Apologies again for the temporary lapse in posts: with the research project currently in a stage where I'm cross-checking my previous remarks on Ox213's French repertory, I don't have much findings of interest of yet. So in the meantime, here's something a little different: a blog post about using early music in compositions.
What sparked my thoughts about this topic was Harry Haskell's book, The Early Music Revival: A History. One of the chapters had a bit at the end talking about how then-contemporary composers used early music and its techniques, instruments, etc. in new music, and made the point that these composers were using these in the service of (timbre/actual composition shit) rather than their historical connections. Not that it's a bad thing, either: experimenting with early music's techniques and (other stuff) in this manner creates interesting results, my favourite of which was Mauricio Kagel's Musik für Renaissance Instrumente.
But composers since have absolutely used early music to (rephrase make historical connections) as well: one such piece that I remember was Panufnik's Tears, no more which utilized
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