Über Uns

In the 1950s and ’60s—the pioneering era of Capella Coloniensis, the world's first historically informed orchestra, whose members have left a lasting impact on the Hochschule für Musik und Tanz in Cologne—the term “early music” referred to a musical discipline straddling the line between musicology and historically “authentic” (to the best of our knowledge) performance practice. The main points of focus were on original instruments, historical notation, historical sound aesthetics, and historical treatises on musical performance practices. These components were central to the debate on historical authenticity of music from the past, just as they remain today, although under different circumstances.

At the beginning of the early music revival movement, a clear distinction existed between early music and “polished” classical music, and the societal values that each represents. But the contrast between “classical” and “alternative” has largely dissipated: today, early music—such as baroque operas and early symphonies—abounds in classical concert halls and on recordings, performed by ensembles that play on period instruments and abide by historical performance practices. Additionally, historical instrument building techniques have seen great advances over the past several generations of instrument makers, and music conservatories have developed, and continue to expand, degree programs that specialize in early music. As a result, both international and local early music scenes—including Cologne—have become increasingly professionalized and well-established. Now that our field has become more mainstream, we face new questions: How can we break free from and avoid standardization, and what else should belong to our artistic work? Each generation of musicians will have to redefine what historically informed performance practice means to them and decide how much of an opening they allow towards other forms of expression. The early music pioneers’ pursuit of objectively authentic practices as the sole artistic hallmark of historical performance is no longer entirely valid today. The question of what constitutes historical authenticity (and if we can know) remains the topic of an ongoing discussion.

Early music—as a field of knowledge and experience—in the present day is much more than performance practice tinged with musicological research. It is a dynamic force that gathers students, active performers, cultural programmers, and engaged audiences. It promotes exchanges with other musical traditions and musical innovation, as well as with entirely different artforms, such as contemporary dance and video art. Alongside the continuing discourse on specialized performance practices, early music is increasingly opening up to crossover with global and new music, intersecting with these genres in important, meaningful ways. Moreover, current discussions surrounding postcolonial perspectives and socially relevant questions about gender equality, diversity, and sustainability influence the work and image of today’s young, innovative early music scene, especially at zamus: zentrum für alte musik Köln. Supported by KGAM e.V. (Kölner Gesellschaft für Alte Musik), an association with over 200 members, the up-and-coming generation is setting important standards for how the music of the past—as part of our cultural heritage—will continue to resound well into the future.

Kölner Klangimpulse – Alte Musik im zamus, ein Erfahrungsfeld
Norbert Rodenkirchen, 2024

Recommended Reading:
Alte Musik heute: Geschichte und Perspektiven der Historischen Aufführungspraxis (Bärenreiter Verlag)Early Music in the 21st Century (Oxford University Press)