Delphic Paean by Athenaios Athenaiou

Performing materials by Barnaby Brown & Armand D’Angour

DRAFT (7 May 2017)

The oldest, lengthiest and best-preserved example of a Greek song with musical notation is Athenaios’ Delphic Paean, thought to have been composed for the Athenian Pythaïdes festival in 138/7 or 128/7 BCE. The song survives on two marble slabs carved in 128/7 or 106/5 BCE, originally positioned along the Sacred Way of Delphi on the exterior south face of the Treasury of the Athenians. It praises the god Apollo and mentions a ‘swarm’ of artists, the ‘shimmering tunes’ of the aulos, and the ‘sweet-voiced’ kithara. Its composer, Athenaios son of Athenaios, is listed as a director of the great chorus in the 128/7 BCE festival. Duration: c. 4 minutes

doublepipes.info 2017

For updates, audio, editable file formats, and alternative versions of each text, see: www.doublepipes.info/athenaios-paean

Performing forces Forces would have differed for each performance. Likely possibilities include a chorus of boys and a mixture of high and low male voices. Several auletes and kitharists/kitharodes could have been drafted in for festival performances accompanying a chorus of fifty boys: this is the number of paides (boys) listed as choristers of the Technitai of Dionysos who performed at the 128/7 BCE festival. They were certainly trained singers; perhaps some had broken voices. (FD III 2:12; cited by Pöhlmann & West, p. 71, note 6; transcribed at http://epigraphy.packhum.org/text/239292)

Pitch These materials use a pitch suitable for the Louvre aulos. This has two advantages: first, the range C♯4–D5 is comfortable for most voices (there are only two brief excursions — down to A3 in bars 19–20, and up to D♯5 in bar 108); secondly, the Louvre aulos is thought to be from around the same period and may be made of the wood by which the instrument is named in Verse 2, lōtós (Celtis australis) — but these are reasonable guesses rather than certainties (Hagel 2014, pp. 134–5). It is also possible that the original pitch was about a fourth higher and that the accompanying aulos would have been a mechanised instrument made of tibia bones and bronze. Unfortunately, reproductions of such auloi are in their infancy. For performance at other pitches, scores may be downloaded in editable formats and transposed.

CONTENTS

Introduction by Barnaby Brown ...... 3 TEXT 1. Edited Greek with prose translation ...... 4 TEXT 2. The words spoken (audio online) TEXT 3. The words sung (audio online) TEXT 4. The words written (with word-for-word translation) ...... 5 TEXT 5. The ancient notation (2 slabs with transcription) ...... 8 TEXT 6. Modern notation (2 pages) ...... 12 TEXT 7. Modern notation with blank staff (3 pages) ...... 15 TEXT 8. Modern notation with aulos accompaniment (4 pages) ...... 18 Bibliography ...... 22

Licence: These materials are released under the Creative Commons license BY-NC-SA 3.0. The aulos part should be treated as contemporary music; if used in performances or recordings that are made publicly available, please provide details as follows: Title of work: Delphic Paean by Athenaios Athenaiou Composer/Author/Arranger: arr. Barnaby Brown Publisher: — (copyright in this arrangement has not been assigned).

2 doublepipes.info/athenaios-paean, DRAFT (7 May 2017) Introduction

by Barnaby Brown

These materials are released Open Source in order to encourage multiple realisations both by the same performers and by different performers. This mode of publication is an experiment, exploring how the digital revolution might change what the scholarly editor of musical notation from a remote culture does. It responds to Peter Robinson’s vision, expressed in a lecture he delivered in 2014: Instead of our own, single, monolithic edition, there would be a flourishing ecoculture of overlapping sites, using our material in multiple ways, each finding their own readership. I have to say that persuading scholars to relinquish control of what they have made is not easy. We have been trained, since our first undergraduate days, to regard our research as dragons value their gold: of more value if we hoard it than if we spend it. But in the digital world, giving and taking is all that matters... We all know the topos that we are standing on the shoulders of the scholars who have preceded us. The digital age offers a variant on this. As well as stand on the shoulders of others, we should help others to stand on our shoulders. This will change who we are. Now, that would be revolutionary. (Robinson, pp. 200–201) The goal of these materials is not to achieve ‘impact’ by translating existing knowledge into forms more suitable for the public; rather, it is to stimulate new scientific discovery. We believe that the best way to advance understanding of Ancient Greek music — changing how scholars think — is through better collaborations with performers in a process of trial and error, gradually cutting down the vast number of possibilities. If good-practice guidelines developed in experimental archaeology are followed, then these inter-disciplinary interactions will lead to new insights and hopefully produce some brilliant solutions. These materials, therefore, are simply seeds for future performing materials, evolving to suit people in ways that we have no desire to control. Our wish is to help others generate new hypotheses that will provoke historians, philologists and (ethno)musicologists to notice and point out new things, bringing a richer bank of evidence to inform the next generation of performances. The goal of this research process is not to discover what the Athenaios paean sounded like to contemporary ears — this is out of reach — but coming to know and understand the historical material more deeply. It is helpful to distinguish scientific research from imaginative entertainment. A new discipline has emerged from the intersection of archaeology and musical performance, one with four fundamental aims: not to contradict historical evidence; to minimise the effects of modern cultural bias; to take previous work into account; and to share results fully, transparently and promptly. As well as stimulating better collaborations between academics and creative practitioners with embodied knowledge, we hope these materials can nudge scholars of ancient languages to take the publication of practical performing materials more seriously. After all, most early literature was sung. Although the revival of doublepipes is still in its infancy, the European Music Archaeology Project has helped to push back the frontiers of Historically Informed Performance by several millennia. The eight texts contained in this draft are performer-ready in the sense that we have tried to eliminate the contradictions and omissions that eat into valuable preparation and rehearsal time. The latest scholarship is synthesized and one of many possible solutions advanced. Before releasing Version 1.0, we would like to do at least three things: process feedback on this draft from academics and performers; add notation of a kithara accompaniment (Text 9); and supplement the ancient musical notation in Text 5. A possible limitation of the current aulos part is that it draws on Scottish piping tradition (from bar 107), reflecting the embodied knowledge of its composer. An accompaniment that drew on Balkan or Mediterranean piping tradition might be nearer the mark. The same is true of the audio recordings, which reflect English pronunciation to some degree. We hope these imperfect starting points provoke others to publish what they believe are better hypotheses, explaining why. The digital format allows us to publish multiple versions of each text, so that different solutions can be compared and cited.

doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 3 Please help us to strengthen these performing materials by sending your feedback to [email protected] or by leaving a comment on the page where updates will be released: www.doublepipes.info/athenaios-paean. Better still, release your own transformations. We look forward to hosting or linking to these (and recordings of any performances) at this web address, making it easier for every performance to build on previous work.

