Formats

Atelier

The “atelier” is probably the best format for reflecting the basic idea behind “Historically Informed Performance Practice”, because of its all-embracing nature: one particular aspect of performance practice is examined in detail through specific examples and by combining theory and practice. Teaching in different formats (individual lessons, chamber music, orchestras) and lectures on the intellectual background both play a key role in this format. Concerts round off the picture.
Some previous atelier themes:

  • Spohr, Hummel, Moscheles – The “true” Romantics
  • The “great” Bach – Carl Philipp Emanuel
  • Rhetoric and language in the music of Johann Sebastian Bach
  • Ferdinand Ries
  • Louis XIV – King and Artist 
  • “Gran Partita” and what came next – “Harmoniemusik” in the 19th century
  • From the minuet to the waltz – dance music in the early 19th century
  • Telemann and Hamburg
  • Mendelssohn – Classical? Romantic? Rhetoric!
  • “Le Roi est mort, Vive le roi!” – the influence of Louis XIV on Germany in the 18th century
  • Generation 1810: Schumann, Chopin, Liszt, Mendelssohn
  • “Für Kenner und Liebhaber” – Carl Philipp Emanuel Bach in Hamburg
  • Das 18.Jahrhundert im Aufbruch 
  • Napoleon Bonaparte
  • Revolutions and Reforms
  • Molière! - Baroque complete works of art

We were delighted to welcome well-known proponents of historically informed performance practice to these events, including Vera Beths, Pierre Goy, Katharina Arfken, Martin Jones, Clive Brown, Werner Erhardt, Xenia Löffler, Midori Seiler, Jürgen Kussmaul, Jaap ter Linden, Gudrun Skamletz, Jed Wentz and many others.

[Translate to English:] © ZHdK

Werkstatt (study group)

A “Werkstatt” consists of an afternoon spent addressing a specific topic. The main aim is to broaden students’ knowledge of the intellectual background and study one specific topic in detail, primarily from a theoretical point of view.

Previous study groups have looked at practical topics such as dance in the music of Bach, as well as certain subjects that are directly or indirectly to do with music (for example Martin Luther). Portraits of composers (Johann Jakob Froberger) and leading personalities who influenced music and the arts (Louis XIV, Martin Luther again), serve primarily to widen the students’ intellectual horizons. At the same time, there are also very practical events such as a discussion of gesture or dance, and visits to museums and libraries.

[Translate to English:] © ZHdK

Werkstattkonzert (study group concert)

Study group concerts are short, interactive concerts lasting 40–90 minutes which, like the study groups themselves, concentrate on a particular topic. The focus should be not only on the practical performance but equally on the relevant theoretical background. Study group concerts may be connected to the study groups themselves, but may also be unrelated.

Previous study group concerts have dealt with musical interpretation, for example of Bach’s Trio Sonatas for Organ, the problem of interpreting time markings in the music of Johann Jakob Froberger (“avec discrétion”) or performances of previously unknown compositions found hidden in Zurich’s libraries.

[Translate to English:] © ZHdK

Master class

Internationally renowned guests are regularly invited to ZHdK to give master classes for three or four days. The intention is to cover as many disciplines as possible, so classes are offered alternately for all instrumental and vocal areas of study.

Previous master classes have been given by Charles Toet (trombone), Monika Mauch (voice), Xenia Löffler (baroque oboe), Rachel Brown (baroque flute), Midori Seiler (violin), Pierre Goy (piano), Dane Roberts (double-bass), Robert Toft (voice) and others.

[Translate to English:] © ZHdK

Workshop

Unlike a master class, a workshop focuses on a theme. It is also aimed at a particular group of instrumental or vocal participants, but concentrates especially on a specific aspect of performance practice. For example, recent themes have included “Stylistics in English music in the 17th century” (Jill Feldman), “Mozart and Haydn – Edle Einfalt, stille Grösse” (Michael Biehl), “La belle danse – baroque dance” (Gudrun Skamletz), “German recitative in the 18th century” (Monika Mauch), “Gesture” (Jed Wentz) etc.

[Translate to English:] © ZHdK

Lecture

Lectures at “Historically Informed Performance Practice” normally last an hour and are on subjects which are related to the theme of the year, in the broadest sense, with the aim of studying them in greater depth. Major international figures from the worlds of research and science come to ZHdK to give lectures. Among those who could be mentioned are Klaus Hortschansky, Laurenz Lütteken, Anselm Gerhard, Hansjörg Drauschke, Hans-Joachim Hinrichsen, Dagmar Glüxam, Robert Toft, Pierre Goy and Michael Wersin.

[Translate to English:] © ZHdK

Concert

Last but not least, the practical side of historically informed performance practice is brought to life in concerts. Guests from all over the world who have made a name for themselves in the music world mainly by playing historic instruments are invited to ZHdK. However, in addition to the individual performer, the theme of the concert plays a central role, so that the intertwining of theory and practice is also apparent in this format. A notable example here could be the performance of Palestrina's “Missa sine nomine” in the version by Johann Sebastian Bach, directed by Charles Toet. Pierre Goy gave a concert on a keyboard instrument that has largely been forgotten nowadays (the pantalon), while Rachel Brown devoted her concert to the solo repertoire for baroque flute by Bach and Telemann, and Midori Seiler played solo sonatas and partitas by Johann Sebastian Bach. A performance of the “Concerts royaux” by Francois Couperin, in a version with baroque choreography, was led by Gudrun Skamletz.

[Translate to English:] © ZHdK

Bach cantatas

Starting in the 2017/18 academic year, “Historically Informed Performance Practice” will be organizing regular performances of a Bach cantata. While focusing on the vocal work of Johann Sebastian Bach in the broadest sense, his composition of cantatas will be considered in a particular context. For example, the cantata may be combined with a work by a contemporary (Telemann), or with other examples of the format (Handel), or presented in its historic context (works before and after Bach, works by the Bach family). Combinations with instrumental music may also be possible (Bach’s religious and secular music). There are virtually no limits on how Bach’s cantatas can be studied.

The performers are students of all the voice parts and instruments used by Bach, so the programme is determined by the students who are enrolled for that semester.

The main purpose is to focus on historically informed performance practice, taking the example of a Bach cantata. This format therefore exemplifies the basic practical idea behind “Historically Informed Performance Practice”: the cantata can be performed on either historic or modern instruments. Mixed groups of performers are also possible.

So far:
HS 17: Zu Gast bei Bach - Hochzeitsquodlibet BWV 524
FS 18: "Sei Lob und Ehr dem höchsten Gut“ BWV 117
HS 18: „Bach di Eisenach“, Werke von Johann Sebastian Bach?, „Gedenke, Herr, wie es uns gehet“ BWV 217
FS 19: „…nach italienischen Gusto“ - Bach und Italien, „Non sa che sia dolore“ BWV 209
HS 19: „Vergnügte Ruh, beliebte Seelenlust“ BWV 169
FS 20: In festo Michaelis archangeli, BWV 19 und 55
HS 20: O ewiges Feuer, BWV 34
FS 21: Gelobet sei der Herr mein Gott, BWV 129
HS 21: Jauchzet Gott, BWV 51
FS 22: Bach und seine Lehrer - Wär Gott nicht mit uns diese Zeit!
HS 23: Wer nur den lieben Gott lässt walten, BWV 93