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Home , Aulos, Cithara, Mercury Prize, Mesomedes, The Unthanks, Water organ

Stef Conner Barnaby Brown Callum Armstrong Olga Sutkowska John Kenny Justus Willberg Rupert Till

SOUNDS FROM CLASSICAL ANTIQUITY & Stef Conner voice, John Kenny lituus Apollo&Dionysus Barnaby Brown Justus Willberg hydraulis, aulos Callum Armstrong aulos, plagiaulos Rupert Till bell, hydraulis (drone), cymbals SOUNDS FROM CLASSICAL ANTIQUITY | EUROPEAN ARCHAEOLOGY PROJECT VOL 5 Olga Sutkowska aulos

1 Invocation of the Muse (Mesomedes) [6:31] 12 Study on Bellermann §99, allos dōdekásēmos [1:24] Stef Conner voice & lyre Justus Willberg hydraulis 2 From Berlin manuscript 6870 (20–22) [0:56] 13 Plagiaulos variations (after Bellermann §101), part 2 [2:20] Justus Willberg hydraulis, Rupert Till bell Callum Armstrong plagiaulos 3 Plagiaulos variations (after Bellermann §101), part 1 [1:12] 14 Study on Bellermann §98, dōdekásēmos (Phrygian) [0:54] Callum Armstrong plagiaulos Justus Willberg hydraulis 4 Low and Sweet [3:15] 15 Study on Bellermann §98, dōdekásēmos (Lydian) [0:52] John Kenny lituus Justus Willberg hydraulis 5 12th Pythian Ode () [5:17] 16 Tiaso: first episode [1:41] Stef Conner voice, Barnaby Brown Pydna aulos Olga Sutkowska Louvre aulos 6 From Bellermann §98, dōdekásēmos [0:29] 17 From Bellermann §104, kōlon hexásēmon [0:38] Justus Willberg Louvre aulos, Rupert Till hydraulis Justus Willberg hydraulis 7 Tiaso: introduction [2:37] 18 Quodlibet on Bellermann §§100 & 80 [0:43] Olga Sutkowska Louvre aulos Justus Willberg hydraulis 8 Study on Bellermann §100, tetrásēmos [0:59] 19 From Michigan manuscript inv. 1250 [0:44] Justus Willberg hydraulis Justus Willberg hydraulis 9 Study on Bellermann §101, oktōkaidekásēmos [1:29] 20 Tiaso: second episode [2:31] Justus Willberg hydraulis Olga Sutkowska Louvre aulos, Rupert Till cymbals 10 Gallops and Fanfares [2:23] 21 aulo_dia [4:33] John Kenny lituus Olga Sutkowska, Callum Armstrong Louvre auloi 11 Delphic (Athenaios) [3:56] 22 Aulos variations (after Bellermann §98), part 1 [3:13] Stef Conner voice, Barnaby Brown Louvre aulos Callum Armstrong Louvre aulos 23 From Berlin manuscript 6870 (13–15) [1:01] Justus Willberg hydraulis Recorded on 20 November 2015 Producer/Engineer: Rupert Till Join the Delphian mailing list: 24 On an Armenian folk tune [0:59] (tracks 4 & 10), 4-8 June 2017 24-bit digital editing: Rupert Till, Matthew Swan www.delphianrecords.co.uk/join Justus Willberg Louvre aulos, Rupert Till hydraulis (tracks 3, 7, 13, 16, 20–22 & 25) and 24-bit digital mixing & mastering: Paul Baxter Like us on : 29 November 2017 (tracks 1, 5 & 11) Cover image © David Lake 25 Aulos variations (after Bellermann §98), part 2 [3:47] www.facebook.com/delphianrecords at the University of Huddersfield, and Cover design: John Christ Callum Armstrong Louvre aulos on 23 October 2017 in the Kulturzentrum Booklet & traycard design: Drew Padrutt Follow us on Twitter: Karmeliterkirche, Weißenburg in Booklet editor: John Fallas @delphianrecords 26 On an Armenian folk tune (2) [1:27] Bayern, Germany (all others) Delphian Records Ltd – Edinburgh – UK Justus Willberg Louvre aulos Total playing time [56:04] Recording the European Music Archaeology Project

Music archaeology developed as an academic a series of recordings drawing upon the best have been active in music archaeology. A team bone, as well as mammoth ivory. They are field around 40 years ago, in response to musicians I could find, performing in the context of leading Scandinavian musicians were recorded not really flutes; as open tubes they are more archaeologists discovering musical instruments of innovative projects and showcasing the on location in an old church in the Swedish like the Egyptian ney or Japanese shakuhachi during excavations. For many years it has been instrument reconstructions created under the countryside, including improvised performances in performance technique. While I had seen explored by enthusiasts who are passionate auspices of EMAP. on reconstructed Viking instruments, as well as archaeologists struggle to get a single note from about the subject, but who usually had early Christian music based on manuscripts from reconstructions, contemporary flautist Anna a different main specialism, either within A first recording project explored the oldest known the Scandinavian Middle Ages. Friederike Potengowski can elicit several octaves archaeology or music – an outlier on the edges Scottish pibroch notation, performed not only on of sound, as well as gentle multiphonics. Her of two disciplines, too peripheral to either to bagpipe but a range of other drone instruments, EMAP also funded instrument-maker Jean project included original compositions as well attract funding. including hurdy-gurdy and even varieties of Boisserie to create a beautiful reconstruction as a beautiful piece by John Cage. As with and lyre. It is often a problem to decide what of a 1st-century BC carnyx found at Tintignac, John Kenny, her work revives interest in these The European Music Archaeology Project material to play in music archaeology projects; in the south of France, in 2004. The carnyx ancient instruments, rather than making an (EMAP) was awarded significant funding by the even if there is notation it is often fragmentary, is a