Editing Historically informed performance (section)

==Early instruments==
{{See also|List of period instruments}}
[[File:Edinburgh St Cecilia's Hall.jpg|thumb|Historical collections of preserved instruments help researchers ([[St Cecilia's Hall]], [[Edinburgh]])]]
The choice of musical instruments is an important part of the principle of historically informed performance. Musical instruments have evolved over time, and instruments that were in use in earlier periods of history are often quite different from their modern equivalents. Many other instruments have fallen out of use, having been replaced by newer tools for creating music. For example, prior to the emergence of the modern [[violin]], other bowed stringed instruments such as the [[rebec]] or the [[viol]] were in common use.<ref>{{cite book|last1=Silvela|first1=Zdenko|title=A New History of Violin Playing: The Vibrato and Lambert Massart's Revolutionary Discovery|date=2001|publisher=Universal-Publishers|isbn=978-1-58112-667-9|url=https://books.google.com/books?id=gXqBVbWm6tkC&q=violin%20evolved%20from%20rebec&pg=PA22|access-date=5 March 2018|language=en}}</ref> The existence of ancient instruments in museum collections has helped musicologists to understand how the different design, tuning and tone of instruments may have affected earlier performance practice.{{sfn|Lawson|Stowell|1999|p=18-19}}

As well as a research tool, historic instruments have an active role in the practice of historically informed performance. Modern instrumentalists who aim to recreate a historic sound often use modern reproductions of period instruments (and occasionally original instruments) on the basis that this will deliver a musical performance that is thought to be historically faithful to the original work, as the original composer would have heard it. For example, a modern music ensemble staging a performance of music by [[Johann Sebastian Bach]] may play reproduction [[Baroque violin]]s instead of modern instruments in an attempt to create the sound of a 17th-century [[Baroque orchestra]].{{sfn|Lawson|Stowell|1999|p=18-19}}<ref>{{cite book|last1=Schippers|first1=Huib|title=Facing the Music: Shaping Music Education from a Global Perspective|date=2009|publisher=Oxford University Press|isbn=978-0-19-970193-3|url=https://books.google.com/books?id=-yYzW0ujEsIC&q=period%20instruments%20authentic%20performance&pg=PA48|access-date=5 March 2018|language=en|archive-date=20 August 2023|archive-url=https://web.archive.org/web/20230820090031/https://books.google.com/books?id=-yYzW0ujEsIC&q=period%20instruments%20authentic%20performance&pg=PA48|url-status=live}}</ref>

This has led to the revival of musical instruments that had entirely fallen out of use, and to a reconsideration of the role and structure of instruments also used in current practice.{{Original research inline|date=March 2018}}

