“Early Music” is a phrase of convenience. It covers several centuries of vastly
different styles and performance techniques.
Today we use the
phrase “classical music” to mean not just the Classical composers Haydn and
Mozart, but also all the Romantics from Beethoven to Brahms; the Impressionists
like Debussy; the 12-tone school of Schoenberg and Webern; the 20th
century giants Prokofiev and Bartok; the Minimalism of Glass and Reich; and the
list goes on. The range and diversity of
the last 250 years of classical music is enormous.
The range and diversity of the previous 750 years is just as
great.
About 1000 years ago the modern system of musical notation
was developed. Medieval music had its
own characteristics, from modal plainchant to motets to the melodies of the
wandering minstrels. As the Middle
Ages slid into the Renaissance, music played a key part in this rebirth of
European culture. Madrigals, polyphony, and
new instruments were all evolving. Six
hundred years into the journey, Baroque composers were inventing opera and
oratorio, were composing for a vast spectrum of instruments, and were selling
music like hotcakes to the growing class of educated amateurs.
The year 1760, give
or take a decade, is generally where we shift out of “Early Music” and into conventional
classical music. The reason for this
date is largely because of the instrumentation. The recorders and lutes of the Renaissance, and the harpsichords and
viols of the Baroque, by 1760 had been almost entirely replaced by the modern
strings and winds we still find today in the modern symphony orchestra. The main reason it’s easier to find a concert
of modern music is not that there is more, or better, of it available, but that
more people play the violin, the piano, or the clarinet, than play the theorbo,
the clavichord, or the crumhorn.
Sample some early music during the month of February, at the Cincinnati Early Music Festival. For a complete listing of events, go to www.catacoustic.com/season/
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