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'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(ga); })(); </script> </head> <body class="post-template-default single single-post postid-2 single-format-standard custom-background customizer-styles-applied primary secondary tertiary single-author fixed jetpack-reblog-enabled"> <div id="page" class="hfeed"> <header id="masthead" role="banner"> <div class="site-branding"> <h1 id="site-title"><a href="https://andrewlawrenceking.com/" title="Andrew Lawrence-King" rel="home">Andrew Lawrence-King</a></h1> <h2 id="site-description">Text, Rhythm, Action! (Historically Informed Performance) & The Flow.Zone </h2> </div> <a href="https://andrewlawrenceking.com/" rel="home"> <img id="header-image" src="https://andrewlawrenceking.com/wp-content/uploads/2013/08/copy-alk-huete-small2.png" width="269" height="252" alt="" /> </a> </header> <div id="main"> <div id="primary"> <div id="content" role="main"> <nav id="nav-above"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/" rel="prev"><span class="meta-nav">←</span> Frescobaldi Rules, OK?</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/2015/11/24/the-first-opera-the-beginning-of-baroque/" rel="next">The First Opera & The Beginning of Baroque <span class="meta-nav">→</span></a></div> </nav> <article id="post-2" class="post-2 post type-post status-publish format-standard hentry category-continuo category-dream-theory category-early-harps category-flow category-history-of-emotions category-improvisation category-introductions category-irish-harp category-irish-harp-ornaments category-italian-baroque-harp category-moving-the-passions category-music-and-philosophy category-music-dance-swordsmanship category-rhythm category-single-action-harp category-text category-triple-harp tag-18th-century tag-agazzari tag-art tag-baroque tag-baroque-gesture tag-baroque-music tag-baroque-opera tag-continuo tag-early-harp tag-early-music tag-early-opera tag-emotions tag-flow tag-harp tag-hip tag-historical-action tag-history-of-emotions tag-irish-harp tag-muovere-gli-affetti tag-musica-recitativo tag-ornamentation tag-phrasing tag-rhythm tag-science tag-seicento tag-single-action-harp tag-swordsmanship tag-tactus tag-text tag-western-martial-arts"> <header class="entry-header"> <h1 class="entry-title">Text, Rhythm, Action! Research, Training & Performance</h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/#comments">6</a></p> </header> <div class="entry-content"> <p>In the field of Early Opera, do you think it might be good to integrate academic <strong>research </strong>with continuing professional development, advanced <strong>training </strong>and international-level <strong>performance</strong>?</p> <p>Read more…</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/09/jacopo-peri.jpg"><img data-attachment-id="1317" data-permalink="https://andrewlawrenceking.com/2015/09/27/logical-captain-the-implications-of-peris-preface/jacopo-peri-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/09/jacopo-peri.jpg" data-orig-size="222,306" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Jacopo Peri" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/09/jacopo-peri.jpg?w=218" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/09/jacopo-peri.jpg?w=222" class="alignnone size-full wp-image-1317" src="https://andrewlawrenceking.com/wp-content/uploads/2015/09/jacopo-peri.jpg?w=440" alt="Jacopo Peri" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/09/jacopo-peri.jpg 222w, https://andrewlawrenceking.com/wp-content/uploads/2015/09/jacopo-peri.jpg?w=109&h=150 109w" sizes="(max-width: 222px) 100vw, 222px" /></a></p> <h3>PERFORMANCE PRIORITIES</h3> <p>Amongst all the myriad details of performance that have fascinated actors, musicians and audiences over the ages, in the 17th century, the age of Shakespeare, Dowland & Purcell, of Monteverdi and the first Italian operas, <strong>what were the highest priorities?</strong><br /> Caccini (1601) defines <strong>Music</strong> as:</p> <blockquote><p>Text and Rhythm, with Sound last of all. And not the other way around!</p></blockquote> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/text-rhythm-and-sound.png"><img data-attachment-id="1373" data-permalink="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/text-rhythm-and-sound-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/text-rhythm-and-sound.png" data-orig-size="270,253" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Text, Rhythm and Sound" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/text-rhythm-and-sound.png?w=270" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/text-rhythm-and-sound.png?w=270" class="alignnone size-full wp-image-1373" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/text-rhythm-and-sound.png?w=440" alt="Text, Rhythm and Sound" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/text-rhythm-and-sound.png 270w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/text-rhythm-and-sound.png?w=150&h=141 150w" sizes="(max-width: 270px) 100vw, 270px" /></a></p> <p>Bulwer (1644), via Quintilian and Cicero, cites Demosthenes’ three points of <strong>Eloquence</strong>:</p> <blockquote><p>Action! Action! Action!</p></blockquote> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2014/08/demosthenes-cicero-quintilian.png"><img data-attachment-id="825" data-permalink="https://andrewlawrenceking.com/2014/08/10/how-did-it-feel-a-history-of-heaven-hearts-harps/demosthenes-cicero-quintilian-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/demosthenes-cicero-quintilian.png" data-orig-size="477,168" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Demosthenes Cicero Quintilian" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/demosthenes-cicero-quintilian.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2014/08/demosthenes-cicero-quintilian.png?w=440" class="alignnone size-full wp-image-825" src="https://andrewlawrenceking.com/wp-content/uploads/2014/08/demosthenes-cicero-quintilian.png?w=440&h=155" alt="Demosthenes Cicero Quintilian" width="440" height="155" srcset="https://andrewlawrenceking.com/wp-content/uploads/2014/08/demosthenes-cicero-quintilian.png?w=440&h=155 440w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/demosthenes-cicero-quintilian.png?w=150&h=53 150w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/demosthenes-cicero-quintilian.png?w=300&h=106 300w, https://andrewlawrenceking.com/wp-content/uploads/2014/08/demosthenes-cicero-quintilian.png 477w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p>These historical priorities guided Andrew Lawrence-King’s 5-year investigation of <strong>Text, Rhythm, Action!</strong> at the Australian Research Council’s Centre of Excellence for the History of Emotions and with <strong>Il Corago</strong>, the production company for historical staging. You can download a full illustrated report from the Il Corago website, <a href="http://www.IlCorago.com" target="_blank">here</a>.</p> <p>In this post, <span style="color:#000000;">scroll down for <span style="color:#800000;"><strong>Research</strong></span>, <span style="color:#800000;"><strong>Training</strong></span>, <span style="color:#800000;"><strong>Performance, Publications </strong> </span>& (lots of) <span style="color:#800000;"><strong>Links</strong></span>.</span></p> <h3>A UNIQUE INTERNATIONAL PROGRAM OF RESEARCH, TRAINING & PERFORMANCE</h3> <p>With a unique combination of academic rigour, unified focus, practitioner expertise and international scope, this program applied historical research to the development of new training methods for modern performers in some 2 dozen award-winning staged productions of Early Modern music-dramas and Historical Action worldwide.</p> <h3>AWARDS & PUBLICATIONS</h3> <p>Lawrence-King’s musical direction of the ‘<strong>first opera</strong>’, Cavalieri’s <em>Anima & Corpo</em>, won Russia’s highest theatrical award, the <strong>Golden Mask</strong>. During the period of this investigation, he also received the U.S. <strong>Grammy</strong>, Australian <strong>Helpmann</strong> and two Spanish <strong>Premios de la Música</strong> for collaborations with Jordi Savall.