giant Celtic trumpet, which was used unsustainable claim to be playing ancient music. Culture Programme of the European Union, the with information about performance practice, across northern Europe. John Kenny is its first time such a large grant had been awarded interpretation and dynamics still more limited. leading player today, and the third EMAP/ It is impossible to play ‘ancient music’; our to this area. This five-year mission involved Barnaby Brown’s research, as well as his virtuoso Delphian was made in the University ears are modern, and there is always some creating reconstructions of ancient musical performance on a number of esoteric instruments, of Huddersfield’s recording studio, with John element of new invention in the reconstruction instruments, the development of a major provided the basis for a novel approach to solving overdubbing on a number of instruments – of instruments and musical performances. The exhibition focused on the music cultures of the this problem. reconstructions by John Creed of another final recording project, focused on music from past, and a series of concerts, publications and carnyx found two centuries earlier at ancient and Rome, is in some ways educational activities. My role was to explore This first release marked the beginning of the Deskford, Scotland, and of the Loughnashade the most problematic. There are examples of a range of audio-visual activities, including partnership with Delphian, whose involvement horn found in 1794 in Co Armagh, Ireland, musical notation from this period, as well as multimedia exhibits and apps as well as the put the project on a professional footing of as well as Jean Boisserie’s Tintignac carnyx. writing about musical culture, performance series of five co-produced with Delphian the highest quality. Working at the University ‘The differences between ourselves and and instruments, so there is enough material Records, of which this is the final volume. of Huddersfield, I was also able to draw upon the ancient world are entirely cultural, not to show when something is wrong, without that institution’s financial support, as well as physiological,’ John writes – ‘in other words, enough detail to be definitively certain about The reconstructions access to a concert hall, studio facilities, and anything I can do, he could do too’ – and getting everything right. made by music archaeologists have often equipment that could be taken on location he draws upon contemporary performance been played by enthusiasts, and only a internationally. All of this helped make the techniques to create a unique sound-world for This final project focuses on a number of limited number of recordings have featured series of five recordings a reality. these ancient instruments. instruments. This include the aulos, a Greek professional musicians, high-level recording double- instrument, known as in the processes and received proper distribution. The second album focused on ancient The fourth album was performed on the Roman period. Playing this is akin to putting With a background as a composer, producer Scandinavian music, and was a collaboration oldest musical instruments ever discovered, two in your mouth simultaneously, with and performing musician, I wanted to curate with Cajsa S. Lund, one of the first academics to prehistoric pipes made of swan and vulture the added complexity of to Recording the European Music Archaeology Project Notes on the sung tracks contend with. Reconstructing the aulos, and The opening track is built from two commonly The sound of intervals associated with tuning encouraging people to play it, has been a focus joined poems with musical notation; they are cycles must have been ever-present in lyre of EMAP. Another significant EMAP activity was attributed to the Roman-era poet and kitharode players’ ears, and seeing this sonic palette to build a large reconstruction of a hydraulis, a Mesomedes of Crete (early 2nd century AD). incorporated into Mesomedes’ melody which was used in Roman games. It follows the standard numbering of Mesomedes’ inspired Stef Conner to derive a technique of works in treating the two pieces as a pair, in self-accompaniment from the same palette. On all five albums we have sought to order to create a performance with contrasting One striking decision audible here is the contextualise the musical performances sections. In Martin West’s edition of the music liberal use of pauses between lines, which within a wider soundscape. This has involved notation, which is followed here, the texts are in one or two instances disrupt the song’s the use of captured or modelled acoustics titled Invocation of the Muse and Invocation metre (iambic dimeter in the ‘Invocation of of ancient sites, whether the reverberation of and Apollo. the Muse’ and hexameter in the ‘Invocation of prehistoric caves, or the modelled acoustic of Calliope and Apollo’). Because the melodic character of the classical-era Hellenistic theatre The performance aims to adopt linguists’ structure so consistently reinforces line in Paphos, Cyprus. We have also included reconstruction of koine Greek ‘popular’ breaks and clauses in the text, intuitive environmental sound, such as the rowing of pronunciation, which would have been used pauses between each line to take a relaxed oars or birds