Instruments

For decades, Nikolaus and Alice Harnoncourt have been collecting instruments to bring them back to life. The sound worlds are different from modern instruments – discovering them and making them sound leads the Harnoncourts to organ galleries, where long-forgotten instruments can be found in boxes, but also to dealers, museums, violin and instrument makers in many cities. Word gets around that the Concentus Musicus wants to play on instruments from the period of origin of its repertoire – and so a lively exchange develops with other collectors who are keen to hear their instruments being played. The collection is growing. You can read some wonderful provenance histories of the instruments in the book “Wir sind eine Entdeckergemeinschaft”.

The musicians first had to slowly familiarise themselves with the instruments, elicit sounds from them, research scales, determine the correct pitch, learn non-tempered tunings and much more. You couldn’t just go to an instrument maker and order a copy. Today, this is a matter of course for musicians who play early music.

May I introduce the ‘Monteverdi shawm’ and its pink knitted cover.

This instrument from 1973 was used in the legendary Monteverdi cycle in Zurich. Paul Hailperin not only played it but also made it himself – a copy from the KHM Vienna’s collection of musical instruments. Unlike the usual Renaissance shawms, which can sound loud outside, an instrument had to be found that could sound good in an opera with a small ensemble. The note ‘for Marie’ on the inscription refers to Marie Wolf, who later also played it.

Maple, spruce, dark varnish. SAM 1391

On 16 April 2025, this viola from the Harnoncourt Collection was ceremoniously presented to the display case in Room 43 of the KHM’s Collection of Musical Instruments in the Vienna Hofburg. This instrument is among the earliest surviving examples of Viennese string making. Hollmayr was one of the first in a long line of lute and violin makers from Füssen who settled in Vienna during the 17th century. Distinctive features include the elongated body shape and the characteristically carved soundholes – a typical stylistic element of the Füssen school. Of particular rarity is the original neck, which has been preserved intact. The viola was formerly kept a the monastery in Gleink near Steyr and was acquired by Nikolaus Harnoncourt in 1954 and had been played by Kurt Theiner for many years.

This violin of Harnoncourts’ legacy has been in the possession of the Bruckner University Linz since 2023 and is used as a classical violin within the loan instruments of the Institute of Early Music for students.
It is original in all essential parts.

The Harnoncourt family is currently selling some of the string instruments.

You can find all information about this here