The Restored Speech

As a sub-field of classical music, historically informed performance practice (HIP) integrates artistic practice with fields such as musicology and organology, accumulating vast amounts of knowledge. However, current HIP practice has lost its experimental character because it lacks a defined, repeatable methodology to apply its expertise and to involve artists in the process as part of the experimental setting. This project aims to explore this untapped potential of historically informed performance practice through artistic research, focusing on sound production on violin instruments. Through an experimental and self-reflexive practice, the key factors of instruments, artistic practice, knowledge and the mindset of the artist will be explored. With a focus on the research process and through the application of artistic research methods, the aim is to rediscover the expressive art of the violin bow before 1750 and the lost qualities of sound production such as the potential to imitate speech. The first part of the project will be carried out by Susanne Scholz, the project leader, and several student assistants of the KUG with copies of the unique Renaissance instruments from before 1594 from Freiberg Cathedral. The focus is on incorporating the different worlds of thought of the musicians, shaped by their special skills. In the second part, three methods of sound production on stringed instruments - plucking, striking and bowing - will be examined and compared in collaboration with experienced colleagues Julian Behr (lute), Carmen Leoni (clavichord) and Michael Hell (harpsichord). In the third part, sound production on different instruments is discussed with some special HIP experts. The fourth part is about creating a detailed documentary with a team of video and audio artists. In order to disseminate the findings, a website will be built and an international conference organised. Knowledge about the early violin bow has not yet been explored through artistic research methods and the knowledge gained from written sources has not been applied with the involvement of the mind-set of the musicians. Other innovative elements of this project are the use of unique Renaissance instruments and the comparison of the sound production of plucked, strummed and bowed strings. Furthermore, this project is expected to have far-reaching implications for the future of HIP. By collaborating with colleagues and students within a university where research is a prerequisite, HIPP can realise its full potential and pass on valuable experience to motivate current and future generations of musicians.