Exercise: Musical Patronage

In the previous section of this course, whilst focussing on the classical period, I discovered that the 18^th century saw the decline of employment of musicians by courts and religious establishments.  However, I was interested to learn more about the system of patronage during the Baroque period. 

The OCA course material details how, during the Baroque period, musicians were employed by a range of patrons including courts, wealthy individuals and churches to compose music for parties, public performances and larger celebrations.  Church patronage was also prominent during this time, with the Roman Catholic Church keen to use music to spread the message of God to new audiences seeking simpler and more modern compositions.

Throughout my research in this section, I have encountered a huge number of composers who were gainfully employed as musicians.   Lully, Bach and Vivaldi were all employed by a number of different patrons, each adopting new styles and techniques to fit with their employers requirements. This lead me to question the musical ‘freedom’ that was available during this period, or indeed any period.  Whilst it would be fair to say that musicians such as Bach were given a vast array of opportunities, including the use of the finest instruments, travel and the chance to meet contemporaries throughout court, I wonder what he might have achieved if he were given more time to compose music based on his own preferences and ideas. 

When looking at modern composers, many would say that musical patronage is reasonably rare.  However, if you consider patronage as the employment of musicians to produce music for public consumption, then surely today’s pop music is a fair comparison.   Although pop doesn’t contain many of the techniques and traditions of more ‘classical’ forms it is, nonetheless, produced largely for concerts, parties, feasts and large occasions; reminiscent of many commissioned compositions in the Baroque period.

Although today’s pop stars are not chained to individuals and courts, they are undeniably tied to tightly binding contracts with record labels.  These label producers and executives make decisions about the artist’s image, song choices and even choice of partner.  Perhaps it could be argued that today’s conditions for ‘popular’ artists deliver a more difficult way of expressing musical creativity?