Author Archives: Stefan Hagel
After a lot of Louvre and Pompeii on this site, here’s a move towards the Archaic and Classical period: the Dorian aulos I have recontructed from textual evidence in my Ancient Greek Music: A New Technical History, playing the intervals … Continue reading
Using Pompeii 2+3 with rather wide reeds.
Here is the best-known ancient melody, played, for the first time since antiquity, both on a reproduction of an ancient instrument and in the original pitch (a = c. 480 Hz, so to say). The finger span on the lower pipe (Pompeii Pipe 2) … Continue reading
After a day in the workshop, adjusting the ring friction of the Pompeii 2+3 aulos so gloriously reproduced by Peter Holmes, Neil ‘Spike’ Melton and Martin Sims, here are some first experiments, using reeds by Callum Armstrong, scraped down to … Continue reading
Barnaby asks me about my thoughts on possible uses of the Louvre aulos in the theatre. Well, in my view the Louvre and the Berlin instruments belong to a different world – perhaps that of dinner parties. Theatre music from … Continue reading
Here are the results of my latest attempts at aulos reed making. The idea is to learn how to do without the wire bridle that has always been so useful for adjusting the opening. So far none of these is sufficiently easy-going, but … Continue reading
Over the years, I have repeatedly been confronted with this question: when talking about our ancient double pipes, should we not use the plural (Greek: auloi; Latin: tibiae), instead of the singular (aulos/tibia) – isn’t it two pipes, after all? … Continue reading
When exchanging ideas about playing the aulos, I always try to bear one puzzling fact in mind: as far as we know, ancient musical notation was never used to write down a two-part motion. We may have traces of very … Continue reading
There is no excerpt because this is a protected post.