Reviewed by:

• Ina Lohr (1903–1983): Transcending the Boundaries of Early Music by Anne Smith
• Mimi Mitchell

Ina Lohr (1903–1983): Transcending the Boundaries of Early Music is an important and extensive biography of a little-known, but extremely influential musician. This book is not only an important contribution to the literature about the early music movement, but is essential reading for an understanding of the creation of two important Swiss institutions, the Schola Cantorum Basiliensis and the Basel Chamber Orchestra. Anne Smith has assembled an impressive array of source material that includes unpublished family photographs, music compositions, and correspondence. This allows the reader to place Ina Lohr in context, and to give us an understanding of her world, her character, and her achievements.

Ina Lohr, born in Amsterdam to well-educated parents, is said to have 'sang before she spoke'. Her parents provided a rich intellectual and cultural environment for their children, and it was assumed that Lohr would become a professional violinist. After completing secondary school, Lohr was felled by a serious illness before being able to continue her music studies at the progressive Amsterdam Muziek-Lyceum, where there was a desire to link music study with 'philosophical and religious reflection'. This environment and the people she met during her studies influenced the rest of Lohr's musical life.

While traveling to Switzerland for a vacation after her final exams in 1929, Lohr's precarious health forced her to stop in Basel. While she was recuperating, her string quartet was performed by a local ensemble at a house concert attended by Felix Wein-gartner, director of the Basel Symphony Orchestra and Conservatoire. Impressed by the work, and perhaps, as Lohr suggested, intrigued by the novelty of a female composer, Weingartner invited her to study composition in Basel. This offer changed the trajectory of Lohr's life.

After her study in Basel, Lohr became the assistant to Paul Sacher, director of the Basel Chamber Orchestra, and the two worked together for more than fifty years. Sacher claimed that Lohr was an 'invaluable aid', especially with the programming of early music. She also provided performance practice information, marked the scores and parts for Sacher, and advised him about soloists. Lohr also worked on the contemporary music that the chamber orchestra performed by composers such as Nadia Boulanger, Igor Stravinsky, Arthur Honegger, Paul Hindemith, and Béla Bartók. Simultaneously, she continued her own work composing and performing religious music, alongside supporting amateur music-making.

With the founding of the Schola Cantorum Basiliensis (SCB) in 1933, Lohr 'served in an advisory capacity' during the creation of the school. The SCB was dedicated to the study and performance of pre-Classical repertoire and, almost a hundred years later, is still ranked as one of the most important early music conservatoires. Considered 'the main pedagogical motor of the school', Lohr taught Gregorian chant, recorder, ensemble, and thorough bass. She was happy working with amateurs as well as the more accomplished students, and Lohr's full and [End Page 175] popular classes generated the most income for the school. She was the best-paid teacher at the SCB for more than twenty years.

The most important activity for Lohr was using music as an expression of her religious beliefs. She organised a church choir, Ensemble für Kirchenmusik, in Basel, taught many courses and masterclasses on religious music, and made important contributions to the reformation of Protestant church music in the Netherlands. The conflict between her wish to use music as a religious act and the necessity of making her living in the secular music world was a struggle for Lohr throughout her life. Her influence in both sectors was seen in the enormous outpouring of affection on her eightieth birthday. Paul Sacher bought her an expensive and meaningful present. Vespers were performed in Basel, and her Dutch friends organised a programme of events that involved amateur music-making, lectures on chant and Bach, a course on solmization, and numerous concerts in various churches throughout the...

审核人：

• Ina Lohr (1903–1983)：超越早期音乐的界限，安妮·史密斯 (Anne Smith)
• 咪咪米切尔

Ina Lohr (1903–1983): Transcending the Boundaries of Early Music是一位鲜为人知但极具影响力的音乐家的重要而广泛的传记。这本书不仅是对早期音乐运动文学的重要贡献，而且是了解两个重要的瑞士机构——Schola Cantorum Basiliensis 和巴塞尔室内乐团的创建过程的重要读物。安妮·史密斯 (Anne Smith) 汇集了一系列令人印象深刻的原始资料，其中包括未发表的家庭照片、音乐作品和信件。这使读者能够将 Ina Lohr 置于上下文中，并让我们了解她的世界、她的性格和她的成就。

伊娜·洛尔 (Ina Lohr) 出生在阿姆斯特丹，父母受过良好教育，据说她“在说话之前先唱歌”。她的父母为他们的孩子提供了丰富的知识和文化环境，人们认为洛尔会成为一名专业的小提琴家。中学毕业后，Lohr 身患重病，随后得以在进步的阿姆斯特丹 Muziek-Lyceum 继续她的音乐学习，在那里她希望将音乐学习与“哲学和宗教反思”联系起来。这种环境和她在学习期间遇到的人影响了 Lohr 的音乐生涯。

1929 年期末考试结束后，洛尔前往瑞士度假，但由于健康状况不佳，她不得不在巴塞尔停留。在她休养期间，她的弦乐四重奏由当地乐团在巴塞尔交响乐团和音乐学院院长费利克斯·温加特纳 (Felix Wein-gartner) 参加的一场室内音乐会上演奏。Weingartner 对这部作品印象深刻，也许正如 Lohr 所暗示的那样，被一位女性作曲家的新颖性所吸引，Weingartner 邀请她在巴塞尔学习作曲。这个提议改变了洛尔的人生轨迹。

在巴塞尔学习后，洛尔成为巴塞尔室内乐团总监保罗·萨赫的助手，两人共事五十多年。Sacher 声称 Lohr 是一个“无价的助手”，尤其是在早期音乐的编程方面。她还提供表演练习信息，为萨赫标记乐谱和声部，并就独奏家向他提供建议。Lohr 还参与了室内管弦乐队由 Nadia Boulanger、Igor Stravinsky、Arthur Honegger、Paul Hindemith 和 Béla Bartók 等作曲家演奏的当代音乐。同时，她继续自己的创作和表演宗教音乐的工作，同时支持业余音乐制作。

1933 年，随着 Schola Cantorum Basiliensis (SCB) 的成立，Lohr 在创建学校期间“担任顾问”。SCB 致力于前古典曲目的研究和表演，近一百年后，它仍然被列为最重要的早期音乐学院之一。被认为是“学校的主要教学动力”的 Lohr 教授格里高利圣歌、录音机、合奏和彻底的低音。她很高兴与业余爱好者以及更有成就的学生一起工作，而 Lohr 的完整和[End Page 175]受欢迎的课程为学校带来了最多的收入。二十多年来，她一直是 SCB 薪酬最高的教师。

洛尔最重要的活动是用音乐来表达她的宗教信仰。她在巴塞尔组织了教堂合唱团 Ensemble für Kirchenmusik，教授了许多宗教音乐课程和大师班，并为荷兰新教教堂音乐的改革做出了重要贡献。她将音乐作为一种宗教行为的愿望与她生活在世俗音乐世界的必要性之间的冲突是洛尔一生的斗争。她在这两个领域的影响力都体现在她八十岁生日那天倾注的大量感情中。Paul Sacher 给她买了一件昂贵而有意义的礼物。晚祷在巴塞尔演出，她的荷兰朋友组织了一系列活动，包括业余音乐制作、圣歌和巴赫讲座、关于 solmization 的课程、