In 1882, the musicians in Basel started using historical instruments in concerts. They were inspired by similar circles in Brussels and Paris. This resulted in a renewed interest in historical instruments, which mainly belonged to museums.These instruments were restored and then used in performances. It is hard to imagine that this would be accepted today.Encouraged by the growing interest in early music, the required instruments were modeled on historical originals. Since the 1960s, instrument makers have increasingly made reproductions of the museum instruments.The Schola Cantorum Basiliensis, founded by Paul Sacher (1906 - 1999) in 1933, and the concerts given by the Soc iety of Friends of Early Music, founded in 1942, bear witness to this renewed interest. Together these two groups have made Basel the center of early music, and they are still very much part of the music scene in Basel today.As a result of this continued interest in early music, several 'old' instruments have been preserved; they were formerly used both in concerts by the Schola Cantorum Basiliensis and for teaching purposes up until after 1960. These instruments include a viola da gamba-quartet of the 1930s, made by Hans Jordan, Markneukirchen, and a set of recorders of c. 1940 which was made by Peter Harlan, also from Markneukirchen.In September 1946, the first Baroque opera using early instruments was performed in Basel: the Basel Puppet theater together with the Friends of Early Music performed II pastor fido by George Frideric Handel.In reply to a request by the Basel Chamber Orchestra in 1930, the Paris-based Pleyel Company crafted a reproduction of the harpsichord used by the famous cembalist Wanda Landowska. She played it for the first time at a public performance in Basel on 12 March 1931.Johann Sebastian Bach (1685–1750)Prelude, fugue, allegro in e flat major, BWV 998 Wanda Landowska , harpsichord by Pleyel, ParisRecording 1946 in New YorkP/C 1992; BMG Music 09026-60919-2The Basel Chamber Orchestra ordered a harpsichord from Pleyels in Paris, according to the specifications of Wanda Landowska who owned and played such an instrument.On 12 March1931 the new harpsichord was inaugurated by Wanda Landowska herself with works by Johann Sebastian Bach.The instrument of 1930 is in the corridor on the ground-floor.George Frideric Handel (1685–1759)Final scene (3rd act, 8th scene) from II Pastor fido1734Recording from c. 1956; performers probably Capella Coloniensis under August Wenzinger'II Pastor fido' was the first baroque opera to be performed in Basel on historical instruments. The Friends of Early Music in Basel presented Handel's pastoral opera six times from 5 to 9 September 1946. The performers were soloists and the enlarged concert-group of the Schola Cantorum Basiliensis under August Wenzinger, as well as the Basel Puppet Theatre, under the direction of Richard Koelner.A recording of 'II Pastor fido' made in 1956 by Nordwestdeutscher Rundfunk (NWDR) came into the collections of the HMB together with the puppets. The musicians from Basel collaborated at that time with the NWDR resp. WDR; it can therefore be assumed, that Wenziger was the conductor of our musical example.Luys Milan (c 1500–after 1561)Fantasia Nr. 9 for luteWalter Gerwig , lute by Hans Jordan , Markneukirchen 1950, after an instrument by Magnus Hellmer, Fussen c. 1620P/C 1957; Archiv OGG 14075 APMArchiv-Produktion of Deutsche Grammophon-Gesellschaft was one of the first labels specializing in early music.Walter Gerwig was regularly in Basel; he had close connections to the Schola Cantorum Basiliensis.The recording was made in 1956.There are equivalents in the exhibition of the instrument by Hans Jordan, Markneukirchen , played by Walter Gerwig: the exhibited lutes by Hermann Hauser, Munich, 1933, Nr. 3, resp. by Hans Jordan, Markneukirchen 1934, Nr. 4.George Frideric Handel (1685–1759)Allegro, 4th movement from the sonata in F major, op. 1 Nr. 11, for recorder and continuaHans-Martin Linde, recorder, Eduard Muller, harpsichord, August Wenzinger, viola da gambaP/C 1962; HM 30617The sonata was recorded in December 1961 in Remscheid. All three musicians taught at the Schola Cantorum Basiliensis; as performers, they were closely connected to the musical life of Basel.They mainly studied the historical performance of music.Diego Ortiz (c. 1510–c. 1570)Recercada tercera sobre Doulce memoire for viola da gamba and harpsichordJordi Saval,l viola da gamba, Aline Parker-Zylberajch, harpsichord P/C 1995; dhm 05472 77427 2Jordi Savall studied in Basel and for many years he taught the viola da gamba at the Schola Cantorum Basiliensis. He founded the Ensemble Hesperion XX, dedicated to the music of the Middle Ages, the Renaissance and the early baroque period; he is also a very successful conductor.The CD is a new edition of two LPs which were recorded in December 1979 and in January 1980. This was the beginning of the series documenta of the Schola Cantorum Basiliensis.The numerous recordings of this series reflect in an impressive way the teaching of and research done in early music during the last 20 years.Luigi Rossi (1598–1653)A chi vive, Canzonetta amorosa for two high voices and continuaRosemarie Hofmann, soprano, Rene Jacobs, countertenor, Jos van lmmerseel, harpsichord, Konrad Junghane,l lute, Pere Ros, viola da gambaP 1982/C 1997; dhm 05472 77452 2The solo singers taught for a long time at the Schola Cantorum Basiliensis.Rene Jacobs was very successful in the season 1999/2000 at the Municipal Theater of Basel. He conducted a production in conjunction with the Dance Theater under Joachim Schleimer: Guerra d'amore (music by Claudio Monteverdi).Johann Mattheson (1681–1764)Sonata a due cembali in g-mollAttilio Cremonesi and Alessandro de Marchi, harpsichords after Michael MietkeP/C 1997; HMC 905235Both artists graduated from the Schola Cantorum Basiliensis. They specialize in the performance of rarely played music for two harpsichords. This is an example of their engagement for early music in the late 1990s.