Barnaby Brown Cambridge, 7 May 2017

TEXT 1. Edited Greek with prose translation

1. Κέκλυθ᾽ Ἑλικῶνα βαθύδενδρον αἳ λάχετε, Διὸς ἐριβρόμου θύγατρες εὐώλενοι, μόλετε, συνόμαιμον ἵνα Φοῖβονὠιδαῖσι μέλψητε χρυσεοκόμαν, ὃς ἀνὰ δικόρυμβα Παρνασσίδος τᾶσδε πετέρας ἕδραν’ ἅμ’ ἀγακλυταῖς Δελφίσιν Κασταλίδος εὐΰδρου νάματ’ ἐπινίσεται, Δελφὸν ἀνὰ πρῶνα μαντεῖον ἐφέπων πάγον. 2. ἢν κλυτὰ μεγαλόπολις Ἀθθὶς, εὐχαῖσι φερόπλοιο ναίουσα Τριτωνίδος δάπεδον ἄθραυστον· ἁγίοις δὲ βωμοῖσιν Ἅφαῖστος αἴθει νέων μῆρα ταύρων· ὁμοῦ δέ νιν Ἄραψ ἀτμὸς ἐς Ὄλυμπον ἀνακίδναται· λιγὺ δὲ λωτὸς βρέμων αἰόλοις μ̣ έλεσιν ὠιδαὰν κρέκει· χρυσέα δ’ ἀδύθρους κίθαρις ὕμνοισιν ἀναμέλπεται. 3. ὁ δὲ τεχνιτῶν πρόπας ἐσμὸς Ἀθθίδα λαχὼν ἀγλαίζει κλυτὸν παῖδα μεγάλου Διὸς, σοὶ γὰρ ἔπορ’ ἀκρονιφῆ τόνδε πάγον, ἄμβροτ’ ἀψευδέ’οὗ πᾶσι θνατοῖς προφαίνεις λόγια, τρίποδα μαντεῖον ὡς εἴλες, ὃν μέγας ἐφρούρει δράκων, ὅτε τέκος Γᾶς ἀπέστησας αἰόλον ἑλικτὰν φυάν, ἔσθ’ ὁ θὴρ πυκνὰ συρίγμαθ’ ἱεὶς ἀθώπευτ’ ἀπέπνευσ’ ὁμῶς· ὡς δὲ Γαλατᾶν ἄρης βάρβαρος, τάνδ᾽ ὃς επὶ γαῖαν ἐπέρασ’ ἀσέπτως χιόνος ὤλεθ᾽ ὑγραῖς χοαῖς.

Too little remains of Verse 4 to permit reconstruction.

1. Hark, you whose domain is deep-forested Helicon, loud-thundering Zeus’ fair-armed daughters: come with songs to celebrate your brother Phoebus of the golden hair, who over the twin peaks of this mountain, Parnassus, accompanied by the far-famed Delphic maidens, comes to the streams of the flowing Castalian spring as he visits his mountain oracle. 2. Lo, Attica, famed for its great city, is here at prayer, home of armed Athena’s unconquerable ground; and on the sacred altars Hephaestus burns the thighs of young bulls. While Arabian incense-smoke spreads up to Olympus, the clear-voiced pipe weaves into the song shimmering tunes, and the sweet-voiced golden kithara raises the song of praise. 3. The whole troupe of Attic artists glorifies you, [Apollo,] the son of great Zeus: he who gave you this snow-capped crag where you utter undying and unlying oracles to all mortals. We sing of how you grasped the tripod of prophecy, which the great serpent was guarding, when you slew that spawn of Earth with its glittering coils, and the beast with frequent awful-sounding hisses finally expired; just as the barbarous army of Gauls, who impiously invaded this land, perished in rivers of molten snow.

Translation: Armand D’Angour

4 doublepipes.info/athenaios-paean, DRAFT (7 May 2017) TEXT 4. The words written

Three notations of the Greek words and a translation are laid out as follows: UPPER CASE GREEK Latin transliteration Edited Greek Word for word English translation The alternation of brown and black in the edited Greek and Latin transliteration reveals the counterpoint between words and metrical units: each block of colour corresponds to a bar of 5/8. This overlapping is an essential quality of Ancient Greek song, sustaining interest and avoiding dullness. The upper case Greek is designed to provide a smooth transition for anyone who would like to read an image of the find (Text 5). Green marks letters no longer visible, supplied by scholars 1893–2001, in particular Martin West and Egert Pöhlmann. Most of the later words in green are West’s restorations. The Latin transliteration does not attempt to encode sounds precisely; it is intended as an aide-mémoire for readers who learn pronunciation by ear. It uses orthography that gives choirs already familiar with Latin a smooth transition to reading the upper case Greek of the find (Text 5). As well as marking the long vowels with macrons, it shows the pitch accents that were used teaching Greek in ancient times: acute, circumflex and grave. A grave accent is not lower than the general base level, it is a degraded acute accent with a pitch slightly higher than the base level. When singing from musical notation, these pitch accents become redundant, so they are omitted in Texts 6–9. They should not be confused with dynamic accents, which may fall on different syllables, as happens in the first name of the composer, Athḗnaios Athēnaíou. Here, the dynamic accent in both names is likely to have fallen on the underlined dipthong ai, which according to this branch of thought was pronounced louder, at the base pitch in the first but at acute pitch in the second. There is evidence that the vowel sound of η (ē) was already tending to merge with ι (i) by the second century BCE, as it does in modern Greek. The digraph ει, rendered ei here, also appears to have merged with ι by this date (D’Angour 2015). It is rendered ē in Texts 6 and 7 in order to clarify that it should be pronounced as a single vowel, not a dipthong. Macrons and pitch accents are included here in order to reveal the primary basis for reconstructing the melody. All reconstructed notes in the vocal line are marked green in Texts 6–9, giving investigators a ‘green light’ to try other solutions. D’Angour’s principles of reconstruction will be presented fully at the 10th MOISA meeting in Oxford, July 2017. Briefly, they are as follows: 1. to reflect the word accents in the melody (syllables with acute accents are set to the same or a higher pitch than that of adjacent non-accented syllables); 2. to achieve stylistic consistency with what survives of this melody and other notations of Ancient Greek song; and 3. to convey the sense of the words in a manner consistent with Athenaios’ word setting. In both this paean and its pair by Limenios, positioned immediately below it on the Sacred Way of Delphi, the surviving portions of melody follow the word accents, or at least do not contradict them, with very few exceptions (West 1992, p. 199). In the Athenaios paean, a syllable with an acute accent is only once found set to a lower note than non-accented syllables in the same word (the sixth word of Verse 2, pheróploio; Pöhlmann & West, p. 72), while the circumflex over thnatoîs in Verse 3 is effectively inverted, set to a rising interval rather than a falling one. The line divisions do not have any historical basis, they simply respond to the needs of learners and constraints of layout: the chunks are short, similar in length, and avoid breaking words. The way singers bring out the counterpoint between the flexible units of the words and the regular units of the cretic-paeonic metre is surely a focus of artistry. Rather than letting one overpower the other, we suggest that the complex texture of rhythmic polyphony is more engaging to listen to and closer to ancient reality. As well as tempo fluctuations, did the degree of rhythmic freedom ebb and flow, sometimes more dance-like, sometimes more relaxed? There is no right and wrong here, only less wrong — hence the value of multiple hypothesis generation.

doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 5 Delphic Paean by Athenaios Athenaiou: Text 4

For a translation in English word order, see Text 1. This is an aide-mémoire for pronunciation learned by ear (audio is at www.doublepipes.info/athenaios-paean).