</p> <p>Two documentary-films, a mini-documentary and many video clips have already been released. Research insights are debated on the TRA blog here at <span style="color:#800000;"><a href="http://www.AndrewLawrenceKing.com" rel="nofollow">http://www.AndrewLawrenceKing.com</a></span>. Now Professor Lawrence-King has begun to write up his findings formally in book chapters, articles for academic journals and in several forthcoming books.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/golden-mask.png"><img data-attachment-id="1374" data-permalink="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/golden-mask/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/golden-mask.png" data-orig-size="235,184" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Golden Mask" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/golden-mask.png?w=235" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/golden-mask.png?w=235" loading="lazy" class="alignnone size-full wp-image-1374" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/golden-mask.png?w=440" alt="Golden Mask" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/golden-mask.png 235w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/golden-mask.png?w=150&h=117 150w" sizes="(max-width: 235px) 100vw, 235px" /></a></p> <h1><span style="color:#800000;">RESEARCH</span></h1> <p>Our initial Question was almost naïve: <strong>how can baroque gesture be convincing for modern audiences? </strong>This opened up two paths, which both led back to the dramatic <strong>Text</strong> via investigations of <strong>Rhythm</strong> (in poetry, music and movement) and of <strong>Embodiment</strong> (posture, gesture, mind/body interactions). Whereas the romantic tradition glorifies performers’ genius, 17th-century philosophy respects the poetic text (which, nevertheless, is realised with <strong>improvised</strong> <strong>creativity</strong>) and privileges the <strong>audience</strong>.</p> <p> </p> <p> </p> <p>Musical <strong>Rhythm</strong> is understood within period concepts of <strong>Time</strong> itself. As an element of <strong>Rhetoric</strong>, the <strong>Art of Gesture</strong> is embedded in the <strong>Science of Historical Action</strong>. In this ancient, intuitive model of how poetry, music & drama induce psychological and physiological changes amongst performers and audiences, <strong>Enargeia</strong> (the emotional power of detail) creates imaginary <strong>Visions</strong> that use the mind-body force of <strong>Pneuma</strong> to stir up the <strong>Four Humours</strong>.</p> <p>Our research <strong>Aim</strong> is to develop rehearsal methodologies that empower modern-day performers to <strong>Use </strong>the historical principles of the 17th-century <strong>Art of Rhetoric</strong> within the framework of period <strong>Science</strong>. Andrew Lawrence-King’s <strong>Method</strong> is grounded on close reading of such key historical sources as<br /> Cavalieri & Peri (1600), Bonifacio (1616) & Bulwer (1644), the anonymous Il Corago (c1630). These well-known texts are re-evaluated in the light of <strong>period Philosophy</strong>, in which <strong>Time, Pneuma & Music</strong> all exhibit a complex, threefold structure that connects <em><strong>mondana</strong> </em>– the heavenly & mysterious, with <em><strong>humana </strong></em>– the human & embodied, and <strong><em>instrumentalis</em> </strong>– the practical and interactive.</p> <p>New understandings were debated in <strong>seminars</strong> and <strong>conferences</strong>, applied in <strong>workshops</strong> and <strong>rehearsals</strong>, and tested in the real world of live performance with a wide range of modern audiences. Interim Findings – on Pre-Newtonian <strong>Time</strong>, Musical <strong>Tactus</strong>, No Conducting!, <strong>Medieval</strong> music-drama, Commencing <strong>Continuo</strong>, Redefining <strong>Recitative</strong>, Pepys’ <strong>Shakespeare </strong>Speech, Pneuma, Enargeia, <strong>Music & Consciousness</strong>, 17th-century Hypnosis, Baroque Gesture:<br /> What’s the <strong>Point</strong>? – have been reported at conferences & public lectures at Cambridge, Oxford, Yale, Vienna, Sydney, Adelaide, Perth, Singapore, Moscow, St Petersburg, Novosibirsk, Barcelona, Copenhagen, Ghent, Basel, Helsinki, Galway, Kilkenny, Budapest, London etc.</p> <p> </p> <div data-shortcode="caption" id="attachment_1375" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg"><img aria-describedby="caption-attachment-1375" data-attachment-id="1375" data-permalink="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/arianna-and-bacchus/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg" data-orig-size="1255,959" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Arianna and Bacchus" data-image-description="" data-image-caption="<p>Alessandro Turchi ‘Bacchus &amp; Ariadne’ (c1630). Historical Action is more than just Baroque Gesture.</p> " data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=440" loading="lazy" class="size-full wp-image-1375" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=440&h=336" alt="Alessandro Turchi 'Bacchus & Ariadne' (c1630). Historical Action is more than just Baroque Gesture." width="440" height="336" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=440&h=336 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=880&h=672 880w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=150&h=115 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=300&h=229 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/arianna-and-bacchus.jpg?w=768&h=587 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-1375" class="wp-caption-text">Alessandro Turchi ‘Bacchus & Ariadne’ (c1630). Historical Action is more than just Baroque Gesture.</p></div> <p> </p> <h1><span style="color:#800000;">TRAINING</span></h1> <p>17th-century writers present <strong>Art</strong> as a set of principles, a coherent collection of rules which we can study and apply to today’s <strong>Historically Informed Performance</strong>. The period concept of <strong>Use</strong> refers to the nitty-gritty of practical experience: a key element of Andrew Lawrence-King’s work is to devise <strong>new</strong><br /> <strong>training methodologies</strong> that facilitate modern-day performers’ acquiring the skill-sets needed to apply rules of historical Art. The study of <strong>profoundly spiritual</strong>, cosmic matters beyond the everyday and mundane, the mysterious <strong>power of emotions</strong>, the <strong>magic of the theatre</strong>, is the realm of renaissance<br /> <strong>Science</strong>.</p> <p>The training focus is <strong>historical expertise</strong> rather than romantic character analysis or the 20th-century search for motivation: first acquire <strong>Thomas Betterton</strong>’s (or <strong>La Florinda</strong>’s) skill-set, then play <strong>Hamlet</strong> (or <strong>Arianna</strong>)! Accordingly, we do not rehearse a particular interpretation; rather we teach <strong>principles</strong> that empower performers to <strong>improvise</strong> collectively a <strong>stylish realisation</strong> of text, music & action. Participants do not just memorise a production; we help them develop <strong>baroque skills</strong> which they can re-apply throughout their careers.</p> <p><strong>We practice what we preach.</strong> The priorities established by historical research are put into effect in professional training: <strong>Text</strong> – for each hour of rehearsal, 50 minutes are devoted to detailed text-work; <strong>Tactus</strong> – every performer shares responsibility for maintaining the rhythmic pulse; there is, of course, <span style="color:#ff0000;"><strong>no </strong></span><span style="color:#ff0000;"><strong>conductor</strong></span>; <strong>Gesture</strong> – supported by period posture and the force of <strong>Pneuma</strong>; the emotional power of <strong>Enargeia</strong> – detailed visual description; <strong>Visions</strong> – mindful attention to the Text creates imagined visions that stir up emotions for performers and spectators; <strong>Deictics</strong> – the fundamental importance of ‘pointing words’; <strong>Ut pictura</strong> – how to make historical gesture ‘work’ for modern audiences.