Historically informed performance plays a central role in Longy's artistic and academic life. The curriculum focuses on both repertoire and research in its approach to music composed before 1800, featuring some of the most unique and thorough course offerings in early music in the United States. Our commitment to individual attention from faculty mentors, ensemble playing, and small class sizes creates a uniquely collaborative conservatory.
Studio Lessons: Collaboration with a faculty mentor is the cornerstone of conservatory education at Longy. Together you will explore your unique artistic and professional goals while expanding technical and musical insight. Early music faculty members include renowned performers and musicologists, all of whom maintain active roles in the field.
Master Classes and Seminars: Through workshops, master classes, discussions, and presentations, weekly seminars allow early music students to explore a wide range of technical, historical, theoretical, and aesthetic issues.
Chamber Music: Georges Longy's belief in the power of collaboration inspires the central role of chamber music in our conservatory. You will work closely with faculty coaches every semester and will explore ensemble playing through coursework, informal readings, and community outreach.
Performance Practice: Topics courses allow students to research specialized areas of study focusing on the intersection of performance and scholarship. Recent offerings have included Baroque Ornamentation, Rhetoric of Baroque Performance, and Culture and Convention of Mozart's Operas.
Performance Courses: Classes include the study of original sources and theoretical materials, culminating in a public performance. Recent courses include:
- 12th-Century Vocal Repertories of Germany and France
- Early opera project: Orontea by Cesti
- English Theatre Songs
- J.S. Bach for Viols
- Medieval Masters of Italian Trecento
- Music from Odhecaton
- The Intimate French Baroque
Figured Bass Practicum: Students learn continuo playing while developing flexibility within collaboration and exploring a wide spectrum of repertoire.
Historical Dance for Musicians: Exploring both Renaissance and Baroque Styles, students learn dances including the sarabande, galliard, and menuet to better comprehend similarly titled pieces of the period. Students also play and sing for dancers, paying particular attention to tempo, articulation, character, and form.
Libor Dudas, chair
Phoebe Carrai, baroque cello
Douglas Freundlich, lute
Stephen Hammer, baroque oboe
Jane Hershey, viola da gamba
Sonja Lindblad, recorder
Na'ama Lion, baroque flute
Dana Maiben, baroque violin
Laurie Monahan, voice
Ken Pierce, period dance
Andrew Schwartz, baroque bassoon
Avi Stein, harpsichord
Anne Trout, baroque bass, violone
Ryan Turner, voice