# New "old" Music?



## Taggart (Feb 14, 2013)

This made me think. The past is a foreign country: they do things differently there. Can we genuinely revisit the Baroque or is it always destined to be at best a pastiche at worst a dismal failure?


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## Ingélou (Feb 10, 2013)

It is interesting how often composers use a folk tune, or another composer's theme, & meld it into their own work. ('Meld' - one of my choicer technical terms; comes from a childhood spent on Vulcan.)

Is there a difference between doing this, and actually setting out to win Norwich Baroque's competition? It would be interesting to hear from those who compose, especially any who have used a pre-existing melody or style and made it their own.


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## ComposerOfAvantGarde (Dec 2, 2011)

I believe what the poster is actually asking is for _new_ music not written in the style of _old_ music, rather with an understanding of how it works. Basically: Stravinsky between about 1920 and 1951.

Also, here is one of the things on which compositions are judged (from their website):



Norwich Baroque said:


> 2. innovation of composition fused with awareness of effective writing for early music ensemble.


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## Aramis (Mar 1, 2009)

Taggart said:


> Can we genuinely revisit the Baroque or is it always destined to be at best a pastiche at worst a dismal failure?


One certainly can write modern music for baroque ensamble/instruments - they are in no way limited by being baroque instuments. Are they technically inferior to modern instruments or in any other way outdated? I don't think so. And I have heard of them being used that way quite recently. As for baroque forms and other musical concepts... that's diffrent case and I find many of them outdated indeed. I suppose the outcome of this competition will shed some light on the subject, eee?


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## Ukko (Jun 4, 2010)

Aramis said:


> One certainly can write modern music for baroque ensamble/instruments - they are in no way limited by being baroque instuments. Are they technically inferior to modern instruments or in any other way outdated? I don't think so. And I have heard of them being used that way quite recently. As for baroque forms and other musical concepts... that's diffrent case and I find many of them outdated indeed. I suppose the outcome of this competition will shed some light on the subject, eee?


I agree with you in large, but not in detail. A baroque ensemble is limited by the instruments it may contain, and so in the instrumental colors it can produce, eh?


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## Weston (Jul 11, 2008)

Nothing we listen to can be truly dead. Our listening brings it to life again. I have seen at least one web page by a composer who enjoys writing baroque fugues - very plausible ones at that. I could tell they were not written by Bach or Handel simply because I am so familiar with those musical gestures or signatures, but the modern fugues could easily have been by someone less familiar, Telemann or Muffat -- and if they had only been performed on a piano instead of a soulless midi rendition I would have enjoyed them as much as the real thing. 

The very confusing poster seems to be asking for a 21st century take on the genre though.


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## Aramis (Mar 1, 2009)

Ukko said:


> I agree with you in large, but not in detail. A baroque ensemble is limited by the instruments it may contain, and so in the instrumental colors it can produce, eh?


Every specified ensamble has these limitations, except for The Grand Orchestra Containing All Instruments That Ever Existed In The Universe and Other Places, LET'S KEEP REAL


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## Ingélou (Feb 10, 2013)

I suppose they don't just want a 'slavish imitation' but the spirit of baroque with something original that speaks for our time. 
If the winning piece had those qualities, it would be fab - but it *is* a tall order. 
We shall see!


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## brotagonist (Jul 11, 2013)

Alfred Schnittke often did Twentieth Century takes on Baroque music, eg., his series of concerti grossi.


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## GGluek (Dec 11, 2011)

Well, Bloch's Concerto Grossi, were Twentieth Century takes on sort-of Baroque sounding music, in the same way Prokofiev's Classical Symphony tried to be an early Twentieth Century take on the late Eighteenth Century (but, like Pierre Menard's _Don __Quixote_, "infinitely richer."  )


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## Weston (Jul 11, 2008)

Ingélou said:


> I suppose they don't just want a 'slavish imitation' but the spirit of baroque with something original that speaks for our time.
> If the winning piece had those qualities, it would be fab - but it *is* a tall order.
> We shall see!


It would be so cool if they somehow released the result and some of the runners up in CD or download format. Is there any way you and Taggart can keep us abreast of that?

[Edit: On second thought, we could just bookmark the web page ourselves. It doesn;t look like they offer much in the way of recordings.  ]


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## Sid James (Feb 7, 2009)

The Marais Project, an Australian group, specialises in music written for viola da gamba. It plays old music written for the instruments in their heydey during the Baroque period to composers who they commission to write new pieces for it today (as well as arrangements of existing pieces). In their concerts and recordings they mix old and new, and the common link is the instruments. What they're doing sounds similar to Norwich Baroque.


