report - Winston Churchill Memorial Trust

THE WINSTON CHURCHILL MEMORIAL TRUST OF AUSTRALIA
Report by - SARENA WEGENER - 2012 Churchill Fellow
The Dame Roma Mitchell Churchill Fellowship to expand knowledge of teaching and
performing on Renaissance and Baroque woodwind instruments - UK, Netherlands, France,
Germany, Switzerland
I understand that the Churchill Trust may publish this Report, either in hard copy or on the
internet or both, and consent to such publication.
I indemnify the Churchill Trust against any loss, costs or damages it may suffer arising out of
any claim or proceedings made against the Trust in respect of or arising out of the publication
of any Report submitted to the Trust and which the trust places on a website for access over
the internet.
I also warrant that my Final Report is original and does not infringe the copyright of any
person, or contain anything which is, or the incorporation of which into the Final Report is,
actionable for defamation, a breach of any privacy law or obligation, breach of confidence,
contempt of court, passing-off or contravention of any other private right or of any law.
Signed: Sarena Wegener
Dated: 19/02/2013
TABLE OF CONTENTS
INTRODUCTION
3
EXECUTIVE SUMMARY
4
PROGRAMME
6
MAIN BODY
8
CONCLUSIONS AND RECOMMENDATIONS
35
Introduction
Having been passionate for many years about Renaissance and Baroque music and the
instruments of their respective periods, it was an awe inspiring experience to see and meet the
performances, musicians, teachers, as well as to observe the rich culture and history that
relates to this specialty field in the UK and Europe. This project entailed the research of
teaching methodologies specific to Baroque and Renaissance performance practices, to visit
several museum collections that possess original Baroque and Renaissance instruments
dating from the 16th to 18th centuries and to experience the cultural background of the
countries visited including their architecture, art and music. By networking, investigating and
visiting these priceless exhibits, I am better positioned to assess early instrument replicas,
their affordability and their accessibility for aspiring young musicians in Australia. I hope to
educate musicians, students and teachers of the NT the special nuances of period performance
practice and its instruments.
I am most grateful to the Winston Churchill Memorial Trust and Dame Roma Mitchell for
this tremendous opportunity. I would also like to acknowledge the musicians, teachers,
instrument makers and museum curators for their advice and warm welcomes that I
experienced during my travels.
I would like to acknowledge all the support and encouragement of my family, not only
regarding my fellowship, but for the duration of my musical studies. Other people whom I
wish to thank for their support, time, advice and encouragement are Janusz Kwasny and
Martin Jarvis.
Executive Summary
Name: Sarena Wegener
Address: 35 Longwood Ave, Leanyer, N.T. 0812
Phone no. 0417561309
Occupation: Woodwind and guitar tutor at the Centre for Youth and Community Music
(Charles Darwin University) and Lecturer in Oboe (Charles Darwin University)
Project Description: The Dame Roma Mitchell Churchill Fellowship to expand knowledge
of teaching and performing on Renaissance and Baroque woodwind instruments - UK,
Netherlands, France, Germany, and Switzerland
Highlights
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Greenwich Early music Festival – Discussions with many early wind instrument
makers and being able to test many Renaissance and Baroque instruments that were
on display
Observation of a rehearsal with The Orchestra of the Age of Enlightenment
Baroque Flute lessons with Lisa Besnosiuk
Baroque flute workshop with Marc Hantai at the Schola Cantorum Basiliensis, Basel.
Experiencing first hand original instruments dating from the 1500’s at several music
museum collections
Interviews with museum curators from Basel Music Museum and The Royal College
of Music in London
Attending concerts featuring Renaissance ensemble Philomel and His Majestys
Sagbutts and Cornetts
Observation of Baroque oboe lessons with Katharina Arfken in Basel
Playing various early double reeds (Baroque oboes and shawms) in a lesson with
Carole Wiesmann
Major Lessons
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Knowledge of the Renaissance and Baroque woodwinds and their history via
teachers, performers, musical instrument museums, instrument makers and the
Greenwich Early Music Festival.
Various approaches to beginner technique of early woodwinds.
Locating sources for instrumental tutors/treatises and current instrument makers.
Receiving training in several temperaments (system of historical tunings) used in the
Renaissance and Baroque periods.
I experienced and assimilated numerous aspects of the culture and arts of the
Renaissance and Baroque periods throughout the museums in all countries that I
visited.
Experienced firsthand, original woodwinds from the sixteenth to eighteenth centuries
from musical instrument museums in London, Paris, Leipzig, Nuremburg and Basel.
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Knowledge of how current copies/reconstructions of early woodwinds are/were built
by learning from instrument makers.
I acquired information relating to the required/recommended prerequisites of learning
on early woodwind instruments, eg. age ranges, whether or not it is beneficial to first
learn on a modern equivalent of a period woodwind instrument.
Observing and receiving training in the execution and interpretation of performance
practice methods of Renaissance and Baroque music.
Dissemination and Implementation
It is my intention to introduce and suggest the use of several Renaissance and Baroque
woodwinds in Darwin by the following means:
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To educate school students and music teachers by producing an educational pamphlet
of various Renaissance and Baroque woodwind instruments to give out to schools,
including the NT Music The pamphlets would consist of instrument illustrations, their
history and use, a list of current early woodwind makers and links to resources for
both modern and original tutors/treatises (original tutors from the seventeenth and
eighteenth centuries which have English translations.
 Demonstrate and describe various Renaissance and Baroque woodwind instruments to
students and ensembles of The Centre for Youth and Community (CYCM). I have
two types of Baroque flutes and have ordered a Baroque oboe and a Renaissance
cornett, so far.
 Introduce some Renaissance and Baroque woodwinds to various woodwind/brass
players from The Darwin Symphony Orchestra and encourage them to learn an early
woodwind instrument.
 Use of appropriate temperaments (system of historical tunings) with students (and
demonstrations) when teaching early woodwinds and for their preparation of playing
with accompaniment (keyboard/harpsichord/other instruments from the corresponding
period. I am currently sourcing an appropriate electronic keyboard that uses several
temperaments from the Renaissance and Baroque periods as well as includes realistic
harpsichord and organ sounds. 1
 Talk of my instrumental experience to members of the Darwin Symphony Orchestra.
Suggest for some future concerts and Family Proms series to include an ensemble
consisting of several Renaissance and Baroque instruments e.g. Woodwinds, strings
and percussion.
 Demonstrate and show instruments in my possession to the Top End Folk Club’s
weekly sessions.
 Via my contacts, propose to various early music performers and teachers to visit
Australia to help expand the knowledge of period instruments via demonstrations at
music colleges, university music departments and public and private schools.
