MUSIK OF GR& avayer’, eupuywplay 1H Bep noietre E8€Az1 yap 6 Beds OpBdc EopUBuPEVOS 51a yEo0u Badifelv. The ithyphalloi entered the theatre in silence, but when they reached the middle of the orchestra they turned round and addressed the spectators. They wore female garments, chitons that wrere shot with white,brocaded loose sleeves and veils that reached to their knees. 5. Entrance song of the Phallophoroi {Q}_ 1’ 04” Sung by Nikos Psarianos. Zoi, Béxye, Tévde poUoav dyAaZouev roby pueyby xéovres aid wéAEt, Kava, GnapSéveutov, om Taig mépo¢ Kexpnpévay @daToiv, GAA’ Gxrparov Karapyopey Tov ivov. They entered the theatre with measured tread, some from the parodos, some from the middle door. They wore no masks but had on visors made of thyme and rose flowers, and were crowned with chaplets of violets and ivy. The fragment is late and of doubtful origin folk-lyric 6. Askaulos 4°58” Improvisation by Yannis Dompridis. 1516 7. Partheneion by Alkman {Q} 1°14” Sung by Daphne Panourgias. 6 1 Et, napoeviKal edryapue ‘apéquvo, yuia pépny Sivatar Bade Sh Bads KNPUAOS einv, &c 7’ Emi Kyparog dvOog Gy'aAKudveoor nora vndeés Hrop Exuv, dkindppupos iapds dpvic, No more sweetly spoken girls with your longed - for voices - | can’t keep up. Oh to be a seadird in spring, flying on the wind over the budding waves, with no fear in my heart - only joy - as blue as the seal A partheneion of the poet’s old age, when he was no longer able to join in the choruses of the Spartan maidens. Metre: tetrastichic strophe, consisting of lyric hexametres. The cultivation of virginal choruses was restricted to Dorian countries. In Athens and in lonian lands the public sentiment that enjoined seclusion upon women would have regarded their official appearance as members of a civic chorus in the musical and religious festivals as a violation of social convention and decorum. It was different in Sparta. In Lacedaemon maidens not only witnessed the gymnastic exercises of the other sex; they themselves participated in contests of running and throwing the quoit and spear in the presence of men. They were trained in the arts of singing and dancing, and played a prominent part in musical contests. They were regarded as members of the state; their patriotism and heroism were not less marked than that of the men; and the homage accorded them was as much a tribute to their grace and beauty - the women of Lacedaemon were celebrated for their loveliness - as an acknowledgment of their position as the future mothers of a race of warriors. 8. Epithalamium by Sappho (Q} 1’ 15” Sung by Nikos Konstantinopoulos. © bridegroom! Builders, make the entrance door high. A bridegroom like Aris is on his way in, bigger than the biggest man. Sappho preserves here the popular form of the traditional ‘epithalamium'.9. Instrumental fragment from Contrapollinopolis {P} 1°21” 10."The bridal day". Hymeneal by Sappho {Q} 1°57” “Oaste YauBpe, doi HEV 5h yaHOS dg pao exterédeor’ * Exrig Se ndpSevov ic Goi yapetv Lev eiS0g, Sara 8’ néAANK, Epos 3 én’ iyéptwt xexuTAL Mpoodnwt ‘Tetipax’ Efoxd 0’ Appodira. Oh! groom you should be happy because you hold in your hands the woman of your dreams. Aphrodite honoured you more than any other. Nuptial songs were sung on three occasions in connection with these ceremonies: at the wedding banquet, during the procession, and before the bridal chamber. Apart from the little used yayrfAiog, upévauos is the generic term that covers all three parts of the ceremony and includes the specific epithalamium, which was circumscri- bed in time and place. This extension of the word upévaios and the lack of explicit statements by ancient writers make it difficult to distinguish with precision the banquet song, the processional, and the epithalamium. The delivery of the processional song and of the epithalamium was attended