Calling all who write in the baroque style!

Some of you may be interested in this:

Vox Sæculorum is an organization devoted to the custodianship of the Baroque Revival in contemporary art music.

Membership in Vox Sæculorum is granted by a Panel of five founding members and limited to contemporary composers writing principally in the Baroque idiom. While we are enthusiastic proponents of the renascence of tonality in contemporary Western art music, we are primarily custodians of the Baroque Revival in modern composition. Membership criteria are as follows:

1. The individual, in his/her capacity as a composer of "classical" music, writes almost exclusively in the Baroque idiom, as opposed to experimenting occasionally with it or merely using it as a basis for study exercises.

2. While it is expected that members demonstrate facility with established Baroque forms, part of our purpose is to give currency to the Baroque musical vocabulary. We are particularly open to the use of modern, nonconventional, or even non-classical forms to accomplish this. Competency in Baroque counterpoint and harmony must be demonstrated and deviations from this must be consistent and of such a nature that the fundamentally Baroque identity of the music is not lost.

3. The composer is to submit two representative samples of his/her work in *.mp3 format. Of these, one should be a fugue, and the other a multi-movement instrumental concerto or sonata. These works will be posted for free download at the Vox Sæculorum site.

4. The composer is to submit a *.pdf score of one of these works, also to be posted for public access.

5. The first criterion is subject to the discretion of members of the Panel, especially in instances where the compositions submitted are of an exceptional quality.

6. Prospective members who show promise as composers of the Baroque Revival but otherwise do not meet the standards of the Panel may be accepted as conditional members (although their work will not be posted) if they demonstrate genuine interest in developing their skills as composers. Guidance will be offered free of charge by members of the Panel at their convenience or by other full members who may be interested in participating. As a starting point, this article by Michael Starke will be helpful.

So, I posted this and didn't put the website address. What a genius! http://www.voxsaeculorum.org

Drop in and see if it might be for you.

Ooh. :thumbsup:

I'm not exclusively a baroque composer, but I am a classical revivalist, and I've written quite a few things in a genuine baroque idiom.

I'll have to give this a look.

Bakhtiyar,

I will definately look into this and submit a few works.

Can we Submit a Chorale Prelude and Orchestral work? Or must one work be a Fugue?

By the way, are you Mark Moya?

You can submit anything that you think best represents your work, but the preference is for a fugue and a multimovement work. One of our members writes amazing fugues, but his orchestral work (while inspired) shows that he has trouble with chordal harmony. Another doesn't write fugues but succeeded in foiling musicologists for some years by circulating his work as that of some obscure (actually fictitious) 18th century composer that moved around in the same circles as Bach. So there's a lot of leeway. Be aware, though, that there is some selectivity. If we don't offer the full membership but think you've got the "right stuff" we'll offer you a sort of apprentice membership and you can ask all the questions you want and get input from us. Maybe not at the drop of a hat, but someone will give constructive input as time permits them.

J. Lee - I did some fishing around on the web and found one of your sinfonie for a cantata. I absolutely love it and wish there were more!

While the purpose of the site is to showcase people who write primarily (not necessarily exclusively, but more than less) using the "Baroque vocabulary", there will be a section for those who have experimented with the idiom and produced convincing, quality results. We're also keeping a list of other composers who write using other historical idioms and will eventually post that so people can get in touch with each other and form groups of their own similar to VS.

And for the record (because I've actually gotten a lot of negative reaction from people on rec.music.compose) we're not out to set music back 300 years or try to assert some perceived superiority of Baroque music over other types. There's enough room in the air for many types of music to sound--it's just that we want to give people who share our enthusiasm for the Baroque way of making music a place to hang out, share ideas, and maybe even get their music played by live musicians instead of having to rely on MIDI!

And yes, I am Mark Moya

Take care all!

Your reputation precedes you, sir. I don't even believe I've had the pleasure of hearing your work, but I've heard/read your name more than once in this kind of context.

J. Lee - I did some fishing around on the web and found one of your sinfonie for a cantata. I absolutely love it and wish there were more!

There is more - a lot more - to that piece. That's just all I've processed into Finale so far. I'm flattered that you enjoyed it. I was young, and the fugato in the sinfonia seems a bit crude to me now, but it wasn't bad for a self-taught 24-year-old.

Hmm...might have to post that here.

And yes, I am Mark Moya

Ah, very cool. It a pleasure to meet you. I have heard your music for quite a few years now, as I am huge on Baroque (it being my most loved form of music). I first heard some of your works at midiworld and thought there were great. I also searched your name a few times and listened to other works in various places.

I considered your music and Giorgio Pacchioni's some of the best among modern Baroque that I had heard.

I hope to submit a few works within a few weeks or a months time.

Jeremy

Ah, very cool. It a pleasure to meet you. I have heard your music for quite a few years now, as I am huge on Baroque (it being my most loved form of music). I first heard some of your works at midiworld and thought there were great.[/b]

Yikes! Midiworld? Thanks for the kind words, though. I pulled everything off Midiworld/CMC because it was hastily put together (this was when I was new to notation software and didn't have a clue about harmony). Right now, I'm giving everything I wrote until about 1997 or so (that's the point where I'm comfortable letting my work stand on its own) a thorough once over. There are so many errors in that music. But everyone has to start somewhere.