Verse 1 ΚΕΚΛΥΘ ΕΛΙΚΩΩΝΑ ΒΑΘΥΔΕΝΔΡΟΝ Kéklyth’ Helikō̂ na bathýdendron Κέκλυθ᾽ Ἑλικῶνα βαθύδενδρον Listen to Helicon deep-forested ΑΙ ΛΑΧΕΤΕ ΔΙΟΣ ΕΡΙΒΡΟΜΟΥΟΥ haì láchete Diòs eribrómou αἳ λάχετε Διὸς ἐριβρόμου· who belong of Zeus the thunderer ΘΥΓΑΤΡΕΣ ΕΥΩΛΕΝΟΙ thýgatres euṓlenoi; θύγατρες εὐώλενοι, daughters fair-armed; ΜΟΛΕΤΕ ΣΥΝΟΜΑΙΜΟΝ ΙΝΑ ΦΟΙΟΙΒΟΝ mólete sunómaimon hína Phoîbon μόλετε συνόμαιμον ἵνα Φοῖβον come your brother so that Phoebus ΩΙΔΑΕΙΣΙ ΜΕΛΨΗΤΕ ΧΡΥΣΕΟΚΟΜΑΝ ōidaîsi mélpsēte chryseokómān, ὠιδαῖσι μέλψητε χρυσεοκόμαν, with songs you may hymn golden-haired ΟΣ ΑΝΑ ΔΙΚΟΡΥΝΒΑ ΠΑΡΝΑΣΣΙΔΟΣ hòs anà dikórymba Parnassídos ὃς ἀνὰ δικόρυμβα Παρνασσίδος who on the twin peak of Parnassus ΤΑΑΣΔΕ ΠΕΤΕΡΑΣ ΕΔΡΑΝ ΑΜ ΑΓΑΚΛΥΤΑΙΕIΣ tā̂ sde petérās hédran ham agaklytaîs τᾶσδε πετέρας ἕδραν ἅμ’ ἀγακλυταῖς this mountain’s throne, with far-famed ΔΕΕΛΦIΣΙΙΝ ΚΑΣΤΑΛIΔΟΣ ΕΟYYΔΡΟΥ Delphísin Kastalídos euýdrou Δελφίσιν Κασταλίδος εὐΰδρου Delphic-maidens, of Castalia flowing ΝAΜΑΤ EΠΙΝIΣΕΤΑΙ ΔΕΛΦOΝ AΝA ΠΡΩΩΝΑ nā́mat’ epinísetai, Delphòn anà prō̂ na νάματ’ ἐπινίσεται, Δελφὸν ἀνὰ πρῶνα streams alights on Delphi to headland ΜΑΑΝΤΕΙΕΙΟΝ ΕΦΕΠΩΝ ΠΑΓΟΝ manteîon ephépōn págon. μαντεῖον ἐφέπων πάγον. oracle visiting the crag.

Verse 2 ΗΝ ΚΛΥΤΑ ΜΕΓΑΛΟΠΟΛΙΣ ΑΘΘΙΣ Ḗn, klytā̀ megalópolis Aththìs, ἢν κλυτὰ μεγαλόπολις Ἀθθὶς, Lo, famed of great city Attica, ΕΥΧΑΙΕΙΣΙ ΦΕΡΟΠΛΟΙΟ ΝΑΙΟΥΣΑ euchaîsi pheróploio naíousa εὐχαῖσι φερόπλοιο ναίουσα with prayers of arms-bearing occupying ΤΡΙΤΩΩΝΙΔΟΣ ΔΑΠΕΔΟΝ ΑΘΡΑΥΣΤΟΝ Trītōnídos dápedon áthrauston; Τριτωνίδος δάπεδον ἄθραυστον· of Athena ground unconquerable; ΑΓΙΟΙΣ ΔΕ ΒΩΜΟΙΟΙΣΙΝ ΑΦΑΙΣΤΟΣ ΑΙΕΙΘΕΙ hagíois dè bōmoîsin Hā́phaistos aíthei ἁγίοις δὲ βωμοῖσιν Ἅφαῖστος αἴθει on sacred and altars Hephaestus burns ΝΕΩΝ ΜΗΡΑ ΤΑΟΥΡΩΝ ΟΜΟΥΟΥ ΔΕ ΝΙΝ néōn mē̂ ra taúrōn; homoû dé nin νέων μῆρα ταύρων· ὁμοῦ δέ νιν of young thighs of bulls; with and him ΑΡΑΨ ΑΤΜΟΣ ΕΣ ΟΛΥΜΠΟΝ ΑΝΑΚΙΔΝΑΤΑΙ Áraps átmos es Ólympon anakídnatai, Ἄραψ ἀτμὸς ἐς Ὄλυμπον ἀνακίδναται· Arabian smoke to Olympus uprises, ΛΙΓΥ ΔΕ ΛΩΤΟΟΣ ΒΡΕΜΩΝ ligỳ dè lōtòs brémōn λιγὺ δὲ λωτὸς βρέμων clear-voiced and pipe sounding

6 doublepipes.info/athenaios-paean, DRAFT (7 May 2017) ΑΕΙΟΛΟΙΟΙΣ ΜΕΛΕΣΙΝ ΩΙΔΑΑΝ ΚΡΕΚΕΙ aiólois mélesin ōidā̀n krékei, αἰόλοις μ̣ έλεσιν ὠιδαὰν κρέκει· with shimmering tunes its song weaves, ΧΡΥΣΕΑ Δ ΑΔΥΘΡΟΥΣ chryséā d’ hādýthrous χρυσέα δ’ ἀδύθρους golden and sweet-voiced ΚΙΘΑΡΙΣ ΥΜΝΟΙΣΙΝ ΑΝΑΜΕΛΠΕΤΑΙ kítharis hýmnoisin anamélpetai. κίθαρις ὕμνοισιν ἀναμέλπεται. kithara with hymns raises song.