singing. Overall, the goal of the in the 1st and 2nd centuries AD. A ‘learned’ breath make both the vocal performance project is not to reconstruct the music of the pronunciation, preserving elements of Classical and lyre accompaniment slow-moving and past – it is impossible to do this accurately. Greek such as diphthongs and aspirated rhythmically free: upheld by the metre, but Rather the intention is to provide an idea of consonants, could have been appropriate not strictly bound by it. what it might have sounded like to be in the for this imagined performance at the court past, a phenomenological immersion in the of the emperor , where Mesomedes Pindar’s 12th Pythian Ode was composed sound-world of our ancestors: a glimpse into the served as chief musician. However, a popular in honour of Midas of Akragas, winner of acoustic ecology of antiquity. pronunciation, somewhat closer to modern the aulos-playing contest at the Pythian or Rupert Till recording Greek, is used here to suggest an imagined Delphic Games of 490 BC, and extols in rich © 2018 Rupert Till Ice & Longboats performance by an ordinary musician, who language the ‘many-voiced song’ of the aulos. (Delphian/EMAP Vol 2) might well have drawn their songs from No musical notation survives from this period, Rupert Till is Professor of Music at the University of in Oppmanna Parish the famous musicians of the time, but so the original words are sung to a newly Huddersfield. He has carried out a range of research, Church, Sweden. reinterpreted them in their own idiom. composed melody that is based on scholarly specialising in the role of ritual and religion in music, as Photo: Aino Lund well as studying the acoustics of ancient sites and the Lavoipierre principles defined by Armand D’Angour. reconstruction of ancient soundscapes. His book Pop The lyre accompaniment is based on the first Cult is published by Bloomsbury (2010), and as Professor two lines of the melody, which in their rather Barnaby Brown and Armand chose this text to Chill he recently released Dub Archaeology, an album of angular sequence of rising and falling fourths showcase reproductions of two near-identical electronic remixes of music archaeology recordings. and fifths call to mind the cycle of tones by auloi, one buried in about 480 BC in the Greek which a lyre can be tuned to a diatonic scale. colony of Poseidonia (modern-day Italy), the Notes on the sung tracks Notes on the instruments & reconstructions other in about 380 BC in the Macedonian is formulaic enough to produce a feeling of Callum Armstrong initially started experimenting compresses one end of the tube to form the port of Pydna (Greece). These superlative stylistic unity and ritualistic persistence. with the aulos in 2015. Working with academics reed blades. After the reed dries for several archaeological finds have previously resisted such as Stefan Hagel, Armand D’Angour, and days, he starts gradually to scrape the reeds revival because they are at odds with modern Athenaios’ Delphic Paean is both the longest the expert Robin Howell, Callum until they are playable and air efficient. It can preconceptions: instead of dividing the octave and best-preserved example of a Greek developed his own playing technique; this take several weeks until the reeds are ‘played into tones and semitones, their holes are song with musical notation. This summons involved developing reeds in a historically in’. He has since learned various techniques to bored to give seven equidistant tones. Thanks to Apollo may have been composed for informed manner – an endeavour aided by make the job easier from the maker of his aulos, to the reeds, reproductions and ethnographic the Athenian Pythaides festival in 138/7 or support and information from the EMAP project Robin Howell. knowledge of Robin Howell, these high-status 128/7 BC. Its composer – Athenaios, son of ‘The Workshop of Dionysus’ – that would allow instruments from the time of Pythagoras, Athenaios – is listed as a director of the great for circular breathing as well as more generally Callum had first learned the technique of Socrates and are now finding a voice. chorus in the 128/7 BC festival. Although its forming the basis for developing a strong and circular breathing whilst learning to play the musical notation, carved on two marble slabs, sufficiently stable embouchure. Callum’s aulos, bagpipe practice chanter. When piping there Armand’s principles determined our is exceptionally well preserved, there are a made by Robin Howell, is a copy of the Graeco- is no direct control over the reed, and in order compositional vocabulary in a number of number of missing portions. In this version, Roman instrument housed in the Louvre in to play aulos, he soon discovered that circular ways. Firstly, the rhythm of the piece is they have been filled in principally by Martin Paris. There are several illustrations of ancient breathing with a double reed in the mouth entirely bound by the dactylo-epitrite metre West (the text) and Armand D’Angour (the Greek reeds from antiquity, which can be seen requires a very strong and refined embouchure of the poem, although sentence breaks that melody), following principles deduced from for example on carvings and urns, as well as in order to play a stable note. This problem was coincide with metrical