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

《朱庇特：19世纪客厅里的莫扎特》在两个重要方面挑战了我们对19世纪初莫扎特音乐消费方式的先入为主的看法：它让我们面对钢琴、长笛、小提琴和大提琴(木星合奏)的安排，这些作品是莫扎特最著名的交响乐、协奏曲和序曲中的一部分，并将它们设置在19世纪客厅的表演环境中。该项目吸收了从AHRC资助的“莫扎特的幽灵”(三个相关项目)中获得的知识，并与最初项目很少或根本没有机会产生任何影响的社区接触。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的大型协奏曲(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编排和出版。这样编排的音乐是19世纪初英国人体验这些作品的方式的基础，无论是在豪华的联排别墅中，还是在较为朴素的绅士的乡下住宅中。《JUPITER》借此机会向受益者和用户群体展示了一种今天完全不为人所知的音乐文化，并解释了莫扎特的大型作品是如何在城市音乐会的稀有、主要是城市文化之外被消费的。由Pi Everist、RA Hewlett和四位艺术家兼研究人员组成的项目团队，将利用AHRC资助的研究，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的请求，而不是作为一个连贯的项目；它发现了大量的材料，揭示了一个应该合理地向19世纪早期音乐文化提出的关键问题：莫扎特的大规模协调音乐是如何演奏的，而不是简单的钢琴编曲？答案以《木星》乐队的形式出现。该乐团的名字来源于莫扎特最后一部交响乐的版本，该交响曲首次使用了现在无懈可击的标题《朱庇特》；印刷品于1822年在伦敦出版，克莱门蒂为朱庇特乐团安排了这部作品。这些安排在现代出版的为数不多，但表演媒介尚未产生任何影响，目前的项目改变了这一局面。产生影响的关键途径包括伙伴关系网络、一系列创新和互动的研讨会以及音频和视频活动。我们所有的演唱会发起人或音乐节经理都有责任发展观众，并促进公众与其他机构的互动。一系列研讨会将探索与社区接触的各种途径，这些社区超越了那些消费原始研究产生的文本产出的人。为此，我们将探讨比较(原创和改编)、器官学和文化环境的问题，以及介绍当前形式的讲座独奏会和类似活动的特点。虽然该项目的这一部分将与我们的一些用户群体深入接触，但商业CD录制将扩大影响的影响范围，网络上安装的视频将向更多的受益者群体进一步解释音乐制作的本质和19世纪早期客厅的观众。我们将监测、评估和记录这项研究所产生的影响。我们的主要工具是匿名调查问卷、一对一访谈、光盘和录像；这些文件及其分析将构成该项目的持久遗产，并将在其网站上作为材料和对希望开展类似工作或将以商业形式提供的其他群体的提示。

'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.