Following the European day of Early Music celebrated on 21st March, Bachtrack sets out this spring on a Grand Tour across Europe and beyond, to meet some of the most important period instrument performers and conductors. Our first interviewee is Nicholas Kraemer, Principal Guest Conductor of Music of the Baroque, Chicago.
The Baroque period saw the emergence of The Grand Tour, a travel made throughout Europe whose aim was to meet new cultures and complete one’s education. Nowadays, it’s period music ensembles – as well as audiences – that travel extensively, giving the chance for people to hear music sometimes forgotten for centuries. How would you explain the popularity of Baroque music?
Baroque music got a new lease of life, when period ensembles emerged in the 1970s, due to their liveliness, lightness and transparent textures. This in turn has rubbed off on to the modern instrument ensembles that play Bach etc and even with symphony orchestras there is an expectation of ‘enlightened’ Baroque interpretation.
The status of Baroque music in contemporary society is hard to define. Some children start learning music with the harpsichord for instance. Is Baroque still ancient ?
Do children start by learning the harpsichord? That’s news to me. I think children are more likely to relate to Baroque music than to contemporary classical music – unless there are cross-over elements. Ancient? If it has negative connotations, then no. Maybe the specialisation by ensembles of different periods of music is reflected in their audience/followers. For instance you can either be a Wagnerite or a Handelian but not normally both.