</p> <p><strong>Professional standards</strong> – well-structured rehearsals, directorial competence, <strong>clarity and consistency of coaching</strong>, respect for participants and audiences; state-of-the-art <strong>Early Music</strong>, <strong>Historical Dance</strong> and <strong>period Swordsmanship</strong>; <strong>cutting-edge modern understandings</strong> of the mind/body interactions of <strong>Flow</strong>, the <strong>Zone</strong>, <strong>Feldenkrais Method</strong> and <strong>Neuro-Learning</strong> – brain plasticity, myelination, hypnosis; the <strong>Structure of Magic</strong> – Neuro-linguistic Programming and 17th-century <strong>Rhetoric</strong>, the modern & historical arts of <strong>persuasive language</strong>.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/lasciate-i-monti.jpg"><img data-attachment-id="1376" data-permalink="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/lasciate-i-monti/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/lasciate-i-monti.jpg" data-orig-size="800,499" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Lasciate i monti" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/lasciate-i-monti.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/lasciate-i-monti.jpg?w=440" loading="lazy" class="alignnone size-full wp-image-1376" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/lasciate-i-monti.jpg?w=440&h=274" alt="Lasciate i monti" width="440" height="274" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/lasciate-i-monti.jpg?w=440&h=274 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/lasciate-i-monti.jpg?w=150&h=94 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/lasciate-i-monti.jpg?w=300&h=187 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/lasciate-i-monti.jpg?w=768&h=479 768w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/lasciate-i-monti.jpg 800w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <h1><span style="color:#800000;">PERFORMANCE</span></h1> <p>Scroll down for <span style="color:#800000;"><strong>Publications </strong> </span>& (lots of) <span style="color:#800000;"><strong>Links</strong></span>.</p> <h3>HISTORICALLY INFORMED STAGED PRODUCTIONS OF EARLY MODERN MUSIC-DRAMAS</h3> <p><span style="color:#000000;">Monteverdi <em>Orfeo</em> (1607) ALK (stage & music), SP (movement), JD, KA (assistants); Royal Danish Academy of Music, Copenhagen Christianskerke: Tactus, Art of Gesture. New edition. Handbook on </span><span style="color:#000000;">Baroque Gesture. Conference Ghent Orpheus Centre, Full-length documentary film.</span></p> <p> </p> <p><span style="color:#000000;">Cavalieri <em>Anima & Corpo</em> (1600) GI (modern staging), ALK (music), KA, IV (assistants); Natalya Satz Theatre, Moscow. Word-painting, Tactus, Continuo. New edition (Russian translation AP, KA, </span><span style="color:#000000;">ALK). First staged performance in Russia. Golden Mask Award. 42 performances (continues in repertoire). TV and radio interviews.</span></p> <p> </p> <p><span style="color:#000000;">Purcell <em>Dido & Aeneas</em> (1689) ALK (stage & music), SP (dance), KA (assistant); Concerto Copenhagen, Copenhagen Town Hall. Dance & Gesture, training methodologies. New edition (dances & </span><span style="color:#000000;">incidental music)</span></p> <p> </p> <p><span style="color:#000000;">Landi <em>La Morte d’Orfeo</em> (1619) ALK (stage & music), XDL (music), KA (stage), DV (designer) EMS (dance) AS (swordsmanship); International Baroque Opera Studio, St Petersburg Philharmonic. First staged performance in modern times. Tactus, Art of Gesture, Enargeia, Visions, Historical scenery/lighting, Ut Pictura. New edition. Article Musicologial Journal of Moscow Conservatoire. </span><span style="color:#000000;">Radio & TV interviews.</span></p> <p> </p> <p> </p> <p><span style="color:#000000;"><em>Ludus Danielis</em> (c1200) ALK (stage & music), KA (assistant, gestures); The Harp Consort & Ars Nova Denmark, Copenhagen Marmorkirke: Medieval gesture, conductus (rhythm & improvised </span><span style="color:#000000;">polyphony), pitch. New edition. Conference Budapest University, mini-documentary film.</span></p> <p> </p> <p> </p> <p><span style="color:#000000;">Orgambide <em>Oratorio del Nacimiento</em> ALK (music & stage), KA (designer, stage) The Harp Consort, Ourense Cathedral, Festival Portico de Paraiso. First performance in Spain in modern times. </span><span style="color:#000000;">Spanish recitado, Art of Gesture, Tactus, Enargeia. Public lecture by Dr Maria Teresa Ferrer. TV & radio interviews. New edition.</span></p> <p> </p> <p> </p> <p><span style="color:#800000;"><span style="color:#000000;">Monteverdi <em>Combattimento</em> (1624) ALK (music & stage), GW (swordsmanship consultant), DR (fight director), SP (dance), KA (stage)</span> <span style="color:#000000;">Guildhall School of Music & Drama, London Wallace </span></span><span style="color:#000000;">Collection. New edition. Public lectures, post-performance panel discussion with Prof John Sloboda. Conference Cambridge University with Prof John Sloboda. BBC Radio interview.</span></p> <p> </p> <p> </p> <p><span style="color:#000000;"><em>Ludus Danielis</em> (c1200) ALK (stage & music), KA (designer & stage); The Harp Consort & St Michaels Schola Cantorum, Galway Early Music Festival. Emotions in Action, Medieval Gestures. Public </span><span style="color:#000000;">lecture National University of Ireland, full-length documentary film. Radio interviews.</span></p> <p> </p> <p><span style="color:#000000;">Orgambide <em>Oratorio del Nacimiento</em> ALK (music & stage), KA (designer) Insula Magica, Novosibirsk Philharmonic. First performance in Russia. Spanish recitado, Art of Gesture, Tactus, Enargeia. </span><span style="color:#000000;">Public lecture. TV & radio interviews.</span></p> <p> </p> <p> </p> <p><span style="color:#000000;">Orgambide<em> Oratorio del Nacimiento</em> ALK (music & stage), KA (designer) Guildhall School of Music & Drama, London. Spanish recitado, Art of Gesture, Tactus, Enargeia. Presentation by Dr Anthony </span><span style="color:#000000;">Trippett.</span></p> <p> </p> <p> </p> <p><span style="color:#000000;">Cavalieri <em>Anima & Corpo</em> (1600) ALK (music & stage); Durham University Opera Society, Durham Great Hall. Tactus, Continuo, Enargeia, Visions. New edition.</span></p> <p> </p> <p><span style="color:#000000;">Purcell <em>King Arthur</em> (1691) ALK (music & stage), Poznan Academy of Music. New edition. Continuo, French violin bowing, Gesture, Speech/Song/Recitative, Ut Pictura. Radio interviews.</span></p> <p> </p> <p><span style="color:#000000;">Hidalgo <em>Celos aun del aire matan</em> (1660) ALK (music) GI (stage) KA (translation) Moscow, Theatre Natalya Satz Text, Tactus, Spanish Continuo New edition (Russian translation).New edition. TV & </span><span style="color:#000000;">radio interviews.</span></p> <p> </p> <p><span style="color:#000000;">Medieval <em>Kalevala</em> ALK (music, stage, concept) KK (stage, text) The Harp Consort, Montalbane Festival Medieval storytelling & gesture</span></p> <p> </p> <p>Carissimi <em>Jeptha </em>ALK (music, stage), MB (vocal coach), KA (assistant). St Petersburg. New edition. TV & radio interviews. Art of Gesture, Tactus.</p> <p> </p> <p><span style="color:#000000;">Peri <em>Euridice</em> (1600) ALK (stage & music), SP (movement), KA (assistant); Guildhall School of Music & Drama, London Lumen Centre. Continuo, Art of Gesture, Posture, Visions. New edition (version </span><span style="color:#000000;">for 5 singers). Conference Cambridge University, mini-documentary film</span></p> <div data-shortcode="caption" id="attachment_1377" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-angel.jpg"><img aria-describedby="caption-attachment-1377" data-attachment-id="1377" data-permalink="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/ourense-angel/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-angel.jpg" data-orig-size="800,515" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Ourense Angel" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-angel.