How old is HIPP ?

[Barbirollians]

Am worrying about my age as listening tonight to that classic Virtuoso Italian Vocal Music with Catherine Bott and the New London Consort I see it announces that it wa made in West Germany and Ms Bott on the cover looks like a night of bopping to Sade and Terence Trent D'Arby lies ahead .

When did the authentic movement really take hold ?

[Pabmusic]

When did the authentic movement really take hold ?

My memory is that the coming of CDs in the 1980s encouraged a great expansion of a trend that had been around since the 1960s. I note that my three books on authentic practice were published in 1963 (Roger Donington), 1954 (Thurston Dart) and - wait! - 1915 (Arnold Dolmetsch). I see also that Christopher Hogwood founded the Academy of Ancient Music in 1973.

[cloughie]

My memory is that the coming of CDs in the 1980s encouraged a great expansion of a trend that had been around since the 1960s. I note that my three books on authentic practice were published in 1963 (Roger Donington), 1954 (Thurston Dart) and - wait! - 1915 (Arnold Dolmetsch). I see also that Christopher Hogwood founded the Academy of Ancient Music in 1973.

I would have said early 70s but Collegium Aurem may have been earlier than that!

[hedgehog]

Alfred Deller formed the Deller Consort in 1948. It would be hard to define really when it "took off", as Barbirollians asks, I think, but the concerts, recordings, broadcasts from the 70's of David Munroe and Jordi Savall with their respective ensembles might possibly have been the time when a broader public was reached?

[ostuni]

Harnoncourt founded the Concentus Musicus Wien in 1953; Gustav Leonhardt's consort wasn't far behind. And the Schola Cantorum Basiliensis, the first conservatoire to specialise in what's now called HIP, was founded in 1933 - Leonhardt studied there, and Savall was for many years one of their major teachers.

[BBMmk2]

I would say about the early 70s when the movement started to expand into what it it is today.

[Roehre]

DGG's (Polydor's) Archiv label took off mid-fifties. Though Richter and the like now are not really considered to be HIPP, they certainly tried their best in that respect, i.a. with researching all the available sources (The original Archiv releases where even scientifically numbered and arranged according to era and sources!). With Harnoncourt, Leonhardt et al also beginning their research and experiments in the early/mid-1950s I'd say that HIPP really started not later than some 60 years ago.

In terms of recordings (on LPs that is), DGG's Archiv label, Telefunken's (Teldec's) Das Alte Werk, the American Bach guild releases (Deller!) and Harmonia Mundi (in France that is, later in Germany) all were up and running in the early 1960s.
It shows also that DGG was then the only "large" label which created a label for HIPP specifically. Decca's Florilegium and l'Oiseau lyre were much later, as was EMI/HMV's Reflexe, and Philips didn't follow this trend at all (Their recordings of Musica reservata were released in the standard full price series).

[Eine Alpensinfonie]

Publishers were taking it seriously in the 60s, with Urtext editions replacing more "romantic" editions of Mozart and other composers.

[BBMmk2]

Oh Goodnes yes! I mean that edition of The Messiah that WAM made was incredulously ridiculous!

[Eine Alpensinfonie]

Oh Goodnes yes! I mean that edition of The Messiah that WAM made was incredulously ridiculous!

The much maligned Prout edition was an attempt to move back to Handel's original version, though his orchestral parts are still essentially Mozart.

[ferneyhoughgeliebte]

The Late Eighteenth Century was the first to be interested in the public performance of "old Music" (Mozart's Handel adaptations the first examples still used) as opposed to the private performance of Keyboard Music as teaching methods. Mendelssohn and his contemporaries continued this with the ressurgence of Bach performances - and then Brahms' interest in Schütz and his contemporaries. It was a logical "next step" to attempt some kind of reconstruction of the instrumental, vocal and performance styles that the composers of this Music might have expected to hear.

In Britain, Dolmetsch at the end of the 19th/beginning of the 20th Century is the first influencial figure in the HIPP history; his ideas "fitted in" with ("followed on" from) the Arts & Crafts dedication to pre-Industrial Revolution production methods (and, as Alpie reminds us, Ebeneezer Prout's work is also a part of this general zeitgeist) and Dolmetsch is important in being the first important figure to make the Music of the Renaissance central to his activities. Deller's early work was with Dolmetsch - and his voice reawakened interest in the sound of the male Alto voice. In France, there was Landowska whose work coincided with the growth of "Neo-Classicism", and a Europe-wide questioning of Romantic values and a desire to re-assess pre-19th Century Musics.

As Roehre says, Karls Richter and Münchinger after the Second World War (and Boyd Neel earlier, and Raymond Leppard later) were also intent of performing Baroque Music the way they thought the composers expected it to sound. Harnoncourt and Leonhardt also began his work in the 1950s, and these are the first "names" associated with what's popularly known as "HIP Practitioners" today. Thurston Dart and David Munrow continued research into pre-Baroque Music and thence the figures who emerged in the British HIPP "movement" (Hula Hoops?) in the late 1970s.

With each generation, newer research leads to different ideas and inspires new ways of performing familiar Music and restoring to the repertoire Composers neglected by earlier notions of a set "Canon" of composers, against whom all others are neglegible. Ideas constantly evolve; it is exciting and passionate just following latest interpretations. And, as with all Artistic practice, whilst some of it sounds "quaint", at its best it has given us some of the most life-enhancing, joyous and deeply moving experiences of the Music to be encountered.

[vinteuil]

Can I commend Bruce Haynes's book, "The End of Early Music"? ("end" as in aim, objective - not termination... )

https://www.amazon.co.uk/The-End-Early-Music-Twenty-First/dp/0195189876

[makropulos]

Dolmetsch has already been mentioned, but there was also important work going on in France. Here's one example: In 1895 the Société des Instruments Anciens was founded by Louis van Waefelghem (who played the viola d'amore) with Jules Delsart (an expert viola da gamba player as well as the cellist for whom Franck arranged his Violin Sonata), and Louis Diémer (one of the finest French pianists of the time and the teacher of Cortot and Robert Casadesus – but also the owner and enthusiastic player of a wonderful Taskin harpsichord). The aim of this society - in 1895 - was to play suitable repertoire on "authentic instruments" (as they were described then as well). Diémer had given several concerts using his harpsichord before then, including some at the 1889 Exposition Universelle (the one for which the Eiffel Tower was constructed) in which Delsart also participated. And all this was happening before 1900 - specifically using old instruments.

[Roehre]

The world's first (and therefore oldest) musicological society, originally concentrating on pre-baroque music, especially the Franco-flemish schools (i.a. DesPrez, Ockeghem, Obrecht, Sweelinck opera omnia), is the Nederlandsche Vereeniging voor Muziekgeschiedenis, established in 1869, now (since 1994) the Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis KVNM (Royal Dutch Society for Netherlandish Music History).
From the very beginning the aim was not only editing and publishing the music, but also research how to interpret and to perform this music.

[JFLL]

When did the authentic movement really take hold ?

My recollection is that it was the early to mid-70s, if only because a beflared David Munrow seemed to be everywhere. However, he's no doubt regarded as old hat now. Isn't it characteristic of HIP(P) that the revolution devours its own children?