 I have accumulated numerous contacts to refer back to as well as to ask more
questions regarding instrument sourcing, teaching methods and instrument
maintenance. I will also be recommending these contacts to aspiring period
instrument musicians.
1
CDU owns a harpsichord (made by an Australian maker – built specifically for the tropical environment), but
since the majority of musicians who use it (CDU lecturers and students, CYCM students) play in equal
temperament, it is not possible to use several tunings in a rehearsal/concert context.
Programme
London November 4th - 13th
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Observation of a full day rehearsal of The Orchestra of the Age of Enlightenment
Baroque flute lessons with Lisa Besnosiuk
Attended a concert featuring His Majestys Sagbutts and Cornetts
Attended a concert featuring Philomel
Attendance of the Greenwich International Early Music Festival (musical instrument
exhibition and concerts)
Interviews with several instrument makers attending the Greenwich Festival
Renaissance cornett lesson at Girton College in Cambridge with Jeremy West
(performer in His Majestys Sagbutts and Cornetts)
Visit and interview with Lionel Sawkins in Beckenham
The Horniman museum instrument collection
Royal College of Music instrument collection and discussion with museum curator:
Jenny Nex
Paris November 14th – 23rd
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Observation of Baroque Chalumeau lessons with Eric Hoeprich at the Paris
Conservatoire
Observation of student master class with Baroque ensembles at the Paris
Conservatoire
Musse de la Musique (Musical instruments museum at the Paris Conservatoire of
Music)
Concert with Frans Bruggen’s Orchestra of the Eighteenth century
Museum of the Middle Ages
The Louvre museum
Petit Palace museum
The Hague November 24th - 29th
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Received a lesson and observed other lessons with Baroque flute professor Wilbert
Hazelet
Observation of student ensemble rehearsal at the Royal Conservatory of the Hague
Baroque oboe and Oboe da Caccia lesson with Frank de Bruine
Bremis museum
Geentemuseum (historical museum of The Hague and Holland)
Leipzig November 30th - December 2nd
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Grassi museum (Musical instrument museum)
Bach Museum
Town Hall (museum of the history of Leipzig)
Dresden December 3rd - 5th
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Medieval Market in the old city of Dresden
Observed numerous important monuments and buildings in relation to its Renaissance
and Baroque musical history
Nuremburg December 6th - 7th
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Germaniches museum
St. Sebald church
St. Lorenz church
Basel December 8th - 14th
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Two day Baroque flute master class with Marc Hantai at the Schola Cantorum
Basiliensis (Academy of Ancient Music)
Baroque oboe, oboe d’amore and shawm lesson with Carole Wiessman
Observation of Baroque oboe lessons with Katharina Arfken
Observation of student ensemble with Renaissance shawms with Ian Harrison
Observation of Renaissance dance lesson
Discussion with early clarinet professor and reed specialist, Piere Talliard
Musical instrument museum
History Museum of Basel
Kuntsmuseum (art museum)
Munster Cathedral
MAIN BODY
London/Greenwich/Cambridge
My first appointment in London was to attend a full-day rehearsal with the Orchestra of the
Age of Enlightenment. Besides of a few small ensembles and of course the Australian
Brandenburg Orchestra (which has visited Darwin approximately 3 times in the past 8 years),
I haven’t had the opportunity to see many professional orchestras during my musical
studies/career. Conducted by Jonathon Cohen, the Orchestra of the Age of Enlightenment
were rehearsing Hippolyte et Aricie and Les Paladins by Jean-Philippe Rameau (1683 1764). These pieces were to be performed at a concert at The Queen Elizabeth Hall which
was to be 2 days later. The concert also included works by Jean-Baptiste Lully, MarcAntoine Charpentier, Michel Richard de Lalande and Henry Purcell.
In the rehearsal, I was sitting near the wind section which consisted of two Baroque flutes
(also known as the ‘traverso’), two Baroque oboes and two Baroque bassoons. From the very
first note, I was blown away. The quality of the musicality and musicianship, impeccable
tuning (unequal temperament at A=392 pitch was used) and their technique was stunning.
That evening, I had a Baroque flute lesson with Lisa Beznosiuk at her home. I am very
grateful for her help and advice. She understood the fact that I had limited time with her (two
lessons) and that once back in Australia, I would not have a lesson for perhaps some time. So
she covered many elements in traverso (Baroque flute) playing, such as scale exercises,
various types of articulation, trill exercises, embouchure, French ornamentation, as well as
playing some French duets for two traversos by Michel de la Barre. On another occasion,
Lisa showed me around parts of the Royal Music Academy. It was amusing to see a sign on
the door of a practice room that states “This room is to be used for Historical Instrument
practice only. Priority will be given to Historical Performance students.” The pleasant
surprise, for me, is the distinction and separation of period instruments and ‘modern’
instruments for Higher education students.
The following day I travelled to Cambridge to have a lesson and discussion with Jeremy
West at Girton College. He is Professor at the Guildhall School London, a founding member
of His Majesty's Sagbutts & Cornetts and is Principal Wind Player with the Gabrieli Consort
& Players. “Jeremy has directed the instrument-making workshops of the late Christopher
Monk. The workshops are devoted to the research, development, reproduction and worldwide distribution of all instruments in the cornett and serpent (bass cornett) families.”2
Jeremy showed me a collection of Renaissance cornets made by himself and his partners at
Monk Instruments and described how one is made. Monk Instruments makes: cornetts, tenor
cornetts, serpents, muted cornetts and cornettinos (descant cornett) in fruit woods, hornbeam
wood, European boxwood, rock maple as well as Ebony resin, which is a cheaper alternative
for students. I purchased “How to play the Cornett” by Jeremy West and Susan Smith. It is
the first modern comprehensive cornett tutor for all levels. It has 50 pages of tips and advice
(quite rare in both early and modern tutors) plus 120 pages of exercises.
2
http://www.jeremywest.co.uk/jeremy-west.html
Resin Cornetts (top to bottom): Treble at A=440 ~ Treble at A=466 ~ Cornettino3
The morning of November 7th I had a meeting with Lionel Sawkins in Beckenham. We
discussed aspects of early music performance, his music editing background, the current
status and future direction of early music performance in the Northern Territory, which he
was quite interested, as well as his background in Australia. Lionel is a musicologist,
organist, singer and a music editor (edits original musical scores). “In 1990 and 2001, the
Centre de Musique Baroque at Versailles invited Lionel Sawkins to act as Artistic Advisor
for their festivals of the music of Lalande and for these he produced programme books and
editions for the many concerts, broadcasts and recordings which followed, and directed the
first international conference on Lalande’s music. Reviews he has written of books and
performances have appeared in Musicology Australia in 2007 and 2008 and in the Early
Music journal in each year from 2008 to the present.”4 His PhD completed at London
University was on the sacred music of Lalande. Lionel Sawkins' 750-page book: Thematic
Catalogue of Lalande's music (2005) was the product of 35 years work. It includes over
3,000 music examples, details of performing requirements, and of all source materials' 5
Following my visit with Lionel Sawkins, I then proceeded to the Horniman museum. This
was to be my first time experiencing original instruments. The museum first opened in 1901.
