Music of the Ancient Greeks
- Music of the Ancient Greeks
- Music from 500 BC to 300 AD performers on voice, lyra, kithara,
aulos, pandoura, salpinx, syrinx, tympanon and other ancient Greek
instruments
De Organographia
Pandourion 1001
Contents:
- The "Sappho Painter": Salpinx call (5th c. BC)
- Mesomedes: Hymn to the Sun (1st c. AD)
- Anon: Dramatic speech (c.100 AD) Oslo papyrus inv. 1413
- Seikilos: Song (1st c. AD)
- Anon: Invocation of the Muse (2nd c. AD)
- Mesomedes: Invocation of Calliope and Apollo (1st c. AD)
- Athenaeus: Delphic paean (127 BC)
- Anon: Dramatic fragment (3rd c. AD) Oxyrhynchus papyrus
3161, fragment 1
- Anon: Dramatic fragment (3rd c. AD) Oxyrhynchus papyrus
3161, fragment 4
- Anon: Dramatic fragment (c.200 BC) Vienna papyrus G
29825 a/b recto
- Euripides: Choral ode from "Orestes" (c.408 BC)
Vienna papyrus G 2315
- Euripides: Choral ode from "Iphigeneia at Aulis"
(c.404 BC) Leiden papyrus inv. 510
- Anon: Piece from a satyr play (2nd c. AD) Oxyrhynchus papyrus
2436
- Anon: Instrumental piece (2nd c. AD) Berlin papyrus
6870
- Anon: Dramatic lament on Ajax's suicide (late 2nd c. AD)
Berlin papyrus 6870
- Anon: Piece mentioning Erinyes (2nd c. AD) Oxyrhynchus
papyrus 3704
- Anon: Christian hymn (3rd c. AD) Oxyrhynchus papyrus
1786
- Anon: Dramatic recitative (c.100 AD) Oslo papyrus inv.
1413
- Anon: Instrumental exercises (2nd c. AD) Anonymous Bellermann
97-104
- Mesomedes: Hymn to Nemesis (1st c. AD)
- Anon: Tragic dialogue on Orestes (2nd c. AD) Michigan papyrus
inv. 2958
- Anon: Instrumental piece (2nd c. AD) Berlin papyrus
6870
- Anon: Paean (late 2nd c. AD) Berlin papyrus 6870
- Limenius: Paean and processional (127 BC)
Performers: Gayle Stuwe Neuman (voice, trichordon, lyra, kithara,
psithyra, tympanon), Philip Neuman (aulos, syrinx monokalamos,
lyra, kithara, syrinx, kroupeza, photinx, psithyra, salpinx, echeia,
voice), William Gavin (pandoura, pandourion, seistron, psithyra,
kymbala, tympanon)
Playing time: 57'
Production date: 1995
This is a small scale, very direct and sincere rendition, as
opposed to the more extravagant and mysterious Kérilos
production. As opposed to the frequently French-sounding accents
of the latter, the present one has a more American accent, likely
more palatable to the average American listener. The whole production
is also more intimate, although less dramatic.
It is interesting to see how very distant music of this sort
seems to reflect its performers' own cultural setting so clearly.
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Todd M. McComb