Сан Диегский Камерный Оркестр включил в программу необарочную композицию современного композитора Роберта Банкалари: http://www.sdco.org/11_26_07.html.
San Diego Chamber Orchestra includes in its program a neoBaroque composition by Robert Bancalari! 

One way the dilemma can be dealt with is by bringing a chili pepper into the
dish, i.e. an unorthodox element, which in my case has been a certain
ethnocentrism. This has some minimal baroque and classical precedent, for example the
Polish-style works of Telemann, or Czech of Krumpholz, but really this is one direction Baroque
music didn't take, but COULD and SHOULD HAVE in my opinion. Thus I took it
upon my lowly self to take it where it erroneously never went before.
RT

***

> From: "Joseph"
> The fact is, if you write good period music, it can "pass" and will be
> appreciated until you tell people it's new music. Then suddenly it
> becomes dull, derivative, and dead-on-arrival. This attitude has been
> rightly characterized by composer Easley Blackwood as "intellectual
> dishonesty," and is quintessentially modernist in origin. Anyone with
> even a even a modest knowledge of history realizes the arts have
> always been profoundly influenced by traditions stretching back, in
> some cases, for thousands of years--unless ties to those traditions
> were weakened or severed, as was certainly the case with music.
>
> I think music competitions are a lot of rot to begin with, but the
> Aliénor International Harpsichord Composition Competition (Salem
> College, NC) perfectly illustrates what I've described as a
> "paradoxical system of music education that imparts tradition with the
> right hand and snatches it back with the left."
>
> Notice how in the official announcement (quoted below) they want
> something inspired by Couperin's work that doesn't sound baroque!
> Duh? Is this supposed to mean the composer-competitor can require
> "period" fingerings, touch, and performance techniques, but must
> suppress Couperin's baroque ornamentation and other obvious references
> to the master's style?
> This is about as silly as saying, "Design me a chair inspired by Louis
> XV sources, but forget about the scrolls and curves, the gilding, the
> elaborate silks and brocades, the chinoiserie, etc. and just make me
> something conspicuously modern that's machine-producible in plastic
> and stainless steel with hard angles, ergonomic arms, legs, and back,
> and a seat wide enough to plant my fat trendy arse on."
> It's impossible to take these people seriously. Their requirements
> are a recipe for creative logjam, and the inevitable result is an art
> of evasion that ignores, distorts, or otherwise dishonors the very
> traditions they're ostensibly trying to honor--all for a lousy few
> hundred bucks in prize money!
> Here's the text from their web site:
> "Art of Writing for the Harpsichord-extending the possibilities" Three
> or more preludes, with a total duration of 6-10 minutes, using "L'art
> de toucher le clavecin" by François Couperin as an inspiration. These
> pieces should be suitable for non-professional amateurs or students,
> written in a contemporary style-not in a Baroque imitation.
> Harpsichord range should be no more than F-1 to F-5. Required
> registration should not include 16 foot registers or pedals. The
> ultimate goal is to create a collection of accessible pieces suitable
> for publication, and usable by harpsichord enthusiasts worldwide.--- > http://www.harpsichord-now.org/call_for_scores.html
> I think listeners would probably get more out of "three or more" Qualudes!
> All the best,
> Joe

***

>> Grant C. wrote:
>> For one thing I think there's a difference between convincing
>> the "audience" at a baroque concert, and convincing other
>> professional musicians in the field. I think the average listener
>> might find the whole period composition thing interesting, but it
>> seems that often times its the performers who may have a more
>> difficult time with it. See for example the Alienor composition
>> competition for example:
>> http://www.harpsichord-now.org/call_for_scores.html
>> Devoted to promoting new compositions for harpsichord, yet
>> specifically putting in their guidlines that the pieces should NOT
>> be "in baroque imitiation." (like somehow there are just hundreds of
>> such composers waiting to jump into this competition that Delian and
>> Vox know nothing about.)
>> The other thing interesting about the Bancalari phenomenon is that it
>> was set up so that the audience didn't KNOW they were hearing a new
>> work by a living composer, they just sat back and accepted what they
>> were told. It was only after the piece was "accepted" that the secret
>> was let out.
>> But still the bottom line is that the conductor was the guy who had
>> the inspiration and the vision to perform the work and for that he is
>> to be commended. It was he who found the Vox site and heard Roberto's
>> overture and realized it was good enough to deserve to be played by a
>> real chamber orchestra.
>> That in itself is still a great achievement...
>> All the semi-decent,
>> Grant

***
"Joseph" wrote:
>> > This is great news! Sophisticated urban audiences obviously respond
>> > well to music in period styles, just as readers continue to enjoy
>> > historical novels and theatre-goers still flock to plays and films set
>> > in the past.
>> > Perhaps this phenomenon isn't so surprising when we consider that the
>> > very core of our identity and individuality as composers resides in
>> > memory. Strip a person of his/her past and what do you have left but
>> > a disoriented vegetative state?
>> > The rediscovery of tonality has enabled composers to "find" themselves
>> > anew after decades of institutional suppression, distortion, or
>> > obfuscation of cultural memory.
>> > All the best,
>> > Joe

***
"Grant" wrote:
>> > > Here's a better link about Roberto Jose Bancalari's Overture in G >> > > being
>> > > performed by the San Diego Chamber Orchestra
>> > > http://www.sdco.org/11_26_07.html
>> > > All I can say is "SWEEET!"
>> > > Grant

From: "Joseph":
>Curiously enough, Couperin claimed to have written the earliest French
>sonata, which he passed off as the work of an unknown Italian
>composer. The French master was wise enough to promote "les goûts
>réunis"--fusing elements of both the Italian and French styles he
>inherited from his predecessors.
>Imitation (mimesis) isn't the production of photocopies. It's an
>ancient artistic principle that lies at the very heart of classicism,

I rather like the word DISSIMULATION, apropos.
RT

> Hi, Roman, Delians.
> Yes, I think we inevitably interpret/contextualize stylistic
> traditions in terms of our own background, experience, understanding,
> and taste. It's only when we try to trash the memories of who we are
> and where we come from that we forfeit our individuality.
> > Memory is a great creative resource, but of course, it can land us in
> trouble if we become idolators of the past and become mired in
> aesthetic dogma. ;-)
> Joe
Or even assumed background, experience, etc. This is called Literary Transvestism, a long and legitimate tradition in literature.
RT