caesuras are filled with the surviving portions. archaeological finds of at least two reeds which compounded by the need to play two double short aulos interludes that extend each verse survived in Egypt. Callum began, therefore, by reeds at once. He took a year and a half training with additional material following the same The accompaniment was created by Barnaby following basic principles proposed by Stefan his embouchure, in order to be able to practise metrical patterns. Secondly, the pitch content Brown, who plays a reproduction of the Hagel, a world-leading expert on enough to create a playing technique and to of the piece is restricted to two of the scales Louvre aulos by Thomas Rezanka, with reeds and Roman music. He also watched videos work on fingering for a sustained period. transmitted from about 380 BC by Aristides by Robin Howell. Barnaby’s accompaniment of makers making reeds. Using these Quintilianus – Dorian and Mixolydian. These underpins the cretic-paeonic metre of the techniques, he found ways of creating reeds He discovered quickly that very few techniques bear no relation to their medieval and modern piece while also exploring the technical that looked like ancient Greek examples, and from other instruments were relevant. Unlike namesakes. The majority of the melody uses possibilities of the aulos. Such a texturally that behaved in a fashion he was content with. on most modern wind instruments, all ten Aristides’ Dorian scale, with brief modulations varied counterpoint is prompted by the digits are used on the aulos. Callum developed to the Mixolydian providing tonal dynamism vivid word-painting in the vocal line and The process Callum developed was to take a a ‘pinching’-like thumb technique in order to and heightening the striking imagery in the unrivalled status of the aulos as the tube of dried Arundo donax cane, and scrape play the relevant holes without dropping the the text. Thirdly, the contour of our melody most crowd-pleasing musical instrument of the pith from the centre. Having removed the instrument. He adopted a fingering system attempts to mirror the pitch accents of the Classical antiquity. bark and scraped away the top layers of cane that involved picking up one finger at a time to language, producing a through-composed form he boils the tube until it becomes soft, and vent the holes, similar to playing Northumbrian which, though not strophic or strictly repetitive, then ties a tight waist in the centre of it to form smallpipes. This increased the stability of an hourglass shape. He then reboils it and holding the instrument even more, and yielded Notes on the instruments & reconstructions

Right: reeds and a a notable increase in dexterity. As his finger Olga Sutkowska also performs on a reproduction of the reflexes and embouchure have evolved, he reproduction of the Louvre aulos – in this case Louvre aulos by Robin has developed greater instrumental agility, and made by Thomas Rezanka, based on Stefan Howell, with reed caps by Barnaby Brown independence of the hands. He has also found Hagel’s measurements of the original, and ways to create different colours by modifying his using reeds made by Callum Armstrong. In embouchure, and to adjust tuning microtonally. keeping with her main artistic and academic As a result the aulos can be incredibly focus – to revive the aulos for the present expressive; it is possible to play quieter than a day, and to illustrate the instrument’s musical whisper or louder than a Highland bagpipe. potential – her contributions to the album are original compositions, developed through With these experiences in mind, Callum improvisation rather than from ancient sources. decided to approach the present recording project by seeing what the instrument wanted The title given to three of these tracks, Tiaso, to do, rather than trying to make it adhere to is the correlate of the Greek term thiasos, historical accounts of how it was played. He used to describe the retinue of Dionysus took a piece of notation from the manuscript (god of wine and ecstasy). Greek and Roman known as the Bellermann Anonymi – a iconography often depicts this Dionysiac Right: Attic vase, 5th collection of short excerpts which appear procession, with the god followed by maenads century BC, showing to be finger-stretching exercises for aulos and , and the music of the aulos, frame duetting aulos players players – and used them to create extended drum (tympanon) and cymbals (kymbala) is a compositions based on the techniques and key feature of such illustrations. Far right: iconography musical effects he had developed on the of the thiasos or instrument up until that point. The aulos was not only played as a solo tiaso, the Dionysiac instrument, but also in duets or larger procession Another of the Bellermann exercises is similarly ensembles. aulo_dia experiments with accompanied by aulos and other instruments used as the basis for a piece which Callum the rich harmony of two interacting aulos performs on a reconstruction of the Koile Stoa players. The title manipulates the Greek term plagiaulos. This is a Greek flute found in Athens aulōdia, which referred to a duo performance in 2000, the original dating from around 200 of a singer and an aulos player. The first part BC. The reproduction played here was made of the piece is inspired by the often tragic by Chrestos Terzes on the basis of research by character and the funerary connotation of himself and Stelios Psaroudakis. such compositions. Above: (showing hydraulis) in the Roman Nennig villa at Perl-Nennig, south of Trier