Its collections comprise of Anthropology, Aquarium, Archive, Gardens, Musical Instruments
and Natural History. The musical instrument collection includes:
 The Adam Carse Collection (European wind instruments, archive)
 The Dolmetsch Collection (European string, keyboard and wind instruments)
 The Wayne Collection (concertinas and free reed instruments)
 The Boosey and Hawkes collection (European wind instruments, archive)
 The V&A loan (European string, keyboard and wind instruments)
3
http://www.jeremywest.co.uk/gallery.html
http://lionelsawkins.co.uk/Export2.htm
5
http://lionelsawkins.co.uk/Export3.htm
4
Flutes from the Baroque and Classical periods from the Horniman Museum
In-dubitably, a definite highlight of my trip was attending the 3 day Royal Greenwich
International Early Music Festival at the Old Royal Naval College.
The exhibition itself was situated in the Painted Hall, the Queen Mary Undercroft and Skittle
Alley of the Old Royal Naval College . The interior of the Painted Hall is reminiscent of the
Sistine Chapel, with its very ornate decoration and paintings. Between 1824 and 1936, the
Painted Hall was known as the National Gallery of Naval Art. These paintings, together with
portrait busts, drawings, ship models and relics of Nelson, formed the basis of the National
Maritime Museum’s art collection. The Painted Hall sits within the King William Court.
The Royal Greenwich International Early Music Festival & Exhibition is the largest Early
music event of its kind. It consists of an exhibition, concerts, workshops and master classes.
The exhibition hosts numerous early instrument makers from around the world, CD’s, sheet
music, music publishers, societies and recording companies. Exhibitors demonstrate, display
and sell their products and providing advice on all aspects of these instruments from basic
servicing, finishing and string replacement to decoration and troubleshooting. 6
The following is a list of the exhibitor categories that participated at the Royal Greenwich
Early Music Festival Exhibition:
6
http://www.earlymusicshop.com/More/Greenwich_International_Early_Music_Festival.aspx
The Early Music Festival Exhibition in the Painted Hall at The Old Royal Naval College,
Greenwich
Various instruments from the The Early Music Shop’s display:
recorders (Renaissance and Baroque), viols, viola da gambas, harps and percussion.
A selection from The Early Music Shop exhibit of Renaissance lutes, hurdy gurdys,
rebecs, Vielles, medieval fiddles, gemshorns, psalteries, a serpent and bagpipes.
Looking underneath the dome inside The Painted Hall, Old Royal Naval College
One of the makers at the exhibition that I spent time in discussion with and testing his flutes
is Simon Polak. His is located in Zijtaart, The Netherlands. He has been a professional
Baroque flute maker since 1997. He goes to great length when examining, testing, measuring
the original instruments in museums and fine tuning his replicas. I approached him originally
on some queries on the flute of mine, which I bought second hand from the Early Music shop
two years ago. I am grateful for his time and his trust in allowing me to test several
instruments of his before purchasing one. My two flutes from Simon are a Tassi (original
approximately between 1740 and 1750) in grenadilla at A=392 and the other a copy of a
Beukers (Willem Beukers senior – 1666 to 1750) in European boxwood at A=415.
Simon Polak’s website is very informative, both to the beginner and advanced student. You
can find some history on the Baroque flute between the mid seventeenth to nineteenth
centuries, early flute tuning, original pitches of the instruments, choice of woods used in
making, care and maintenance, fingering charts, description of nuances of certain models, his
workshop, references to first and secondary sources, temperaments, plus other aspects of
traverso playing.
Another flute maker that I spent time with is Giovanni Tardino. He had on display a range of
Medieval, Renaissance and Baroque flutes (including consorts). I tried out several of his
Baroque and Renaissance flutes (my first time in playing a Renaissance flute).
He offers more than 40 different models covering all historical periods. He has restored wind
instruments in museums such as Correr in Venice, Accademia di Santa Cecilia in Rome,
Turin Conservatory as well as for private collections.
I also had conversations and instrument playing/testing with Hanchet and Heller ~ shawms;
Harry vas Dias ~ Baroque oboes; Martin Wenner ~ recorders and Baroque flutes; The Lute
Society, The Galpin Society (society and journal for the study of musical instruments);
Jonathan Swayne ~ bagpipes, whistles and flutes; The Early Music shop ~ numerous
woodwinds, brass, strings (plucked and bowed), percussion. Unfortunately, it was impossible
to attend all demonstrations, and concerts as well as to test/try out different types of
woodwind instruments, talk and inquire about instruments to makers, since the exhibition was
so large, not mention that it lasted only 3 days. I collected numerous instrument catalogues,
concert and society flyers and business cards for future reference and to present them at my
demonstrations, students, musicians and teachers.
Baroque oboes, reeds and staples by maker Harry Vas Dias
A selection of Mollenhauer Renaissance and Baroque recorders (Early Music Shop display)
The festival also included several concerts that were held at the same time as the exhibition,
which took place at either at St Alfege Church (Greenwich), King Charles court or the
Chapel, which are both at the Old Royal Naval College. The church has connections with,
Henry VIII and Thomas Tallis (composer). Designed by Nicholas Hawskmoor, St Alfege
Church was built nearly 300 years ago. The original building was medieval. It was designed
by, Sir Christopher Wren's famous pupil, and is one of the churches built under the Fifty
Churches act of 1711. The interior has many examples of 18th century craftsmanship and
design.7
Two very exciting concerts I attended featured Philomel and His Majestys Sagbutts and
Cornetts which are both Renaissance ensembles.
His Majestys Sagbutts and Cornetts performs music of the sixteenth and seventeenth
centuries in historically appropriate styles on period instruments. They have more than
twenty recordings to their credit. They have participated in a range of activities such as The
Salzburg Festival, St. Mark’s Venice, The Sydney Opera House and BBC Proms in the Royal
Albert Hall. As a part of its educational activities, members of the ensemble often give master
classes and workshops. Instruments used in this concert were cornetts (two cornetts in G and
tenor), three sackbuts and organ. The concert programme included several works by Giovanni
Gabrieli (1554-1612), and some by Orlande de Lassus (c. 1532-1594), Andrea Gabrieli (c.
1533-1585), Girolamon Frescobaldi (1583-1643), Hans Leo Hassler (1564-1612) and
Heinrich Schutz (1585-1672).
