HIP, To Be Fair — by Brant Taylor

During my years in high school and college, discussions of what is now referred to as historically informed performance (HIP) could generally be summed up like this: a player belonged either to the “modern/romantic” camp or to the “authentic baroque-y” camp. Highly impressionable students forming fledgling opinions tend to view such things through an unnecessarily black-and-white lens. But something’s also changed in the larger musical community’s awareness and acceptance of what “historically informed” means. While a certain tribalism existed during the early decades of the HIP movement, today we are in a more enlightened and accepting place where, for example, wonderful and highly varied performances of Bach’s Cello Suites are noticed first for their musical merit rather than for whether the player uses gut strings or an endpin. In teaching [...]