Right: reeds and reproduction of the Pydna aulos in deer bone by Robin Howell

Opposite page: Robin Howell’s reproduction of the Louvre aulos and reeds; dismantled, with feathers for oiling. Photo by Barnaby Brown Notes on the instruments & reconstructions

The hydraulis is a water organ that was Vitruvius, describes a more advanced instrument widespread in ancient times, especially in the with two piston pumps and up to eight registers. second half of the 3rd century BC. Invented by the architect Ktesibios in (in present- In 1931, the remains of a small Roman organ day Egypt), over time it underwent numerous were found in Aquincum (now the urban improvements and by the 4th century AD had area of Budapest),​​ dated probably to 228 AD. spread throughout the . Wealthy The instrument had been destroyed by fire in Roman citizens had organs in their homes; antiquity, but since most components were organs accompanied singing, were used in the made of metal, they survived relatively well. arena alongside bloody gladiatorial contests, and However, it is a comparatively small instrument. were used in the theatre. The instrument gained Other ancient organ parts have been found in imperial associations, and some emperors – Aventicum (now Avenches, Switzerland) and in such as – played organ themselves. A Dion (Greece). complicated water-driven system for air supply was gradually replaced by bellows; nevertheless, In the spring of 2006 Justus Willberg instigated the name hydraulis was retained for the organ a project to build a reconstruction of a Roman Mosaic from another Roman until the Middle Ages. water organ, modelled on the Aquincum find. villa – the Villa Dar The water mechanism was based on antique Buc Ammera, near Air is pumped by means of pistons into an illustrations. It kept as close as possible to the Lepcis Magna air reservoir, or pnigeus, which is open at the original design and dimensions of the Aquincum bottom, with a tank of water as a sealing valve. instrument, although some materials are When the instrument’s keys are depressed, air different. Like the original, this organ has four Palatinus 281, et al.). The registers are assigned The airflow mechanism was based on the flows from a pressurised vessel into the organ stops, or sets of pipes, that can be activated individual modes (Hyperlydian, Hyperiastian, written descriptions of Vitruvius and Heron of pipes. The inflowing water ensures a constant individually or together, by side-mounted slide Lydian and Phrygian), allowing a specific Alexandria, as well as antique iconography, pressure, and consistent pitch. rods. The design of the pipes is unusual and quite set of notes to be played in each register: including a mosaic from a villa in Nennig, near different to today’s organ pipes. The diapasons proslambanómenos, hypáte hypaton, parypáte Trier. After much experimentation, it was Several ancient texts contain technical sound soft and panpipe-like, while the open hypaton, diápemptos, hypáte, parypáte, possible to regulate the wind pressure with descriptions of the instrument. Heron of pipes sound louder and clearer. The Aquincum khromatiké, diátonos, mése, parámesos, about 50 litres of water in such a way that a Alexandria’s work Pneumatika describes a organ is a chamber instrument rather than an tríte, paranéte, néte. In today’s notation this beautiful, even sound is created. In addition simple system. Julius Pollux, who lived in the arena organ, but it still produces a powerful tone. corresponds approximately to the pitch series to the organ player, two people are needed to second half of the 1st century AD, differentiates D E F G A BH B C' D' E' F' G' A'. The organ can operate hand-pumps. between small organs that are operated with The organ is tuned to an ancient tonal system, also be played with all the registers switched on, bellows and large instruments that work with drawing upon a range of sources, including which results in a characteristic timbre in which No music for hydraulis is available complete water. De Architectura, by the Roman architect Bellermann and Koine Hormasia (Codex the open Hyperlydian register dominates. from Roman times, so the music we have Notes on the instruments & reconstructions Texts and translations

recorded here consists of original compositions of a long thin tube, curved at the end, almost in 1 Invocation of the Muse (Mesomedes) and arrangements based on some of the the shape of a ‘J’. Often played in pair with the ἄειδε Μοῦσά μοι φίλη, Sing for me, beloved Muse, Roman musical sources that do exist. These Etruscan cornu, in ceremonies and funerals of μολπῆς δ’ ἐμῆς κατάρχου, begin my tuneful melody; include the Bellermann aulos exercises high-ranking people, it was also adopted by the αὔρη δὲ σῶν ἀπ’ ἀλσέων let a breeze come forth from your groves, mentioned above, and two manuscripts (now Roman army. ἐμὰς φρένας δονείτω. to make my soul tremble. held in Berlin and Michigan respectively) that provide some fragmentary musical notation. The model instrument is a life-size stucco Invocation