Stile nu is between Early Music and New Music. It is the forefront of historical understanding of Enlightenment-era music and the cutting edge of interpretational technique. At all times, stile nu is a construction of the past—but where research fails, invention runs free.

Our repertory is as much newer than the barcode as it is older than the French Revolution. We perform Early Music that reconstructs the historical and that brings doubt to its existence; New Music that critiques the historical and that is embedded with it. We give modern premieres of newly-discovered Early Music and world premieres of new compositions. Our instrumentation is sometimes orchestral, sometimes smaller, and sometimes soloistic. Stile nu is not a group of people but an identity—an epitomization of what is new in the historical and what is historical in the new.

Stile nu is the whole experience of a historical musical culture. It is the opulent music room, the king's privy chamber, the royal parade ground, and what those places have become in the 21st century. It is a sleek monochrome minimalist and a man in a bright frock and breeches; ornamental gilding and iridescent fractals. Stile nu is pastness of the present and the presence of the past in music and its relationship with architecture, interior, fashion, cuisine, programming, and interpretation. Stile nu is Postmodern baroque, Enlightnement intellect, Rococo extravagance, 21st-century sensuality, and eternal Classicism.

Richard Taruskin, "The Pastness of the Present and the Presence of the Past," in Text and Act: Essays on Music and Performance (Oxford: Oxford University Press, 1995), 140.

"The split that is usually drawn between ‘modern performance’ on the one hand and ‘historical performance’ on the other is quite topsy-turvy. It is the latter that is truly modern performance—or rather, if you like, the avant-garde wing or cutting edge of modern performance—while the former represents the progressively weakening survival of an earlier style, inherited from the nineteenth century, one that is fast becoming historical. [...] Modern performance, in the sense I use the term, can be seen as modernist performance, and its conceptual and aesthetic congruence with other manifestations of musical modernism stand revealed."