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## Taggart (Feb 14, 2013)

Weston said:


> It would be so cool if they somehow released the result and some of the runners up in CD or download format. Is there any way you and Taggart can keep us abreast of that?
> 
> [Edit: On second thought, we could just bookmark the web page ourselves. It doesn;t look like they offer much in the way of recordings.  ]


The director has his own you tube channel, but, like him, it's more than a little zany. Doubtless, they'll put something up. They've got a concert on 26th April next year and possibly will premier the result then. I'll let you know when I hear more.

 That could be a busy week end - ETO are doing Magic Flute the next day!


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## Garlic (May 3, 2013)

Much of what is called "modernism" from the early 20th century was partly a revival of baroque and classical forms in reaction to the excesses of late romanticism (e.g. Stravinsky, Bartok, 12-tone Schoenberg). That stuff still sounds of its time, it's not pastiche. Then of course a lot of late 20th century composers looked to medieval and renaissance music for inspiration. I think there are always new things to be learned from the past. Straight up imitation doesn't interest me much, but I haven't heard much of that.


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## ArtMusic (Jan 5, 2013)

Interesting programme. It comes down to the music if it is engaging to listeners, then there is a chance of it going further. As for composing the pieces for old instruments, that kinda interesting because often the range can be not as expansive as a modern instrument especially with the say the brass instruments like the horn (i.e. a natural horn versus a modern one). So what though, as composers in the past still wrote great music for the natural horn, for example from Bach Brandenburg #1 to Mozart's horn concertos, with onviously virtuosic parts. So as usual, the universal rule applies: *it comes down to the quality of the music!*


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## sharik (Jan 23, 2013)

Taggart said:


> Can we genuinely revisit the Baroque or is it always destined to be at best a pastiche


yes 'we' can, and btw i had been waiting that someone would write a baroque opera these days, and i'm okay if it turns out to be a 'pastiche'.


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## Sid James (Feb 7, 2009)

The present concerns about pastiche are not such a big deal if we go back in music history, or even if we look at light music (including of the classical kind). Particularly in the Classical Era and before, all the big names did rehash of their own works, which is like a kind of pastiche or cannibalising of your own music. You listen to stuff from then, and you hear a tune you have heard before by the same composer, somewhere. You've also got things like Bach's arrangements of Vivaldi's concertos.

Even Schubert and Beethoven did it, another thing being quoting - or basically plagiarising - a living composer's tune and incorporating it into your own music. This was seen more as homage than stealing - and copyright wasn't invented then yet.

In terms of homage to dead composers there is things like Tchaikovsky's Suite #4, "Mozartiana" where he basically arranged tunes by Wolfie for large orchestra. One of the movements is an orchestration of Liszt's piano transcription of Mozart's motet Ave Verum Corpus. I don't know why Tchaikovsky used Liszt's transcription and not the orginal, but it shows how things can be muddied here - and if you enjoy it, do you really care if its pastiche or not? Is it ok to say that Tchaikovsky's Suite #4 serves a different purpose than more deep works such as his Symphony #6 "Pathetique" or indeed his ballets or operas?

In the early 20th century you had composers churn out pastiche. Rosenthal's ballet version of Offenbach tunes in "Gaite Parisienne" is an example. So too Respighi's "Rossiniana" and Glazunov's "Les Sylphides" taking Chopin's tunes. What about Stokowski's Bach transcriptions? I think they where one thing that gave Bach's music more exposure in the early to mid 20th century.

More recently, you got things going again like Schnittke taking things wholesale from the likes of Haydn and Mozart, and also from jazz. Composers have always liked to play around with stuff from the past or present and do interesting things with it.

So I don't think pastiche is necessarily a bad thing, particularly if its done well. The aim is just often entertainment, we are not talking of profound things here, or things aiming at originality. I see the things Taggart is talking about as in some ways similar to the above examples. If there is demand for it why not? If the likes of Tchaikovsky did that kind of thing, and he was passionate about Mozart's music, what's the big deal?


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## PetrB (Feb 28, 2012)

For me, the way the criteria are worded is enough to put me off, thinking no matter what they say they want a remarkably conservative work, or at least such a description will bring in submissions of a lot of bad referential and pastiche pieces vs. say, the ebullient freshness of some earlier 20th century neoclassical works.

