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

里罗内是一种真正了不起的弓弦乐器。奇怪的设计和调音(有9到14根弦)，发出一种最适合悲伤和哀悼的超凡脱俗的声音。它由列奥纳多的学生阿塔兰特·米格利奥罗蒂于1505年发明，1600年刚过就到达罗马。到那时，它的曲目开始显示出新巴洛克风格的明显迹象，在这种风格中，反宗教改革的过度和夸张是完全有效的。我在1980年开始演奏里昂，当时我几乎是唯一的拥护者。今天，世界上有几十个乐团以这种乐器为特色，但他们不小心将其特殊的颜色洒得到处都是，以至于它的效果几乎变得平淡无奇。2007年，我获得了AHRC的奖学金，研究里昂、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，我调查了所有确定的里昂曲目，以便破译动态、措辞、装饰品和和声的陌生表演迹象，以及寻找关于意大利韵律和修辞的线索。我还通过应用已确定的作品中的原则来选择新的曲目，从而大大扩展了曲目，我还研究了如何在音乐叙事的戏剧性展开中最好地使用里罗内。我收集了大量手稿(由南安普顿音乐部资助)，主要来自梵蒂冈图书馆。它们包含1000多首康塔塔，其中许多是路易吉·罗西和马尔科·马拉佐利写的，他们是几部已确定作品的著名作曲家。这些材料必须经过仔细的筛选，以确定适合该乐器的音乐。我已经转录和编辑了14个大合唱的音乐、文本和翻译；这些将成为我们第一次录音的基础，并将由不来梅的巴洛克版本出版。这是一项非常令人兴奋的工作，我从其中提取了大量基于古代世界和早期基督教主题的材料。作品写的是希腊女王艾尔特米西亚，她的过度悲伤变成了一场可怕的噩梦，特洛伊悲惨而年迈的海伦，以及孤独地与忏悔作斗争的玛丽·马格达伦，只是等待着重见天日的几个令人难以置信的珍宝。这首不同凡响的诗歌是许多杰出的罗马人、几位杰出的红衣主教和一位教皇的作品。为了创作我自己的令人信服的表演，我成立了一个乐团，Atalante，它计划了一些项目，所有项目都以Reliquie Romane的系列名称命名。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。演唱会结束后，我们将为这家创新的新唱片公司录制材料，该公司致力于有效地营销他们的CD和艺术家。除此之外，春季还将有第二张专辑、相关视频和几场音乐会。演唱会推广者和唱片公司无法涵盖这首音乐所需的所有排练和艺术准备时间。出于这个原因，我请求提供一小笔以实践为主导的赠款，用于资助两个重要的排练阶段，外国艺术家的旅费和住宿，乐器租赁和搬家，排练场地租金，视频费用和行政援助的一部分。尽管音乐很美妙，但要想让更广泛的公众接触到它，还需要克服语言和文化的障碍。歌剧从完整的舞台和字幕中受益，但室内乐却没有。出于这个原因，我们的演唱会将是半上演的，随后将录制音乐节选，以说明哀悼者丰富的叙事，帮助在互联网上营销CD，并增强我的里龙资源网页，该网页将链接到我的南安普顿网站。

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.