Apollonian & Dionysiac tunes

The LyrAvlos ensemble research ancient Greek music, which they performalongside antiquity -inspired compositions the world over

The group LyrAvlos' next performance is at the Megaron Mousikis, on October 26

FAITHFUL copies of ancient Greek instruments ranging from the lyre and aulos (flute) to the Pan-pipe (syrinx), cymbals and even shells, are used by the LyrAvlos music ensemble in their concerts. Preoccupied with music creation in antiquity, the group will perform at the Athens Concert Hall on October 26 in a one-off event, which is also to include an introductory seminar on ancient music.

Founded two years ago by Panayiotis Stefos (head of the Philippos Nakas Conservatory's Ancient Music Department and former leading trombonist at the Athens State Orchestra and the National Opera Orchestra), the five-member group, which consists of three musicians and two singers, is named after the lyre and the flute. "Two of the most popular instruments in Ancient Greece," Stefos told the Athens News, "the lyre and the flute often expressed the contrast between harmony and passion as they represent the Apollonian and Dionysiac spirit, respectively. We are trying to incorporate both influences."

Ancient music essentials

Modernday listeners are likely to think of ancient music as a complex and puzzling affair, and that is before actually being exposed to it. "While we have numerous examples of ancient Greek painting, sculpture and pottery," Stefos said, "music is a lesser known art form by far." However, it is not restrictive or alienating. "We all bear traces of ancient music within us. In this music there are melodies and rhythms which we also find in the demotika tradition."

Apparently, in ancient times there were no big orchestras by today's standards. "Groups consisted of no more than two or three musicians maximum. In other cases, the performer would stand alone playing his guitar or lyre," said Stefos. "Apart from music, speech was also of great value. Furthermore, ancient music was characterised by a diversity of rhythm and melody."

Rescued 'scores'

LyrAvlos' Megaron performance will feature a selection of ancient music texts as well as Stefos' contemporary compositions inspired by history and myth. "Some 60 ancient Greek fragmentary 'scores' have been rescued, engraved on either papyri or marble. Fifteen out of these have since been 'completed' by researchers and musicologists," Stefos explained. These have been decodified using a list of symbols for the notation of ancient Greek modes and scales put together by Alypios, a Greek writer on music who was active in the 3rd or 4th century AD.

Some of the programme's pieces comprise poetry recital to the accompaniment of instruments in which case, Stefos said, "music tries to underline the emotion conveyed by the poem." And there is a poem by Constantine Cavafy set to music by the group's founder in order to showcase the guitar's accompanying role, "a practice which goes back to Minoan and Mycenaean times."

Falling within the concert hall's Sunday Morning at the Megaron series, LyrAvlos' concert has an educational streak, though not in the strict, academic sense of the word. In between tracks, Stefos and art historian Efi Averof-Michailidis will be explaining the function of ancient instruments, while there will be parallel screenings of slides. "Traditionally used by sailors, a shell, if you place your finger in the slot in the right way, can even produce an Epirus dirge," he said.

Copying ancient instruments

Doubling as a craftsman, Stefos makes the group's instruments himself, using natural materials such as leather, turtle carapaces, intestines, reeds and wooden nails. "This ranges from going to the forest to look for the appropriate type of wood all the way through to applying the final polish," he explained. Copying the ancient models requires detailed research and study of available sources. Stefos draws his material from illustrations of musical scenes on vessels, sculptures, reliefs and coins. He also relies on rhythm and harmonics manuals left behind by music theorists Cleonidis and Aristoxenus. "Combining these two sources we have the best possible testimony as to the way in which ancient instruments were made and how they were played."

Research and touring

LyrAvlos are preoccupied with issues of music and speech coherence as well as the manufacturing techniques and playing mode of ancient instruments. Their performances, at times requiring the collaboration of dancers and actors, are often combined with brief seminars.

LyrAvlos have previously performed in Boston, Montreal, Brussels and Stockholm, where they played at the International Early Music Festival, also featuring Baroque and Renaissance works. Their future commitments include concerts/seminars at Sorbonne (June 2004) and Brussels (March 2004).

ATHENS NEWS , 24/10/2003, page: A37
Article code: C13037A371