Vergangenwart & Gegenheit

Sainte Colombe lived in the 17th century, lived in France, far away from the court of Louis XIV, and became famous through a film Alain Corneau made about him about 10 years ago. For about 10 years, Brice Pauset, born in Besancon in 1965, has taken baroque sound and musical form models as the starting point for his compositions. But since early music has outstripped classical music in terms of the number of recordings sold, he is not the only contemporary who draws on the old to create something new. Even the Berlin Academy for Early Music, THE East German special ensemble for the historical music-making of Baroque old masters, mixes a new Saxon composition and premiere into the programme at a Bach anniversary. And in Japan, we learn, the best new composition for a viol consort is awarded a prize every year. What is the background to this backward-looking view? Is it a development that arises naturally from the sociology of contemporary baroque ensembles, which are organised as free groups similar to the special ensembles of New Music? So that the path from the very old to the very new sounds is shorter? Or do the Neutöners simply take a deep breath and start all over again at the beginning of the new millennium?
A programme by Uli Aumüller

Manuskript zur Sendung

Cast & Crew

Uli Aumüller
Editorial Jounalist
Helmut Rohm