Grèce Antique

Musique de la Grèce Antique
Atrium Musicæ de Madrid - Gregorio Paniagua
Harmonia Mundi HM 1015 [LP]
Harmonia Mundi HM 40 1015 [Cass.]
Harmonia Mundi HM 90 1015 [CD]
Harmonia Mundi "musique d'abord" HMA 195 1015 [CD]

Reissued in: Harmonia Mundi "musique d'abord" 290885/87 (3 CDs) - Ces musiques du fond des âges

Contents

  1. Anakrousis
    Orestes Stasimo
  2. Fragments instrumentaux de Contrapollinopolis
  3. Première Hymne Delphiqe à Apollon
  4. Plainte de Tecmessa
  5. Papyrus Wien 29825
  6. Hymne au Soleil
  7. Hymne à la Muse
  8. Hymne à Némésis
  9. Papyrus Michigan
  10. Aenaoi Nefelai
  11. Epitaphe de Seikilos
  12. Pean. Papyrus Berlin 6870
  13. Anonymi Bellermann
  14. Première Ode Pythique
  15. Papyrus Oxyrhynchus 243b
  16. Hymne Chrétienne d'Oxyrhynchus
  17. Homero Hymnus
  18. Papyrus Zenon. Cairo Fragment
  19. Terencio. Hecyra 861
  20. Poem. Mor 1, 11f. Migne 37, 523
  21. Deuxième Hymne Delphique à Apollon
  22. Papyrus Oslo A/B
    Epilogos-Katastrophe

Performers: Gregorio Paniagua, Batriz Amo, Eduardo Paniagua, Pablo Cano, Luis Paniagua, Maximo Pradera, Carlos Paniagua

Instruments: Askaules, aulos, aulos calaminos, aulos hyperteleioi, aulos paediki, aulos parthenios, aulos pyxinos, aulos teleioi, aulos thracian, baboulion, bakyllion, barbitos, canon monochordon, clochettes, crécelle, crepitaculum, cymbala, cymbalion, diaulos, dikalamos, discos, echeion, elymos, epigoneion, flûte basse, grelots, hydraulos, kithara, kitharis, krotala, lyra, magadis, monaulos, monochordon, mortarium, nabla, pandoura, pektis, phorminx, photinx, physallis, plagiaulos, psalterion, psalterium, psaltinx, roptron, salpinx, sambyke, seistron, seistron de Apublia, seistron de coquilles, sirène de Helmholtz, skindapso, syrinx, tityros, trichordon, trigonon, triton-kéras, tympanon, xylophonon

Playing time: 53'

Recording date: June 1978;
Rel.; 1980 (HM), 1981 (HM 40), 1984 (HM 90), 2000 (HMA 195)

The program is described as "more in the nature of the personal expression of a profoundly sad feeling in the face of an irremediable loss" and interpolates the fragmentary sources with random noises, silences, and brief compositions of Gregorio Paniagua. Some of the sources used are regarded as apocryphal.

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Todd M. McComb