Ritorno al Parnasso: The lirone in the performance of 17th-century music

里拉琴是最和谐的拉弓乐器。被当代作家称赞为“感动灵魂，灌输奉献精神和刷新精神”的能力，它是17世纪通奏乐组的关键成员。尽管17世纪的作家们对里拉琴大加赞扬，但它实际上被早期音乐运动所忽视，除了我自己从20世纪80年代初开始复兴它。希腊的七弦琴传统上被描绘成由阿波罗在帕纳索斯山顶演奏。里拉琴起源于世纪早期，当时它被发明来模仿古典乐器。然而，它在17世纪的罗马找到了真正的利基市场，在那里，它在一个奢侈的教皇的赞助下蓬勃发展：梵蒂冈山已经成为里龙的帕纳索斯。我们仍然需要对这一重要乐器及其音乐给予更多的关注。对所有幸存的乐器和图像的调查，对所有已知曲目的研究，对乐器如何发声和演奏的深入了解，以及从音乐来源，论文，日记和档案中的证据中找到表演实践问题的解决方案，都将有助于重新发现里拉琴的非凡响亮，并有助于恢复它在17世纪歌剧中的独特地位。清唱剧和声乐室内乐。与专业音乐家的排练和学生工作坊将成为解决表演实践问题的创造性论坛。音乐会图尔斯之旅（在欧洲和美国）以及CD和广播录音将不仅提高音乐观众对里拉琴的认识和欣赏，而且也提高导演和其他演奏者对里拉琴的认识和欣赏，他们仍然对使用这种乐器的适当方法相对无知。出版的文章将涵盖乐器，曲目，来源和文化背景，但最实用和最有用的工具无疑是演奏乐器的工作手册/技术指南。

The lirone was the most harmonious of the bowed instruments. Lauded by contemporary writers for its ability to 'move the soul, instil devotion and refresh the spirit', it was a key member of the 17th-century continuo group. Though much remarked-upon by 17th-century writers, the lirone was virtually ignored by the early-music movement, with the exception of my own revival of it from the early 1980s. The Greek lyre was traditionally depicted being played by Apollo atop Parnassus. The lirone has its origins in the early 16th century, when it was invented to emulate the classical instrument. It found its true niche, however, in 17th-century Rome, where it flourished most notably under the patronage of an extravagant papacy: the Monte Vaticano had become the lirone's Parnassus. Much attention still needs to be given to this important instrument and its music. An investigation of all surviving instruments and iconography, a study of all known repertoire, insight into how the instrument sounded and was played and finding solutions to performance practice problems from evidence in musical sources, treatises, diaries and archives will all contribute to a rediscovery of the lirone's remarkable sonority and help to restore it to its unique place in accompanying the voice in 17th-century opera, oratorio and vocal chamber music.Rehearsals with professional musicians and workshops for students will become creative forums for addressing performance-practice issues. Concert tours (in Europe and the USA) and CD and radio recordings will increase awareness and appreciation of the lirone not only for musical audiences, but also for directors and other players, who are still relatively ignorant about appropriate ways in which to use the instrument. Published articles will cover instruments, repertoire, sources and cultural context, but the most practical and useful tool of all will undoubtedly be a workbook/technical guide on playing the instrument.