of Calliope and Apollo Justus Willberg also performs here on the relief from the Tomb of the Reliefs in Cerveteri, Καλλιόπεια σοφά, Oh wise Calliope, Louvre aulos (see above), accompanied by a dating from the end of the 4th century BC. Μουσῶν προκαθαγέτι τερπνῶν, leader of the gracious , drone on the hydraulis. John Kenny has created new music for καὶ σοφὲ μυστοδότα, you whose wisdom initiates the mysteries, the instrument – using similar principles to Λατοῦς γόνε, Δήλιε Παιάν, son of , Delian, Paean, The lituus originated in the Etruscan civilisation those underlying his performances on carnyx εὐμενεῖς πάρεστέ μοι. help me with your favour. which ruled most of the central part of Italy and Loughnashade horn on Dragon Voices, from about 750 BC, until it was definitively Delphian/EMAP Vol 3 – and performs here on a Translation: Martin L. West, rev. Stef Conner taken over by Roman culture around 700 reconstruction designed by Peter Holmes and hundred years later. The instrument consisted made by John Creed. 5 12th Pythian Ode (Pindar) αἰτέω σε, φιλάγλαε, καλλίστα βροτεᾶν πολίων, I beseech you, splendour-loving city, most Φερσεφόνας ἕδος, ἅ τ᾽ ὄχθαις ἔπι μηλοβότου beautiful on earth, home of ; you ναίεις Ἀκράγαντος ἐΰδματον κολώναν, ὦ ἄνα, who inhabit the hill of well-built dwellings above ἵλαος ἀθανάτων ἀνδρῶν τε σὺν εὐμενίᾳ the banks of sheep-pasturing Akragas: be δέξαι στεφάνωμα τόδ᾽ ἐκ Πυθῶνος εὐδόξῳ Μίδᾳ, propitious, and with the goodwill of gods and αὐτόν τέ νιν Ἑλλάδα νικάσαντα τέχνᾳ, τάν ποτε men, mistress, receive this victory garland from Παλλὰς ἐφεῦρε θρασειᾶν Γοργόνων Pytho in honor of renowned Midas, and receive οὔλιον θρῆνον διαπλέξαισ᾽ Ἀθάνα. the victor himself, champion of Hellas in that art which once discovered when she Right: John Creed’s τὸν παρθενίοις ὑπό τ᾽ ἀπλάτοις ὀφίων κεφαλαῖς wove into music the dire dirge of the reckless reconstruction of ἄϊε λειβόμενον δυσπενθέϊ σὺν καμάτῳ, Gorgons which Perseus heard … the Etruscan lituus. Περσεὺς ὁπότε τρίτον ἄνυσεν κασιγνητᾶν μέρος, Photo © Guido Fuà εἰναλίᾳ τε Σερίφῳ λαοῖσί τε μοῖραν ἄγων. pouring in slow anguish from beneath the ἤτοι τό τε θεσπέσιον Φόρκοιο μαύρωσεν γένος, horrible snakey hair of the maidens, when he did Far right: λυγρόν τ᾽ ἔρανον Πολυδέκτᾳ θῆκε ματρός τ᾽ ἔμπεδον away with the third sister and brought death to Justus Willberg δουλοσύναν τό τ᾽ ἀναγκαῖον λέχος, sea-girt Seriphus and its people. Yes, he brought playing the hydraulis εὐπαράου κρᾶτα συλάσαις Μεδοίσας darkness on the monstrous race of Phorcus, and Texts and translations

υἱὸς Δανάας· τὸν ἀπὸ χρυσοῦ φαμεν αὐτορύτου he repaid Polydectes with a deadly wedding- 11 Delphic Paean (Athenaios) ἔμμεναι. ἀλλ᾽ ἐπεὶ ἐκ τούτων φίλον ἄνδρα πόνων present for the long slavery of his mother and Κέκλυθ᾽ Ἑλικῶνα βαθύδενδρον αἳ λάχετε, Hark, you whose domain is deep-forested ἐρρύσατο, παρθένος αὐλῶν τεῦχε πάμφωνον μέλος, her forced bridal bed; he stripped off the head of Διὸς ἐριβρόμου θύγατρες εὐώλενοι, μόλετε, Helicon, loud-thundering ’ fair-armed ὄφρα τὸν Εὐρυάλας ἐκ καρπαλιμᾶν γενύων fair-cheeked Medusa – συνόμαιμον ἵνα Φοῖβον ὠιδαῖσι μέλψητε daughters: come with songs to celebrate χριμφθέντα σὺν ἔντεσι μιμήσαιτ’ ἐρικλάγκταν γόον. χρυσεοκόμαν, ὃς ἀνὰ δικόρυμβα Παρνασσίδος your brother Phoebus of the golden hair, εὗρεν θεός· ἀλλά νιν εὑροῖσ᾽ ἀνδράσι θνατοῖς ἔχειν, Perseus, the son of Danae, who they say was τᾶσδε πετέρας ἕδραν’ ἅμ’ ἀγακλυταῖς Δελφίσιν who over the twin peaks of this mountain, ὠνόμασεν κεφαλᾶν πολλᾶν νόμον, conceived in a spontaneous shower of gold. Κασταλίδος εὐΰδρου νάματ’ ἐπινίσεται, Δελφὸν Parnassus, accompanied by the far-famed εὐκλεᾶ λαοσσόων μναστῆρ᾽ ἀγώνων, But when the virgin goddess had released that ἀνὰ πρῶνα μαντεῖον ἐφέπων πάγον. Delphic maidens, comes to the streams of beloved man from those labours, she invented the flowing Castalian spring as he visits his λεπτοῦ διανισσόμενον χαλκοῦ θαμὰ καὶ δονάκων, the many-voiced song of auloi so that she could ἢν κλυτὰ μεγαλόπολις Ἀθθὶς, εὐχαῖσι φερόπλοιο mountain oracle. τοὶ παρὰ καλλιχόρῳ ναίοισι πόλει Χαρίτων. imitate with musical instruments the shrill cry ναίουσα Τριτωνίδος δάπεδον ἄθραυστον· Καφισίδος ἐν τεμένει, πιστοὶ χορευτᾶν μάρτυρες. that reached her ears from the fast-moving jaws ἁγίοις δὲ βωμοῖσιν Ἅφαῖστος αἴθει νέων μῆρα Lo, Attica, famed for its great city, is here at εἰ δέ τις ὄλβος ἐν ἀνθρώποισιν, ἄνευ καμάτου of Euryale. The goddess invented it; but she ταύρων· ὁμοῦ δέ νιν Ἄραψ ἀτμὸς ἐς Ὄλυμπον prayer, home of armed Athena’s unconquerable οὐ φαίνεται· ἐκ δὲ τελευτάσει νιν ἤτοι σάμερον invented it for mortal men to have, and called it ἀνακίδναται· λιγὺ δὲ λωτὸς βρέμων αἰόλοις ground; and on the sacred altars δαίμων—τὸ δὲ μόρσιμον οὐ παρφυκτόν,— ἀλλ᾽ the many-headed tune, the glorious strain that μ̣έλεσιν ὠιδαὰν κρέκει· χρυσέα δ’ ἀδύθρους burns the thighs of bulls. While Arabian ἔσται χρόνος entices the people to gather at contests, κίθαρις ὕμνοισιν ἀναμέλπεται. incense smoke spreads up to Olympus, οὗτος, ὃ καί τιν᾽ ἀελπτίᾳ βαλὼν the clear-voiced pipe weaves into the song ἔμπαλιν γνώμας τὸ μὲν δώσει, τὸ δ᾽ οὔπω. often sounding through thin plates of brass and ὁ δὲ τεχνιτῶν πρόπας ἐσμὸς Ἀθθίδα λαχὼν shimmering tunes, and the sweet-voiced through reeds, which grow beside the city of ἀγλαίζει κλυτὸν παῖδα μεγάλου Διὸς, σοὶ γὰρ golden