The Classical Midi Connection: M. J. Starke

Michael J. Starke 1955 - Present

This interview was printed in an issue of the Monterey Bay Recorder Society Newsletter and was conducted by Steve Newman.
Q. What is your musical background?
A. I Started play bass violin in jr. high school and continued through high school and jr. college. My preference for Baroque music began after a friend played a new recording for me Called Switched On Bach. Bach's music really did switch something on in my mind! At that time, I started hearing the wonderful dialog in baroque music and wanted fill my life with this kind of sound as much as possible!
As much as I did enjoy playing basso continuo parts on my instrument, I really wanted to play a melody instrument as well. The recorder was the perfect instrument with its alluring sweet sound and handy portability.
Before composing any of my own music I spent much time arranging music for my solo alto recorder. Later, as I met other recorder players, I arranged music for recorder trio and quartet. Eventually I tried composing my own pieces.
I joined the Orange County, Ca. chapter of the American Recorder Society and met some really great players. We formed an early music group that performed at weddings, bookstore openings and other offbeat events and places.
Since moving to Oregon I've found a group called the "Monday Pro Musica" who's members have been very patient with me when I ask them to try one of my new pieces.
Q. What sets Baroque music apart from what came before or after?
A. I think the key to understanding Baroque music is to listen as if a conversation were taking place of a debate was being held among the instruments. If we listen in this way, in a linear fashion, the patterns begin to come clear and the composer's mind begins to take shape inside our own.
There also seems to be a certain spirit or essence in the music that is more difficult for me to define. But I think it has to be related to the people of the time experiencing new thoughts, ideas and technologies. It's the spirit of discovery of the power of science and rational thought.
These are different times, of course, but I am disposed to the optimism and rationality of the baroque period as mirrored in the music in its rhetoric and form.
Q. What would you like happen to your music?
A. The primary reason I compose is simply for my own enjoyment and the amusement of my friends. The Internet has expanded my small circle of listeners by a degree I have trouble comprehending! With that fact in mind, I hope some may have a practical use for my music, such as live performances. I've had reports from locations all over the world that this has actually happened. I am very pleased to hear about it. I don't compose difficult music since my intent is to supply the amateur players of which I count myself a member.
Q. Who are your favorite Baroque composers?
A. For pure musical enjoyment I always look to JS Bach. I particularly listen to his cantatas, motets, and the Mass in B Minor. He had mastery and absolute control over all aspects of music that has never been equaled. (Well, may Mozart ranks close) He understood everything musical and was able to show us in the form of a body of wondrous works.
My favorite all-purpose composer for everyday listening and playing is GP Telemann. If I had any aspirations of emulating another composer it would be him. He was an avid recorder player himself and understood how to write effective music for the instrument. As a composer I admire his facility, accessibility, humor and inventiveness displayed in his music. The way he was able to blend various influences of regional and national styles is an something I appreciate since I too must deal with a variety of styles and inspirations in my own time.
I've never met a Baroque composer I didn't like. Then again, by this time the bad ones have been completely forgotten!
Q. Do you have a degree in music?
A. No. I took a few courses in music theory in college, but I've learned more by my own independent study. I read scores like most people read books, when I can get them. Sequencing the works of the masters into MIDI format and arranging their music for recorders has revealed a wealth of information to me in terms of structure, form, and harmonic practice of the time. This has been a kind of technical training or virtual apprenticeship for me. The learning has been on a very practical level. As a result, my writing tends to be more intuitive based than theoretical . I write what I hear, not what I think I should be hearing.
On the other hand I do enjoy reading translations of Fux and Zarlino. Thomas Morely wrote a book for amateur composers on "Practical Musick" that is intended for amateurs and is just fascinating. There are other favorite books that I have listed elsewhere on the Web.
Q. What else would you like to tell us?
A. I'd like to share my MIDI files and scores with all who are interested in promoting music to young people, devoted amateurs, and performers. I invite helpful comments, criticisms, and questions from all.
Mike Starke
Portland, Oregon