Reuse Music is an economy of means. Circa 1700, Pietro Marchitelli wrote 12 sonatas in Naples for two violins and cembalo. Most of the sonatas exist in only one manuscript, which is badly damaged and is missing the second violin part. Reuse Music is built with, from, above, and alongside these ruins.
Reuse Music is an interpretation of history. Every new composition is merely a re-interpretation of its composer’s influences. Over the several-thousand-year history of music, the possibility for invention of new sounds has become extinct. In this century, we appreciate curious variations of the familiar over intriguing new sensations. Reuse Music is an explicit re-interpretation of its composer’s influence. Reuse Music is an inquisition of ca.1700 Naples and a delicate essay on the form and rhetoric of its music.
Reuse Music is a modernism. Modernism simplifies and re-organizes complex natural order. Mass production required standardization so minimalism was inevitable. But finding order also enables understanding, which in turn enables appreciation and love. Reuse Music seeks order. Baroque music is foreign, as much as we like to think otherwise. Reuse Music seeks to reorganize its complexity and slow its intricacy. Harmony becomes drone. Ornamentation becomes mere color. A complex form becomes a single motion. Reuse Music is the search for new perspective on ca.1700 Naples.