7
http://st-alfege.org/
The members of Philomel perform on various Renaissance instruments, such as viol consorts,
recorder consorts, crumhorns, racket, bagpipes, Renaissance violin and harp. The pieces for
the programme were chosen from The Dancing Master, which is type of treatise/tutor,
published in 1651 containing 105 dance tunes and instructions. This included works by the
following composers: John Playford (1623-1686), Thomas Morely (1557-1602), John
Dowland (1563-1626), Anthony Holborne (1545-1602) to name a few. It was such a pleasure
to see the ensemble members changing to several other instruments throughout the concert.
Many European church musicians of the 17th and 18th centuries were multi-instrumentalists,
who played several instruments. The European Piffari (Italian), Stadtpfeifer (German) and
Waits (British town pipers) were multi-instrumentalists. Bands were employed by local
governments throughout the 16th century to give regular concerts in public squares and
would lead processions for festivals. Piffari usually contained a mix of wind, brass and
percussion instruments and sometimes viols.8
Paris
I arrived in Paris on November 13th, after taking the train from St-Pancras in London to Paris
Gare du Nord. The following day, I took a scenic walk from my hotel to The Louvre
Museum. Besides the actual artwork and sculptures in the collections, the buildings
themselves were stunning in their own right. Opening in 1793, The Louvre Palace (Palais du
Louvre), which houses the museum, began as a fortress by Philip II in the twelfth century.
The museum holds approximately 35,000 objects dating from prehistory to the 19th century.
The painting collection has more than 7,500 works, which includes works from the 13th
century to 1848.
Other museums I visited whilst in Paris were: The museum of the Middle Ages (Musse de
Moyan Age), Petit Palais and the Paris Conservatoire Museum of Musical Instruments
(Musée de la Musique).
The Museum of the Middle ages building is an example of existing civic architecture in
medieval Paris. It was formerly the town house (hotel) of the abbots of Cluny, which was
started in 1334. The building has Gothic and Renaissance elements. It was made into a public
museum in 1843, to contain relics of France's Gothic past preserved in the building by
Alexandre du Sommerard. Occupants of the house over the years have included Mary Tudor,
the sister of Henry VIII of England. The Musée de Cluny houses a variety of important
medieval artifacts, in particular its tapestry collection. Other works include early Medieval
sculptures from the seventh and eighth centuries. There are also works of gold, ivory, antique
furnishings, stained glass, and illuminated manuscripts.
The Petit Palais (Small Palace) houses the City of Paris Museum of Fine Arts. The current
exhibits (as of Nov 2012) in the Petit Palais (Small Palace) museum in Paris are the Dutuit
Collection of medieval and Renaissance paintings, drawings and objects of art; the Tuck
Collection of 18th century furniture and the City of Paris collection of paintings.
I had the privilege of seeing the Notre Dame Cathedral. With its stunning architecture,
paintings and sculptures, it is also the home of the largest organ in France which is perhaps
the most famous organ in the world. There is the great organ, which has five keyboards, one
hundred ninety ties and eight thousand pipes; the choir organ, an instrument with thirty ties
8
http://en.wikipedia.org/wiki/Sackbut
and two thousand pipes and a positive organ with one keyboard and five ties which is a
portable instrument for continuo to accompany the Notre-Dame de Paris choir school’s
ensembles and soloists. The Notre-Dame school during the late 12th and early 13th centuries
had an important group of composers and singers working under the patronage of the
Cathedral. The Notre-Dame school is important to the history of music because it produced
the earliest repertory of polyphonic (multipart) music to gain international prestige and
circulation. 9
A person to whom I am most grateful is Pascal Duc. He is currently the head of the Early
music department of Conservatoire national de musique et de danse de Paris. He gave me
numerous names of teachers/performers and their contact details in order to assist me with
my fellowship. He also showed me around The Bibliotheque National (music library) in
terms of locating resources for instrument tutors, sheet music and other sources, most of
which is available on-line as well.
A highlight during my travels in Paris was to observe a concert by Frans Bruggen’s Orchestra
of the Eighteenth Century at the Salle Gaveau (1020 seat concert hall, built in 1905-6).
Probably the world’s most famous recorder player of his time, Frans Bruggen founded the
Orchestra of the Eighteenth Century in 1981, which consists today of some fifty members
from 23 different countries. At the age of 21, he was appointed professor at the Royal
Conservatory in The Hague. ‘The Orchestra of the Eighteenth Century resembles the
luxurious “Classical” orchestras of the period as we know them from London, Paris and
Vienna. The musicians, who are all specialists in eighteenth and nineteenth century music,
play on period instruments, or on contemporary copies. It is their intention to try to achieve
the most authentic as possible performances of the masterpieces of the late Baroque and
Classical era.’10
In this concert, they performed two of Beethoven’s works: The violin concerto in D major
Op. 61 and his Symphony no. 3. Having performed and rehearsed and performed
Beethoven’s symphony no. 3 myself with the Darwin Symphony Orchestra, it made the
experience a lot more intriguing. The authentic (copies or originals) instruments sounded
beautiful and I my opinion suited the music more, compared to modern instruments. Their
subtle nuances, the musician’s interpretation of the performance practice of the period
performance, takes the music to another level.
The following day, I had the privilege to visit the National Conservatory of Music and Dance
in Paris to observe some Chaleameu lessons with Eric Hoeprich and attend a master class
with some early music performance students.
Eric Hoeprich is a performer, scholar, teacher and maker. He is founding member and
principal clarinet in Frans Bruggen’s Orchestra of the Eighteenth Century. The two lessons
that I observed was a modern clarinet and Romantic clarinettist having his first try on the
tenor chalumeau. He then proceeded with his normal lesson on the romantic clarinet. The
second student had taken up the chalumeau as his second instrument, I believe for his music
degree. Eric played some duets on the treble/‘pocket’ chalumeau with the student on a tenor
chalumeau. The lessons were spoken in French, although I did have a brief discussion with
Eric concerning the chalumeau in English. I got to test out a tenor chalumeau. It has a much
9
http://www.britannica.com/EBchecked/topic/420777/Notre-Dame-school
http://www.glossamusic.com/glossa/artist.aspx?id=20
10
more mellow/wooden sound compared to its modern equivalent. I was surprised at the deep
tone it has, since its small size is comparable to the alto recorder.
