His­to­ri­cal In­ter­pre­ta­ti­on Prac­tice (HIP)

Eine junge Frau mit Fagott und ein junger Mann am Cembalo, beide lächeln.
Eine junge Frau mit Cello zeigt mit dem Streicherbogen auf Noten.
Ein junger Mann sitzt an einem Hammerflügel und lacht.

For us, the his­to­ri­cal­ly in­for­med in­ter­pre­ta­ti­on of ear­ly mu­sic is con­tem­pora­ry art.

We see the ex­plo­ra­ti­on of ear­ly mu­sic and its per­for­mance prac­tice as a re­vo­lu­tio­na­ry force that re­fres­hin­gly up­sets un­ques­tio­ned mu­si­cal tra­di­ti­ons and opens up a wealth of "un­he­ard-of" pos­si­bi­li­ties.

In­ter­di­sci­pli­na­ry re­fe­ren­ces and source re­se­arch

Ear­ly mu­sic works are un­ders­tood and rein­ter­pre­ted from the con­text of their time. Stu­dents in the Mas­ter's pro­gram­me His­to­ri­cal In­ter­pre­ta­ti­on Prac­tice learn and de­epen the­se skills, al­ways lin­king their own ar­tis­tic prac­tice with aca­de­mic re­se­arch. In ad­di­ti­on, with the In­sti­tu­te for His­to­ri­cal In­ter­pre­ti­ve Prac­tice (HIP), we form a cen­tral point of con­tact for stu­dents of all di­sci­pli­nes.

The re­per­toire ran­ges from the Midd­le Ages to the 19th cen­tu­ry. En­sem­ble work is just as ele­men­ta­ry for us as in­ter­di­sci­pli­na­ry work, as is in­ten­si­ve source re­se­arch and in­di­vi­du­al les­sons on his­to­ri­cal in­stru­ments - which are avail­ab­le in lar­ge num­bers at the HfMDK.

A stro­ke of luck! In ad­di­ti­on to nu­me­rous high-qua­li­ty wind, string and key­board in­stru­ments of va­rious sty­listic ori­en­ta­ti­ons, the in­vento­ry in­clu­des, for examp­le, a so­no­rous, ex­tre­me­ly high-qua­li­ty fort­epia­no by Aloys Bi­ber from 1825 and pro­bab­ly the only ori­gi­nal ar­peg­gio­ne pre­ser­ved in play­a­ble con­di­ti­on. A new ad­di­ti­on is a two-ma­nu­al harp­si­chord from the work­shop of Mat­thi­as Kra­mer - a re­pli­ca of an in­stru­ment de­si­gned by Chris­ti­an Zell in 1728. We were able to ac­qui­re this harp­si­chord thanks to a do­na­ti­on from the Ge­sell­schaft der Freun­de und För­de­rer (GFF) of the HfMDK and the DZ BANK Kul­tur­stif­tung.

Course of studies and application information

Professorin und Studentin mit einer sehr großen Partitur
(Foto: Janine Bächle)

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The Institute for Historical Interpretation Practice sees itself as an interdisciplinary institution of the university and as a place for the examination of current interpretive music practice. Early music interpretation is understood as a form of contemporary art, whereby artistic and scientific aspects interact.

Teachers at the Institute

Portrait Pollerus
(Foto: Werner Kmetitsch)

Prof. Eva Maria Pollerus

ProfessorCembalo/Generalbass und KammermusikLeitung Institut für Historische Interpretationspraxis
Porträt von Jan van Hoecke mit Blockflöte in der Hand vor zwei Cembalos
(Foto: Rebecca Hahn)

Prof. Jan van Hoecke

ProfessorBlockflöte
Portrait von Heidi Gröger
(Foto: privat)

Heidi Gröger

LehrauftragViola da Gamba

Martin Hublow

LehrauftragBlockflöte
Kv

Prof. Kristin von der Goltz

ProfessorBarockvioloncello
Daniela Lieb mit einer Flöte in der Hand.
(Foto: D.Lieb Flöte)

Prof. Daniela Lieb

ProfessorTraversflöte

Ba­ro­que Nights, Ba­ro­que Ma­ra­thon: Ear­ly Mu­sic #live

His­to­ri­cal In­ter­pre­ta­ti­on Prac­tice is pre­sent in the ever­y­day life of the uni­ver­si­ty: our stu­dents know no dif­fer­ent­ly that one per­for­mance date of­ten fol­lows the next.

In sum­mer we or­ga­ni­se the Ba­ro­que Nights and in win­ter a Ba­ro­que Ma­ra­thon - they are the high­lights of the HIP aca­de­mic year. In ad­di­ti­on, the­re are uni­ver­si­ty-wide pro­jec­ts that we im­ple­ment tog­e­ther with the In­sti­tu­te for Con­tem­pora­ry Mu­sic IzM, for examp­le. In ad­di­ti­on, stu­dents par­ti­ci­pa­te in ex­ter­nal col­la­bo­ra­ti­ons such as the Rhein­gau Mu­sic Fes­ti­val, the con­cert se­ries "Die klei­ne Kam­mer­mu­sik" and con­certs in the Alte Ni­ko­lai­kir­che Frank­furt.

HIP in concert

In­ter­na­tio­na­les Fest der His­to­ri­schen Tas­ten­in­stru­men­te – Sym­po­si­um

Ques­ti­ons and Con­tact