Verse 3 Ο ΔΕ ΤΕΧΝΙΤΩΩΝ ΠΡΟΠΑΣ ΕΣΜΟΣ Ho dè technītôn própās hesmòs ὁ δὲ τεχνιτῶν πρόπας ἐσμὸς The and of artists whole swarm ΑΘΘΙΔΑ ΛΑΧΩΝ ΑΓΛΑΙΖΕΙ Aththída lachôn agla-ízei Ἀθθίδα λαχὼν ἀγλαίζει Attica occupying glorifies ΚΛΥΤΟΝ ΠΑΙΔΑ ΜΕΓΑΛΟΥ ΔΙΟΣ klytòn paîda megálou Diós, κλυτὸν παῖδα μεγάλου Διὸς, famed son of great Zeus, ΣΟΙ ΓΑΡ ΕΠΟΡ ΑΚΡΟΝΙΦΗ ΤΟΝΔΕ ΠΑΓΟΝ soì gàr épor’ akroniphē̂ tónde págon, σοὶ γὰρ ἔπορ’ ἀκρονιφῆ τόνδε πάγον, to you for he gave snow-capped this crag, ΑΑΜΒΡΟΤ ΑΨΕΥΔΕΟΥ ΠΑΣΙ ΘΝΑΤΟΙΟΙΣ ámbrot’ apseudé’ hoû pâsi thnātoîs ἄμβροτ’ ἀψευδέ’οὗ πᾶσι θνατοῖς deathless, unlying where to all mortals ΠΡΟΦΑΙΝΕΙΕΙΣ ΛΟΓΙΑ prophaíneis lógia; προφαίνεις λόγια· you reveal forth oracles; ΤΡΙΠΟΔΑ ΜΑΝΤΕΙΕΙΟΝ ΩΣ ΕΙΕΙΛΕΣ trípoda mānteîon hōs eîles τρίποδα μαντεῖον ὡς εἴλες, the tripod prophetic how you grasped ΟΝ ΜΕΓΑΣ ΕΦΡΟΥΟΥΡΕΙΕΙ ΔΡΑΚΩΝ hòn mégas ephroúrei drákōn, ὃν μέγας ἐφρούρει δράκων, which the great was guarding serpent, ΟΤΕ ΤΕΚΟΣ ΓΑΙΑΣ ΑΠΕΣΤΗΗΣΑΣ hóte tékos Gā̂ s apéstēsas ὅτε τέκος Γᾶς ἀπέστησας when spawn of Earth you slew ΑΙΟΛΟΝ ΕΛΙΚΤΑΝ ΦΥΑΝ aiólon heliktàn phyán, αἰόλον ἑλικτὰν φυάν, glittering coiled creature, ΕΣΘ Ο ΘΗΡ ΠΥΚΝΑ ΣΥΥΡΙΓΜΑΘ ésth’ ho thḕr pyknà syrígmath’ ἔσθ’ ὁ θὴρ πυκνὰ συρίγμαθ’ until the beast many hisses ΙΙΕΙΣ ΑΘΩΠΕΥΤ ΑΠΕΠΝΕΥΣ ΟΜΩΣ hieìs athṓpeut’ apépneus’ homō̂ s; ἱεὶς ἀθώπευτ’ ἀπέπνευσ’ ὁμῶς· emitting strident expired at last; ΩΣ ΔΕ ΦΑΛΑΤΑΑΝ ΑΡΗΣ ΒΑΡΒΑΡΟΣ hōs dè Galatân árēs bárbaros, ὡς δὲ Γαλατᾶν ἄρης βάρβαρος, thus and of Gauls the army barbarous, ΤΑΝΔ ΟΣ ΕΠΙ ΓΑΙΑΝ ΕΠΕΡΑΑΣ ΑΣΕΠΤΩΣ tā́nd’ hòs epì gaîan epérās’ aséptōs τάνδ᾽ ὃς επὶ γαῖαν ἐπέρασ’ ἀσέπτως this who against land invaded impiously ΧΙΟΝΟΣ ΩΛΕΘ ΥΥΓΡΑΙΣ ΧΟΑΙΣ chiónos ṓleth’ hygraîs choaîs. χιόνος ὤλεθ᾽ ὑγραῖς χοαῖς. of snow perished in liquid streams.

Too little remains of verse 4 to permit reconstruction.

doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 7 TEXT 5 The ancient notation

Two marble slabs, 38 × 95 cm, carved in 128/7 or 106/5 BC. Originally positioned along the Sacred Way of Delphi on the exterior south face of the Treasury of the Athenians. Delphi Archaeological Museum, inventory nos. 517 (column 1) and 526 (column 2). Photos: Sylvain Perrot

Two restorations of the title are possible: ‘Paean and dance for the god composed by Athenaios’ and ‘Paean and procession for the god...’ : παιὰν καὶ ὑπόρχημα εἰς τὸν or παιὰν καὶ προσόδιον εἰς τὸν θεὸν ὃ ἐπόησεν Ἀθήναιος. The first option, huporchēma, could mean small leg movements and hand gestures — the word simply means ‘movement accompanying singing’. For discussion, see Hackworth, pp. 45–6.

8 doublepipes.info/athenaios-paean, DRAFT (7 May 2017) ΠΑΙΑΝ ΚΑΙ ΥΠΟΡΧΗΜΑ ΕΙΣ ΤΟΝ ΘΕΟΝ Ο ΕΠΟΗΣΕΝ

1 ΚΕΚΛΥΘ ΕΛΙΚΩΩΝΑ ΒΑΘΥΔΕΝΔΡΟΝ ΑΙ ΛΑ

2 ΧΕΤΕ ΔΙΟΣ ΕΡΙΒΡΟΜΟΥΟΥ ΘΥΓΑΤΡΕΣ ΕΥΩΛΕΝΟΙ

3 ΜΟΛΕΤΕ ΣΥΝΟΜΑΙΜΟΝ ΙΝΑ ΦΟΙΟΙΒΟΝ ΩΙΔΑΕΙ

4 ΣΙ ΜΕΛΨΗΤΕ ΧΡΥΣΕΟΚΟΜΑΝ ΟΣ ΑΝΑ ΔΙΚΟΡΥΝ

5 ΒΑ ΠΑΡΝΑΣΣΙΔΟΣ ΤΑΑΣΔΕ ΠΕΤΕΡΑΣ ΕΔΡΑΝ ΑΜΑ

6 ΓΑΚΛΥΤΑΙΕIΣ ΔΕΕΛΦIΣΙΙΝ ΚΑΣΤΑΛIΔΟΣ

7 ΕΟYYΔΡΟΥ ΝAΜΑΤ EΠΙΝIΣΕΤΑΙ ΔΕΛΦOΝ AΝA

8 ΠΡΩΩΝΑ ΜΑΑΝΤΕΙΕΙΟΝ ΕΦΕΠΩΝ ΠΑΓΟΝ.