After the lessons was a master class organised by Pascal Duc and ran by Eric Hoeprich. This
consisted of approximately eight early music students of the Paris Conservatoire listening to
and critiquing other early music performers who were studying at the Conservatoire. There
was an ensemble which included a traverso player, a Baroque cellist and harpsichordist. They
were very competent musicians. Once again, this was all spoken in French. I did understand
what the students and teacher were getting across by picking up on both the musical
terminology, hearing them sing/hum out the particular bar/s of music they are suggesting to
change and by listening to the musicians play them in response. The students who were
commenting/critiquing had quite a versed knowledge of performance practice, and stylistic
interpretations. They were also very passionate about their opinions (and their music
playing), which is a case that I had seen regularly in Holland, Germany and Switzerland as
well. These students were only in their early to mid-twenties. A majority of these talented
students would have grown up in a very musical environment, started quite young and
perhaps their family were/are very musical as well. The second performance in the class was
the Baroque cellist from the first ensemble playing a duet by Couperin, with a Baroque
bassoonist. The almost flawless technique of these young musicians was stunning to see.
After the master class, I then went to see the music museum of the Paris Conservatoire’s
music museum (Musée de la Musique). The museum was instituted in 1795 with a small
collection of rare instruments, but was not opened to the public until 1861. The Museum
features a collection of several hundred musical instruments collected by the Conservatoire
de Paris. “The Musée de la Musique has built a major collection of close to 6,000 objects,
one of the most important collections in the world.” 11The museum's collection contains
instruments used in classical and popular music from the seventeenth century to the present
time. The instruments are exhibited by period and by type.
11
http://www.citedelamusique.fr/anglais/musee/historique_coll.aspx
Various sizes of Renaissance cornetts
from the Musée de la Musique, Paris
Flutes ranging from the Baroque to modern from the Musée de la Musique, Paris
Various sizes of Renaissance recorders from
the Musée de la Musique, Paris
Renaissance, Baroque and Classical double reeds from
the Musée de la Musique, Paris
Audio devices are provided at the entrance allowing visitors to hear commentary and excerpts
of music played on the instruments. There was a solo performance by a musician who both
sang and played a medieval violin (I believe it was a vielle). It certainly enhanced the
experience of observing the instrument collection.
The museum regularly has concerts from both students and professional musicians of many
genres of music. From the cite de la musique website on the permanent collections of the
museum: “As a cross between living music and the protection of historic collections, the
museum’s vocation is to encourage communication between the public, historians, musicians
and instrument makers.” “On every second Sunday of the month, from October to May,
musicians, storytellers or dancers spread over the Museum and offer concerts, performances,
workshops or rencontres. These concerts-promenades are in accordance with the topics of the
season or the temporary exhibitions. The museum echoes with the rare sounds of instruments
from our collections or of facsimiles. As you stroll through the museum, you can enjoy a
number of mini-concerts, then talk with the musicians. This is a unique opportunity,
providing you and your children an original and fun way to learn about music history.” 12
I also visited the beautiful Luxembourg Gardens. The second largest public park in Paris, it
contains just over a hundred statues, monuments, and fountains, scattered throughout the
grounds. One of the sculptures is of Ludwig von Beethoven, by Antoine Bourdelle, placed
here 1978. It also holds the Medici Fountain (La fontaine Médicis), which was built in
1630). The park is the garden of the French Senate, which is itself housed in the Luxembourg
Palace.
The Hague
The Hague (Dutch: Den Haag) is the capital city of the province of South Holland in the
Netherlands. The Hague is the seat of the Dutch government and parliament, the Supreme
Court, and the Council of State. It is also the home to a very prestigious (especially in terms
of Early Music) Conservatoire: The Royal Conservatory of the Hague. The Conservatory was
founded by King William I in 1826.
On November 26th, I spent the day observing traverso lessons and, including having a lesson
myself with Professor Wilbert Hazelet. Wilbert began playing the traverso in 1970, and in
1978, under Reinhard Goebel became a member of Musica Antiqua Köln (An Early music
ensemble which concentrated on music of the seventeenth and eighteenth centuries). It
started in 1978 and was disbanded in 2007). Since 1985 Hazelzet is principal flute in
Koopman's Amsterdam Baroque Orchestra.
The lessons were all in English. I met with several Australians who are studying the traverso,
the Baroque violin and bassoon (Renaissance, Baroque, Classical and Romantic), most of
which are enrolled in the Bachelor of Music. My lesson with Wilbert Hazelet was extremely
helpful. We covered aspects which were valuable to both future students as well as myself
such as posture, use of your body weight transference (relating to the rhythmic pulse of the
music, embouchure technique, stylistic interpretation (I was playing a piece that I have
performed before, by Hotteterre). The other lessons throughout the day were also helpful, in
terms of stylistic interpretations of Baroque performance practice, since most of their
technical aspects have been covered throughout their previous years of their degree. Some of
12
http://www.citedelamusique.fr/anglais/musee/coll_permanentes.aspx
the pieces played for lessons I have heard and tried beforehand. Wilbert played some of
Quantz’s less known/played duets with an American student, in which they both played on
copies of Quantz flutes. Quantz’s flutes are mostly suited to the music of J.S. Bach and his
contemporaries. Quantz wrote a tutor entitled ‘On Playing the Flute’ (English translation).
The original title is Essay of a Method of Playing the Flute traverisere (1752). This is
perhaps the most important book when learning to play the Baroque flute. I use it regularly,
mostly for the examples in articulation patterns, of which there are many. It also covers the
technical aspects of playing e.g. Holding the instrument, breathing, practice methods,
ornamentation as well as a section for the accompanist (orchestral and continuo players).
I was offered if I would like to observe a rehearsal the following evening. Undergraduate
students of The Royal Conservatory of The Hague were rehearsing for a concert, in which
they were all playing upon ‘Classical’ (1750 - 1820) woodwind instruments. There were
classical flues, oboes, clarinets, bassoons, a natural trumpet and natural horns. Most of the
repertoire was by C.P.E. Bach and Mendelssohn.
Two museums that I visited in The Hague were Museum Bredius and the Gemeentemuseum.
Built in 1755, Museum Bredius is situated in an eighteenth century mansion which shows the
private collection of the renowned art historian Dr. Abraham Bredius (1855-1946). It has
paintings by Rembrandt, Jan Steen, Aert van der Neer, Adriaen van Ostade, Meindert
Hobbema and many other large and small masters from the Golden Age. It also consists of
furniture, porcelain, silver and crystal. It is popular for its accurate restoration of the
eighteenth century Herenhuis (manor) interior with period furnishings.
The Gemeentemuseum houses modern art, 19th and 20th century prints, works by Holbein the
Younger, Rembrandt, Vermeer and many others, fashion and musical instruments.
Unfortunately their instrument and music library collection is no longer shown to the public.
The curator was unavailable to for the duration of my stay.
On November 27th, I received a Baroque oboe/Oboe da caccia lesson with Frank de Bruine.