Orchestras and ensembles who are noted for their use of period instruments in performances include the [[Taverner Consort and Players]] (directed by [[Andrew Parrott]]), the [[Academy of Ancient Music]] ([[Christopher Hogwood]]), the [[Concentus Musicus Wien]] ([[Nikolaus Harnoncourt]]), [[The English Concert]] ([[Trevor Pinnock]]), the [[Hanover Band]] ([[Roy Goodman]]), the [[Orchestra of the Eighteenth Century]] ([[Frans Brüggen]]), the [[English Baroque Soloists]] (Sir [[John Eliot Gardiner]]), [[Musica Antiqua Köln]] ([[Reinhard Goebel]]), [[Amsterdam Baroque Orchestra & Choir]] ([[Ton Koopman]]), [[Les Arts Florissants (ensemble)|Les Arts Florissants]] ([[William Christie (musician)|William Christie]]), [[Le Concert des Nations]] ([[Jordi Savall]]), [[La Petite Bande]] ([[Sigiswald Kuijken]]), [[La Chapelle Royale]] ([[Philippe Herreweghe]]),<ref name="wilson">{{cite book|last1=Wilson|first1=Nick|title=The Art of Re-enchantment: Making Early Music in the Modern Age|date=2013|publisher=OUP USA|isbn=978-0-19-993993-0|page=76|url=https://books.google.com/books?id=fWgBAQAAQBAJ&q=The%20Taverner%20Choir%2C%20Consort%20%26%20Players&pg=PA76|access-date=2 March 2018|language=en|archive-date=20 August 2023|archive-url=https://web.archive.org/web/20230820090031/https://books.google.com/books?id=fWgBAQAAQBAJ&q=The%20Taverner%20Choir%2C%20Consort%20%26%20Players&pg=PA76|url-status=live}}</ref><ref name="billboard-gardiner">{{cite magazine|last1=Waleson|first1=Heidi|title=Super-conductor: John Eliot Gardiner|url=https://books.google.com/books?id=vgcEAAAAMBAJ&q=English%20Baroque%20Soloists%20period%20instruments&pg=PA46|access-date=6 March 2018|magazine=Billboard|publisher=Nielsen Business Media, Inc.|date=7 September 1996|language=en}}</ref><ref>{{cite journal|last1=Knights|first1=F.|title=A farewell to Musica Antiqua Koln|journal=Early Music|date=1 February 2013|volume=41|issue=1|pages=173–174|doi=10.1093/em/cas166|language=en|issn=0306-1078}}</ref><ref>{{cite web|title=Philippe Herreweghe|url=https://www.concertgebouworkest.nl/en/philippe-herreweghe|website=www.concertgebouworkest.nl|publisher=Royal Concertgebouw Orchestra|access-date=6 March 2018|language=en-EN|archive-date=15 May 2021|archive-url=https://web.archive.org/web/20210515175531/https://www.concertgebouworkest.nl/en/philippe-herreweghe|url-status=live}}</ref> [[Concert de la Loge Olympique]] ([[Julien Chauvin]], the [[Australian Brandenburg Orchestra]] ([[Paul Dyer (conductor)|Paul Dyer]]), and the [[Freiburger Barockorchester]] ([[Gottfried von der Goltz]]).<ref>{{cite news |last=Zwartz |first=Barney |date=2020-03-12 |title=Freiburg delivers rare chance to hear Beethoven's genius mature |url=https://www.smh.com.au/culture/music/freiburg-delivers-rare-chance-to-hear-beethoven-s-genius-mature-20200312-p549cq.html |work=The Sydney Morning Herald |access-date=2020-04-30 |archive-date=2021-05-24 |archive-url=https://web.archive.org/web/20210524214021/https://www.smh.com.au/culture/music/freiburg-delivers-rare-chance-to-hear-beethoven-s-genius-mature-20200312-p549cq.html |url-status=live }}</ref> As the scope of historically informed performance has expanded to encompass the works of the [[Romantic music|Romantic era]], the specific sound of 19th-century instruments has increasingly been recognised in the HIP movement, and period instruments orchestras such as Gardiner's [[Orchestre Révolutionnaire et Romantique]] have emerged.<ref name="npr-gardiner">{{cite web|title=John Eliot Gardiner's Historical Beethoven At Carnegie Hall|url=https://www.npr.org/2011/11/15/142340577/john-eliot-gardiners-historical-beethoven|website=NPR|date=15 November 2011|publisher=National Public Radio|access-date=6 March 2018|archive-url=https://web.archive.org/web/20180306121647/https://www.npr.org/2011/11/15/142340577/john-eliot-gardiners-historical-beethoven|archive-date=6 March 2018|language=en|url-status=live|last1=Wise|first1=Brian}}</ref>

