June 2002 New for Old by Angus Smith     Speaking as a singer, it is easy to imagine that it becomes harder and harder for composers to come up with genuinely original work. Perhaps for this reason, it seems that there is a growing interest in creating new music out of old materials – re-workings of original scores, basing new pieces of extracts or particular features of older music, or in some more general sense being inspired by a facet of history, art or literature. With the Orlando Consort we having been working with composers to bring back to life pieces from the Middle Ages that have almost but not quite survived the ravages of the centuries. Libraries throughout the UK, and indeed abroad, have many examples of manuscripts where the music is nearly all there but crucial bits are missing: the opening or closing bars might have been torn off, or a ‘part’ might have been lost in its entirety. Our objective has not been to restore these pieces to their original state, but rather to give them a new voice suitable for the beginning of the 21st century. We would not claim any special credit for this. Other ensembles, notably Fretwork and the Hilliard Ensemble, have trodden this same path, while composers such as Sir Peter Maxwell Davies and Sir Harrison Birtwistle have found excellent source material amongst medieval repertoire. So where might one look for these interesting ‘building blocks’? The recommended place to start would be your nearest university library. Once there we would suggest rooting out music from the following periods / styles / composers: The Ars Subtilior. French and Italian music form a bizarre and short-lived period at the end of the 14th century. Harmonically weird, rhythmically absolutely bonkers. Mostly three-part pieces, with the different parts frequently in different time schemes. Machaut. One of the great composers of all time but so much neglected. Layered music (single pieces can sometimes be performed as 2, 3 or 4 part pieces) with ‘scrunchy’ harmonies that defy textbook recommendations. Isorhythm. One of the main foundations of religious music of the Middle Ages. Repeated ‘ostinato’ patterns (but fragmented) that provide the supporting structures for the more virtuosic high-flying parts above. Can be compared to the great pillars of gothic cathedrals. Canon. Medieval composers loved canons. For fine and intricate examples see The Old Hall Manuscript (English, 15th century) or Ockeghem (Missa Prolacionem, where the voices start at the same time but sing at different speeds, or Prenez sur moy where the 2nd voice starts a 4th higher than the 1st, and the 3rd starts a 4th higher than the 2nd.). There are of course many other individual composers to consider: Perotin, Josquin, Dufay, Brumel, any from the Eton Choirbook etc. We have now twice asked composers from the spnm shortlist to create new works for us to perform based on medieval fragments. At the Huddersfield Festival in November 2000 we performed six new works, and you can hear four new works at St. Stephen Walbrook on 27 June, as part of the City of London Festival’s Angel series. It has been fascinating to see how different composers can take the same starting point and yet come up with such totally different results. Angus Smith sings with the Orlando Consort What do you think? We would welcome any responses to the articles featured in new notes. Click here to read what other people have thought about recent cover articles. The monthly listings magazine new notes is essential reading for composers, performers, and everyone interested in what's new in new music. In its printed version new notes reaches over 5,000 contemporary music enthusiasts in the UK and around the world. If you promote new music events you should advertise them in new notes. Single concert listings are just £50+VAT. The magazine also features ads for festivals, composer competitions, recordings and more. new notes also features monthly articles on issues at the forefront of new music special offers on CDs, tickets, scores and books for spnm members information about forthcoming spnm events a free classified section for spnm members' non-trade ads. For full details on advertising or inserting leaflets in new notes please contact the Editor: John Fosbrook e-mail telephone fax

Event listings for this month   Previous articles: April 2002 In Search of Kurtag March 2002 Back to School January 2002 spnm in 2002 December 2001 There's no word in Finnish for workshop November 2001 New Opera? October 2001 Composer Associations September 2001 Private Commissioning July 2001 Joined-up Commissioning May 2001 The Martland Interview April 2001 Looking Four-wards March 2001 Chamber Made February 2001 Publishing, Promotion and Profitability January 2001 From the World to the Warehouse December 2000 What price new music? November 2000 from start to finish - composing for dance October 2000 John Lambert remembered July 2000 The end of the season June 2000 Announcing the shortlist May 2000 Word of mouse April 2000 Child's Play March 2000 tables turned February 2000 The ENO Studio January 2000 a challenge from Michael Oliva December 1999 Into the next century... November 1999 Joanna MacGregor writes October 1999 obsessed with consuming? September 1999 spnm welcomes Joanna MacGregor July 1999 Spectrum 2 - miniatures for piano June 1999 Hoxton New Music Days May 1999 Bath International Music Festival is 50 April 1999 Who is Georges Aperghis? March 1999 On frost, birth and death February 1999 Keeping busy... January 1999 Now that's what I call contemporary!