kithara raises the song of praise. lovely choruses, the city of the Graces, in the ἔπορ’ ἀκρονιφῆ τόνδε πάγον, ἄμβροτ’ ἀψευδέ’ οὗ sacred precinct of the of Cephisus, reeds πᾶσι θνατοῖς προφαίνεις λόγια, τρίποδα μαντεῖον The whole troupe of Attic artists glorifies you, : that are the faithful witnesses of the dancers. ὡς εἴλες, ὃν μέγας ἐφρούρει δράκων, ὅτε τέκος [Apollo,] the son of great Zeus: he who gave If there is any prosperity among men, it Γᾶς ἀπέστησας αἰόλον ἑλικτὰν φυάν, ἔσθ’ ὁ θὴρ you this snow-capped crag where you utter does not appear without hardship. A god will πυκνὰ συρίγμαθ’ ἱεὶς ἀθώπευτ’ ἀπέπνευσ’ ὁμῶς· undying and unlying oracles to all mortals. indeed grant it in full today … What is fated ὡς δὲ Γαλατᾶν ἄρης βάρβαρος, τάνδ᾽ ὃς επὶ γαῖαν We sing of how you grasped the tripod cannot be escaped. But that time will come, ἐπέρασ’ ἀσέπτως χιόνος ὤλεθ᾽ ὑγραῖς χοαῖς. of prophecy, which the great serpent was striking unexpectedly, and give one thing guarding, when you slew that spawn of Earth beyond all expectation, and withhold another. with its glittering coils, and the beast with frequent awful-sounding hisses finally expired; Translation: Diane Arnson Svarlien just as the barbarous army of Gauls, who impiously invaded this land, perished in rivers of molten snow.

Translation: Armand D’Angour Biographies

Callum Armstrong graduated from Trinity His passion for giving a contemporary voice to Her work has been performed by the London of Warsaw and a PhD from the Berlin University Laban Conservatoire of Music and Dance in ancient instruments has led to three projects with Philharmonic Orchestra, the Choir of Queens’ of the Arts, and her academic work has been 2014, where he won the Silver Medal for Early Delphian Records: In Praise of Saint Columba College, , the Kreutzer and Ligeti recognised with the Selch Award of the American Music as well as the Beryl Maggs Prize for (DCD34137), a groundbreaking collaboration quartets, Juice, the Nieuw Ensemble and others, Musical Instrument Society. recorder playing three years in a row. The same with the Choir of Gonville & Caius College, and is published by University of York Music year he won the Chateau D’ars Solo Piping Cambridge; Set upon the Rood (DCD34154), a Press. She was the first Composer in Residence Olga helped to design the European Music competition, returning in 2015 to win in the second collaboration with the choir, on which with Streetwise Opera; her debut opera with Archaeology Project as a coordinator of the auloi/ Petite Formation category with cellist George Barnaby plays triplepipes and a Graeco-Roman the company premiered at Tête-à-Tête Festival tibiae team – a group of researchers, musicians Pasca. In 2016 he became involved in the Actors aulos; and Spellweaving (DCD34171), the first in in 2015. She regularly performs contemporary and artisans working on the revival of ancient Touring Company’s production of Aeschylus’ The the EMAP series of albums, which was informed settings of ancient Babylonian poetry with her doublepipes. One of the fruits of this collaboration Suppliant Women, in which he played the aulos. by his doctoral research on Hebridean piping at group the Lyre Ensemble. She is currently a is a blog called ‘The Workshop of Dionysus’ He has performed as a soloist with the London the University of Cambridge. A founding member Leverhulme Early Career Fellow at the University (www.doublepipes.info), which inspires and Philharmonic Orchestra, appeared as a piper in of the European Music Archaeology Project, of Huddersfield, investigating lost oral traditions. documents the reconstruction process. Together Steven Spielberg’s film War Horse, and took part he created www.doublepipes.info to serve its with Stefan Hagel of the Austrian Academy of in the Nathaniel Gow’s Dance Band project with Auloi/Tibiae Revival Project and directed the John Kenny is perhaps best known for his work Sciences, and Peter Holmes, Martin Sims and Scottish chamber group Concerto Caledonia. first doublepipe school, which EMAP performing on reconstructions of the Celtic carnyx Neil Melton of Middlesex University, she was organised in 2018. (www.carnyx.org.uk). He has been closely involved involved in the EMAP project to reconstruct tibiae Callum’s recent work has been focused on the with the European Music Archaeology Project, with metal keywork from Pompeii and Poetovio. development of a polyphonic technique for double and is the sole performer on Dragon Voices and triple smallpipes, and a collaboration with pipe- Royal Philharmonic Society Prize-winning (DCD34183), Delphian/EMAP Volume 3 (where Justus Willberg studied early music and maker Julian Goodacre to develop a chanter with a composer and singer Stef Conner draws on a fuller biography may be found). John is also a recorder in Nuremberg and at the Sweelinck three-octave range. ancient poetry and traditional song in creating trombonist and actor, and has performed and Consevatorium in Amsterdam. Besides giving contemporary music infused with sounds from the broadcast as a soloist in over 60 different countries. concerts as a recorder soloist, he also researches distant past. She graduated with a starred first in and performs the music of the ancient and Barnaby Brown is the first Highland piper to apply music from the University of