Delphic Paean by Athenaios Athenaiou

Updated on 17 Jan 2019

Here is a draft of some performing materials I am developing with Armand D’Angour and Stefan Hagel. This is an experiment – we would welcome feedback from singers and academics. Our idea is to move away from a single solution, a single recording, a single edition. Instead of fixing and controlling, we want to make it easy for others to adapt these performing materials to suit themselves – a vision prompted by Peter Robinson in ‘The Digital Revolution in Scholarly Editing’ (2016).

Updates and alternative versions will appear from time to time under each heading below.

The words spoken

• by Armand D’Angour:

• by Stefan Hagel:

The words sung

• by Stef Conner in Reading, 21 June 2018 (v. AD4), with subtitle translations:

• by participants of the 1st Euterpe Doublepipe School in Tarquinia, 6 May 2018. This was an educational experience adapting Stefan Hagel’s reconstruction (see this page for score and notes). Some of the performers had never played the aulos before — our focus was on  active participation and creativity, making something new:

• by Miriam Andersén in Ljubljana, 26 August 2017 (v. AD3).  Here we introduced more breathing spaces to help articulate the text and to heighten the drama of Apollo slaying the serpent:

• by a mixed chorus in Oxford, 28 July 2017, directed by Tosca Lynch (v. AD1):


EMAP Resources for Euterpe, vol. 5, is in preparation (expected February 2019). This revises the drafts below and reflects on a 2-year development process. It aims to make all the decisions and differences (scholarly and artistic) transparent. An introduction to the EMAP Resources is here.

Chorus part v. AD 3 (26 September 2017). This has larger lyrics, full word-for-word translation, a revised translation of part 1, and additional rests suggested by Tosca Lynch (bars 71, 113) and Miriam Andersén (bars 92, 98, 108, 112). All other rests were introduced in rehearsals with Geoffrey Webber and the Choir of Gonville & Caius College, Cambridge, in February 2017.

Aulos part v. BB2 (20 October 2017). This matches Chorus part v. AD3 above and introduces paphlagmata from pibroch. Its development process is documented at

DRAFT (7 May 2017) 7.4 MB. This gives much more information and discussion. We are grateful to Stefan Hagel for substantial input which will make the next release much stronger, presenting two solutions rather than one.

Editable file formats

Please download the PDFs above first. The editable formats below are unlikely to open correctly on your system. To avoid gobbledegook in your browser, right-click (or ctrl-click) to download the XML files.

Introduction. Texts 1,  4, and 5. Bibliography

DRAFT (7 May 2017): DOCX

Text 6. Chorus only

v. AD2 (8 September 2017): XML | SIB v7
DRAFT (7 May 2017): XML | SIB v7

Text 7. Chorus + blank staff

DRAFT (7 May 2017): XML | SIB v7

Text 8. Chorus + aulos

DRAFT (7 May 2017): XML | SIB v7.

This entry was posted in Ancient scores, Louvre aulos and tagged , , . Bookmark the permalink.

2 Responses to Delphic Paean by Athenaios Athenaiou

  1. Commander Paddy Johnston RN says:

    Θ’αυμαςw αει. Thank you for your jaw-dropping , thrilling presentation on Sat night at Mad; God keeps us in check with politicians, aches and pains, etc, etc, etc (need I go on?) and then, out of the blue, treats us to a Damascene evening. Would you consider making a CD for us technically-backward matelots? yours gratefully, Paddy Johnston

  2. Alfred Vincent says:

    This is absolutely wonderful stuff. Congratulations and thanks to all involved.
    As a retired teacher and researcher in Modern Greek studies (and a lapsed classicist), I have a deep interest in both the pronunciation of Ancient Greek and in Ancient Greek music. It is extremely difficult to achieve a convincing spoken rendition of Ancient Greek, and those by Armand d’Angour and Stefan Hagel are among most carefully considered of those I know.
    I have found it useful to have parallels in other languages for some of the phenomena of Greek. The languages of former Yugoslavia (in particular those now known as Serbian, Croatian, Bosnian and Montenegrin) provide living examples of pitch accents (and syllable length) relatable in some ways to ancient Greek. There has been continuing research on their realisation in different parts of the region. In some areas the pitch accents have changed and even disappeared. Modern textbooks for foreigners sometimes more or less ignore them. My old teacher of Serbocroatian would be horrified!
    For aspirated consonants, Indian languages may help, though I have not studied these.
    Hope this is of some use.
    Thank you again,

Leave a Reply

Your email address will not be published. Required fields are marked *