Project overview
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.