York in 2005, before Olga Sutkowska is a musician and musicologist Romans. After many concerts throughout Europe, the principles of the early music movement to joining the -nominated folk band who splits her time between Berlin and Biecz, a he is well known as a performer on the aulos, on pibroch. His recordings, articles and editions have , and performing at such venues as small village in Poland. She studied at the the and on the Roman hydraulis, or water helped to revolutionise the way pipers approach the Barbican, Covent Garden, Glastonbury, the Chopin University of Music in Warsaw, before organ. He is a practising musicologist, involved in lectures and publications, as well as being the sources of pibroch (1760–1850), enriching the Mercury Music Awards and the BBC Folk Awards. becoming interested in music archaeology, focused involved in the reconstruction of ancient musical tradition beyond the legacy of the competition Although she left the group in 2009 to complete a particularly on ancient doublepipes. She has spent instruments. Justus teaches at the Hochschule system. His quest to revive the northern triplepipe, PhD in music composition, the Unthanks’ raw and more than ten years carrying out research on the für Musik Nürnberg, at the Friedrich-Alexander the bagpipe’s predecessor, led to six years in affecting approach to musical storytelling made a aulos and tibia, investigating the archaeological , and from 2006 to 2012 Barnaby was a huge impact on her style. Universität Erlangen/Nürnberg, at the Erlanger finds of these instruments at museums in Europe Musikinstitut and is Head of the Musikschule lecturer at the Royal Conservatoire of Scotland. and the USA. She holds an MA from the University Weißenburg. Also available on Delphian

Spellweaving: ancient music from the Highlands of Scotland Dragon Voices: the giant Celtic horns of ancient Europe Barnaby Brown, Clare Salaman, Bill Taylor John Kenny DCD34171 (EMAP Vol 1) DCD34183 (EMAP Vol 3) The patronage of elite Highland pipers collapsed after the Jacobite People of Celtic culture all over ancient Europe were fascinated by lip rebellion of 1745. Worried that the of the Gaels would reed instruments, and made great horns and trumpets in many forms – fade away, the English-speaking gentry offered prize money for scientific including the carnyx, a two-metre-long bronze trumpet surmounted by notations. By 1797, Colin Campbell had written 377 pages in a unique a stylised animal head. One of these was found at Deskford, Scotland, notation based on the vocables of Hebridean ‘mouth music’, but – in 1816 and reconstructed in the early 1990s; it is joined here by the unintelligible to the judges in Edinburgh – Campbell’s extraordinary work magnificent Tintignac carnyx, discovered in southern France in 2004 and of preservation has remained overlooked or misunderstood until now. reconstructed specially for the current project. A new reconstruction has Barnaby Brown’s realisations for a variety of drone-based instruments also been made of the Loughnashade horn from Ireland, with its exquisite bring the musical craftsmanship of a remote culture vividly to life, and decorated bell disc. refocus attention on music whose trance-inducing long spans and ‘at some points sounds like a dragon awakening, at others like avant- elaborate formal patterning echo the knots and spells of Celtic culture. garde jazz …’ – The New York Times, April 2016

Ice and Longboats: ancient music of Scandinavia The Edge of Time: Palaeolithic bone flutes of France & Germany Ensemble Mare Balticum; Åke & Jens Egevad Anna Friederike Potengowski flutes, Georg Wieland Wagner percussion DCD34181 (EMAP Vol 2) DCD34185 (EMAP Vol 4) Around 40,000 years ago, towards the end of the last Ice Age, the upper Scandinavia’s archaeologically known prehistory encompasses around Danube region was settled by anatomically modern humans. Traces of twelve thousand years, culminating in the Viking period (c.800–1050AD). their daily life have been found at several cave sites in the south of modern Standard archaeological practice places the boundary between prehistoric Germany, including fragments of perforated bird bones and mammoth and medieval times for southern Scandinavia around six hundred years ivory. Representing the oldest evidence of musical creation worldwide, later than the continental European Middle Ages – a late development these prehistoric flutes – two from caves at Geissenklösterle, one from due to the long period in which ice still covered Europe’s northern parts. Hohle Fels, and a slightly later, more fully preserved find from Isturitz cave Volume 2 in Delphian Records’ groundbreaking collaboration with the in the French Pyrenees – have been reconstructed in the modern era. European Music Archaeology Project features music improvised on Viking instruments, and then tells the story of the gradual introduction of Flautist Anna Friederike Potengowski has studied the instruments and Christianity to Scandinavia. their possible playing techniques, and together with percussionist Georg Wieland Wagner has created a compelling programme of music in which contemporary modes of expression absorb and are reshaped by echoes from the edge of time. Water splashing against rocks, rustling grasses, the eternal musical truth of breath on bone … DCD34188