If you're familiar with the old mp3.com, I had some work posted there that I'm still comfortable with.

I also searched your name a few times and listened to other works in various places.

Yeah, the old stuff is still floating around and the owners of the websites won't get rid of it even if I offer revised versions. You can hear a 2006 fugue and a revised version of a 1995 sonata at the VS site. I chose those two so people could compare the early and current (although I suppose at this age, it's still early) work side-by-side.

I considered your music and Giorgio Pacchioni's some of the best among modern Baroque that I had heard.

:glare: It's OK. Pacchioni's probably the best in terms of authenticity. He actually does reconstruction work on Baroque manuscripts. Starke is also pretty rigid when it comes to authenticity, but his music always has a distinctive freshness that never fails to please. He's the first new baroque composer I ever came across. I think he's been circulating his work on the Internet the longest.

I hope to submit a few works within a few weeks or a months time.

Not a problem. We're always here. I have a string of exams coming up so I probably will be a little slow responding to people.

Mark,

I did see a few on mp3. com as well and a concerto for recorder somewhere else.

I may compose a new fugue over the next month or so and send that in with a more recent Orchestral work.

Then both pieces are fairly fresh.

I am curious though, would such a work as this, that is a seeming mixture of Baroque and something else (I dont know what) be acceptable? If so I will send this as the Orchestral work.

J. Lee Graham,

Where can I find that Sinfonia for a Cantata you did? I searched around the site and couldnt find it.

Jeremy

Mark,

I did see a few on mp3. com as well and a concerto for recorder somewhere else.

I may compose a new fugue over the next month or so and send that in with a more recent Orchestral work.

Then both pieces are fairly fresh.

I am curious though, would such a work as this, that is a seeming mixture of Baroque and something else (I dont know what) be acceptable? If so I will send this as the Orchestral work.

Hey Jeremy,

I'm listening to Peter's Lament right now and think it's great. Very touching and introspective--and it brings up the image of what you're trying to convey VERY effectively. It also demonstrates that you're an extremely competent tonal composer (the same cannot be said for me when I was posting at MIDIworld). I don't typically give praise liberally, and I have to take a real liking to something to compliment it, so what I'm saying isn't just fluff. But then again, I'm no authority on music.

I've sent it to the others to see what they say, BUT, strictly speaking, it doesn't fall within the framework of what we're asking prospective members to demonstrate to us. It has Baroque elements, but it's not fundamentally Baroque.

Having said that, if you feel so inclined, prepare some more pieces for evaluation. Ultimately, if those show a facility with the Baroque idiom, I'd like to showcase Peter's Lament alongside whatever else you have to offer as an example of just how diverse our movement can be. And because, quite frankly, it's just plain good music!

One thing, though, is that I don't want to interfere with your stylistic development because I really think you're a very fine composer. If your heart is really set on focusing on the Baroque, however, we're ready to take you in. Whatever guidance you might need would probably be minimal judging from this work because you seem to have a firm grasp of harmony.

BTW, have you considered incorporating this as part of a larger cantata or opera? Maybe one that has choruses and incidental music that's more Baroque? I say this because Peter's Lament is written in a very appropriate style to convey (I presume) how Peter felt after he'd denied Christ. In fact, I don't think anything strictly Baroque could ever convey it as well. And isn't that, in large part, what the Baroque was all about--the conveyance of the Affects?

My music seems so mechanical now.

An e-mail from Mike Starke (presumably with a review of your work) just popped in. Depending on what it says, I'll post it below.

Cheers,

Mark

Mike Starke sent me an mp3 of a composition that's similar in a lot of ways to Peter's Lament. I haven't included it because of the large size, but if you want to hear it, let me know and I'll send it to you. You have AIM by any chance?

So here's his $0.02:

"This is exquisite, profound music, and as you say it has a quasi-Baroque character here and there. What makes it modern is the treatment of dissonance and voice leading. There is nothing here resembling a basso continuo style, either.

I'd like to hear what he can do in the Baroque idiom, so don't let him go!

I've written something similar, though not as with much depth as Jeremy's piece. Not as well rendered, either, but I think it's in the same realm. It has Baroque elements, but none of the dissonance is prepared in the manner any Baroque composer would recognize! This music was written for a journey through a fantasy garden featured in an online magazine."

1.) If your heart is really set on focusing on the Baroque, however, we're ready to take you in.

2.) BTW, have you considered incorporating this as part of a larger cantata or opera?

1.) My heart is definately set on Baroque.

2.) Actually, I have. I was thinking about doing a Cantata called "Petra" -- "Peter"

Or something along the lines or a short passion about the length of a Cantata painting

those scenes of Christ final 12 hours. (Which I favor)

Alot of my other Baroque files are not in Mp3, and I cannot convert them to such for a few weeks.

