Delectare et docere: A 17th-Century Marketing Tool for Showcasing the Lirone and its Repertoire

Delectare et docere：17 世纪展示 Lirone 及其曲目的营销工具

• 批准号: AH/I025530/1
• 负责人: Erin Headley
• 金额: $ 4.11万
• 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: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI025530%2F1
• 关键词: Delectare; et; docere; 17th; Century

My life was changed forever 35 years ago when, leafing through a 17th-century oratorio in the Vatican Library, I came to a recitative with the curious indication 'Cain con la lira'. Such a tantalising inscription would have meant very little to a musician or scholar in 1975, but today we know that the instrument referred to is the lirone, that plaintive-sounding multi string bowed intrument most often associated with grief and lamentation. That first encounter with Roman music inspired the rest of my musical life: I have made research trips to the main Italian cities, have collected, transcribed and performed much of the repertoire, and commissioned four copies of original lirones, yet in all my performing and touring as a professional musician in Europe, America and the Far East, I have been repeatedly disappointed that Roman music is still neglected by performers, promoters and recording companies.The Roman composers of the generation after Monteverdi, led by Luigi Rossi and Marco Marazzoli, set the intense poetry of their contemporaries - of which martyrdom and death, extravagant repentance, lamenting and religious ecstasy played no small part - and intensified it to create a new musical experience that was sensual, passionate, even erotic. Both Christian and Classical narratives were exploited to put their message across. The new exaggerated and excessive musical style is what we have come to think of as 'Baroque'.In 2007 I was awarded an AHRC fellowship which enabled me to research the lirone and its history, playing techniques, repertoire and cultural setting, and to develop projects that would promote the instrument and its remarkable repertoire. For that purpose I formed the ensemble Atalante to explore, rehearse, record, stage and film as much Roman music as possible. In 2009 I was awarded an AHRC small grant to assist with costs towards intensive rehearsal periods for two recordings to ensure optimum artistic results as well as to elucidate important performance-practice questions posed by the repertoire. The grant also supported our staged and filmed depictions of the musical narratives, with sumptuous Caravaggio-style costumes, evocative props and imaginative lighting in atmospheric settings. This made the repertoire far more accessible to the musical public, and worked to reinforce the marketing of the CDs, to promote my ensemble Atalante and to augment the effectiveness of my research and my lirone website. Our first recording (November 2009) was of Roman laments of Artemisia, Helen of Troy, Mary Magdalene and the Blessed Virgin by Rossi and Marazzoli. The second recording (July 2010) was of the Roman oratorio of Santa Caterina, whose original score we reconstructed since it had been damaged.My current application for a further AHRC small grant is to showcase the lirone as an important member of the basso continuo family, to continue to expand its repertoire through recordings, concerts, presentations and performing editions, and to transcend language and cultural barriers for listeners through visually illustrated staged versions of the repertoire. A further objective would be to introduce large-scale Latin works for the lirone (Lamento di David by Domenico Mazzocchi) as well as laments from the generation after Rossi and Marazzoli (Alessandro Stradella, Alessandro Scarlatti and Bernardo Pasquini), including a recorded track of Cain's lament to finally enable that remarkable work to see the light of day.My strategy in visually enhancing Roman music is modelled on the Counter-Reformation's own marketing tool for spreading their ideology far and wide. Their motto Delectare et docere - to delight while instructing - was created to attract the multitudes back to the Catholic church. The extravagant and erotic music and poetry must have had a powerful effect on its 17th-century listeners, and with visual enhancement, we endeavor to achieve a totally immersible experience for listeners today.

35年前，当我翻阅梵蒂冈图书馆里一部17世纪的清唱剧时，我的生活永远改变了，我来到了一个有着奇怪的指示“该隐与里拉”的宣叙调。在1975年，这样一个诱人的铭文对一个音乐家或学者来说意义不大，但今天我们知道，它所指的乐器是里拉琴，一种听起来哀怨的多弦弓乐器，通常与悲伤和哀悼有关。与罗马音乐的第一次相遇激发了我音乐生涯的其余部分：我曾到意大利的主要城市进行研究旅行，收集、转录和演奏了大部分曲目，并委托制作了四份原版的小提琴，但在我作为一名专业音乐家在欧洲、美国和远东的所有表演和巡回演出中，我一再感到失望的是，罗马音乐仍然被表演者所忽视，在路易吉·罗西（Luigi Rossi）和马可·马拉佐利（Marco Marazzoli）的带领下，蒙特威尔第之后的一代罗马作曲家将他们同时代人的激烈诗歌--其中殉道和死亡、夸张的忏悔、哀悼和宗教狂喜--加以强化，创造出一种感性、激情甚至色情的新音乐体验。基督教和古典叙事都被用来传达他们的信息。2007年，我获得了AHRC的奖学金，这使我能够研究里龙及其历史，演奏技巧，曲目和文化背景，并开发项目，以促进乐器及其卓越的曲目。为此，我组建了Atalante乐团，尽可能多地探索、排练、录制、演出和拍摄罗马音乐。在2009年，我被授予AHRC小额赠款，以协助两个录音的密集排练期间的费用，以确保最佳的艺术效果，以及阐明剧目所提出的重要表演实践问题。这笔赠款还支持我们的音乐叙事的舞台和电影演出，华丽的卡拉瓦乔风格的服装，令人回味的道具和富有想象力的灯光在大气中设置。这使得音乐大众更容易接触到这些曲目，并加强了CD的营销，促进了我的Atalante合奏，并提高了我的研究和我的lirone网站的有效性。我们的第一个录音（2009年11月）是罗马的哀叹蒿，特洛伊的海伦，玛丽抹大拉和圣母的罗西和马拉佐利。第二记录（2010年7月）是圣卡特琳娜的罗马清唱剧，其原始乐谱，我们重建，因为它已被损坏。我目前的申请进一步AHRC小额赠款是展示里龙作为一个重要成员的连续低音家庭，继续扩大其曲目通过录音，音乐会，演示和表演版本，并透过视觉上的解说，让听众跨越语言和文化的障碍。另一个目标是为里拉引进大型拉丁作品（多梅尼科·马佐基的《大卫的哀歌》）以及罗西和马拉佐利之后一代人的哀歌（亚历山德罗·斯特拉代拉，亚历山德罗·斯卡拉蒂和贝尔纳多·帕斯奎尼），包括一首该隐的哀歌，最终使这部非凡的作品得以重见天日。我在视觉上增强罗马音乐的策略是以反宗教改革派自己的营销工具，用于广泛传播他们的意识形态。他们的座右铭Delectiveet docere --在教导的同时快乐--是为了吸引群众回到天主教会而创造的。奢侈和色情的音乐和诗歌一定对17世纪的听众产生了强大的影响，通过视觉增强，我们奋进为今天的听众实现一种完全沉浸式的体验。