Frank de Bruine is principal oboist for Frans Bruggen’s Orchestra of the Eighteenth Century,
Academy of Ancient Music, the Orchestra of the Eighteenth Century and Concerto
Copenhagen. He studied the modern oboe with Heinz Friesen and the Baroque oboe with
Bruce Haynes and Ku Ebbinge at the Royal Conservatory in The Hague, where he graduated
with distinction and was awarded the Nicolai Prize. He teaches early oboe at the Royal
Conservatory in The Hague and at the Utrecht Conservatory and makes regular appearances
as a teacher at courses in Holland, Poland and Canada. He has recorded oboe concertos by
Vivaldi and Albinoni with the AAM and Christopher Hogwood, as well as recordings for the
Wigmore Hall Live Label and Harmonia Mundi. In this lesson, I officially had must first try
of an Oboe da caccia (Baroque tenor oboe). It has been a dream of mine for some time.
Playing the Cor Anglias/English Horn has helped me prepare somewhat. Although a bit
awkward to hold to begin with and a big finger stretch to get used to, the sound has such a
mellow, wooden and smooth tone (with a good read, of course). Frank let me play on one of
reeds that he made recently. After letting me play for a little while, I was given a lesson on
the baroque oboe covering articulation, breathing and playing notes back and forth in order to
imitate how he was playing. He gave me some exercises to take back with me which covers
scales and legato exercises. He is happy to offer advice in the future relating to resources and
questions regarding beginner students.
Myself holding Frank de Bruine’s
Oboe da Caccia
(instrument by Paul van der linden).
An oboe caccia is a Baroque tenor oboe
which was almost exclusively used in
Johann Sebastian Bach’s canatas and
Passions.
Leipzig
The Bach-Archiv for documentation and research of life and work of Bach and also of the
Bach family was founded in Leipzig in 1950 by Werner Neumann. The Bach-Archiv
organizes the prestigious International Johann Sebastian Bach Competition, initiated in 1950
as part of a music festival marking the bicentennial of Bach's death. The competition is now
held every two years in three changing categories. The Bach-Archiv also organizes
performances, especially the international festival Bachfest Leipzig and runs the BachMuseum.
The city's musical tradition is also reflected in the worldwide fame of the Leipzig
Gewandhaus Orchestra and the Thomas Church Choir. For over 60 years Leipzig has been
offering the oldest "school concert program for children in Germany. With over 140 concerts
every year in venues such as the Gewandhaus and over 40,000 children attending, young
adults are educated and inspired by music.
The Old Town Hall / The Museum of City History / Stadtgeschichtliches Museum, in
Leipzig’s Marktplatz.
Situated close in Leipzig’s Marktplatz is the The Altes Rathaus (Old Town Hall). It is a
Renaissance building with a baroque tower (the Old Town Hall) which houses The Museum
of City History (Stadtgeschichtliches Museum). The Renaissance building dominates the
“The first part of the new permanent exhibition “From medieval times to the Battle of
Leipzig” has been arranged deliberately to match the historical rooms surrounding the
ballroom and the council chamber on the main floor. It contains approximately 1200
exhibits.. The ballroom impresses visitors with its unique portrait gallery of town magistrates
from the 17th until the 19th century . . . and it was here that Johann Sebastian Bach signed
his employment contract as Cantor at St. Thomas School and Director of Music in 1723.”13
Another highlight of my trip was visiting the Bach museum. The museum is situated directly
across from Thomaskirche church, which is most famous as the place where Johann
Sebastian Bach worked as a cantor, and as the current location of his remains. The Bach
museum and Bach-Arhiv are both in Bosehaus (Bose House) historical building which was
built in 1586. The Bach museum contains original instruments used in Bach’s orchestras e.g.
an oboe d’amore and oboe da caccia, original Bach manuscripts and the console of an organ
inspected and approved by Bach himself in 1743 from the erstwhile St John's Church. The
Bach-Archiv is a renowned centre of Bach research with a scientific library for Bach topics.
“The Bach-Archiv it was founded on the occasion of the bicentennial of Bach's death in 1950
by Werner Neumann, who remained its director until 1973. It served as a central archive for
manuscripts and historic documents connected to the composer and a central research centre
related to him and his family.”14
That same day, I went to the Grassi Museum, part of which holds the Museum of musical
instruments of the University of Leipzig. It is one of the largest music instrument museums in
Europe, alongside those of Brussels and of Paris. Its collection has approximately 10,000
objects which includes valuable instruments from Europe, related items from the
Renaissance, the Baroque, and Bach's Leipzig period. The other parts of the museum also
13
14
http://www.stadtgeschichtliches-museum-leipzig.de/site_english/altes_rathaus/ausstellungen.php
http://www.bach-leipzig.de/index.php?id=41&L=1
contain more than 2,500 years of art history. Their website fortunately has an accessible
database of their collection. Information relating to their instrument collection includes:
geographical and chronological classification, manufacturer, and a picture - http://mfm.unileipzig.de/dt/index.php
From the Grassi museum website: “The category of instruments includes about 300 reed
instruments of the 16th to 20 Century (oboes, bassoons, clarinets, bagpipes, shawm, bombard,
Rankette, crumhorns others), including such rarities as a contrabassoon from the first half of
the 18th Century or a Renaissance rankett ivory. Of the approximately 400 existing flutes of
the 16th to 20 Century, most of which are described in the catalogue. Represented are many
types of recorders and transverse flutes, as well as echo flutes, cane flutes, ocarinas.”15
Some Renaissance shawms from the Grassi
Museum, Leipzig
Some Renaissance cornetts, a dulcian
and a crumhorn from the Grassi Museum, Leipzig
15
http://translate.google.com.au/translate?hl=en&sl=de&u=http://mfm.unileipzig.de/&prev=/search%3Fq%3Dgrassi%2Bmuseum%2Bmusical%2Binstruments%26hl%3Den%26tbo%3Dd%
26biw%3D1280%26bih%3D852&sa=X&ei=DDEbUaHtF6-eiAf-ooGQAQ&ved=0CEIQ7gEwAg
Dresden
Some of the composers whom spent time in Dresden during the Renaissance and Baroque
periods include: Jan Dismas Zelenka, Johann Joachim Quantz, Johann Adolph Hasse, Franz
Benda, Michael Praetorius, Heinrich Schütz, Wilhelm Friedemann Bach, Sylvius Leoplod
Weiss.
The Dresden court attracted many foreign musicians under Heinrich Schütz. In the early
1700s, composers, impresarios, famous singers, and instrumental virtuosos came from all
over Europe.16
Among the buildings in Dresden’s old city that I experienced were:
Sempre Opera House (Semperoper), The Royal Palace, Zwinger palace ((Der Dresdner
Zwinger), New Market (Neumarkt) and Katholische Hofkirche. Since the end of World War
II, some restoration work has helped to reconstruct parts of the historic inner city, including
the Katholische Hofkirche, the Semper Opera House and the Dresdner Frauenkirche.