I'm guessing the project, and the prizewinner, may be pretty much dead in the water -- but there is no telling until submissions are all in, and even then, i.e. the best piece could be put aside for one selected which more suited the judge's tastes or expectations.

It could also be taken as a call and challenge to come up with something as fresh and original as Stravinsky's neoclassical works, or others by Milhaud, Martinu, De Falla, etc.

If you counted how many times some TC member has addressed those naifs who think "writing directly in a baroque style" has any kind of worth, and tallied how many times a respondent has said, "You cannot write baroque music in the 21st century -- it is literally impossible." Then perhaps those numbers could be figured into the odds of this specific competition and its musical parameters.

The gloss of giving the opportunity to the new and unknown is somewhat dimmed by the fact that composition competitions like this are also, most often, far less expensive than one direct commission, so that kind of ticks me off right there -- as if these musicians did not know exactly at least several composers they could approach from whom they would get a more than serviceable work.


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## ComposerOfAvantGarde (Dec 2, 2011)

PetrB said:


> For me, the way the criteria are worded is enough to put me off, thinking no matter what they say they want a remarkably conservative work, or at least such a description will bring in submissions of a lot of bad referential and pastiche pieces vs. say, the ebullient freshness of some earlier 20th century neoclassical works.
> 
> I'm guessing the project, and the prizewinner, may be pretty much dead in the water -- but there is no telling until submissions are all in, and even then, i.e. the best piece could be put aside for one selected which more suited the judge's tastes or expectations.
> 
> ...


Tell me what you think of the compositions of Hendrik Bouman. 
Personally they are not to my taste, but I also find that his "Baroque" music inadvertently incorporates some characteristics of later styles here and there, which makes the intent of his compositions unsuccessful.


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## Couac Addict (Oct 16, 2013)

I'll be playing _Daft Punk_ whilst wearing a pair of breeches.

...already dreaming about how I'm going to spend the 500 quid.


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## Ingélou (Feb 10, 2013)

PetrB said:


> The gloss of giving the opportunity to the new and unknown is somewhat dimmed by the fact that composition competitions like this are also, most often, far less expensive than one direct commission, so that kind of ticks me off right there -- as if these musicians did not know exactly at least several composers they could approach from whom they would get a more than serviceable work.


I do take your point :tiphat:; but I think it applies more to musicians in 'the big league'. In this case it is a small local ensemble that is making possible a wish by a loyal 'older' supporter and friend. They are not being cheapskates but 'pushing the boat out' and trying to involve their fellow musicians & spread the word about baroque being a style that people today can like.

(PS - Possibly there is more of a tradition for this sort of competition in the UK. For example, we have the Arvon Poetry Competition, for which the main prizes are not huge, and the entrants have to pay a fee per poem entered. However, the winner earns prestige; some years ago the competition was won by Andrew Motion, our former Poet Laureate.)


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## PetrB (Feb 28, 2012)

Sorry, but who really wants "new" baroque music?

I know that is not literally what is being called for, but do you know how many really think that writing ala maniere de Bach, Vivaldi, etc. and very much in the style is actually a valid or interesting thing to propose? All I see in that (a bit off this point, but not) is something rather poignantly sick.

The "without constraints of" combined with showing skills with 18th century counterpoint, form and harmonic language as part of the description of requirements is more than a titch at odds with itself, though I do know what they mean.

Better if they had simply asked for new music for this ensemble, keeping in mind the period historic context from whence it came, with a huge upper case proviso that it _not be_ directly modeled on baroque this or that, while perhaps it could require the work be contrapuntal -- all that tweak of description would have made me more comfortable.

Right now, as proscribed, the order / proposal does not at all appeal enough for me to want to have a go at it, though I'm sure there are any number of young composers eager to try their hand for 500 quid. Hell, I could use 500 quid [[ADD: and it is a pity I'm not interested, because open composition contests without any age limit on them are scarcer than hen's teeth  END ADD ]]

... but an entry fee will not keep away those with enough cash to promote their vanity productions, and all I can think of are the horrifying neo-baroque comps on TC's today's composers, or that perhaps the next John Rutter or Carl Jenkins (shudder) will be submitting a new work, and pity the judges.


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## Ingélou (Feb 10, 2013)

I am 'liking' this as an honest response, Petr. I do see your point of view. All the same, as a supporter of Norwich Baroque, I hope they get some talented entrants and that I get to hear the winner & runners-up some time next year.