9 ΗΝ ΚΛΥΤΑ ΜΕΓΑΛΟΠΟΛΙΣ ΑΘΘΙΣ ΕΥΧΑΙΕΙ

10 ΣΙ ΦΕΡΟΠΛΟΙΟ ΝΑΙΟΥΣΑ ΤΡΙΤΩΩΝΙΔΟΣ ΔΑΠΕ

11 ΔΟΝ ΑΘΡΑΥΣΤΟΝ ΑΓΙΟΙΣ ΔΕ ΒΩΜΟΙΟΙΣΙΝ Α

12 ΦΑΙΣΤΟΣ ΑΙΕΙΘΕΙ ΝΕΩΝ ΜΗΡΑ ΤΑΟΥΡΩΝ ΟΜΟΥ

13 ΟΥ ΔΕ ΝΙΝ ΑΡΑΨ ΑΤΜΟΣ ΕΣ ΟΛΥΜΠΟΝ ΑΝΑΚΙΔΝΑ

14 ΤΑΙ ΛΙΓΥ ΔΕ ΛΩΤΟΟΣ ΒΡΕΜΩΝ ΑΕΙΟΛΟΙΟΙΣ ΜΕ

15 ΛΕΣΙΝ ΩΙΔΑΑΝ ΚΡΕΚΕΙ ΧΡΥΣΕΑ Δ ΑΔΥΘΡΟΥΣ ΚΙ

16 ΘΑΡΙΣ ΥΜΝΟΙΣΙΝ ΑΝΑΜΕΛΠΕΤΑΙ Ο ΔΕ ΤΕΧΝΙ

17 ΤΩΩΝ ΠΡΟΠΑΣ ΕΣΜΟΣ ΑΘΘΙΔΑ ΛΑΧΩΝ ΑΓΛ

doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 9

10 doublepipes.info/athenaios-paean, DRAFT (7 May 2017)

ΑΘΗΝΑΙΟΣ*

18 ΑΙΖΕΙ ΚΛΥΤΟΝ ΠΑΙΔΑ ΜΕΓΑΛΟΥ ΔΙΟΣ ΣΟΙ ΓΑΡ Ε

19 ΠΟΡ ΑΚΡΟΝΙΦΗ ΤΟΝΔΕ ΠΑΓΟΝ ΑΑΜΒΡΟΤ ΑΨΕΥΔΕ

20 ΟΥ ΠΑΣΙ ΘΝΑΤΟΙΟΙΣ ΠΡΟΦΑΙΝΕΙΕΙΣ ΛΟΓΙΑ

21 ΤΡΙΠΟΔΑ ΜΑΝΤΕΙΕΙΟΝ ΩΣ ΕΙΕIΛΕΣ ΟΝ ΜΕΓΑΣ Ε

22 ΦΡΟΥΟΥΡΕΙΕΙ ΔΡΑΚΩΝ ΟΤΕ ΤΕΚΟΣ ΓΑΙΑΣ ΑΠΕ

23 ΣΤΗΗΣΑΣ ΑΙΟΛΟΝ ΕΛΙΚΤΑΝ ΦΥΑΝ ΕΣΘ Ο ΘΗΡ ΠΥΚ

24 ΝΑ ΣΥΥΡΙΓΜΑΘ ΙΙΕΙΣ ΑΘΩΠΕΥΤ ΑΠΕΠΝΕΥΣ ΟΜΩΣ

25 ΩΣ ΔΕ ΓΑΛΑΤΑΑΝ ΑΡΗΣ ΒΑΡΒΑΡΟΣ ΤΑΝΔ ΟΣ ΕΠΙ ΓΑΙ

26 ΑΝ ΕΠΕΡΑΑΣ ΑΣΕΠΤΩΣ ΧΙΟΝΟΣ ΩΛΕΘ ΥΥΓΡΑΙΣ ΧΟΑΙΣ

27 Σ.ΑΛΛΙΩΓΕΕΝΝΑΝ

28 Ν ΘΑΛΟΣ ΦΙΛΟΜ

29 Σ ΔΑΑΜΟΙΟ ΛΟ

30 ΡΩΝ ΕΦΟΡO

31 ΤΕΟΝΚ

32 ΕΝΑΙΚ

33 ΝΘΗ

* The name Ἀθήναιον Ἀθηναίου (accusative of Athḗnaios Athēnaíou) is found in a list of the Technitai of Dionysos who took part in the 127/128 BCE festival. The stone says that the community ‘appointed as choir-leader Athenaios Athenaiou’ among others (FD III 2:47, line 20; cited by Pöhlmann & West, 71; transcribed at http://epigraphy.packhum.org/text/239331).

doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 11 Delphic Paean by Athenaios Athenaiou: Text 6

Words in green supplemented by scholars 1893–2001, principally Martin West (2001) Notes in green reconstructed by Armand D’Angour (2017) Notes in black from the edition by Egert Pöhlmann and Martin West (2001)

# # 7 # 5 œ j œ j Chorus & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. Kek - lyth’ He-li - kō - na ba-thy-den-dron hai la-che-te Di-os 12 # # loud-thundering # œ j j ≈ œ œ œ j & œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ e -ri-bro-mou thy-ga-tres eu - ō - lenoi; mo-le-te su-nom - ai-mon hi-na Phoi - bon ōi -

18 A # # golden-haired twinœ-peak j & # œ œ j j ≈ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œ™ J dāi-si mel - psē-te chry - se-o-ko- mān, hos a-na di-ko-rym-ba Par - nās-si-dos tās - de pe-te

25 # à Delphic maidens lowing streams alights ## j œ œ œ œ œ œ œ œ œ j œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ rās he-dran ham - a-ga-kly-tais Del - phi-sin Ka-sta-li-dos eu - y-drou nā-mat’ e -pi- 31 # # on Delphi 6 # œ j j™ ≈ j œ j & nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nī - se-tai Del-phon a-na prō - na mān - tē - on e-phe-pōn pa- gon.

