Reliquie Romane: Discovering the Lirone's True Role through its 17th-Century Roman Repertoire

Reliquie Romane：通过 17 世纪罗马曲目发现 Lirone 的真正作用

• 批准号: AH/H018646/1
• 负责人: Erin Headley
• 金额: $ 3.7万
• 依托单位: University of Southampton
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2009
• 资助国家: 英国
• 起止时间: 2009 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FH018646%2F1
• 关键词: Reliquie; Romane; Discovering; Lirone; True

SummaryThe lirone is a truly remarkable bowed chordal instrument. Bizarrely designed and tuned (with 9 to14 strings), it makes an unearthly sound most appropriate for grief and lamenting. Invented in 1505 by a pupil of Leonardo, Atalante Migliorotti, it reached Rome just after 1600. By then its repertoire was beginning to show clear signs of the new Baroque style, in which the excesses and exaggerations of the counter-Reformation were in full force. I began playing the lirone in 1980, when I was virtually its only exponent. Today there are dozens of ensembles in the world who feature the instrument, but who carelessly splash its special colour around, so much so that its effect has become almost banal.In 2007 I was awarded an AHRC fellowship to research the lirone, its repertoire and its cultural setting. Since then I have investigated historical sources and, most importantly, all positively identified repertoire for the lirone in order to decipher unfamiliar performance indications for dynamics, phrasing, ornaments and harmonies, as well as to find clues about Italian prosody and rhetoric. I have also been able to expand the repertoire considerably by applying principles from the identified works to select new repertoire, and I have investigated how best to use the lirone within the dramatic unfolding of the musical narrative.I have amassed a huge collection of manuscripts (funded by the Southampton music department), mainly from the Vatican Library. They contain over 1000 cantatas, many of them written by Luigi Rossi and Marco Marazzoli, prominent composers of several of the identified works. The material has had to be carefully sifted to identify music appropriate to the instrument. I have already transcribed and edited music, texts and translations for 14 cantatas; these will provide the basis of our first recording, and are to be published by Edition Baroque in Bremen.This has been a tremendously exciting endeavour, from which I have drawn a wealth of material based on subjects from the ancient world and early Christianity. Works on Artemisia the Greek queen, whose excessive grief turns into a monstrous nightmare, the miserable and aging Helen of Troy, and Mary Magdalen, who struggles in solitude with her penitence, are but a few of the incredible treasures waiting to see the light of day. The remarkable poetry is the work of many distinguished Romans, several eminent cardinals, and a pope.In order to create my own convincing performances of this repertoire, I have founded an ensemble, Atalante, which has a number of projects planned, all under the series title of Reliquie Romane. The first is a Purcell Room concert in October 2009 as part of a South Bank Centre early-music weekend. Following the concert we will record the material for the innovative new record company committed to effective marketing of their CDs and artists. Beyond this, there will be a second recording in the spring, related videos and several more concerts.Concert promoters and recording companies cannot cover all the rehearsal and artistic preparation time that this music requires. For this reason I am making the request for a small practice-led grant to fund two substantial rehearsal periods, travel and accommodation of foreign artists, instrument hire and moving, rehearsal-space hire, a share of the video costs and administrative assistance. As wonderful as the music is, there are barriers of language and culture to overcome for it reach a wider public. Opera benefits from full staging and surtitles, but chamber music does not. For this reason our concerts will be semi-staged, with subsequent video recording of musical excerpts to illustrate the laments' rich narratives, to help market the CDs on the internet, and to enhance my lirone resource web pages, which will be linked to my Southampton website.

钢琴是一种非凡的弓弦乐器。奇怪的设计和调音（有9到14根弦），它发出一种超凡脱俗的声音，最适合悲伤和哀悼。1505年，达芬奇的学生Atalante Migliorotti发明了它，1600年后传入罗马。那时，它的曲目开始显示出新巴洛克风格的明显迹象，其中反宗教改革的过度和夸张充分发挥了作用。我从1980年开始演奏钢琴，当时我几乎是它唯一的倡导者。今天，世界上有几十个乐团以这种乐器为特色，但他们不小心把它的特殊颜色洒在周围，以至于它的效果几乎变得平庸。2007年，我获得了AHRC的奖学金，研究雄狮、它的曲目和它的文化背景。从那时起，我调查了历史资料，最重要的是，所有积极确定的曲目都是为了破译不熟悉的动态，措辞，装饰和和声的表演指示，以及寻找意大利韵律和修辞的线索。我还能够通过应用已确定作品的原则来选择新的曲目，从而大大扩展曲目，并且我研究了如何在音乐叙事的戏剧性展开中最好地使用lione。我收集了大量的手稿（由南安普顿音乐系资助），主要来自梵蒂冈图书馆。它们包含超过1000首康塔塔，其中许多是由路易吉·罗西和马可·马拉佐利创作的，他们是几部已确定作品的杰出作曲家。材料必须仔细筛选，以确定适合这种乐器的音乐。我已经转录和编辑了14首康塔塔的音乐、文本和翻译；这些将成为我们第一次录音的基础，并将由不莱梅的巴洛克版出版。这是一项非常令人兴奋的努力，从中我获得了大量基于古代世界和早期基督教主题的材料。关于希腊女王阿特米西亚的作品，她过度的悲伤变成了可怕的噩梦，特洛伊的悲惨和衰老的海伦，以及孤独地与她的忏悔斗争的玛丽莫德林，只是等待看到光明的令人难以置信的宝藏中的一小部分。这些杰出的诗歌出自许多杰出的罗马人、几位杰出的红衣主教和一位教皇之手。为了创作我自己的令人信服的表演，我成立了一个合奏团，Atalante，它计划了一些项目，所有这些项目都以罗马的Reliquie Romane为系列标题。第一个是2009年10月的Purcell Room音乐会，作为南岸中心早期音乐周末的一部分。音乐会结束后，我们将为这家创新的新唱片公司录制这些材料，该公司致力于有效地营销他们的cd和艺术家。除此之外，春天还会有第二张唱片，相关视频和更多的音乐会。演唱会发起人和唱片公司不可能覆盖这首音乐所需的所有排练和艺术准备时间。为此，我请求提供一笔由练习主导的小额赠款，以支付两个相当长的排练期、外国艺术家的旅费和住宿费、乐器租金和搬家、排练场地租金、分摊录象费和行政协助费用。尽管音乐很美妙，但要想让更广泛的公众接受它，还需要克服语言和文化的障碍。歌剧受益于完整的舞台和字幕，但室内乐却没有。出于这个原因，我们的音乐会将是半上演的，随后的音乐片段录像，以说明悲歌的丰富叙事，帮助在互联网上销售cd，并加强我的在线资源网页，这将链接到我的南安普顿网站。