I do have another Mp3 file of a Baroque work. (The mp3 kinda makes the music choppy though)

It was in need of modulation too.

Organ Work

I have a few smaller older preludes & fugues on this site too in the Piano part, nothing special though.

Once back in Michigan I will see what I have.

Jeremy

1.) My heart is definately set on Baroque.

2.) Actually, I have. I was thinking about doing a Cantata called "Petra" -- "Peter"

Or something along the lines or a short passion about the length of a Cantata painting

those scenes of Christ final 12 hours. (Which I favor)

Alot of my other Baroque files are not in Mp3, and I cannot convert them to such for a few weeks.

I do have another Mp3 file of a Baroque work. (The mp3 kinda makes the music choppy though)

It was in need of modulation too.

Organ Work

I have a few smaller older preludes & fugues on this site too in the Piano part, nothing special though.

Once back in Michigan I will see what I have.

Jeremy

OK, I've downloaded the organ piece (I presume it's more recent?) and will listen to it later. Actually, a MIDI will do just fine. mp3s are only if we're going to post something at the site.

Also, go to my page on VS and send me an e-mail. This will probably be the most effective means of future correspondence.

Since you're pretty much set on going Baroque, I think I can at the very least list you as one of the apprentice members. OK with you? That could potentially change once we've (there are five of us, possibly six because I'm thinking of proposing that one person from the regular group be invited to critique on a rotating basis) reviewed more of your work.

LASTLY, if we think you need guidance, can you handle harsh criticism? You'll probably be dealing with me directly the most, and I can be pretty blunt at times. Nothing personal, but a forthrightness often drives the point home most clearly.

There are a number of others under review right now, and some of them are musicians with recognized baroque ensembles. You'll be in good company. Things will, though, be moving slowly since I'm kind of busy through the end of June.

Nice that you're thinking of doing a cantata. One thing's for sure--regardless of what comes of this, Peter's Lament is really great work and shouldn't be messed around with. No revision, no nothing. Got it? :laugh:

Where can I find that Sinfonia for a Cantata you did? I searched around the site and couldnt find it.

It's here (I had to log in though):

http://launch.groups.yahoo.com/group/ycomp.../Cantata%20VII/

Very Handelian. No, not just like Handel, but if I heard the darn thing without knowing that it was new, I'd think it was Handel. Not even one of Handel's imitators (like Arne and Stanley) but the big dude himself.

J. Lee,

You wrote it when you were 24? So just a little younger than I am now. I think Handel was 22 when he wrote the Gloria that was discovered in 2000. I dare to say it's just as good.

When I first heard it, though, I was under the impression that you were some 16 or 17 year old kid and was just about ready to quit the composing business. :laugh:

I find that the dotted rhythms of French overtures are difficult to convey through MIDI and still make a presentable score. That's part of the reason I avoid writing them.

Where can I find that Sinfonia for a Cantata you did? I searched around the site and couldnt find it.

Well, since you were interested, I posted it here: :D

http://www.youngcomposers.com/forum/index.php?showtopic=3084

Mark, I'm grateful to you for your very generous compliments.

I know what you mean about dotted rhythms. I often have to prepare two files when processing such things into Finale - one for playback, and another as it would normally be written. I had to write out all my ornaments and all the double-dotted rhythms, especially since this was first processed in Finale 2001. I even wrote out the rolled harpsichord chords. The only reason I used harpsichord for continuo in a sacred work intended for church use is I detest the organ sounds in General MIDI.

1.) Since you're pretty much set on going Baroque, I think I can at the very least list you as one of the apprentice members. OK with you?

2.) LASTLY, if we think you need guidance, can you handle harsh criticism? You'll probably be dealing with me directly the most, and I can be pretty blunt at times. Nothing personal, but a forthrightness often drives the point home most clearly.

1.) That would be great. I have lots to learn and my desire is to learn, so apprentice is good.

2.) I can handle harsh criticism. Even when we see things of nature refined it never looks pleasent to the thing being refined, but it works for its ultimate beauty and usefulness. Refined by Fire.

Jeremy

1.) That would be great. I have lots to learn and my desire is to learn, so apprentice is good.

2.) I can handle harsh criticism. Even when we see things of nature refined it never looks pleasent to the thing being refined, but it works for its ultimate beauty and usefulness. Refined by Fire.

Jeremy

Amen.

Send me an e-mail with your name, your location (hometown if you prefer), and a little background information. Like how you got into music, specifically what interests you about Baroque music and why you want to be a part of that tradition. Maybe also a little about nonmusical interests (hobbies/profession if it's not in music) or other nonbaroque music you might dabble in.

I'll try to get the website updated shortly once I have this information.

You might want to take a look at my post in the orchestral section "A short preview" for the opening of a viola concerto movement I'm working on. Nothing special, but you like fugues and it loosely fits the bill.

Great, will do! ;)

Mark,

I sent an e-mail.

By the way. I noticed your harmony and Pacchioni's is very clear and pure. I look forward to learning how to do the same with my own works. My harmony is rough and cloudy, as I have little harmony knowledge.