42 B with prayers ### œ j œ œ œ œ œ œ œ œ j j œ œ œ & œ œ œ R ≈ œ œ nœ œ #œ œ #œ nœ #œ œ œ

2. Ēn,kly-ta me-ga-lo-po-lis Ath- this, eu - chai-si phe-ro-ploi-o nai - ou-sa Trī - tō - ni-dos

49 # # unconquerable on sacred altars burns # œ œ œ r≈ œ nœ œ j œ œ j j & œ œ œ nœ #œ #œ œ œ œ nœ#œ nœ œ œ

da-pe-don ath - rau- ston; ha-gi - ois de bō - moi - sin Hā - phai-stos ai - thē ne-ōn

55 C # # smokej uprises # j j ≈ j œ œ œ œ œ œ œ j j j ≈ & œ œ nœ œ #œ™ œ #œnœ œ œ œ #œ œ nœ œ #œ™ mē - ra tau - rōn, ho - mou de nin A-raps at-mos es O - lym-pon a-na - kid-na - tai,

12 doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 61 # clear-voiced pipe sounding with shimmering tunes ## j ≈ & œ #œ œ œ #œ œ nœ œ œ nœ #œ nœ œ nœ œ œ #œ #œ œ nœ œ™ li - gy de lō - tos bre-mōn ai - o - lois me - le - sin ōi - dān kre- kē, 66 # golden sweet-voiced U ## œ œ œ œ j j & J nœ #œ J œ œ nœ œ #œ œ œ œ nœ œ #œ chry - se - ā d’ hā - dy-throus ki - tha - ris hym - noi - sin a - na - mel - pe - tai. D 71 # # 4 artists swarm gloriies # œ œ œ œ œ œ œ œ œ œ œ œ œ œ™≈ j œ œ œ œ & œ J J œ œ J 3. Ho de tech-nī - tōn pro-pās hes-mos Ath - thi-da la-chōn a -gla-i - zē kly-ton

81 # son of great Zeus snow-capped crag undying ## œ œ œ œ œ œ œ™ ≈ j œ œ œ œ œ œ ≈ œ œ & J J J œ œ œ œ œ œ J œ œ pai - da me-ga - lou Di- os, soi gar e- por’ a-kro-ni-phē ton - de pa- gon, am - brot’ a -

87 E # unlying oracles à ## j œ œ œ œ œ œ œ œ œ œ œ & œ œ J nœ nœ œ œ œ œ œ œ œ œœ œ œnœ œ pseu-de’ hou pā-si thnā - tois pro-phai - nēs lo-gi- a; tri-po-da mān - tē - on hōs ē - les hon 94 # # great serpent you slew glittering coiled # œ œ œ œ œ œ œ œ™ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & nœ J œ œ me-gas e - phrou - rē dra- kōn, ho-te te-kos Gās a-pes - tē - sas ai - o -lon he-lik -

100 # creature the beast many hisses strident expired at last U ## œ j œ™≈ j j j œ œ œ œ œ œ j & œ J œ œ nœ œ nœ œ#œ œ œ œ œ J J œ œ nœ œ tān phy- ān, esth’ ho thēr py-kna sy - rīg-math hī - ēs a-thō- peut’ a-pe pneus’ ho - mōs; F 107 # # thus the army of Gauls who invaded impiously # œ œ œ œ #œnœ œ œ œ œ œ™ ≈ œ œ œ œ œ œ œ œ œ œ & J J J J œ œ œ hōs de Ga-la - tān a-rēs bar - ba- ros, tānd’ hos e - pi gai - an e - pe - rās’ a-sep - 113 # # of jsnow perishejd 8 & # œ™ ≈ œ œ nœ œ œ œ œ nœ ‰ Œ J œ œ œ œ œ tōs chi - o-nos ō - leth hy - grais cho-ais.

doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 13

This page intentionally left blank Delphic Paean by Athenaios Athenaiou: Text 7

Words in green supplemented by scholars 1893–2001, principally Martin West (2001) Pitches in green reconstructed by Armand D’Angour (2017) Chorus pitches in black from the edition by Egert Pöhlmann and Martin West (2001)

° ###5 Chorus & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ###5 ¢& 8

°8 # loud-thundering ## œ j j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. Kek - lyth’ He-li - kō - na ba-thy - den-dron hai la-che-te Di-os e - ri-bro-mou thy-ga-tres eu - ### ¢&

14 ° # # j golden-haired & # œ j j ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j j ≈ œ œ™ œ œ œ œ œ œ œ œ œ œ™ ō - lenoi; mo-le-te su-nom - ai-mon hi-na Phoi-bon ōi - dāi - si mel - psē-te chry - se-o-ko- mān, ### ¢& A 21 twin-peak à Delphic maidens ° ### œ œ œ j œ œ œ j & œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ hos a-na di-ko-rym-ba Par - nās-si-dos tās - de pe-te - rās he-dran ham - a-ga-kly-tais Del-phi-sin ### ¢&

°28 # # lowing streamsj alights on Delphi # œ œ œ œ œ œ œ œ œ œ œ œ œ j j™ ≈ j & J nœ œ œ œ œ œ œ œ œ œ œ # Ka - sta - li-dos eu - y-drou nā - mat’ e - pi - nī - se-tai Del-phon a - na prō - na mān - ## ¢&

°34 # # & # œ œ j ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ # - tē - on e-phe - pōn pa- gon. ## ¢&

doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 15 42 B with prayers ° ### œ j œ œ œ œ œ œ œ œ j j œ œ œ & œ œ œ R ≈ œ œ nœ œ #œ œ #œ nœ #œ œ œ 2. Ēn, kly-ta me-ga-lo-po-lis Ath- this, eu - chai - si phe-ro - ploi - o nai - ou - sa Trī - tō - ni-dos ### ¢&

49 unconquerable on sacred altars burns ° ### œ œ r nœ j j j j & œ œ œ œ ≈œ œ nœ #œ œ#œ œ œ œ œ nœ#œ nœ œ œ œ œ nœ œ

da-pe-don ath - rau- ston; ha-gi - ois de bō - moi-sin Hā - phai-stos ai - thē ne-ōn mē - ra tau - ### ¢&

C °56 # smoke uprises clear-voiced pipe sounding ## j ≈ j œ œ j œ œ j j j ≈ & #œ™ œ #œnœ œ œ œ œ œ œ #œ œ nœ œ #œ™ œ#œ œ œ #œ œnœ œ rōn, ho - mou de nin A-raps at-mos es O - lym-pon a-na - kid-na - tai, li-gy de lō - tos bre-mōn ### ¢&

°63 # with shimmering tunes golden sweet-voiced ## j ≈ œ œ œ œ j & œnœ#œnœ œ nœ œ œ#œ #œ œnœ œ™ J nœ #œ J œ œ nœ œ #œ œ œ œ ai - o - lois me-le-sin ōi - dān kre- kē, chry-se- ā d’ hā - dy-throus ki-tha-ris hym - noi-sin a-na ### ¢&

D °70 # # U artists # j ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ & nœ œ #œ œ mel-pe - tai. 3. Ho de tech-nī - tōn pro-pās # ## ¢&

°77 # # swarm gloriies son of great Zeus j # œ œ œ œ œ œ œ™ ≈ j œ œ œ œ œ œ œ œ œ œ œ™ ≈ œ œ & J J œ œ J J J J œ œ hes-mos Ath - thi-da la-chōn a - gla-i - zē kly-ton pai - da me-ga - lou Di- os, soi gar e- por’ # ## ¢&