The Old city of Dresden
16
http://www.baroquemusic.org/bqxzelenka.html
A part of the Zwinger Palace, Dresden
Semper Opera House (Semperoper) in the old city of Dresden.
Upon my observation of the beautiful Baroque buildings of Dresden’s old city, I came across
a medieval market. Located inside the city’s castle, which is also the location of one of the
only originally preserved jousting sites in the world is the medieval Christmas market in
Stalhof. It consisted of stalls and craftsmen who were practicing their trade using tools and
materials from the late medieval period. The “Kurfürstlichen Stallhof – Musikanten” from St.
Petersburg play several times throughout the day and on the weekends, medieval jugglers and
minstrel’s music perform all day.
Medieval Christmas Market in Dresden’s Neumarkt
Nuremberg
The Germanisches Nationalmuseum is Germany's largest museum of cultural history.
The collection of historical musical instruments ranks among the most significant of its kind
worldwide, preserving instruments of every type from the 16th to the 20th centuries.
Today (2011), the collection includes some 3,000 musical instruments and accessories.
The entire museum holds about 1.2 million objects, The buildings incorporates the remaining
structures of the former Nuremberg Charterhouse, which dissolved in 1525. In 1857 what
was left of the premises, by then badly dilapidated, was given to the Museum.
A
Renaissance rackett from the Germanisches Nationalmuseum
A traverso by A. Grenser
(1720 - 1807) with several
middle joints at different pitches from the
Germanisches Nationalmuseum
A Baroque chalumeau (with two middle joints),
a Romantic clarinet and a basset horn from the
Germanisches Nationalmuseum
During my visit to the Germanisches Nationalmuseum, there was a Baroque ensemble
playing for the public in the museum cafeteria. The musicians were playing harpsichord, alto
recorder, Baroque flute, viola da gamba and Baroque violin. The museum is enormous. Some
of its collections include: Paintings from the 14th century onwards, Roman historical
artefacts, armoury, porcelain, fashion of the Baroque/Renaissance periods and medieval
sculptures, to name a few.
There are two late Gothic churches in Nuremburg, which I visited. These were St. Sebald and
St. Lorenz Church. The construction of the St. Sebald began in 1225. It was originally built as
a Romanesque basilica with two choirs. In the middle 17th century, galleries were added and
the interior was remodelled in the Baroque fashion. The church suffered serious damage
during World War II and was subsequently reconstructed.
St. Lorenz is a medieval church of the former free imperial city of Nuremberg, southern
Germany. It is dedicated to Saint Lawrence. It was badly damaged during the World War II
and later rebuilt. The choir of the church, which is also called "St. Laurentius" in texts on
Gothic Architecture, was started in 1445 by medieval master mason Konrad Roriczer.
Nuremberg hosts the International Organ Week every year. The historic Traxdorf organ in St.
Sebald was one of the oldest in Europe, constructed between 1440 and 1443, and the organ's
facade was considered the world's oldest. During World War II, the churches themselves
were partially destroyed and with them the historic Traxdorf organ. Reconstruction of the
churches’s organ began after the war. In 1951, the main organ in St. Lorenz could be played
once more, prompting the first International Organ Week in Nuremberg.
St Lorenz Church, Nuremburg
Basel
My first appointment at the Schola Cantorum Basiliensis (Academy of Ancient Music) was
two day Baroque flute master class. There were five other students besides myself, most of
which had a teacher in their home town/city and came from Europe e.g. Hungary, France,
Switzerland. We each received a one hour lesson per day and watched the others receiving
their lessons. Marc Hantai is a multi-linguist, so therefore, the other lessons were spoken in
either French, German or Spanish. I could still pick up on a lot via musical terminology used
and his examples that he was playing/singing to the students and observing the technical
examples (fingerings, embouchure, tone work) he was demonstrating. Marc Hantai is
definitely one of the best Baroque flute players I have heard. In my opinion, his precise detail
in his articulation, controlled dynamics and technique is at a professional level.
My lesson on day one, I played the fantasia no. 3 in b minor by G.P. Telemann. My lesson,
on day two, Marc and I played three movements from Michel de la Barre’s duets for 2 flutes
without bass. Aspects covered in my lessons were: use of different types of articulation,
execution of French ornamentation, rhythm (inengales – uneven rhythm in certain groupings
of quavers), tuning, air pressure, posture, long note and articulation exercises to practice.
Over a period of a few days, I observed some student s of Katharina Arken. Katharina teaches
baroque and classical oboe at the Schola Cantorum Basiliensis. After working as an
instrument maker, Katharina studied baroque/classical oboe and renaissance double-reed
instruments at the Schola Cantorum Basiliensis, Switzerland, with Michel Piguet and at the
Royal Conservatory of Music, The Hague, with Ku Ebbinge. Katharina has performed and
recorded with many leading ensembles, such as The English Baroque Soloists with director J.
E. Gardiner and The Amsterdam Baroque Orchestra. As the solo oboist of the Freiburger
Barockorchester, Germany, she takes part in all the important Early Music Festivals in
Europe.
Among the lessons observed, there was a baroque bassoonist and oboist playing the oboe
d’amore rehearsing a few movements from one of J.S. Bach’s cantatas. During another
lesson, there was a trio rehearsing a movement from J.S. Bach’s cantatas with voice
(soprano), baroque oboe and harpsichord. Katharina was kind enough to sit beside me so I
could read the music score as they were playing through and to translate some comments in
English, since all but one of her students, she spoke German with. I also observed an
American student during her lesson with Katharina playing Baroque oboe. They warmed up
with breathing exercises, then moved on to work on some movements by Francois Couperin.
The student is played very well, especially her French ornamentation, which is quite difficult
both technically and to phrase the ornaments smoothly within the musical context.
It was interesting to learn that some of Katharina’s students, as well as herself, had not learnt
on modern oboe before learning the Baroque oboe. This is unusual in my experience. Most
often whatever the instrument may be, one usually learns on a modern instrument, e.g. piano
before the harpsichord or organ, modern flute before the traverso/Renaissance flute, clarinet
before the chalumeau , modern bassoon before starting on the Baroque bassoon the or
Renaissance dulcian.
Carole Wiessman is also a lecturer in Baroque oboes as well as shawms at the Schola
Cantorum Basiliensis. She went to the trouble of bringing several instruments for the lesson
in order for me to try them out. This included two of her Baroque oboes (made by Randall
Cook) , an oboe d’amore, an oboe da caccia and an alto and tenor shawm. It was the first time
that I played upon a shawm and the oboe d’amore.