I also think it would be good if someone bigger and richer than Norwich Baroque would sponsor music based on your fourth paragraph 'new music ... keeping in mind the period historical context... with a ... provisio that it _not_ be directly modeled on baroque this or that'...

:tiphat: It's good to discuss; how boring it would be if we all just rubber-stamped each other's opinions!


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## Taggart (Feb 14, 2013)

PetrB said:


> Better if they had simply asked for new music for this ensemble, keeping in mind the period historic context from whence it came, with a huge upper case proviso that it _not be_ directly modeled on baroque this or that, while perhaps it could require the work be contrapuntal -- all that tweak of description would have made me more comfortable.
> 
> <snip>
> 
> ... but an entry fee will not keep away those with enough cash to promote their vanity productions, and all I can think of are the horrifying neo-baroque comps on TC's today's composers, or that perhaps the next John Rutter or Carl Jenkins (shudder) will be submitting a new work, and pity the judges.


See their website for more details. This was a poster not the full detail. I would draw attention to:



> The composition should demonstrate knowledge of, but not be constrained by, 18th century harmony, form, counterpoint & orchestration. It could for example take the form of an overture, dance suite or concerto grosso but does not of necessity have to adhere to any of these frameworks.


from the rules,and



> 2. innovation of composition fused with awareness of effective writing for early music ensemble.


from the judging criteria. Oh, and by the way,



> There is no charge for entering.


Even better, if you fancy a trip to the UK



> The winning composer will be interviewed for Bar Lines, the quarterly news letter of Norwich Baroque and will be encouraged to meet the panel (some assistance with travel costs and accommodation may be provided).


That could cost them more than the value of the prize!


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## sharik (Jan 23, 2013)

let them write new old Baroque operas as many as they want, thus we might get music off the dead end it is currently on.


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## Ingélou (Feb 10, 2013)

Surely these days there are several roads, going to the same noble destination, but with different musical scenery? 

This small competition will just be knocking a snicket through between an old terraced street and the new highway...


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## Guest (Nov 7, 2013)

It looks like 'Norwich Baroque' could be thinking about the possibility of attracting a wider audience for their future gigs if they can advertise something like "21 st Century Baroque" as part of their repertoire. It ought to be a simple job for the members of the ensemble to perform the work since, by definition, it will be constructed using principles they are already familiar with, so the cost them in trying the experiment is small. 

I wonder whether such a ploy will succeed, if that's what their aim is. I suspect that Norwich Baroque have done the research and worked out a possible gain. It could be that they may have been asked by some of their existing clientele to "jazz" things up a bit (I don't mean literally) by way of incorporating a more modern element into their performances. But I would guess that it could put off some of their existing clientele who may be unattracted by such modern twists to the established 17th/18th Century repertoire that they know and love. I'm doubtful that I would be attracted towards anything of this nature, as the production of modern music based on very old techniques of composition seems to me to be a dubious exercise.


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## Taggart (Feb 14, 2013)

Not exactly a wider audience. See http://www.talkclassical.com/28592-does-classical-music-need.html#post543480 for some videos of the sort of "fusion" work they're doing. It's folk not jazz and the audience seem to like it.

It's a weird mix, but the since Mr Playford's dance tunes were (probably) edited at one stage by Purcell, it's not an impossible one. Much of Baroque relies on folk melodies and dance patterns and fits naturally with the modern trend for folk oriented tunes.


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## Ingélou (Feb 10, 2013)

Yes, the director of Norwich Baroque, Jim O'Toole, does like to do the odd 'fusion' work, though not usually with anything 'sacred'. For example, he took a Stevie Wonder song, 'Don't worry about the chaconne', & played it in the manner of a Bach chaconne. So you may well be right. 

(I'm posting this a second or two after Taggart, but I'm making a slightly different point, so I'll let it stand.)


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## PetrB (Feb 28, 2012)

ComposerOfAvantGarde said:


> Tell me what you think of the compositions of Hendrik Bouman.
> Personally they are not to my taste, but I also find that his "Baroque" music inadvertently incorporates some characteristics of later styles here and there, which makes the intent of his compositions unsuccessful.


Couldn't find anything on youtube 

I just don't get why people are trying to write "Baroque style," inasmuch as no matter what is attempted, no matter how erudite, learned and clever, no one will ever fully slip into the ethos of the mindsets of composers from the actual era of the baroque.