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-angel.jpg?w=440" loading="lazy" class="wp-image-1377 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-angel.jpg?w=440&h=283" alt="Ourense Angel" width="440" height="283" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-angel.jpg?w=440&h=283 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-angel.jpg?w=150&h=97 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-angel.jpg?w=300&h=193 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-angel.jpg?w=768&h=494 768w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-angel.jpg 800w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-1377" class="wp-caption-text">Nicole Jordan as the Angel in Orgambide’s ‘Oratorio del Nacimiento’</p></div> <h3>PERFORMANCES WITH <em>TEXT, RHYTHM, ACTION!</em></h3> <p> </p> <p>Monteverdi <em>Vespers</em> (1610) ALK (music); Alta Capella, Moscow Lutheran Cathedral. Tactus, Continuo, Visions. Radio broadcast, radio & TV interviews. New synoptic edition. Public Lecture. First performance in Russia.</p> <p>Gibbons, Dowland, Holborne, Morelli <em>Shakespeare’s Music</em> (17th cent) ALK (stage & music), Alta Capella, Moscow Conservatoire of Music. Text, Tactus, Pepys on Shakespeare.Public lecture. Radio & TV interviews.</p> <p>Gibbons, Dowland, Lawes <em>The Masque of Time</em> (17th cent) ALK (artistic director, script & concept), EB (music), VN (stage) Guildhall School of Music & Drama, Canterbury St Gregory’s Centre and London. Tactus, Gesture, Dance, Philosophy of Music & Time.</p> <p> </p> <p>Schutz, Schein <em>In Friede</em> (17th cent) ALK (music & gesture), Royal Danish Academy of Music, Copenhagen Chapel Royal Tactus, Art of Gesture New editions.</p> <p> </p> <p>Lully, D’Anglebert <em>Choregraphie</em> (1700) ALK (music), KM (dance), The Harp Consort, Edinburgh International Harp Festival Tactus, Dance New editions.</p> <p> </p> <p>Monteverdi, Peri, Caccini, Cavalieri <em>Favola in Musica</em> (c1600) ALK (artistic director, concept) MB (voice) XLD (continuo) SP (dance) The Harp Consort, St Petersburg Early Music Festival, Feldkirchen Festival, Hamburg Bucerius Kunst Forum The First Operas, Tactus, Continuo Radio interview & broadcast.</p> <p> </p> <p>Dowland, Purcell <em>The Dark Side</em> (17th cent) ALK (music, stage, concept) SP (movement) The Harp Consort, Graz List Halle Text, Tactus, Art of Gesture</p> <p> </p> <p><em>Vite e Voce</em> (Vasari 500th anniversary )ALK (music, concept) Ensemble L’Homme Armé, Florence, Museo Sarto. Baroque gesture & Fine Art</p> <p> </p> <p><em>Ars Musicae</em> (Vasari 500th anniversary) ALK (music, concept) Florence, Museo Sarto Design & perspective in Art ~ form & proportion in Music</p> <p> </p> <div data-shortcode="caption" id="attachment_1378" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/hebro-with-head-of-orfeo-2.jpg"><img aria-describedby="caption-attachment-1378" data-attachment-id="1378" data-permalink="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/hebro-with-head-of-orfeo-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/hebro-with-head-of-orfeo-2.jpg" data-orig-size="638,960" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Hebro with head of Orfeo 2" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/hebro-with-head-of-orfeo-2.jpg?w=199" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/hebro-with-head-of-orfeo-2.jpg?w=440" loading="lazy" class="wp-image-1378 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/hebro-with-head-of-orfeo-2.jpg?w=440&h=662" alt="Hebro with head of Orfeo 2" width="440" height="662" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/hebro-with-head-of-orfeo-2.jpg?w=440&h=662 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/hebro-with-head-of-orfeo-2.jpg?w=100&h=150 100w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/hebro-with-head-of-orfeo-2.jpg?w=199&h=300 199w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/hebro-with-head-of-orfeo-2.jpg 638w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-1378" class="wp-caption-text">Anton Varentsov as the River Hebro with the head of Orpheus in Landi’s ‘La morte d’Orfeo’</p></div> <p> </p> <h3></h3> <h3>WORKSHOP PERFORMANCES, STUDY PROJECTS ETC</h3> <p>Monteverdi <em>Lamento di Arianna</em> (1614) (ensemble version) ALK (stage & music). Study project at Helsinki Metropolia. Conference London GSMD.</p> <p> </p> <p>Monteverdi <em>Lamento di Arianna</em> (1608) (solo version) ALK (stage & music). Study project at Sibelius Academy, Finland. Conference Perth WA. Seminar Melbourne.</p> <p> </p> <p>Monteverdi <em>Madrigali Guerrieri & Amorosi</em> (1638) ALK (music), Melbourne Early Music Studio. Tactus, Swordsmanship, Visions.</p> <p> </p> <p>Dowland, Purcell, Morelli <em>The Dark Side</em> (17th cent) ALK (music): Melbourne Early Music Studio Melancholy, Speech/Song/Recitative Conference Sydney University</p> <p> </p> <p>Malvezzi, Cavalieri, Gabrieli etc <em>Rappresentationi </em>(excerpts from 1589 Florentine Intermedi, etc) St Petersburg. ALK (stage & music), MB (vocal coach), KA (assistant).</p> <p> </p> <p>Monteverdi <em>Lettera Amorosa</em> (1619) ALK (stage & music). Study project at Royal Danish Academy of Music, Copenhagen. Paper for Letters2 conference, Lisbon; presentation at Books & Music Conference, Newcastle. Enargeia, gendered Gesture</p> <p> </p> <p> </p> <p>Purcell <em>Dido & Aeneas</em> (1689) ALK & AM (stage & music); Sydney Conservatorium Redefining Recitative, Art of Gesture</p> <p> </p> <h3><em>Baroque Gesture: What’s the Point?</em></h3> <p>Workshop for advanced students and professorial staff at ESMUC, Barcelona</p> <p>Workshop for theatre researchers, Australasian Association for Theatre, Drama & Performance Studies.<br /> Workshop for movement researchers, Dalcroze Conference, Vienna.<br /> Workshop, Edinburgh International Harp Festival<br /> Workshop, Kilkenny</p> <p> </p> <h3>The Theatre of Dreams: La Musica hypnotises the Heroes</h3> <p>Workshop for advanced students and professorial staff at ESMUC, Barcelona.<br /> Workshop for research students at Guildhall School of Music & Drama, London.</p> <p> </p> <p>Seminar on <em>Historical Action </em>ALK with Dionysios Kyropoulos at New College, Oxford</p> <p> </p> <p><em>Redefining Recitative </em>Workshop at Guildhall School of Music & Drama, London.</p> <p> </p> <h3>Landi <em>La Morte d’Orfeo</em> (1619)</h3> <p>Workshop at Theatre Natalya Satz, Moscow.<br /> Workshop at Rimsky-Korsakov College of Music, St Petersburg</p> <p> </p> <p><em>Music & Rhetoric</em> Public Lecture & Workshop, Moscow Conservatoire of Music. Radio/TV.</p> <p> </p> <h3><em>A Baroque History of Time</em></h3> <p>Public Lecture, St Petersburg Derzhavin Museum.<br /> Public Lecture, University of Adelaide<br /> Public Lecture, Kilkenny</p> <p> </p> <p><em>Modes of Emotion</em> Public Lecture, Kilkenny</p> <p> </p> <p><em>Empfindsamkeit</em> Workshop, Moscow Theatre Natalya Satz</p> <p> </p> <p>Landi <em>Sant’ Alessio</em> (1631) ALK (stage, music), Basel Schola Cantorum, workshop performance. Tactus, Continuo<br /> Etc…</p> <h3>MEET THE DIRECTORIAL TEAM</h3> <p> </p> <p>ALK Andrew Lawrence-King, AM Alan Maddox, AS Anton Semenov, DR Dave Rawlings, DV Danil Verdenikov, EB Emily Baines, EMS Ekaterina Mikhailova-Smolnyakova, GI Georgy Isaakian, GW Guy Windsor, JD Jane Davidson, KA Katerina Antonenko, KK Karoliina Kantolinen, KM Karin Modigh, KZ Klim Zhukov, IV Ivan Velikanov, MB Marco Beasley, SP Steven Player, SG Stephen Grant, VN Victoria Newman, XDL Xavier Diaz-Latorre</p> <div data-shortcode="caption" id="attachment_1379" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-devil.jpg"><img aria-describedby="caption-attachment-1379" data-attachment-id="1379" data-permalink="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/ourense-devil/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-devil.jpg" data-orig-size="600,394" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Ourense Devil" data-image-description="" data-image-caption="<p>Marco Scavazza as the Devil in Orgambide’s ‘Oratorio del nacimiento’</p> " data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-devil.jpg?