Preserve all of it. You can quote me.
RBH
Johannes Gebauer wrote:
On 11.04.2006 Dennis Bathory-Kitsz wrote:
It's worth thinking about if you're hunting for music to preserve.
Our own
time is screaming for your attention. When I die, Gilles's work (and
mine,
too) goes to the dump. Pick a box. I'll pay shipping.
I think you can have a different perspective: Perhaps in 200 years
time someone will find your box, make a big commercial success out of
it, and give you the fame you deserved in your life-time.
Unfortunately for you you will never benefit from this financially.
But who knows, the New Grove 2200 edition might name you along with
the great classics.
Seriously, any music of even the most mediocre quality is worth
preserving. Those who are working to publish and perform Stölzel's
music would probably never publish or perform any of today's music
anyway. If there is a market for mediocre baroque music, then it is a
good thing to open it. This gives many musicians an income. The much I
can understand doubts about certain aspects of the Early Music
movement (being myself very much a part of it) we have to realize that
it certainly gave the music market a huge push in the 80s, and is
still generating lots of work (at least here in Europe), which
otherwise wouldn't exist.
Fashion does play a huge role in this, we can certainly question a lot
of things about it, but eventually I'd rather have a bigger croud
interested in music because they like wild italians dancing around on
stage playing music which even at its own time was considered
unimportant, than noone interested in music at all.
The Early Music movement, along with "rediscoveries" of previously
unknown music is certainly very much a 20th century phenomenon, and in
itself part of 20th century music (in a similar way as the
Rennaissance is a 15th/16th century phenomenon, not anything truly
ancient, even though that was the idea at the time). We shall see
whether it will last more than a few years into the 21st century.
Johannes
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