Awareness for Early Music – Our Most Urgent Task?

By now it is well known: in Munich there is in fact no dedicated funding specifically for early music projects. The following quote from an email by the music advisory office funded by the Cultural Department is, unfortunately, quite typical:

“Your project is interesting. However, we are unfortunately unable to advise or support you in this matter, as the work of MusikbüroMuc focuses on the contemporary music scene. If I understand correctly, your project is based on baroque music, which means it unfortunately falls outside our area of responsibility. If you – even as a duo – plan a future project that primarily includes contemporary music by living composers, please feel free to contact us again at any time so that we can assist with its realization and funding.”

It seems, therefore, that projects by musicians dedicated to historically informed performance on original instruments are simply subsumed under the general umbrella of “classical music” – and therefore cannot expect any special support.

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There is a bias – but it is probably unintentional

So is the Cultural Department deliberately acting against the early music movement? I don’t think so. Rather, it seems that well-organised forces have successfully advocated for contemporary music with great commitment – and policymakers clearly understand why that scene requires special support. The problem is: no one has pointed out that this framework effectively excludes early music altogether.

Because with historical instruments, it is hardly possible to perform contemporary music. At the same time, it is overlooked that we – with our specialised knowledge and original instruments – are the only ones who can truly bring Munich’s baroque musical heritage back to life, just as carefully restored paintings in the Alte Pinakothek are made accessible to the public.

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So what needs to be done?

Outreach.

Too few people still understand what we actually do within the historical performance movement, and what distinguishes a baroque performance by “normally” trained musicians from an interpretation by specialists on original instruments.

We first need greater awareness among audiences. Once that is achieved, it will become easier to secure financial support – whether through sponsorship, crowdfunding, or even public funding. Our work is unique and important – and it can only be carried out by specially trained musicians.

One could compare it to the restoration of historical artworks.

A thought experiment

Would you visit the Alte Pinakothek if the paintings there had not been restored?

Contemporary artworks usually still appear fresh. But a dirty painting in which you can hardly recognise anything – even if it were by Albrecht Dürer – would probably not attract you.

In much the same way, one can describe the difference between a historically informed performance and a “standard” one.

Of course, there are exceptions: great musicians who create wonderful baroque interpretations on modern instruments. But these are exceptions that prove the rule.

Early music has an important role today

Perhaps we could all ask ourselves: how can we make it easier for audiences to understand what we do – and why it matters?

A few ideas

• Communicate clearly – across all channels and at concerts: that we play on historical instruments, and what that means

• Offer accessible concert introductions: short, engaging explanations of the instruments and their characteristics (in my experience, this works better than long musicological lectures)

• Create blogs and videos about our daily work, our instruments, and the inspiration they give us – such as my own “Baroque Violin Information channel” YouTube Shorts, or the excellent and informative blog by oboist Michael Schleißheimer, "Bericht eines fahrenden Oboisten"

👉 In this way, we can create greater awareness – and with it the foundation for ensuring that early music in Munich is no longer overlooked.