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The Schola Cantorum Basiliensis (SCB) is a music academy and research institution located in Basel, Switzerland, that focuses on early music and historically informed performance. Faculty at the school have organized performing ensembles that have made notable recordings of early music. One of the more popular of these is the 1994 album Chill to the Chant.[ citation needed ]
Paul Sacher founded the school in 1933. [1] Influential faculty included August Wenzinger (cello and viola da gamba), Ina Lohr (violin), and Max Meili (vocal music). In 1954 the Schola merged with two other Basel music schools to form the City of Basel Music Academy.
Among the school's other notable faculty members, past and present, are musicians from many countries. By nationality, they include:
Notable alumni have included such musicians such as Gustav Leonhardt, Jordi Savall, Barbara Thornton, Christina Pluhar, Elam Rotem, Jorge Guerrero Dantur and Benjamin Bagby.
Lutenists who have studied at the Schola include:
Gustav Maria Leonhardt was a Dutch keyboardist, conductor, musicologist, teacher and editor. He was a leading figure in the historically informed performance movement to perform music on period instruments.
Andreas Scholl is a German countertenor, a male classical singer in the alto vocal range, specialising in Baroque music.
Hopkinson Smith is an American lutenist and pedagogue, longtime resident in Basel, Switzerland.
Lorenz Duftschmid is an Austrian viol player and conductor.
Edin Karamazov is a Bosnian musician, lutenist and guitarist.
Paolo Pandolfo is an Italian virtuoso player, composer, and teacher of music for the viola da gamba, born on January 31, 1964.
Terrell Stone is an American lutenist and recording artist. He is a longtime resident of Italy, where he holds the position of a Professor of lute.
Andreas Martin is a German lutenist.
Paolo Cherici is an Italian lutenist. He has given performances all around the world, taking part in ancient music festivals.
August Wenzinger (1905–1996) was a prominent cellist, viol player, conductor, teacher, and music scholar from Basel, Switzerland. He was a pioneer of historically informed performance, both as a master of the viola da gamba and as a conductor of Baroque orchestral music and operas.
Toyohiko Satoh is a Japanese lutenist and composer.
Rolf Lislevand, is a Norwegian performer of Early music specialising on lute, vihuela, baroque guitar and theorbo.
Yasunori Imamura is a Japanese lutenist. Imamura has appeared on more than 150 CDs, both as a soloist and as a member of ensembles. His solo recordings include the complete lute works by Johann Sebastian Bach, three volumes of lute sonatas by Silvius Leopold Weiss, pièces pour théorbe by Robert de Visée, Spanish music for vihuela from the time of Charles V (Querstand) and the complete lute fantasies by Simone Molinario.
Anthony Bailes is a British lutenist.
Peter Croton is a Swiss-American lutenist and guitarist. He has attained prominence in his field through his numerous recordings, performances, publications, and teaching engagements. His recorded repertoire includes music from the Renaissance, Baroque and Classical periods, as well as his own compositions. His publications include a figured bass manual for classical guitarists and publications of compositions for voice and lute.
Christina Pluhar is an Austrian theorbist, harpist, conductor, and director of L'Arpeggiata ensemble.
Christophe Coin is a French cellist, viola da gamba player and conductor active in the field of historically informed performance. He is the cellist of the Quatuor Mosaïques and is the director of the Ensemble Baroque de Limoges.
Imke David is a German viol player, author, Professor and Ensemble-Member.
Eugen Müller-Dombois was a German lutenist and music teacher. He was a pioneer in the revival of the lute and early music revival.
Musica Fiorita was an ensemble for baroque music founded in 1990 and based in Basel, which was conducted by the harpsichordist Daniela Dolci. The ensemble concentrated in particular on rediscovering unknown works by composers of the 17th and 18th centuries and their historical performance practice. In March 2020, it ceased its concert activities.
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