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

《朱伯特：19世纪客厅中的莫扎特》从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观念：它向我们展示了莫扎特最著名的交响曲、协奏曲和序曲的钢琴、长笛、小提琴和大提琴（“朱伯特”合奏）的编曲，并将它们置于19世纪客厅的表演背景中。该项目采用了从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合作。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调音乐（协奏曲，交响乐和序曲）的保留曲目，这些曲目几乎完全是在伦敦为JUPITER合奏团安排和出版的。这样安排的音乐是这些作品在19世纪早期英国体验方式的基础，无论是在豪华的联排别墅还是更谦虚的乡绅的乡村住宅。“JUPITER”借此机会向受益者和用户群体揭示了一种今天完全未知的音乐文化，并解释了莫扎特的大型作品是如何在城市音乐会的稀有和主要城市文化之外被消费的。由PI Everist， RA Hewlett和四位艺术家研究人员组成的项目团队，“JUPITER”将采用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陈述产生影响，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19世纪早期音乐文化应该合理提出的关键问题：莫扎特的大型协调音乐是如何在简单的钢琴编曲之外表演的？答案以“木星”合奏的形式出现。这个乐团的名字来源于莫扎特最后一部交响曲的版本，该交响曲首次使用了现在不容置疑的标题“朱庇特”；这幅版画于1822年在伦敦出版，由克莱门蒂为木星合奏团安排的作品。这些安排在现代已经出版了一小部分，但表演媒介尚未产生任何影响，目前的项目改变了这种情况。产生影响的关键途径包括伙伴关系网络、一系列创新和互动讲习班以及音频和视频接触。我们所有的音乐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参与。一系列研讨会将探索各种途径，与那些消费原始研究产生的文本输出的社区进行接触。为了做到这一点，我们将探讨比较（原文和编排之间），器官和文化环境的问题，以及介绍当前形式的讲座朗诵和类似活动的特点。虽然这部分项目将与我们的一些用户群体深入接触，但商业CD录音将增加影响的范围，而网络视频将进一步向更多的受益者群体解释音乐制作的本质和19世纪早期客厅中的听众。我们将监测、评估和记录研究产生的影响。我们的主要工具是匿名问卷，一对一访谈，CD和视频录制；这些文件及其分析将成为该项目的永久遗产，并将被挂在其网站上，作为希望从事类似工作的其他团体的材料和提示，或者将商业化。

'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.