===Harpsichord===
[[File:Cembalo-Museum für Kunst und Gewerbe Hamburg-2000.532+2.tif|thumb|Harpsichord by [[Pascal Taskin]], [[Paris]] (1780)  ([[Museum für Kunst und Gewerbe Hamburg]])]]
A variety of once obsolete keyboard instruments such as the [[clavichord]] and the [[harpsichord]] have been revived, as they have particular importance in the performance of Early music. Before the evolution of the symphony orchestra led by a [[Conductor (music)|conductor]], Renaissance and Baroque orchestras were commonly directed from the harpsichord; the director would lead by playing [[Basso continuo|continuo]], which would provide a steady, harmonic structure upon which the other instrumentalists would embellish their parts.<ref>{{cite web|title=Harpsichord – Orchestra of the Age of Enlightenment|url=http://www.oae.co.uk/instruments/harpsichord/|website=Orchestra of the Age of Enlightenment|access-date=6 March 2018|archive-url=https://web.archive.org/web/20180306230901/http://www.oae.co.uk/instruments/harpsichord/|archive-date=6 March 2018|url-status=live}}</ref><ref>{{cite book|last1=Kottick|first1=Edward L.|title=A History of the Harpsichord|date=2003|publisher=Indiana University Press|isbn=978-0-253-34166-2|url=https://books.google.com/books?id=uexrDtt7JKEC&q=harpsichord%20baroque%20orchestra&pg=PA469|access-date=6 March 2018|language=en|archive-date=20 August 2023|archive-url=https://web.archive.org/web/20230820090032/https://books.google.com/books?id=uexrDtt7JKEC&q=harpsichord%20baroque%20orchestra&pg=PA469|url-status=live}}</ref> Many religious works of the era made similar use of the [[pipe organ]], often in combination with a harpsichord.<ref>{{cite book|last1=Moses|first1=Don V.|last2=Demaree|first2=Robert W. Jr.|last3=Ohmes|first3=Allen F.|title=Face to Face with Orchestra and Chorus, Second, Expanded Edition: A Handbook for Choral Conductors|date=2004|publisher=Indiana University Press|isbn=978-0-253-11036-7|page=49|url=https://books.google.com/books?id=m58XmBcjRlIC&q=harpsichord%20baroque%20orchestra%20sacred%20works%20organ&pg=PA49|access-date=6 March 2018|language=en|archive-date=20 August 2023|archive-url=https://web.archive.org/web/20230820090559/https://books.google.com/books?id=m58XmBcjRlIC&q=harpsichord%20baroque%20orchestra%20sacred%20works%20organ&pg=PA49|url-status=live}}</ref> Historically informed performances frequently make use of keyboard-led ensemble playing.

Composers such as [[François Couperin]], [[Domenico Scarlatti]], [[Girolamo Frescobaldi]], and [[Johann Sebastian Bach]] wrote for the harpsichord, clavichord, and organ.

Among the foremost modern players of the harpsichord are [[Ralph Kirkpatrick]], [[Scott Ross (harpsichordist)|Scott Ross]], [[Alan Curtis (harpsichordist)|Alan Curtis]], [[William Christie (musician)|William Christie]], [[Christopher Hogwood]], [[Robert Hill (musician)|Robert Hill]], [[Igor Kipnis]], [[Ton Koopman]], [[Bob van Asperen]], [[Wanda Landowska]], [[Davitt Moroney]], [[Kenneth Gilbert]], [[Gustav Leonhardt]], [[Trevor Pinnock]], [[Skip Sempé]], [[Andreas Staier]], [[Colin Tilney]], and [[Christophe Rousset]].

===Fortepiano===
During the second half of the 18th century, the harpsichord was gradually replaced by the earliest pianos.  As the harpsichord went out of fashion, many were destroyed; indeed, the Paris Conservatory is notorious for having used harpsichords for firewood during the [[French Revolution]] and Napoleonic times.<ref>Alex Boekelheide, "[http://www.usc.edu/uscnews/stories/10982.html Making Way for Beautiful Music] {{Webarchive|url=https://web.archive.org/web/20160303171209/http://www.usc.edu/uscnews/stories/10982.html |date=2016-03-03 }}", ''USC News'' (2 October 2005, accessed 20 January 2014).</ref> Although names were originally interchangeable, the term '[[fortepiano|fortepiano']] now indicates the earlier, smaller style of piano, with the more familiar 'pianoforte' used to describe the larger instruments approaching modern designs from around 1830. In the 20th and 21st centuries, the fortepiano has enjoyed a revival as a result of the trend for historically informed performance, with the works of Haydn, Mozart, Beethoven and Schubert now often played on fortepiano.<ref>{{cite book|last1=Haskell|first1=Harry|title=The Early Music Revival: A History|date=1988|publisher=Courier Corporation|isbn=978-0-486-29162-8|url=https://books.google.com/books?id=bGG22O24ObAC&q=Historically%20informed%20performance%20fortepiano&pg=PA190|access-date=6 March 2018|language=en|archive-date=7 April 2022|archive-url=https://web.archive.org/web/20220407160745/https://books.google.com/books?id=bGG22O24ObAC&q=Historically%20informed%20performance%20fortepiano&pg=PA190|url-status=live}}</ref> Increasingly, the early to mid 19th century pianos of [[Ignaz Pleyel|Pleyel]], [[Sébastien Érard|Érard]], [[Johann Baptist Streicher|Streicher]] and others are being used to recreate the soundscape of Romantic composers such as Chopin, Liszt and Brahms.

