Thanks so much for the information about Iphigenia in Aulis!
I think my problem was that I slightly misinterpreted the sources I was reading. They went into some detail about the structure of the music in this fragment, and various stylistic approaches used in the melody. I got into my head that this meant that the fragment was in good shape. I hadn’t thought that all that information could be determined even from a heavily damaged papyrus. Oops!
The image you posted is a really nice one, since it gives a good indication of how much damage there is. It’s a real shame that we can’t make more of it – although I suppose we can be thankful that at least those small portions of music survive! It’s a tantalising window into a musical period that is so nearly lost to us ...
By the way, don’t worry too much about having trouble hearing quarter-tones! That’s actually really quite common. At least in modern Western cultures, the ear is trained from an early age to recognise semi-tones as the smallest unit of music. Quarter-tones appear so rarely that the ear isn’t trained to recognise them. Because of this, it’s easy for listeners used to Western music to confuse semi-tones and quarter-tones. I know I do!
Thanks also for posting Tecmessa’s Lament! I wasn’t aware of it, and it’s quite striking! I rather like the chromaticism, and some of the dissonant intervals (the end of line two is great). I think it’s interesting that I would naturally associate both of these features with a lament – although, given the large expanse of time between then and now, that may well just be a coincidence.
Good choice on posting the Monterverdi, too. It’s a fine, fine work, and it’s great to have a good excuse to listen to it again! I wouldn’t be at all surprised if Lawes was aware of it. It’s entirely possible Monteverdi’s work inspired his own setting. At the time Lawes was writing, Italian music was becoming increasingly popular in Britain. Scores was being brought over from Europe, and composers were studying and copying the continental styles. Lawes made strong use of the new Italian style first popularised by Monteverdi. You can hear the similarity in styles between the two Ariadne videos we posted, I think!
I’m in danger of getting off-topic here, but just a brief aside. Compare those Ariadne videos to the one below. This is British, based on Greek/Roman myth, but predates both Ariadne works by a few decades. It’s in a much more ‘British’ style (which really means that it uses older Italian influences!). The work describes how various important deities from the Greek/Roman pantheon give honour to a famous mythical British Queen: Oriana. Since the video doesn't mention it, this madrigal is by John Lisley. It looks to be his only surviving work!
“Fair Cytherea* presents her doves,
Sweet Minerva singeth,
Jove gives a crown,
a garland Juno bringeth.
“Fame summons each celestial power
To bring their gifts to Oriana's bower.
Then sang the Shepherds and Nymphs of Diana:
Long live fair Oriana.”
*Cytherea (‘Lady of Cythera’) is another name sometimes given for Aphrodite.