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-devil.jpg?w=440" loading="lazy" class="size-full wp-image-1379" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-devil.jpg?w=440&h=289" alt="Marco Scavazza as the Devil in Orgambide's 'Oratorio del nacimiento'" width="440" height="289" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-devil.jpg?w=440&h=289 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-devil.jpg?w=150&h=99 150w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-devil.jpg?w=300&h=197 300w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/ourense-devil.jpg 600w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-1379" class="wp-caption-text">Marco Scavazza as the Devil in Orgambide’s ‘Oratorio del nacimiento’</p></div> <h1><span style="color:#800000;">PUBLICATIONS & LINKS</span></h1> <h3>Book Chapters by Andrew Lawrence-King:</h3> <p>ALK <em>Il palpitar del core: The Heart-Beat of the “First Opera”</em> in Crispin & Gilmore <em>Artistic Experimentation in Music</em> (2015)</p> <p> </p> <p>ALK <em>’Tis Master’s Voice: A Seventeenth-Century Shakespeare Recording?</em> in White <em>Shakespeare and Emotions</em> (2015)</p> <h3>Journal Articles by Andrew Lawrence-King:</h3> <p>ALK (with Antonenko & O’Shea) <em>The Irish Harp: Myths Demistified</em> Celto-Slavica Journal (2015)</p> <p> </p> <p>ALK <em>The Theatre of Dreams: the Science of Historical Action</em> ADSA (Australasian Association for Theatre, Drama & Performance Studies) Journal (2015)</p> <p> </p> <p> </p> <p>ALK <em>In vino veritas: wine, women & song in Landi’s ‘La Morte d’Orfeo’ </em>Musicological Journal of Moscow Conservatoire (2015)</p> <h3>Historical Prefaces:</h3> <p>Cavalieri <em>Anima e Corpo</em> (1600)</p> <p>Peri <em>Euridice</em> (1600)</p> <p>Caccini <em>Le Nuove Musiche</em> (1601)</p> <p>Gagliano <em>Dafne</em> (1608)</p> <p>Frescobaldi <em>Toccate</em> (1615)</p> <h3>Introductions</h3> <p> </p> <p>ALK Video: “<em>What are the Three Secrets of Great Performance?</em>” <a href="https://www.youtube.com/watch?v=j58nwM3nbpE" rel="nofollow">https://www.youtube.com/watch?v=j58nwM3nbpE</a></p> <p>Anon. <em>Il Corago</em> (Biblioteca Estense, Modena: MS y.F.11, c1630) edited by Fabbri & Pompilio (1983)</p> <p> </p> <p>Introduction to ALK’s research: <a href="http://www.theharpconsort.com/#!research/c1dp3" rel="nofollow">http://www.theharpconsort.com/#!research/c1dp3</a></p> <p>Index to ALK’s blog: <a href="http://www.theharpconsort.com/#!blog-index/cxm4" rel="nofollow">http://www.theharpconsort.com/#!blog-index/cxm4</a></p> <blockquote class="wp-embedded-content" data-secret="yBGjYqSquL"><p><a href="https://andrewlawrenceking.com/2013/08/26/what-is-music/">What is Music?</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“What is Music?” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2013/08/26/what-is-music/embed/#?secret=scy6lanov5#?secret=yBGjYqSquL" data-secret="yBGjYqSquL" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <blockquote class="wp-embedded-content" data-secret="tm12wEU7Q7"><p><a href="https://andrewlawrenceking.com/2013/08/04/music-expresses-emotions/">Music expresses emotions?</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Music expresses emotions?” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2013/08/04/music-expresses-emotions/embed/#?secret=rrx6kbBLXG#?secret=tm12wEU7Q7" data-secret="tm12wEU7Q7" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <h3>Time & Tactus</h3> <blockquote class="wp-embedded-content" data-secret="oCCCJj8fS3"><p><a href="https://andrewlawrenceking.com/2014/11/23/a-baroque-history-of-time-stars-hearts-and-music/">A Baroque History of Time: Stars, Hearts and Music</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“A Baroque History of Time: Stars, Hearts and Music” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2014/11/23/a-baroque-history-of-time-stars-hearts-and-music/embed/#?secret=Ntm5cyjSR6#?secret=oCCCJj8fS3" data-secret="oCCCJj8fS3" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <blockquote class="wp-embedded-content" data-secret="1ofuLnTyWP"><p><a href="https://andrewlawrenceking.com/2013/09/08/rhythm-what-really-counts/">Rhythm – what really counts?</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Rhythm – what really counts?” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2013/09/08/rhythm-what-really-counts/embed/#?secret=YSfVGlH1jK#?secret=1ofuLnTyWP" data-secret="1ofuLnTyWP" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <blockquote class="wp-embedded-content" data-secret="gQL9b2y9SQ"><p><a href="https://andrewlawrenceking.com/2015/02/16/tempus-putationis-getting-back-to-monteverdis-time/">Tempus putationis – Getting back to Monteverdi’s Time</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Tempus putationis – Getting back to Monteverdi’s Time” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2015/02/16/tempus-putationis-getting-back-to-monteverdis-time/embed/#?secret=lOEeNQs5HA#?secret=gQL9b2y9SQ" data-secret="gQL9b2y9SQ" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p>Grant <em>Beating Time and Measuring Music</em> (2015)</p> <p>Houle <em>Meter in Music 1600-1800</em> (1987)</p> <p> </p> <p>ALK Video: “<strong>What is Time?</strong>”</p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="What is Time?" width="440" height="248" src="https://www.youtube.com/embed/3xlw1E7ryZQ?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <h3>Redefining Recitative</h3> <p>Il Corago on ‘the three ways of acting’, <strong>Delle Tre Maniere di Recitare</strong> (Fabbri & Pompilio, 40)</p> <p> </p> <blockquote class="wp-embedded-content" data-secret="RodAg8UsBf"><p><a href="https://andrewlawrenceking.com/2013/09/22/the-good-the-bad-the-early-music-phrase/">The Good, the Bad & the Early Music Phrase</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“The Good, the Bad & the Early Music Phrase” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2013/09/22/the-good-the-bad-the-early-music-phrase/embed/#?secret=t5Hh6ZDht1#?secret=RodAg8UsBf" data-secret="RodAg8UsBf" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <p><a href="http://www.theharpconsort.com/#!research-findings-recitative/c1nz2" rel="nofollow">http://www.theharpconsort.com/#!research-findings-recitative/c1nz2</a></p> <p>Sternfeld ‘<em>A Note on Stile Recitativo</em>’, RMA (1983-1984)</p> <p> </p> <p><strong>Continuo</strong><br /> Agazzari <em>Del Sonare sopra’l Basso</em> (1607)</p> <p> </p> <blockquote class="wp-embedded-content" data-secret="zphTiZlERY"><p><a href="https://andrewlawrenceking.com/2013/10/08/sparrow-flavoured-soup-or-what-is-continuo/">Sparrow-flavoured Soup – or What is Continuo?</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Sparrow-flavoured Soup – or What is Continuo?” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2013/10/08/sparrow-flavoured-soup-or-what-is-continuo/embed/#?secret=vayRkdrMkE#?secret=zphTiZlERY" data-secret="zphTiZlERY" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <p>ALK Video “What is Continuo?”:</p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="Continuo or Ornamentation?" width="440" height="248" src="https://www.youtube.com/embed/SuBMF68Ub3I?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <p> </p> <p>Introduction to Italian Continuo Video:</p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="Introduction to Continuo for Italian baroque harp 1 Chord shapes" width="440" height="248" src="https://www.youtube.com/embed/vCp19kfjGQo?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <p>This is the first of a series of videos, all on the You-Tube channel of The Harp Consort & Il Corago.