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'JUPITER: Mozart in the 19th-Century Drawing Room'

《朱庇特：十九世纪客厅里的莫扎特》

基本信息

批准号：
AH/R005125/1
负责人：
Mark Everist
金额：
$ 9.98万
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：
2017
资助国家：
英国
起止时间：
2017 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FR005125%2F1
关键词：
JUPITER Mozart 19th Century Drawing

项目摘要

'JUPITER: Mozart in the 19th-Century Drawing Room' challenges our preconceptions about the way in which Mozart's music was consumed in the early 19th century in two important ways: it confronts us with arrangements for piano, flute, violin and 'cello (the 'JUPITER' ensemble) of Mozart's best-known symphonies, concertos and overtures and sets them in the performance context of the 19th-century drawing room. The project takes the knowledge that has been gained from the AHRC-funded 'Mozart's Ghosts' (three related projects), and engages with communities on which the original project had little or no opportunity to make any impact. The original research undertook a wide-ranging approach to questions of Mozart reception, and along the way identified a repertory of Mozart's large-scale concerted music (concertos, symphonies and overtures) that was arranged and published, almost exclusively in London, for the JUPITER ensemble. The music thus arranged was the basis of the ways in which these works were experienced in early 19th-century Britain, whether in luxurious townhouses or the provincial homes of the more modest gentry. 'JUPITER' takes the opportunity to reveal to beneficiaries and user-groups a musical culture that is completely unknown today, and to explain how Mozart's large-scale works were consumed outside the rarefied, and largely urban culture of the city concert. With a project team consisting of PI Everist, RA Hewlett and four artist-researchers, 'JUPITER' will take AHRC-funded research and transform the experience of a variety of beneficiaries.The original project made its impact via conventional verbal presentations, largely in response to requests to speak rather than as a coherent project of engagement; it uncovered significant amounts of material that revealed a key question that should be legitimately asked of early 19th-century musical culture: how was Mozart's large-scale concerted music performed beyond the simple piano arrangement? The answer emerged in the form of the 'JUPITER' ensemble. The ensemble takes its name from the edition of Mozart's last symphony that first used the now-unassailable title 'Jupiter'; the print was published in London in 1822 and the work arranged by Clementi for the JUPITER ensemble. A tiny number of these arrangements have been published in modern times, but the performance medium has yet to make any impact, a situation that the current project transforms.The key pathways to impact consist of a network of partnerships, a series of innovative and interactive workshops, together with audio and video engagements. All our concert promoters or festival managers have responsibilities both for developing audiences and for promoting public engagement with other bodies. A series of workshops will explore various routes to engage with communities that extend beyond those who consumed the textual outputs produced by the original research. To do this we will approach questions of comparison (between originals and arrangements), organology and cultural environment, as well as presenting introductions that characterise the current form of lecture recitals and similar events. While this part of the project will engage in depth with some of our user groups, a commercial CD recording will increase the reach of the impact, and a web-mounted video will further explain the nature of music-making and the audience in the early 19th-century drawing room to further groups of beneficiaries.We will monitor, evaluate and document the impact that the research makes. Our central tools are the anonymous questionnaire, the one-to-one interview, the CD and the video recording; these documents and their analysis will form the lasting legacy of the project, and will be mounted on its website to serve as materials and a prompt for other ensembles wishing to undertake similar work, or will be made commercially available.

《木星：十九世纪客厅里的莫扎特》以两个重要方式挑战了我们对 19 世纪早期莫扎特音乐消费方式的先入之见：它让我们面对莫扎特最著名的交响曲、协奏曲和序曲中的钢琴、长笛、小提琴和大提琴（“木星”合奏团）的编曲，并将它们置于 19 世纪初期的演奏背景中。 19世纪的客厅。该项目利用了从 AHRC 资助的“莫扎特的幽灵”（三个相关项目）中获得的知识，并与原始项目很少或根本没有机会产生任何影响的社区进行接触。最初的研究对莫扎特的接受问题进行了广泛的研究，并在此过程中确定了莫扎特大型协奏曲音乐（协奏曲、交响曲和序曲）的曲目，这些曲目几乎完全在伦敦为木星乐团安排和出版。这样安排的音乐是 19 世纪初英国体验这些作品的方式的基础，无论是在豪华的联排别墅还是在较为朴素的绅士的乡间住宅中。 “JUPITER”借此机会向受益者和用户群体揭示了当今完全未知的音乐文化，并解释了莫扎特的大型作品如何在城市音乐会的稀有且主要是城市文化之外被消费。 “JUPITER”的项目团队由 PI Everist、RA Hewlett 和四位艺术家研究员组成，“JUPITER”将开展 AHRC 资助的研究，并改变各种受益者的体验。最初的项目通过传统的口头演示产生影响，主要是为了回应发言请求，而不是作为一个连贯的参与项目；它揭示了大量的材料，揭示了一个应该合理地询问 19 世纪早期音乐文化的关键问题：除了简单的钢琴编曲之外，莫扎特的大型协奏音乐是如何演奏的？答案以“JUPITER”乐团的形式出现。该乐团的名字来源于莫扎特最后一部交响曲的版本，该版本首次使用了现在无可争议的标题“朱庇特”；该印刷品于 1822 年在伦敦出版，该作品由克莱门蒂为 JUPITER 乐团编排。这些编曲中的一小部分在现代已经出版，但表演媒介尚未产生任何影响，当前项目改变了这种情况。产生影响的关键途径包括合作伙伴网络、一系列创新和互动研讨会以及音频和视频参与。我们所有的音乐会发起人或节日管理者都有责任发展观众和促进公众与其他机构的参与。一系列研讨会将探索与社区互动的各种途径，这些社区不仅限于那些消费原始研究产生的文本输出的人。为此，我们将探讨比较（原作与编曲之间）、器官学和文化环境的问题，并介绍当前讲座和类似活动形式的特征。虽然该项目的这一部分将与我们的一些用户群体进行深入接触，但商业 CD 录音将扩大影响范围，而网络视频将进一步向更多受益群体解释音乐制作的本质和 19 世纪早期客厅里的观众。我们将监测、评估和记录该研究所产生的影响。我们的核心工具是匿名问卷、一对一访谈、CD 和录像；这些文件及其分析将成为该项目的持久遗产，并将被刊登在其网站上，作为材料和对希望开展类似工作的其他团体的提示，或者将在商业上提供。