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Delphic Paean by Athenaios Athenaiou 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’
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