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.

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

You can find all information about this here