Towards the end of my stay in Basel, I had a meeting and discussion with early clarinet
professor and reed specialist, Piere Talliard. Pierre-André studied clarinet with Hans Rudolf
Stalder and piano with Klaus Linder and Jürg Wyttenbach. During his training, he learned to
know the historical clarinet and soon played alongside his teacher in various orchestras
(Concentus Musicus Wien, La Petit band, Concerto Köln, Les Musiciens du Louvre etc..)
under conductors such as Nikolaus Harnoncourt, Frans Bruggen, Jordi Savall, Frieder
Bernius, Philippe Herreweghe and others. Pierre-André has taught the historical clarinet and
chamber music at the Schola Cantorum since 1989.
We discussed his work that he has recently presented at completed on the physics of clarinet
reed making, performance practices and about tutors for early clarinets. Piere demonstrated
some excerpts of pieces on his Classical and Romantic clarinets. His position in teaching
Classical and Romantic clarinets is quite rare at the Schola Cantorum Basiliensis, since the
whole university is focused on earlier music (Medieval, Renaissance and Baroque).
By chance, a student of Katharina’s mentioned that she I going to have a rehearsal with two
other shawm students with lecturer Ian Harrison, so I went along after she finished her lesson
with Katharina. Ian Harrison is a shawm, bagpipe and cornett player from Newcastle upon
Tyne, England. “A specialist for historical improvisation” - 'the Miles Davies of the Early
Music scene' (Early Music News). He obtained his Master of Arts in Music Performance
Studies from the City University, London and went on to study at the Royal Conservatory,
The Hague and at the Schola Cantorum Basiliensis. He is a founder-member of the
prizewinning mediaeval and renaissance wind ensemble "Les haulz et les bas", an active
soloist, and guest musician especially with experimental ensembles such as Sarband, Oni
Wytars and The Harp Consort. Ian Harrison is a member of the musical instrument research
team of the University of Leipzig, and has lectured at the Universities of Oxford, Edinburgh
and London. With his folk group Contraband he won prizes for best wind instrumentalist and
best folk-rock group from the German Pop Foundation 2007. 17
The shawms the students were playing under the direction of Ian Harrison, were a treble, an
alto and tenor shawm. They played with such conviction and passion. The music is difficult
in itself, as a lot of Renaissance music is, with its complicated and Syncopated rhythms. They
were also using facsimiles of Renaissance music notation. For several reason, this is a
standard practice amongst the ‘authentic’ period performers. They were rehearsing for a
concert the following day, which is like a lunch time concert we have for higher education
students at CDU, but during the evening. It was a small room, so the sound of the shawms
were quite loud. The teacher had in ear plugs! I didn’t mind it being loud, since it was my
first time to experience shawms being played in person.
One of the students invited me to come to a Renaissance dance lesson the following day.
I introduced myself and explained about my fellowship project to the Renaissance dance
class teacher. She was kind enough to let me observe the class. The Renaissance dance lesson
was quite interesting in that I learnt about the rhythmic movements of the music (a recording
was played for them to dance to). They were learning a new type of dance, which involved
quite complicated steps and movements. There are many in Renaissance dances, just as there
are different types of movements, each having their own tempi (speed) and rhythmic
phrasing.
17
http://www.scb-basel.ch/index/115026
The Historisches Museum Basel Musikmuseum (The Basel Historical Museum Music
Museum) houses Switzerland’s largest collection of musical instruments. It currently has
some 3000 instruments, almost all of which were made in Europe between the 16th and the
20th century. The museum is located in the former Lohnhof prison house. “Exhibited in the
individual cells are instruments used for representative functions, such as drums and fanfare
trumpets . . . 18Also the rediscovery of the "early music" in the 20th Century, when the Basel
played a special role is devoted to a cell.” Opening in 2000, the museum collection shows
five centuries of music history with 650 instruments from the 16th to 20th Centuries. The
collection boasts a number of very rare items such as the earliest dated fanfare trumpet of
1578.
I also had a meeting with the music museum curator, Martin Kirnbauer. I inquired about his
experience a s a museum curator and his knowledge of instrument tutors within the academic
field, for example, important original books/tutors relating to learning early woodwinds.
A shawm, taille (Baroque tenor oboe), English
horn and bassoon from the Historisches
Museum Basel Musikmuseum
18
Two serpents and a cornett from the
Historisches Museum Basel Musikmuseum
http://translate.google.com.au/translate?hl=en&sl=de&u=http://www.musikmuseum.ch/&prev=/search%3F
q%3Dbasel%2Bmusic%2Bmuseum%26hl%3Den%26tbo%3Dd%26biw%3D1366%26bih%3D574&sa=X&ei=yzAiU
dfILOqZiQe67YGoBg&ved=0CFUQ7gEwBQ
Natural trumpets and percussion at the Historisches Museum Basel Musikmuseum
I also visited the Kuntsmuseum and The Basel Historical Museum. The Kuntsmuseum in
Basel holds some beautiful artwork from the fifteenth to twentieth centuries. The Basel
Historical Museum holds collections of the history of Basel from the Middle Ages to the
present. Its permanent exhibitions include, Basel Cathedral Treasury, Medieval Tapestries,
Cabinet of Curiosities, Burgundian Booty and Archeology. The museum is located in the
Barfusser Church, which is a late Gothic church built in the 14th century.
The beautiful cathedral which is the Basler Münster sits along the Rhine River. It is the
largest church building in the Basel region. The construction of the present Munster
Cathedral began around 1225, during the Transitional period between the Romanesque and
Gothic. Throughout the centuries, it has encountered multiple additions and structural
changes.
Munster Cathedral (St.-Paulus-Dom),
Basel
CONCLUSIONS AND RECOMMENDATIONS
Conclusion
As a direct result of my Dame Roma Mitchell Churchill Fellowship, I have accumulated an
enormous amount of information relating to instruments of the Renaissance and Baroque
periods, the makers of the period, original instrument collections, made contacts with
performers/teachers, some museum curators, academics, and of course witnessing firsthand
the performance practice/stylistic interpretations of the music of the sixteenth to the
eighteenth centuries.
Recommendations
 There are several Australian universities which offer degrees in music in early music
performance, but for the majority that does not, I recommend that they encourage
their music students to participate in different kinds of early music activities, for
example, lessons for beginners on Medieval, Renaissance and Baroque instruments /
early vocal techniques, workshops, master classes and concerts and to make copies of
period instruments assessable to students.

It would also be very beneficial to see more lectures recruited from abroad that are
trained in early music performance practice techniques and history to teach/tutor at
Australian universities and colleges.

For many reasons, creating awareness of the existence of period performance practice
and its instruments and how it can be used to enhance their understanding of that
music is very beneficial for any musician, not only for the university/school student,
but for the amateur musician who plays as a hobby.

The encouragement of early music ensembles and orchestras to tour in Australia
(especially the NT).