by dancing. The instrumental accompaniment of the procession was provided by the aulos and the phorminx in the Homeric age. 11. Enkomium by tbykos {Q} 1° 20” Sung by Daphne Panourgias. EupiaAe yAauxéwy Xapirwy 84A0G, KaAAWKO WW HedtOnLa, o& ubv Kimpig & 1’ GyavoBhtpapoc Mei8i Podéoiow év vent Bpswav. The encomium, one of the latter developments in melic art, is, in its strictest sense, the song that was sung at the revel (ev Kapa), the boisterous termination of the banquet. Originally it may have been in honour of the host of the banquet in celebration of some happy event. The restriction as to character and place soon disappeared and the word came to denote a laudatory poem of a dignified character in honour of men, as opposed to the hymn which was consecrated to the gods. 1718 12. Double aulos 3° 50” Improvi ion by Stavros Kouskouridas in the contemporary style of Epirus. 13. Song of the Sicilian Shepherds (Q} 0°39" Sung by Tasos Aloupis. ‘Aétat Tav ayabav TUxaV, déFat trav byieiav, Gv gépopes napa tic Ge00, v éxahgooato Tiva. Ancient popular pastoral song. The life of the Greek from its beginning to its end was attended by song. Every circumstance and emotion in the life of the people, the humblest occupation, the service of the gods, work and play, sorrow and joy, were all sources for folk-lyric. 14. Epitaph of Seikilos {P} 1/03” Sung by Daphne Panourgias. ‘Doov Gic watvou undév Buc CUAUTO NIpbs OdiyOV bot TO Gv T TEAS 6x povog dnatret. As long as you live, shine; afflict your self with nothing beyond measure; your life is of brief duration; time claims its tribute. A skolio by Sikilos, a four-verse song whose notes and symbols for rhythm were found carved on a tombstone from Tralleis, Asia Minor, preserved in its original state. It was first published in 1883. The text of a separate inscription tells us that the stone was placed there by Sikilos. Its age is uncertain, although the shape of the letters indicate that it dates from the first century AD. The advanced rhythmic form of the script also is more characteristic of the Christian age.Sacred music of Greek antiquity 15. Second Delphic Hymn to Apollo {P} 6°22” by Limenios, son of Thoinos, Athenian. Sung by Kostis Georgalis. Come to these far-looking heights whence rises the double peak of Parnassus, dear to dances, and preside over my songs, oPierides, dwellers on the snowy rocks of Helicon. Come, sing the golden-haired Pythian, the master of the bow and the lyre, Phoebus, bom of the blessed Leto beside the illustrious lake when, in her pangs, she touched with her hands the verdant bough of the glaucous olive tree. The celestial vault was filled with rejoicing, cloudless, radiant; in the lull of the air the winds stopped their impetuous flight; Nereus appeased the fury of his roaring floods; so did the great Ocean who, with his wet arms, envelops the earth Then, leaving the Cynthian isle, the god came to the land of harvests, the noble Attic land, and stopped close to the steep hill of the Tritonid goddess. The Libyan lotus, pouring forth its sweet song, hailed him, mingling its soft voice with the modulated chords of the kithara, and alll at once, the echo that haunts the rock cried Paean! ie Paean! The god rejoiced; privy to the mind of his father, he recognized the immortal plan of Zeus. 1920 This is why, since that time, Paean has been invoked by us all, the autochthonous people, and by the poets sheltered by the city of Cecrops, sacred horde whom Bacchus struck with his thyrsis. But, o master of the fateful tripod, on the way towards this crest of Parnassus, trodden by the gods, friend of holy ecstasies! It is there, your violet tresses girded by a laurel bough, that you dragged, o King, with your immortal hands, great blocks, foundations of your temple, when you saw yourself before the monstruous daughter