16 doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 84 snow-capped crag undying unlying oracles à ° ### œ œ œ œ œ jœ œ œ œ œ œ œ & œ œ œ J œ≈ œ œ œ œ œ œ J nœ œ œnœ œ œ a-kro-ni-phē ton-de pa- gon, am- brot’ a - pseu- de’ hou pā - si thnā - tois pro-phai - nēs lo-gi- a; ### ¢&

91 E ° # # great serpent you slew # œ œ œ œ œ œ œ œ œ œ œ œ™ ≈ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ nœ nœ J œ tri-po-da mān - tē - on hōs ē - les hon me-gas e - phrou - rē dra- kōn, ho-te te-kos Gās a-pes- ### ¢&

°98 # glittering coiled creature the beast many hisses strident expired ## œ œ œ œ œ œ œ j œ™≈ j j j œ œ œ œ œ œ & œ œ œ J œ œ nœ œ nœ œ#œ œ œ œ œ J J tē - sas ai - o - lon he-lik - tān phy- ān, esth’ ho thēr py-kna sy - rīg-math hī - ēs a-thō- peut’ a-pe- ### ¢&

F °106 # at last U thus the army of Gauls who invaded ## j œ œ œ #œ nœ œ œ œ œ œ™ ≈ œ œ œ œ œ & œ œ nœ œ œ J J J J œ œ œ œ pneus’ ho - mōs; hōs de Ga-la - tān a- rēs bar - ba- ros, tānd’ hos e - pi gai - an e - pe- ### ¢&

112 ° # # impœiously of jsnow perishejd & # œ œ œ œ™ ≈ œ œ nœ œ œ œ œ nœ ‰ Œ ∑ J œ œ œ œ œ rās’ - a - sep - tōs chi - o - nos ō - leth hy - grais cho-ais. ### ¢&

118 # # & #

doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 17 Delphic Paean by Athénaios Athenaíou: Text 8

Words in green supplemented by scholars 1893-2001, principally Martin West (2001) Pitches in green reconstructed by Armand D’Angour (2017) Chorus pitches in black from the edition by Egert Pöhlmann and Martin West (2001) Louvre aulos part composed by Barnaby Brown (2017)

Celebratory ° ###5 Chorus & 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ # #5 j j j ≈ Louvre aulos & # 8 œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ H-0, L-1T6 ¢ œ œ œ œ œ œ ™ œ œ ™ œ œ œ œ ≈ œ œ œ œ œ œ Jœ œ œ Jœ œ œ™ Ÿ œ™ œ J J ™ i.e. High pipe: all holes open J J Low pipe: holes 1, T and 6 closed

°8 # loud-thundering ## œ j j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1. Kek - lyth’ He-li - kō - na ba-thy - den-dron hai la-che-te Di-os e - ri-bro-mou thy-ga-tres eu - # # j & # œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ ¢ œ œ œ œ œ œ œ œ Ÿœ ™ œ Ÿœœ™ œ œ Jœ œ œ Jœ œ J J œ™ 14 ° # # j golden-haired & # œ j j ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j j ≈ œ œ™ œ œ œ œ œ œ œ œ œ œ™ ō - lenoi; mo-le-te su-nom - ai-mon hi-na Phoi-bon ōi - dāi - si mel - psē-te chry - se - o-ko- mān, ### j j ≈ j ¢& œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ™ œ œ œ œ™ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J œ Jœ œ J J J J A 21 twin-peak à Delphic maidens ° ### œ œ œ j œ œ œ j & œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ hos a-na di-ko-rym-ba Par - nās-si-dos tās - de pe-te - rās he-dran ham - a - ga-kly-tais Del-phi-sin # à ## j j & œ™ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ œ œ œ œ œ œ œ™ œ œ œ™œ œ œ œ œ œ œ œ œ Jœ Jœ J œ œ™ œ

°28 # # lowing streamjs alights j j on Delphi # œ œ œ œ œ œ œ œ œ œ œ œ œ ™≈ j œ & J nœ œ œ œ œ œ œ œ œ œ œ œœ œ œ Ka-sta-li-dos eu - y-drou nā-mat’ e-pi - nī-se-tai Del - phon a - na prō - na mān - tē - on e-phe # # j j . . . . & # œ œ œ œ œ ™ nœ™ œ œ œ œ ¢ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œœœœœ œœœœœ œœœœœœœ œ™ œ œ œ J œ Jœ œ œ œ

18 doublepipes.info/athenaios-paean, DRAFT (7 May 2017) °35 # # # j ∑ ∑ ∑ ∑ ∑ ∑ & œ œ œ pōn pa- gon. . . ### j j jU ¢& œ œ œ œ™ œ nœ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œœœœœ œœœœœ œœœœœœœ œ™ œ œ™ œ œ J œ Jœ œ

42 B Prayerful with prayers ° ### œ j œ œ œ œ œ œ œ œ j j œ œ œ & œ œ œ R ≈ œ œ nœ œ #œ œ #œ nœ #œ œ œ 2. Ēn, kly-ta me-ga-lo-po-lis Ath- this, eu - chai-si phe-ro - ploi - o nai - ou - sa Trī - tō - ni-dos # # j j & # ™ œ œ œ œ ™ ™ œ ¢ œ œ œ œ™ œ œ œ œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ Jœ œ Jœ œ™

49 unconquerable on sacred altars burns ° ### œ œ r nœ j j & œ œ œ œ ≈ œ œ nœ #œ œ #œ œ œ œ œ nœ#œ da - pe - don ath - rau- ston; ha - gi - ois de bō - moi - sin Hā - phai-stos ai - # # & # œ j j nœ™ j ¢ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ™œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ J Jœ

°54 # C smoke up- ## j j j ≈ j œ œ j œ œ j & nœ œ œ œ œ nœ œ #œ™ œ #œnœ œ œ œ œ œ œ #œ œ thē ne ōn mē ra tau rōn, ho mou de nin A raps at mos es O lym pon a na #------## j j j j ¢& œ™œ œ œœ œœœœœœœ #œ œ œ œ œ œ #œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Jœ œ Jœ œ œ™ œ œ

°60 # rises clear-voiced pipe sounding with shimmering tunes ## j j ≈ j ≈ & nœ œ #œ™ œ#œ œ œ #œ œnœ œ œnœ#œnœ œ nœ œ œ#œ #œ œ nœ œ™ kid - na - tai, li-gy de lō - tos bre-mōn ai - o - lois me-le-sin ōi - dān kre- kē, # # j & # œ œ œ™ œ œ™ œ ™ ™ nœ ¢ œ™ œ œ ™ œ™ œ œ™ œ œ™ œ™ œ œ œ™ œ™ #œ #œ™œœ™ œ œ œ œ œ œ œ™ œ œ™ œ œ œ œ™ œ œ œ J