Write a new piece for the older instruments, deploy some of the techniques while keeping it something fresh, relatively new, hey, I'm fine with that.

Yet I'm willing to go out on a limb with my standard question about these as yet unheard "baroque" works, which is....
*Why the eff bother when there is already such a massive body of excellent and genuine baroque music?*


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## Ingélou (Feb 10, 2013)

Maybe just for fun? Or for publicity? Or because the sponsor, who is a really nice person by all accounts, wanted to 'do something' for Norwich Baroque and that's all they could think of. 

It may not produce anything very worthwhile, but at least it's showing that the baroque beast is not moribund.


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## PetrB (Feb 28, 2012)

Taggart said:


> See their website for more details. This was a poster not the full detail. I would draw attention to:


"The composition should demonstrate knowledge of, but not be constrained by, 18th century harmony, form, counterpoint & orchestration. It could for example take the form of an overture, dance suite or concerto grosso but does not of necessity have to adhere to any of these frameworks."

There is the crux, completely up to "interpretation" by the composer, but "The composition should demonstrate knowledge of, but not be constrained by, 18th century harmony, form, counterpoint & orchestration. It could for example take the form of an overture, dance suite or concerto grosso but does not of necessity have to adhere to any of these frameworks." lays out parameters while simultaneously saying "but not constrained by." Again, I get it, and it is far more a matter of this wording that bugs me than the notion of such a commission / competition itself.

So it is, regardless of the wording, somewhat constrained. It also sounds like they are asking for a thing which pretty much exists multiple times over. One should also check them out to see just how "HIP" they are, i.e. are the strings gut, what is their pitch level for tuning, i.e. A 000, and are the instrumentalists bows the more curved sort where double and triple stops are that much more readily realized.

Anyway, I would love to see some young tyro go at it, take advantage of four stringed instruments which can all play chords of three or more notes, deploy extended techniques, and make something seriously interesting for this competition.


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## Ingélou (Feb 10, 2013)

PetrB said:


> Anyway, I would love to see some young tyro go at it, take advantage of four stringed instruments which can all play chords of three or more notes, deploy extended techniques, and make something seriously interesting for this competition.


:tiphat: Yes, Petr, wouldn't that be fab!

Norwich Baroque is a small local group, though its director is very talented and a member of some more prestigious ensembles. You couldn't meet a nicer bunch of people - Jane, who runs the Facebook site, is one of the kindest people I know. Maybe the competition rules could have been expressed more clearly - but they wanted to enthuse the young HIP musicians who are making a career for themselves all over Britain. I hope that they do...


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## PetrB (Feb 28, 2012)

Ingélou said:


> Maybe just for fun? Or for publicity? Or because the sponsor, who is a really nice person by all accounts, wanted to 'do something' for Norwich Baroque and that's all they could think of.
> 
> It may not produce anything very worthwhile, but at least it's showing that the baroque beast is not moribund.


The baroque beast not being moribund is abundantly proven by the mass of great genuine baroque works still performed and recorded today... seriously, no one needs more. ADD ... unless it is some strongly fresh take with something to say, but then, a work like that would have no more than a tip of the hat to baroque practices while going its own merry way.


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## Ingélou (Feb 10, 2013)

Ah well, at least Taggart got a bit of vibrant discussion on this thread! 

The winning piece in this competition may not be mind-blowing, but who knows - the assignment may be formative in the winner's development as a composer, or give them valuable publicity? This is the 'snooker ball' theory of career advancement. 
But we shall see.


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## StevenOBrien (Jun 27, 2011)

PetrB said:


> *Why the eff bother when there is already such a massive body of excellent and genuine baroque music?*


Why bother writing any new music when we have so many great works by Bach, Mozart, Beethoven, Brahms, Schubert and Wagner?

Let those composers imitate and be derivative, especially beginners. Let them model themselves after their idols and let them strive to continue the work of their idols, following their own independent path and forging a new style based on a combination of their true loves, rather than forcing ingenuine originality and innovation for the sake of it.

All great composers started by imitating their surroundings and grew from there, it's just that in the 21st century we readily have access to a huge variety of music which stretches back for hundreds of years. In addition, it seems like very few new listeners are interested, or even aware of what's been written in the past 20 years. To a lot of these imitative composers, Baroque IS their music, far more than anything written in the past 20 years.