of the earth. But, 0 son of Latona, god of the caressing look, you pierce with your arrows the wild child of the earth and you utter a cry of triumph; she felt the desire of her beloved mother. So you watched, 0 lord, beside the sacred navel of the world when the barbarian hord, profaning your prophetic seat to plunder its treasures, perished, submerged in the tempest of snow. But, o Phoebus, protect the city of Pallas, founded by the gods and its noble people; you, too, o queen of the bows and the Cretan hounds, Artemis, and you, venerable Latona! Watch over the dwellers of Delphi so that they and their children, their spouses, their dwellings might be shielded from all harm! Look with a propitious eye upon the servants of Bacchus, victors in the sacred games! May, with your aid, the empire of the Romans, crowned with lances, ever flourishing in imperishable youth, grow and advance from victory to victory!16. Maktrismos {Q} 3°10” Dance of the Amazons. 17, Hymn to the Muse by Mesomedes of Crete {P} 1°50” Sung by Daphne Panourias. ‘AeiBe, MoUod ot pin HOAnF}g 8’ sung KaTapyoU apn Sév ob dn’ Gdoewy éydc ppévac dovettw. Ka\Atdne.a cogd, pouoliv npoKaSnyéni Teprvav Kal cope pusToddra AaTods yove, Ate, Mardy, evpevets ndpeoté 101. Sing, Muse, dear to me, and prelude my own song. Let a breeze, come forth from your groves, make my soul tremble. O wise Calliope who directs the gracious muses, and you whose wisdom initiates the mysteries, Son of Latona, Delian, Paean, help me with your favour. Hymns of Mesomedes have been preserved on manuscripts of the 13th-16th centuries. esomedes was a Cretan poet of the first century AD. The hymns are written in the form of three poems, each with a separate inscription. The first, inscribed 'To the with nine verses, consists of two separate section, one of four and one of five verses, which are of an introductory nature. One is dedicated "To the muse’, the other to Calliope and Apollo. 18."Agios o Theos". God is Holy {P} 1°40” ‘Chanted round the altar® (Epivomion). In ancient times priests chanted to Jupiter around the altar, in the same way that these days priests chant God is Holy “Aghios o theos' to the Holy Trinity, around the Christian altar. 2122 19. Hymn to Nemesis by Mesomedes of Crete {P} 1°58” Sung by Nikos Konstantinopoulos. Néyeoi mtepdecoa, Biou pond, kuavion Bed, BUyatep Aixac, & Kota ppudypara Bvatiav énéxerg ABapaves OA} €x8ou0n 8’ UBpiv dkodv Bpotiiv, HEAava 86vov <éxTo ékauverc!> Un6 odv tpoxdv Gorarov, aotepf, yApONG Heporwy TPE PETAL TUXA’ ArBoued 5é nap’ nd3a Paiveic, Yaupouipievov abxéva KAivetc. ‘Ynié nirixuv del Biotov perpeis, veveig 5’ Und oppiv Kétw Zuyov herd xeTpa xpatotea, TAa6t axapa Sixadnohs, Néyeot mTrrepdecoa, Biou porta. Néycow Bedv aBouev aq@ ray, vixnv Tavuoirrepov, OuBpiLav, vnuepréa Kai ndpeSov Aixay, & Tav heyadavopiay Bpotiav vepeotboa pépeig Karé taprépou. Mesomedes’ third hymn, "To Nemesis", has twenty verses and consists of five poems. However for the third of these no melody has been given. The word Gpvos is derived from a root that appears in Lat. suere, Eng. sew, and means strictly that which is sewed or joined together. In Sanskrit we find the connected word syuman, "bond’, "strap", and in passage of the Rig Veda (1.113.17) the ‘sacrificial singer’ is said to "sound forth his songs in continuous (syumana) strain"; the words of his song are, as it were, stitched together so as to form one piece. 20. Birds by Aristophanes (Q} 1°12” Set to music by K.Nikolopoulos (1786-1841).*21. Kolavrismos {Q} 4°35" Warriors’ dance from Thrace. 