</p> <h3>Historical Action</h3> <p> </p> <p><a href="http://www.IlCorago.com" target="_blank">www.IlCorago.com</a></p> <p> </p> <p>Bonifaccio <em>L’Arte de’ Cenni</em> (1616)</p> <p>Bulwer Chirologia & Chironomia (1644)</p> <p> </p> <p>Barnett <em>The Art of Gesture: The Practices and Principles of 18th-century Acting</em> (1987)</p> <p>Roach <em>The Player’s Passion: Studies in the Science of Acting</em> (1985)</p> <p> </p> <p><strong>Introduction to Historical Action</strong>:</p> <p><a href="http://www.theharpconsort.com/#!historical-action/c12q3" rel="nofollow">http://www.theharpconsort.com/#!historical-action/c12q3</a></p> <p> </p> <h3>Flow & The Zone</h3> <p><a href="http://www.TheFlow.Zone" target="_blank">www.TheFlow.Zone</a></p> <p> </p> <blockquote class="wp-embedded-content" data-secret="GK3rW9M2ls"><p><a href="https://andrewlawrenceking.com/2014/09/16/flow-2014-the-cambridge-talks/">Flow 2014 – The Cambridge Talks</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Flow 2014 – The Cambridge Talks” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2014/09/16/flow-2014-the-cambridge-talks/embed/#?secret=xmwyyARXSm#?secret=GK3rW9M2ls" data-secret="GK3rW9M2ls" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <blockquote class="wp-embedded-content" data-secret="CfwWghPWbB"><p><a href="https://andrewlawrenceking.com/2014/10/17/flow-accessing-super-creativity-making-connections/">Flow (Accessing Super-Creativity): Making Connections</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Flow (Accessing Super-Creativity): Making Connections” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2014/10/17/flow-accessing-super-creativity-making-connections/embed/#?secret=cHibZAB020#?secret=CfwWghPWbB" data-secret="CfwWghPWbB" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <blockquote class="wp-embedded-content" data-secret="IuwqsEoIBx"><p><a href="https://andrewlawrenceking.com/2015/04/19/flow-the-oxford-papers-part-1-whats-in-a-name/">Flow (The Oxford papers) Part 1: What’s in a name?</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Flow (The Oxford papers) Part 1: What’s in a name?” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2015/04/19/flow-the-oxford-papers-part-1-whats-in-a-name/embed/#?secret=1caJQbqLtV#?secret=IuwqsEoIBx" data-secret="IuwqsEoIBx" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <p>ALK Video: “<strong>Accessing Super-Creativity” </strong></p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="The Flow Zone" width="440" height="248" src="https://www.youtube.com/embed/zh5cqRsHYVo?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <p> </p> <h3>History of Irish Harp</h3> <p>ALK (with Antonenko & O’Shea) <em>The Irish Harp: Myths Demistified</em> Celto-Slavica Journal (2015)</p> <p> </p> <blockquote class="wp-embedded-content" data-secret="nB9uMLifN8"><p><a href="https://andrewlawrenceking.com/2013/12/27/the-researchers-otherworld-a-dream-of-the-ancient-irish-harp/">The Researcher’s Otherworld: A Dream of the ancient Irish Harp</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“The Researcher’s Otherworld: A Dream of the ancient Irish Harp” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2013/12/27/the-researchers-otherworld-a-dream-of-the-ancient-irish-harp/embed/#?secret=nUmMkHwons#?secret=nB9uMLifN8" data-secret="nB9uMLifN8" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <blockquote class="wp-embedded-content" data-secret="v5k9QH9qCT"><p><a href="https://andrewlawrenceking.com/2014/10/07/regina-cithararum/">Regina Cithararum – the Cloyne, or Dalway Harp</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Regina Cithararum – the Cloyne, or Dalway Harp” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2014/10/07/regina-cithararum/embed/#?secret=Zu7bRNt3jM#?secret=v5k9QH9qCT" data-secret="v5k9QH9qCT" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <blockquote class="wp-embedded-content" data-secret="wElk0sK03c"><p><a href="https://andrewlawrenceking.com/2014/08/30/precision-tuning-early-irish-harps/">Precision tuning & Early Irish harps</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Precision tuning & Early Irish harps” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2014/08/30/precision-tuning-early-irish-harps/embed/#?secret=WatMT6sFbQ#?secret=wElk0sK03c" data-secret="wElk0sK03c" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <h3>History of Welsh Triple Harp</h3> <blockquote class="wp-embedded-content" data-secret="txABo1ZZaB"><p><a href="https://andrewlawrenceking.com/2014/03/12/the-triple-or-modern-welsh-harp/">The Triple, or Modern Welsh Harp</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“The Triple, or Modern Welsh Harp” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2014/03/12/the-triple-or-modern-welsh-harp/embed/#?secret=PED52TRo3A#?secret=txABo1ZZaB" data-secret="txABo1ZZaB" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <h3>Hypnosis, Rhetoric & Neuro-Linguistic Programming</h3> <p>ALK <em>The Theatre of Dreams: the Science of Historical Action</em> ADSA Journal (2015)</p> <p> </p> <blockquote class="wp-embedded-content" data-secret="ic4DxVX7aw"><p><a href="https://andrewlawrenceking.com/2014/12/11/the-theatre-of-dreams-la-musica-hypnotises-the-heroes/">The Theatre of Dreams: La Musica hypnotises the Heroes</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“The Theatre of Dreams: La Musica hypnotises the Heroes” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2014/12/11/the-theatre-of-dreams-la-musica-hypnotises-the-heroes/embed/#?secret=XVh9eUrayl#?secret=ic4DxVX7aw" data-secret="ic4DxVX7aw" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <h3>Landi <em>La Morte d’Orfeo</em></h3> <p>ALK <em>In vino veritas: wine, women & song in Landi’s ‘La Morte d’Orfeo’ </em>Musicological Journal of Moscow Conservatoire (2015)</p> <p> </p> <p> </p> <p><a href="http://www.theharpconsort.com/#!la-morte-dorfeo/c4be" rel="nofollow">http://www.theharpconsort.com/#!la-morte-dorfeo/c4be</a></p> <h3>Monteverdi <em>Vespers</em></h3> <blockquote class="wp-embedded-content" data-secret="6oDmGBm8dZ"><p><a href="https://andrewlawrenceking.com/2014/06/07/the-right-time-for-a-new-vision-monteverdis-1610-vespers/">The Right Time for a New Vision: Monteverdi’s 1610 Vespers</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“The Right Time for a New Vision: Monteverdi’s 1610 Vespers” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2014/06/07/the-right-time-for-a-new-vision-monteverdis-1610-vespers/embed/#?secret=8vS5sSPY3S#?secret=6oDmGBm8dZ" data-secret="6oDmGBm8dZ" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <p><em>Laudate Pueri</em> Video:</p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="Monteverdi Laudate Pueri Dominum from the 1610 Vespers directed by Andrew Lawrence-King" width="440" height="248" src="https://www.youtube.com/embed/fCFWWcfKjp0?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <p> </p> <p><em>Dixit Dominus</em> Video:</p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="Monteverdi Dixit Dominus (1610 Vespers) Andrew Lawrence-King" width="440" height="248" src="https://www.youtube.com/embed/QQXAqj5jHHE?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <p> </p> <h3>Harp Technique</h3> <blockquote class="wp-embedded-content" data-secret="EuCsYIpQzm"><p><a href="https://andrewlawrenceking.com/2014/09/09/historical-technique-for-early-irish-harps/">Historical technique for Early Irish Harps</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Historical technique for Early Irish Harps” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2014/09/09/historical-technique-for-early-irish-harps/embed/#?secret=4zYZf1dS7F#?secret=EuCsYIpQzm" data-secret="EuCsYIpQzm" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <blockquote class="wp-embedded-content" data-secret="JfLjDgi1w6"><p><a href="https://andrewlawrenceking.com/2013/09/02/the-shake-irish-harp-ornament-of-the-month-1/">The Long Shake (Irish Harp Ornament of the Month #1)</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“The Long Shake (Irish Harp Ornament of the Month #1)” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2013/09/02/the-shake-irish-harp-ornament-of-the-month-1/embed/#?secret=rt95CdQVeD#?secret=JfLjDgi1w6" data-secret="JfLjDgi1w6" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p>This is the first of a series of articles on this subject, all available on this blog. There is a video to accompany each article, all on the You-Tube channel of The Harp Consort & Il Corago.