“The only possible commentary to a musical composition is a new musical composition” (Igor Stravinsky).

The use of old instruments in new music inevitably poses the problem of dealing with historically related idioms of musical thought and language: one can simply adopt them, one can try to avoid them, or one can look for new forms of their use. 

Arguably, each way is the author’s own commentary on the music of the past. I am closer to the latter. 

Dmitry Lybin