22. First Delphic Hymn to Apollo {P} 3°56” Sung by Stavros Beris. Hear me, you who possess deep-wooded Helicon, fair-armed daughters of Zeus the magnificent! Fly to beguile with your accents your brother, golden-tressed Phoebus who, on the twin peak of this rock of Parnassus, escorted by illustrious maidens of Delphi, sets out for the limpid strams of Castalia, traversing, on the Delphic promontory, the prophetic pinnacle. Behold glorious Attica, nation of the great city which, thanks to the prayers of the Tritonid warrior, occupies a hillside sheltered from all harm. On the holy alters Hephaestos consumes the thighs of young bullocks; mingled with the flames, the Arabian vapour rises towards Olympus. The shrill rustling lotus murmurs its swelling song, and the golden Kithara, the sweet-sounding kithara, answers the voice of men. And all the host of poets, dwellers in Attica, sing your glory, god, famed for playing the kithara, son of great Zeus, beside this snow-crowned peak, o you who reveal to all mortals the eternal and infallible oracles. They sing how you conquered the prophetic tripod guarded by a fierce dragon when, with your darts you pierced the gaudy, tortuously coiling monster, so that, uttering many fearful hisses, the beast expired. They sing too, how the Gallic hordes, in their sacrilegious impiety, when trying to cross... Let us go, son, warlike scion... 23The two hymns in honor of Apollo, carved on an outside wall off the treasure of the Athenians at Delphi were found broken up into sections but were later reassembled. One is for voice and the other is instrumental The name of the composer of the first hymn has been destroyed. The text, carved together with the notes for voice could be from the Pythian celebrations of 138 B.C. 23. Hymn to the Sun by Mesomedes of Crete {P} 2°05) Sung by Kostis Georgalis. XtovoBhepdpou, nétep ‘Aod, poddeaoav bc avruya TGAwv Mravoig in’ ixveoat SiciKers, Tiepl virtov dneiprrov oupavod axtiva noAuorpopov uindéxav, aiydog nodusepxéa naydv nepAt yaiav dnacay éAicoun. Totapoi 5é o€Gev nupdc GuBpstou viktouoly érrjpatov Gyepav. Zoi pev xopb¢ ebi5 10g GoTépww Kat’ Odupnov Gvaxta Xopeviel, dvetov péhoc aiév deituv, oiBiBt tepnvépievog Aipa. Phauxd dé napoGe Zedava xpdviov dp iov dyepovevet, Aeurdiv Un oUpLAAI 6oXW Yavurai 3é ré oj vdog edpewic, TAvei{iova Koopov éXicowy. The second of Mesomedes’ three poems, preserved on manuscripts of the 13-16 centuries AD. As long as the hymn remained a strictly religious song it must have played a chief part in the festivals of the gods, and have been sung either immediately before or after the sacrifice. Usually the hymn was tranquil in tone, plain in style, simple, and free from excessive ornament. 2424.Savarios {Q} 3°15" Dance in honor of the God of Nature. 25.Tecmessa’s lament {P} 0° 45" Sung by Daphne Panourias. Fragment from the tragedy “Aias’. Of the self- murdering hand and the sword i... , son of Telamon, yours, Aajax, by Odysseus the criminal, who t . wounds, the yearning... 26.Stasimon from “ Orestes" by Euripides {P} 2°45” ‘Sung by Nikos Konstantinopoulos. (Karoho) pUpopat patepds (aij1a ofc) (60° ava) Barxever 6 HEYas (BABoc ov) (Ov ipod) év BeoTOls ava (Se AaTpos 64) Tig AKxaTou Bods Twvakac Saipwv xatéxAuaey (5e\viiv Ndvwv) we Ndvtou. I groan, | groan, thinking of the blood of your mother, the blood that drives you mad. Good fortune has no stability among mortals: like the sail of a speeding boat, a god rocks it and engulfs it in horrible misfortune, fatal, voracious as the waves of the sea. 27. Fragment from "Iliad" {Q} 2’ 43” Set to music by K. Nikolopoulos (1786-1841).* {P} Original Music fragment. {Q} The music of these pieces is based on the theoritical musical works of the ancient Greek writers, such as Aristoxenos, Aristides Quintilianus, Aristotle, Nicomachus, Ptolemy. * K. Nikolopoulos. He is the oldest Greek composer of Western music who composed music on ancient texts of Aeschylus, Euripides, Aristofanes, Homer, Pindar and Anakreon. 25Fou a eae Pree ew CaM IN GREECE BY F.M. RECORDS S.A. reo mee NAT MBER ocala Renee Pee eRe Sa BC ced