</p> <p> </p> <blockquote class="wp-embedded-content" data-secret="XTjtoPKB9R"><p><a href="https://andrewlawrenceking.com/2013/09/19/single-action-harp-making-sensibility-of-the-methodes/">Single-Action Harp – making Sensibility of the Méthodes</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Single-Action Harp – making Sensibility of the Méthodes” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2013/09/19/single-action-harp-making-sensibility-of-the-methodes/embed/#?secret=Dxzal9gqoq#?secret=XTjtoPKB9R" data-secret="XTjtoPKB9R" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <p><strong>Introduction to Italian harp</strong> Video:</p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="Introduction to Italian baroque harp 1 Position" width="440" height="330" src="https://www.youtube.com/embed/bIRuCNLD5IA?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <p>This is the first of a series of 4 videos, all on the You-Tube channel of The Harp Consort & Il Corago.</p> <p> </p> <p> </p> <p><strong>Introduction to Early Irish harp</strong> Video:</p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="Introduction to Early Irish harp 1 Position" width="440" height="330" src="https://www.youtube.com/embed/o7xkNv6Hmlo?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <p>This is the first in a series of 4 videos, all on the You-Tube channel of The Harp Consort & Il Corago.</p> <p> </p> <p><b>Early Irish harp ornaments </b>Video:</p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="Irish Harp Ornament #1 The Long Shake" width="440" height="248" src="https://www.youtube.com/embed/HQnG_h_JURk?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <p>This is the first in a series of 4 videos, all on the You-Tube channel of The Harp Consort & Il Corago.</p> <p> </p> <h3>Monteverdi <em>Orfeo </em></h3> <p> </p> <p><strong>Documentary Film</strong>:</p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="The 'first opera' - a creative experiment in seven days" width="440" height="330" src="https://www.youtube.com/embed/REb_Djph7N0?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <p> </p> <blockquote class="wp-embedded-content" data-secret="QuJOeskdWl"><p><a href="https://andrewlawrenceking.com/2014/11/09/sherlock-holmes-and-the-wedding-dance-tactus-proportions-in-monteverdis-lasciate-i-monti/">Sherlock Holmes and the Wedding Dance: Tactus & Proportions in Monteverdi’s ‘Lasciate i monti’</a></p></blockquote> <p><iframe class="wp-embedded-content" sandbox="allow-scripts" security="restricted" style="position: absolute; visibility: hidden;" title="“Sherlock Holmes and the Wedding Dance: Tactus & Proportions in Monteverdi’s ‘Lasciate i monti’” — Andrew Lawrence-King" src="https://andrewlawrenceking.com/2014/11/09/sherlock-holmes-and-the-wedding-dance-tactus-proportions-in-monteverdis-lasciate-i-monti/embed/#?secret=KOA7EDb2nA#?secret=QuJOeskdWl" data-secret="QuJOeskdWl" width="440" height="248" frameborder="0" marginwidth="0" marginheight="0" scrolling="no"></iframe></p> <p> </p> <h3><em><strong>Ludus Danielis </strong></em></h3> <p><strong>Documentary Film</strong>:</p> <div class="jetpack-video-wrapper"> <div class="embed-youtube"><iframe title="Ludus Danielis - The Play of Daniel - The Harp Consort - Andrew Lawrence-King - Il Corago" width="440" height="248" src="https://www.youtube.com/embed/TccC7KTP_Io?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div> </div> <p> </p> <h3>Peri <em>Euridice </em></h3> <p><strong>Mini-documentary</strong>:</p> <div class="jetpack-video-wrapper"><span class="embed-youtube" style="text-align:center; display: block;"><iframe class="youtube-player" width="440" height="248" src="https://www.youtube.com/embed/kgJ4SoTreHw/?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></span></div> <p> </p> <h3>Purcell <em>Dido & Aneas</em></h3> <p><strong>Dido’s Lament</strong> Video:</p> <div class="jetpack-video-wrapper"><span class="embed-youtube" style="text-align:center; display: block;"><iframe class="youtube-player" width="440" height="248" src="https://www.youtube.com/embed/A0-lzui3n5I?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></span></div> <p> </p> <p><strong>The Witches</strong> Video:</p> <div class="jetpack-video-wrapper"><span class="embed-youtube" style="text-align:center; display: block;"><iframe class="youtube-player" width="440" height="248" src="https://www.youtube.com/embed/F8OgJRRDMBE?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" allowfullscreen="true" style="border:0;" sandbox="allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox"></iframe></span></div> <p> </p> <div data-shortcode="caption" id="attachment_1380" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2015/10/witches-queen.jpg"><img aria-describedby="caption-attachment-1380" data-attachment-id="1380" data-permalink="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/witches-queen/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/witches-queen.jpg" data-orig-size="537,800" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="witches-queen" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/witches-queen.jpg?w=201" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2015/10/witches-queen.jpg?w=440" loading="lazy" class="wp-image-1380 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2015/10/witches-queen.jpg?w=440&h=655" alt="witches-queen" width="440" height="655" srcset="https://andrewlawrenceking.com/wp-content/uploads/2015/10/witches-queen.jpg?w=440&h=655 440w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/witches-queen.jpg?w=101&h=150 101w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/witches-queen.jpg?w=201&h=300 201w, https://andrewlawrenceking.com/wp-content/uploads/2015/10/witches-queen.jpg 537w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-1380" class="wp-caption-text">Kristin Mulders as the Sorceress (doubling Dido) and Leif Aruhn-Solén as the Tenor (doubling the Spirit of Mercury) with Leif Meyer (continuo) in Purcell’s ‘Dido & Aneas’</p></div> <p> </p> <p>Please join me on Facebook <a href="https://www.facebook.com/andrew.lawrenceking.9">https://www.facebook.com/andrew.lawrenceking.9</a> and visit our websites <a title="The Harp Consort" href="https://andrewlawrenceking.com/2013/08/26/what-is-music/www.TheHarpConsort.com" target="_blank">www.TheHarpConsort.com</a></p> <p><a title="Il Corago" href="http://www.ilcorago.com/" target="_blank">www.IlCorago.com</a> and <a title="The Flow Zone" href="http://theflow.zone/" target="_blank">www.TheFlow.Zone</a></p> <p> </p> <p>Opera, orchestra, vocal & ensemble director and early harpist, Andrew Lawrence-King is director of The Harp Consort and of Il Corago. From 2010 to 2015 he was Senior Visiting Research Fellow at the Australian Centre for the History of Emotions.