahan Esfahani

12 November 2020, 2:30pm: Robert Cohen - Preparation, Practice and Performance  

19 November 2020, 2:30pm: Yoga for Performers, Anna-Camilla Goldbeck-Wood (maximum 20 participants) 

26 November 2020, 2:30pm: Conductors In Conversation -  Sian Edwards and Jonathan Heyward

Click here for details of past Practising Performance events.

Side-by-Side Events

These periodic events give select student musicians at Cambridge the chance to gain valuable musical insight by playing ‘side-by-side’ with leading professionals. These events take place each year in collaboration with the Academy of Ancient Music, enhancing students’ understanding of the life of a professional period instrument orchestra and musician. The fact that the AAM’s intimate knowledge of the repertoire and the period-instrument sound world has been passed on to students working alongside AAM players has been a major benefit. Students who have taken part have indicated the value of ‘learning through osmosis’, and when asked to identify the best features of the day, more than one student has responded, ‘Everything’. One student viola player recently commented: ‘Sitting side-by-side with the AAM in an AAMplify workshop was absolutely the best experience of my musical life'.