There is a difference between style and substance, and I think that a truly good composer can write good music regardless of what style it's being written in. If a baroque-inspired style is more pleasing to the composer and more accessible to listeners, and the composer is still saying something original (as they would be saying if they wrote in a more contemporary, and likely less accessible style), why not?

If Mozart suddenly came back to life today and wrote a masterful 42nd symphony (assuming he wasn't influenced by hearing music written after his death), would any of us seriously be saying "Oh, but that style's been done before, what's the point?"?


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## Blake (Nov 6, 2013)

StevenOBrien said:


> Why bother writing any new music when we have so many great works by Bach, Mozart, Beethoven, Brahms, Schubert and Wagner?
> 
> Let those composers imitate and be derivative, especially beginners. Let them model themselves after their idols and let them strive to continue the work of their idols, following their own independent path and forging a new style based on a combination of their true loves, rather than forcing ingenuine originality and innovation for the sake of it.
> 
> ...


I agree. I feel it's much more important to be truthful than to be original. I'd much rather hear a heartfelt baroque piece than some disingenuous "original" piece by a self-proclaimed pioneer. That doesn't mean to start copying styles because of laziness... but follow your heart.


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## Petwhac (Jun 9, 2010)

I am seriously considering this competition.
I am sure they are not asking for pastiche. That would be pointless. What I think they are asking for is some imaginative and engaging music that takes into consideration the techniques and characteristics of the ensemble. 
The only problem I have to first solve is what to do with the continuo as it appears they want both harpsichord and lute as well as violone.
Contrary to what some people seem to believe, having heavy restrictions imposed as regards form or instrumentation is in fact a great stimulus to creativity.


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## Ingélou (Feb 10, 2013)

I see where you're coming from. In similar fashion, modern poets enjoy writing sonnets & adapting the form in new ways.

Oh Petwhac, it would be great if you went in for it!


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## Taggart (Feb 14, 2013)

Petwhac said:


> I am seriously considering this competition.
> I am sure they are not asking for pastiche. That would be pointless. What I think they are asking for is some imaginative and engaging music that takes into consideration the techniques and characteristics of the ensemble.
> The only problem I have to first solve is what to do with the continuo as it appears they want both harpsichord and lute as well as violone.
> Contrary to what some people seem to believe, having heavy restrictions imposed as regards form or instrumentation is in fact a great stimulus to creativity.


The rules are here and include details of how to get an entry form. Basically the group includes violins, violas, cellos, double base (violone) and theorbo (arch lute) and harpsichord. I'm sure they wouldn't mind an e-mail to expand on exactly what they want for their ensemble.

Best of luck!


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## Petwhac (Jun 9, 2010)

Well I thank Taggart and Ingélou for their encouragement but I am only thinking about it at this stage.


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## Taggart (Feb 14, 2013)

We're just back from the concert where they played the piece - Disconcerto. I've linked the title to the programme notes by the author which are worth reading.

Now to give my honest opinion of the result.

OK it was an interesting pastiche. It sounded a bit like Britten on an off day - Medieval Carols or Young Person's Guide to the Orchestra sort of thing. Some snatches of tunes and some mild dissonance to give an effect.

It was being clever-clever and playing spot the reference. The mind set was resolutely modern. All this about bringing your own experience to the listening which then shapes the performance. Nice but ....

Interestingly, in the second half we had Handel's Concerti Grossi Op 6 No. 1. Lovely music; you can spot what Handel cribbed from others; you can compare it to Corelli's Op 6; you can play all sorts of intellectual games with it. But at the end of the day it was just music to be enjoyed, talked over, used while admiring the fashions - *not *an intellectual game!

Some people have said that both the Handel and the Corelli are a bit "wallpaperish" - after all Handel's music was written for intermissions between his masques as a sort of B picture. That's part of the charm of Baroque. It doesn't have to be all immense technical listening. That's what the modern attempt misses out on.

I think people were right to say that it wasn't worth doing.


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## Guest (Jul 26, 2014)

Didn't Mauricio Kagel win this competition decades ago?


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## Taggart (Feb 14, 2013)

No. It was the first running of the competition. Thankfully we didn't have any theatrical effects although the musical director would have liked that.

I had a thought overnight. I remember watching Tous Les Matins du Monde where the music of Jordi Savall (his own compositions I mean) merges seamlessly with that of Couperin, St Colombe and Marais. A truly beautiful film score and definitely "modern baroque" but *not *the sort of thing that wins competitions. That's the real problem - that it's set up as a "beauty contest" rather than as simply a test of good music.


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