Many keyboard players who specialise in the harpsichord also specialise in the fortepiano and other period instruments. Although some keyboardist renowned for their fortepiano playing are [[Ronald Brautigam]], [[Steven Lubin]], [[Ingrid Haebler]], [[Robert Levin (musicologist)|Robert Levin]], [[Malcolm Bilson]] and [[Tobias Koch (pianist)|Tobias Koch]].

===Viol===
[[File:Viola da gamba (AM 1998.60.11.1-1).jpg|thumb|A [[Viola da gamba]] by Thomas Cole ({{circa|1680}})]]
{{Listen
| type         = music
| filename    = Bach - Cello Suite no. 1 in G major, BWV 1007 - IV. Sarabande.ogg
| title       = The sound of a Modern-era cello
| description = Sarabande from Bach's Cello Suite no. 1 in G major, [[BWV 1007]], played on a modern cello
| pos         = right
| filename2    = Carl Friedrich Abel (1723- 1787) – Sonata in G-Major, WKO155 for Unaccompanied Viola da Gamba for Unaccompanied Viola da Gamba.ogg
| title2       = The sound of a Baroque-era viola da gamba
| description2 = [[Carl Friedrich Abel]]'s Sonata in G-Major played on a Viola da Gamba
}}
A vast quantity of music for [[viol]]s, for both ensemble and solo performance, was written by composers of the [[Renaissance music|Renaissance]] and [[Baroque music|Baroque]] eras, including [[Diego Ortiz]], [[Claudio Monteverdi]], [[William Byrd]], [[William Lawes]], [[Henry Purcell]], [[Monsieur de Sainte-Colombe]], [[J.S. Bach]], [[Georg Philipp Telemann]], [[Marin Marais]], [[Antoine Forqueray]], and [[Carl Frederick Abel]].

From largest to smallest, the viol family consists of:
*[[violone]] (two sizes, a contrabass an octave below the bass, and a smaller one a fourth or fifth above, a great bass)
*bass viol (about the size of a [[cello]])
*tenor viol (about the size of a [[guitar]])
*alto viol (slightly smaller than the tenor)
*treble or descant viol (about the size of a [[viola]])
*pardessus de viole (about the size of a [[violin]])

Among the foremost modern players of the viols are [[Paolo Pandolfo]], [[Sigiswald Kuijken|Sigiswald]] and [[Wieland Kuijken]], [[Nikolaus Harnoncourt]], [[Jordi Savall]], [[John Hsu (musician)|John Hsu]], and [[Vittorio Ghielmi]]. There are many modern [[viol consort]]s.

===Recorder===
{{Main|List of recorder players}}
Although largely supplanted by the [[Western concert flute|flute]] in the 19th century, the recorder has experienced a revival with the HIP movement. [[Arnold Dolmetsch]] did much to revive the recorder as a serious concert instrument, reconstructing a "consort of recorders (descant, treble, tenor and bass) all at low pitch and based on historical originals".<ref>Brian Blood, "[http://www.dolmetsch.com/Dolworks.htm The Dolmetsch Story] {{Webarchive|url=https://web.archive.org/web/20220306091529/http://www.dolmetsch.com/Dolworks.htm |date=2022-03-06 }}", ''Dolmetsch Online'' (26 September 2013, accessed 20 January 2014).</ref> Handel and Telemann, both noted recorder players, wrote several solo pieces for the instrument. Often, recorder players start off as flautists, then transition into focusing on the recorder. Some famous recorder players include [[Frans Brüggen]], [[Barthold Kuijken]], [[Michala Petri]], [[Ashley Solomon]] and [[Giovanni Antonini]].