°66 # golden sweet-voiced U ## œ œ œ œ j j & J nœ #œ J œ œ nœ œ #œ œ œ œ nœ œ #œ chry - se - ā d’ hā - dy-throus ki - tha - ris hym - noi - sin a - na - mel - pe - tai. # # j U & # nœ™ œ ™ œ œ œ nœ œ j œ nœ œ ¢ œ™ œ #œ™ œ œ™ œ™ œ œ œ #œ œ œ œ œ œ œ #œ J J J

doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 19 D Celebratory °71 # # artists swarm # ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ & œ J 3. Ho de tech-nī - tōn pro-pās hes - mos Ath- ### j ¢& #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ

°78 # gloriies son of great Zeus snow-capped ## œ œ œ œ™ ≈ j œ œ œ œ œ œ œ œ œ™ ≈ j œ œ & J œ œ œ œ J J J J œ œ œ œ œ œ thi-da la-chōn a - gla - i - zē kly-ton pai-da me - ga - lou Di- os, soi gar e- por’ a-kro - ni-phē ### j j ™ j j ¢& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œœœ œ œ Jœ J J J œ™ œ 85 crag undying unlying oracles à ° ### œ œ œ œ j œ œ œ œ œ œ œ & J œ ≈ œ œ œ œ œ œ J nœ œ œnœ œ œ ton - de pa- gon, am - brot’ a - pseu-de’ hou pā - si thnā - tois pro-phai - nēss lo - gi - a. # # U # œ j j ™ ™ ¢& œ œ œ œ œ œ œ œ œ œ œ™ œ nœ œ™ œ nœ œ™ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ™ œ J J J u °91 # E great serpent ## œ œ œ œ œ œ œ™ ≈ & œ œ œ œ œ œ œ œ œ nœ œ œ nœ œ J Tri-po - da mān - tē - on hōs ē - less hon me-gas e - phrou - rē dra- kōn, # # # œ™ ™ ¢& œ œœ™œ œ œ œ œœ™œ œ œ™ œ œ nœ œ™ œ œ œ #œœ™œ œ œ™ œ œ™ œ œ œ™ œ œ™ œ œ™ œ

°96 # # you slew glittering coiled crejature # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ ≈ & œ œ J ho-te te-kos Gās a-pes - tē - sas ai - o-lon he-lik - tān phy- ān, # # Œ™ j ‰ ‰ j ‰ ‰ j ‰ ‰ & # ™ œ œ œ œ œ œ œ œ œ œ™ ¢ Œ œ œ œ œ œ ‰ ‰ œ œ œ œ œ ‰ ‰ œ œ œ œ œ ‰ ‰ œ œ œ œ œ™ œ œ œ œ œ œ œ œ Jœ J œ œ œ œ Jœ œ™ œ œ œ œ

°101 # # the beast many hisses strident expired at jlast U # j j j œ œ œ œ œ œ & œ œ nœ œ nœ œ#œ œ œ œ œ J J œ œ nœ œ esth’ ho thēr py - kna sy - rīg-math hī - ēs a-thōm - m peut’ µa-pe- pneus’ ho - mōs; j # # œ™ œœœ œœœ œ œ œ . . U # œ™ œ œ™ ‰ . . ¢& œ™ ™ œ™ œ œ™ œ œ™ œ™ œ œ œ ‰ œ™ œ œ œ œ œ™ œ œ œ œ™ œ œ œ œ œ™ œ™ œ . . . .

20 doublepipes.info/athenaios-paean, DRAFT (7 May 2017) F Contemptuous °107 # thus the army of Gauls who invaded ## œ œ œ #œ nœ œ œ œ œ œ™ ≈ œ œ œ œ œ & œ J J J J œ œ œ œ hōs de Ga-la - tān a - rēss bar-ba-ros, tānd’ hos e - pi gai - an e - pe # # # œ œ™ œ œ™ œ ¢& œ™ œ™ œ œ™ œ œ™ œœœ œ œ œœ œ œ œ œœ œœ œ œ œœ œ œœœ œ™œ™ œ œ œ œ œ œ œ œ œ œ œœ œ J œ œ œ œ J œ œ œ œ œ œ œ

°112 # # impiously ojf snow à perishejd # œ œ œ œ™≈œ œ œ œ œ œ & œ J nœ nœ œ œ œ œ rās’ - a - sep - tōs, chi - o - nos ō - leth hy - grais cho - ais. à > ### & nœ œ™ nœ œ™ nœ rK œ œœœ ¢ œ œ œ œ œ œœ œ œ œ œœ œ œ™ œœœ œœ œ œœ™ œ™ œ œ œ œœ œ œœ™ œœ œœ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ ™ œœ œ œ œ ™ œ œ œ œ œ œ™ > °116 # # # j ‰ ‰ Œ ∑ ∑ ∑ ∑ & œ # # # œ œ™ œ œ j ¢& œ™ œ œ œ™ œ œ™ œœœ œ œ œ œ œ œœ œ œ œ#œnœ œ œ œœœ œ œ œœ œ™œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ J œ œ œ œ œ œ œ

121 U # # > # œ & œ œ œ œ œ œ œ œ œ œ™ œ œ™ œ nœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œœ œ œ œ ÔR œ œ œ œ œ œ œ œ œ™ œ > u

Translation

1. Hark, you whose domain is deep-forested Helicon, loud-thundering Zeus’ fair-armed daughters: come with songs to celebrate your brother Phoebus of the golden hair,

A who over the twin peaks of this mountain, Parnassus, accompanied by the far-famed Delphic maidens, comes to the streams of the lowing Castalian spring as he visits his mountain oracle.

B 2. Lo, Attica, famed for its great city, is here at prayer, home of armed Athena’s unconquerable ground; and on the sacred altars Hephaestus burns the thighs of young bulls.

C While Arabian incense-smoke spreads up to Olympus, the clear-voiced pipe weaves into the song shimmering tunes, and the sweet-voiced golden kithara raises the song of praise.

D 3. The whole troupe of Attic artists gloriies you, [Apollo,] the son of great Zeus: he who gave you this snow-capped crag where you utter undying and unlying oracles to all mortals.

E We sing of how you grasped the tripod of prophecy, which the great serpent was guarding, when you slew that spawn of Earth with its glittering coils, and the beast with frequent awful- sounding hisses inally expired;

F just so the barbarous army of Gauls, who impiously invaded this land, was shattered in rivers of molten snow.

doublepipes.info/athenaios-paean, DRAFT (7 May 2017) 21 Bibliography

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