Apollo&Dionysus
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Stef Conner Barnaby Brown Callum Armstrong Olga Sutkowska John Kenny Justus Willberg Rupert Till SOUNDS FROM CLASSICAL ANTIQUITY Apollo&Dionysus Stef Conner voice, lyre John Kenny lituus Apollo&Dionysus Barnaby Brown aulos Justus Willberg hydraulis, aulos Callum Armstrong aulos, plagiaulos Rupert Till bell, hydraulis (drone), cymbals SOUNDS FROM CLASSICAL ANTIQUITY | EUROPEAN MUSIC 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 (Pindar) [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 Paean (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 Facebook: 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 harp 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 album 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 Greece 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 albums 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 musical instrument 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-reed instrument, known as tibia 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 oboes 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 circular breathing 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 water organ 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 Calliope and Apollo. the Muse’ and hexameter in the ‘Invocation of prehistoric caves, or the modelled acoustic of Calliope and Apollo’).