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PANDORA music album
All the Gods who dwelt on Mountain Olympos gave her a gift. — Hesiod, Theogony and Works & Days, 7th and 6th century BCE
PANDORA music album by Lina Palera is a musical journey to the creation of the first woman on earth, one of the oldest myths of the ancient world: Pandora’s myth. An amazing collaboration between SEIKILO affiliate artists—Lina Palera, the virtuoso lyre player, brings together a group of exceptional musicians to accompany her on an attempt to musically explore an everlasting theodicy.
_In a nutshell
_ancient world music _contemporary fusion _lyre improvisations _epic music
_About the Greek myth of Pandora
In the Greek myth of Pandora lies the birth of theodicy, an unsolvable problem for any religion that supports the existence of an omnibenevolent God, as the Greeks were the first to present females as the root of evil on earth.
As Hesiod wrote in his Theogony and Works & Days, in the 7th and 6th century BCE, “Hephaestus mixed earth with water and formed the likeness of a shy maiden. Pallas Athena adorned her form with all manners of finesse. Golden Aphrodite shed grace upon her head. Hermes, the Herald of the gods, put speech in her. All the Gods who dwelt on Mountain Olympos gave her a gift. And they called this woman Pandora (All-Gifts). And wonder took hold of the deathless gods and mortal men when they saw that which was sheer guile, not to be withstood by men. From her is the race of women and female kind: of her is the deadly race and tribe of women who live amongst mortal men to their great trouble.”
However, then came Sappho, one of the greatest lyric poets, known as the ‘Tenth Muse’ and ‘The Poetess.’ Many others followed, shaping the course of history—Aspasia of Miletus, Agnodice of Athens, Hipparchia of Marneia, Arete of Cyrene, Hydna of Scione, and Telesilla of Argos. Then there was Hypatia, the philosopher, astronomer, and mathematician, the last head of the Philosophical School of Alexandria and keeper of the famous library. With them, gods and men alike learned to love and adore the race and tribe of women—the Mothers, the Daughters, the Lovers, the Equals, the Muses; the root of all creation on earth.
one_ lux. her first steps
two_ metavasis. coming to earth
three_ valorous. encountering men
four_ pandora. seduce
five_ mummer’s dance. opening the lid
six_ aide mousa. sing to me, kind Muse
seven_ kalliopeia sofa. favor me with your presence
eight_ agápē. the root of creation
bonus track_ marco polo. the explorer
Tracks six and seven are ancient evocations to the Muse and to Apollo & Calliope, respectively, written by Mesomedes of Crete in the 2nd century CE, with music composed by Lina Palera. Track five and the bonus track are covers of Loreena McKennitt’s Mummer’s Dance and Marco Polo.
Lina Palera _ancient lyre (all)
Evagoras Bekiaris _beats and electronics (all)
Socrates Votskos _duduk and flute (2 & 3)
Nikos Varelas _percussion (5 & bonus track) Marios Podaras_violin (bonus track)
Linos Tzelos _sitar (5)
Theodore Koumartzis _ancient lyre (8)
Art Direction Nikolaos Koumartzis
Production, Mixing, Mastering Evagoras Bekiaris
Photography Eri Avramidou
Supported by LUTHIEROS Musical Instruments
Special thanks to SEIKILO Ancient World Music Channel
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^ In Classical Greece, the concept of support & guidance by a more experienced elder was prominent. In Ancient Rome, the support took many more forms, including financial. The latter became crucial for artists in medieval and Renaissance Europe. In James Barry's painting titled "The Education of Achilles," we see Achilles being guided by centaur Cheiron (oil on canvas, Yale Center for British Art). His patron Edmund Burke —an Anglo-Irish statesman and philosopher— played a crucial role in helping J. Barry keep creating masterpieces.
< In Classical Greece, the concept of support & guidance by a more experienced elder was prominent. In Ancient Rome, the support took many more forms, including financial. The latter became crucial for artists in medieval and Renaissance Europe. In James Barry's painting titled "The Education of Achilles," we see Achilles being guided by centaur Cheiron (oil on canvas, Yale Center for British Art). His patron Edmund Burke —an Anglo-Irish statesman and philosopher— played a crucial role in helping J. Barry keep creating masterpieces.
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From the ancient world onward, patrons of the arts played a key role in art history. With roots that go back to philia in Classical Greece and clientela in Ancient Rome, patrons gave the opportunity to great artists to survive and thrive in medieval and Renaissance Europe. The concept survived to this day, with whole communities acting as modern patrons or sponsors to single artists.
In the worldwide lyre community, there is a need to support the ones who matter the most, i.e., the ancient world artists who give voice to the lyre. And for that, we have to provide them with all the needed tools to share their music with the world: well-thought music video productions and premium music albums with supreme studio-quality audio.
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Dameron, G. W. (1991). Episcopal Power and Florentine Society, 1000-1320. Cambridge: Harvard Univeristy Press.
Quinn, K. (1982). Poet and Audience in the Augustan Age, in Haase, Wolfgang (ed.). Aufstieg und Niedergang der römischen Welt. Vol. 30/1.
Zelnick-Abramovitz, R. (2000). Did Patronage Exist in Classical Athens?, L'Antiquité Classique, Année 2000, 69.
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PANDORA music album