Papers from the Project "Ina Lohr"

The Musical Aesthetic of the Singbewegung / Anne Smith

Much has been written about the Singbewegung and the Jugendmusikbewegung from sociological, cultural, pedagogical or political points of view, or some mixture thereof. Its general philosophy had a powerful influence on historically-informed performance practice at the time, one that still holds sway today.

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H.R. and the Formation of an Early Music Aesthetic in The Netherlands (1916-1921) / Jed Wentz

Herman Rutters was one of Ina Lohr's teachers at the Muziek Lyceum in Amsterdam. His thought was very important for the development of the idea of Early Music as a performance practice in the Netherlands between the two World Wars.

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Ina Lohr: Transcending the Boundaries of Early Music / Anne Smith

In order to understand Ina Lohr’s later path and her influence on the Early Music movement, it is necessary to examine her early musical education, the level of cultural discourse within her home. Her formal training at the Muziek Lyceum in Amsterdam built upon this, its ideals and practices impressed upon her by the authority and stature of her teachers, Hubert Cuypers and Anthon van der Horst. Her musical intelligence and knowledge were immediately recognized in Basel in 1929 ...

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Ina Lohr – Spirit of the Schola / Anne Smith

This presentation, originally held on 28 March 2015 under the auspices of the annual celebration of the Music Academy Basel, discusses Ina Lohr's own musical education and its influence on the structure of the Schola Cantorum Basiliensis. It is only available in German; please click above to change languages.

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• Hubert Cuypers : A Self-Assertive Musician / Petra van Langen

One of Ina Lohr’s teachers was the musician and composer Hubert Cuypers (1873-1960), highly regarded both within and outside of Catholic circles, in Amsterdam as well as the rest of the Netherlands. This paper,, originally presented at the Schola Cantorum Basiliensis in Basel on 12 May 2016 at the study day on Ina Lohr, places his role in the Censorship Committee as well as in a contentious discussion about the rhythmic performance of plainchant in relation to his biography.

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