The Jupiter Project : Mozart in the nineteenth-century drawing room
- Submitting institution
-
University of Southampton
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 45778322
- Type
- I - Performance
- Venue(s)
- London
- Open access status
- -
- Month of first performance
- August
- Year of first performance
- 2019
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
4
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The JUPITER project poses the question: how was Mozart heard in the 19th-century drawing room?, and challenges preconceptions about the way in which Mozart’s music was consumed in the early 19th century in two important ways: it places centre-stage arrangements for piano, flute, violin and ‘cello (referred to as the ‘JUPITER’ ensemble as a shorthand) of Mozart’s best-known symphonies, concertos and overtures, and sets them in the performance context of the 19th-century drawing room. The project first 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 by Muzio Clementi, Johann Nepomuk Hummel and JeanBaptiste Cramer. 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. The JUPITER project reveals a musical culture that is completely unknown today, and explains how Mozart’s large-scale works were consumed outside the rarefied, and largely urban culture of the city concert. The objectives of the research were to assemble the complete repertory of music for the JUPITER ensemble, the identification of the actors involved (arrangers, dedicatees, publishers, original composers, performers), to establish workable texts from the surviving material (much is fragmentary), to build a professional ensemble to perform the music, and to develop a performance idiom that acknowledged both the original purpose of the arrangements and the relationship with their originals. This formed the basis of a series of concerts, workshops and a CD recording with Hyperion that reached the no. 3 position in the US Billboard Classical Charts.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -