The following list identifies performance ensembles who employ "original" instruments (or more likely modern copies of historic instruments) in classical music performances. My main purpose for making the PIPE list available is to assist and encourage those who are new to the historically-informed performance (HIP) "movement" to learn and experience first hand more about this fascinating aspect of early music performance practice. Since its inception in the 1950s (See Horenstein; some argue the origins of the early music movement began much earlier), the movement has grown with such terms as "ancient instruments," "authentic instruments," "historic instruments," "original instruments," "period instruments," "period instrument performance practice," "authentic performance practice," "historical interpretation," and more recently...HIP.
HIP means many things to many people -- HIP especially has different meanings for recording labels and music reviewers! Why? Because, there is no universally accepted definition for what makes an ensemble HIP. Indeed, similar definitional problems occur with the terms "original" and "authentic"! In determining the "HIPness" of an ensemble (or performer), numerous criteria can be applied:
Age and Design of Instruments:
Performance Practice: Scholarship:
Some aficionados of period instrument performance practice may be concerned (possibly offended) about the existence of a list which distinguishes HIP from non-HIP ensembles. Indeed, this is not the intent of the PIPE list. Some ensembles who perform early music on modern instruments are very attentive to the spirit of HIP. (e.g., Ludwig Güttler's Virtuosi Saxoniae or the Guidhall String Ensemble) I have purposely tried to avoid this controversy by distinguishing music groups using period instruments from other ensembles who use modern instruments. Yet this isn't an exact science either! Because of the limited availability and significant expense of unaltered instruments from the 17th and 18th centuries, period instrument performers today are more likely to play modern copies of original instruments. This leads to the never ending debate of what makes something authentic. Can a modern day instrument maker using today's tools and supplies truly create an instrument that is authentic? This topic frequently comes up for discussion in the REC.MUSIC.EARLY newsgroup and in the classical music recording magazines. (e.g., Fanfare) Perhaps this discussion is better left to the philosophers, because in the final analysis, it is important that we not lose sight of the prize -- this is early music which first and foremost should be enjoyed!
I hope this list will stimulate individuals who are new to early music to seek out musical recordings (or attend performances) of the pre-romantic period where either period or modern instruments are used. By listening and comparing period instrument performances to those using modern instruments, you will gain a greater appreciation for and personal understanding of HIP.
In addition, I hope the PIPE list will serve as a valuable resource for those who closely follow early music and are interested in following the growth in the number of ensembles that use period instruments.
-- Brad Leissa