</p> <div id="atatags-370373-67b3b458a2cda"> <script type="text/javascript"> __ATA.cmd.push(function() { __ATA.initVideoSlot('atatags-370373-67b3b458a2cda', { sectionId: '370373', format: 'inread' }); }); </script> </div><span id="wordads-inline-marker" style="display: none;"></span> <div id="atatags-26942-67b3b458a31f5"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-26942-67b3b458a31f5', location: 120, formFactor: '001', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); }); </script><div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-2" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-2" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20Text%2C%20Rhythm%2C%20Action%21%20Research%2C%20Training%20%26%20Performance&body=https%3A%2F%2Fandrewlawrenceking.com%2F2015%2F10%2F30%2Ftext-rhythm-action-research-training-performance%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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class="jp-relatedposts-headline"><em>Related</em></h3> </div></div> </div> <footer class="entry-meta"> <p class="cat-links taxonomy-links"> Posted in <a href="https://andrewlawrenceking.com/category/continuo/" rel="category tag">Continuo</a>, <a href="https://andrewlawrenceking.com/category/dream-theory/" rel="category tag">Dream Theory</a>, <a href="https://andrewlawrenceking.com/category/early-harps/" rel="category tag">Early Harps</a>, <a href="https://andrewlawrenceking.com/category/dream-theory/flow/" rel="category tag">Flow</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/improvisation/" rel="category tag">Improvisation</a>, <a href="https://andrewlawrenceking.com/category/introductions/" rel="category tag">Introductions</a>, <a href="https://andrewlawrenceking.com/category/early-harps/irish-harp/" rel="category tag">Irish harp</a>, <a 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href="https://andrewlawrenceking.com/tag/phrasing/" rel="tag">Phrasing</a>, <a href="https://andrewlawrenceking.com/tag/rhythm/" rel="tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/tag/science/" rel="tag">Science</a>, <a href="https://andrewlawrenceking.com/tag/seicento/" rel="tag">seicento</a>, <a href="https://andrewlawrenceking.com/tag/single-action-harp/" rel="tag">Single Action Harp</a>, <a href="https://andrewlawrenceking.com/tag/swordsmanship/" rel="tag">Swordsmanship</a>, <a href="https://andrewlawrenceking.com/tag/tactus/" rel="tag">Tactus</a>, <a href="https://andrewlawrenceking.com/tag/text/" rel="tag">Text</a>, <a href="https://andrewlawrenceking.com/tag/western-martial-arts/" rel="tag">Western Martial Arts</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2015/10/30/text-rhythm-action-research-training-performance/" title="Permalink to Text, Rhythm, Action! Research, Training & Performance" rel="bookmark" class="permalink"><span class="month upper">Oct</span><span class="sep">·</span><span class="day lower">30</span></a></p> </footer> </article> <div id="comments"> <h2 id="comments-title"> 6 thoughts on “<span>Text, Rhythm, Action! Research, Training & Performance</span>” </h2> <ol class="commentlist"> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2022/12/29/enargeia/" class="url" rel="ugc">Enargeia – Visions in Performance | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2022/07/28/three-ways/" class="url" rel="ugc">Three ways to make Early Music more expressive (And is there a ‘true way’?) | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2018/12/01/hip-the-scientific-method-aka-musicology-artistic-experiment/" class="url" rel="ugc">HIP & the Scientific Method aka Musicology & Artistic Experiment | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2018/03/20/opera-omnia/" class="url" rel="ugc">OPERA OMNIA – Music of the Past for Audiences of the Future | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2015/12/09/practise-what-you-preach-connecting-research-rehearsal-performance/" class="url" rel="ugc">Practise what you Preach: connecting Research, Rehearsal & Performance | Andrew Lawrence-King</a></p> </li> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2015/11/24/the-first-opera-the-beginning-of-baroque/" class="url" rel="ugc">The First Opera & The Beginning of Baroque | Andrew Lawrence-King</a></p> </li> </ol> <div id="respond" class="comment-respond"> <h3 id="reply-title" class="comment-reply-title">I'd like to hear your comments. Please comment here <small><a rel="nofollow" id="cancel-comment-reply-link" href="/2015/10/30/text-rhythm-action-research-training-performance/#respond" style="display:none;">Cancel reply</a></small></h3><form action="https://andrewlawrenceking.com/wp-comments-post.php" method="post" id="commentform" class="comment-form"> <div class="comment-form__verbum transparent"></div><div class="verbum-form-meta"><input type='hidden' name='comment_post_ID' value='2' id='comment_post_ID' /> <input type='hidden' name='comment_parent' id='comment_parent' value='0' /> <input type="hidden" name="highlander_comment_nonce" id="highlander_comment_nonce" value="04383424d5" /> <input type="hidden" name="verbum_show_subscription_modal" value="" /></div><p style="display: none;"><input type="hidden" id="akismet_comment_nonce" name="akismet_comment_nonce" value="b6fb1f57cf" /></p><p style="display: none !important;" class="akismet-fields-container" data-prefix="ak_"><label>Δ<textarea name="ak_hp_textarea" cols="45" rows="8" maxlength="100"></textarea></label><input type="hidden" id="ak_js_1" name="ak_js" value="74"/><script>document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() );</script></p></form> </div> </div> <nav id="nav-below"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/2015/10/23/frescobaldi-rules-ok/" rel="prev"><span class="meta-nav">←</span> Frescobaldi Rules, OK?</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/2015/11/24/the-first-opera-the-beginning-of-baroque/" rel="next">The First Opera & The Beginning of Baroque <span class="meta-nav">→</span></a></div> </nav> </div> </div> <div id="secondary" class="widget-area" role="complementary"> <aside id="text-4" class="widget widget_text"><h1 class="widget-title">ANDREW LAWRENCE-KING</h1> <div class="textwidget"><p>Baroque opera, orchestral & ensemble director, imaginative continuo-player, Early Harp virtuoso, specialist in baroque gesture & Historical Action, investigator of Flow, Andrew Lawrence-King is the doyen of historical harping, one of the world’s leading performers of Early Music, and an internationally renowned scholar. </p> <p>His pioneering recordings of Trabaci, Ribayaz, Handel and Carolan re-established the lost worlds of Italian, Spanish, Anglo-Welsh & Irish baroque harps; as co-director of Tragicomedia and director of The Harp Consort, he led a revolution in improvisation & continuo-playing; his research into Tactus has redefined our understanding of baroque rhythm; as guest director, he inspires musicians around the world to reach new levels of technical precision and stylish historicity with fun, energy and passion. </p> <p>Andrew has directed at La Scala, Milan & Sydney Opera House and won Russia's highest theatrical award, the Golden Mask (2012) for Cavalieri’s 'Anima & Corpo'. His direction of Handel’s 'Orlando' (2019) won the Russian Eugene Onegin Award and has been nominated for another Golden Mask. During his long collaboration with Jordi Savall, he has won a Grammy (best ensemble 2011), the Spanish Premio de la Música in duet (2010) & trio (2011), and Australia’s Helpmann Award in duet (2013) & ensemble (2018). His recording of 'Earthly Angels' with soprano Kajsa Dahlbäck was YLE, the Finnish broadcasting company’s CD of the year (2018).</p> <p>2017 saw the premieres of Andrew Lawrence-King’s first two operatic compositions: 'Kalevala: the Opera', setting the Finnish national epic to ancient traditional melodies; and 'Arianna a la recherche', a remake of Monteverdi’s lost 1608 masterpiece from Rinucini’s libretto and the surviving musical fragment, the famous Lamento. Andrew’s latest recording traces the roots of favourite Christmas carols from the Finnish 'Piae Cantiones' (1582) with the Helsinki Utopia Choir, released on Jordi Savall’s AliaVox Diversa label (2019).</p> <p>From 2010-2015, Dr Lawrence-King was Senior Visiting Research Fellow for the Australian Centre for the History of Emotions. He is Professor of Early Harp and Continuo at the Guildhall School of Music & Drama, London and Director of Opera Omnia, Academy for Early Opera & Dance, Institute at Moscow State Theatre 'Natalya Sats'. He is currently working on an English translation of 'Il Corago', the anonymous c1630 guide for baroque opera directors. Inspired by 'Peter & the Wolf' and the 'Young Person’s Guide to the Orchestra', his latest operatic composition, 'The Play of Music & Time: an Explorer’s Guide to Early Opera' will be premiered in 2020.</p> <p>Andrew Lawrence-King directs The Harp Consort, combining state-of-the art early music performance with stylish improvisation & entertaining stage presentation; Il Corago, the production team for historical staging of early opera; the International Baroque Opera Studio and Opera Omnia Moscow. </p> <p>Andrew's hobbies include marathon running, sailing, kayaking, fencing (modern epée & historical rapier) and Tai Chi. 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