For harmony does not exist before the lyre.
Plato
From Antiquity to the Present: The Cultural Restoration of the Seven-Stringed Lyre
I have been studying Ancient Greek music since my years at the Athens Conservatoire in the late 1970s. What first sparked this interest was the ambiguity and vagueness present in all the music history books available to us at the time. While the theoretical frameworks could, in one way or another, be understood, what did they truly mean in practice? What did the sound of the lyre resemble? How did the genera function? What were the harmoniai and the modes? At the end of the 1970s, the LP containing the remnants of Ancient Greek music by Gregorio Paniagua served as a beacon of light—a sincere and honorable proposal. However, as a professional musician, I could not accept that the renowned ancient professional lyricists or kitharodes played only seven strings—seven notes—using a plectrum or their fingers.
The first music competitions of Panhellenic significance were founded in the regions of Ionia and Aeolis. In the 8th and 7th centuries BCE, Delos appears to have been a major center for musical contests, as confirmed by Thucydides (Book III, 104.2–5) in his account of the Delian festivals in honor of Apollo in 426/5 BCE.
The Pythian Games began in 586 BCE and were held every four years, two years before and two years after the Olympic Games, likely in late August, at the omphalos of the world—Delphi. Numerous other musical contests also took place across Greece—in Messenia, Paros, Arcadia, Sparta, Athens, and many other cities.
Today, when we speak of music competitions, we imagine young, talented musicians competing with high hopes of future careers. At that time, however, it was quite different. The most esteemed and celebrated musicians of the era risked their professional reputations for a crown of laurel. Can one imagine that every four years, these distinguished performers would only play a few simple notes? It is more than evident that professionalism leads to ever-increasing demands in technical mastery.
In 2012, at the annual MOISA Conference in Salerno, I presented the following thoughts:
To understand the capabilities of a musical instrument, the following prerequisites must be met:
A. A musician must have devoted extensive time and labor—indeed, sweat—to working with the specific instrument.
B. The techniques proposed by the musician must be consistent with authentic musical practice.
C. Music theory must be in constant dialogue with musical performance.
D. The historical period in question (6th century BCE to 4th century CE) provides sufficient evidence to support certain conclusions regarding performance practices.
After ten years of continuous, rigorous study, I developed a stable technique on the lyre that enabled me to participate in high-level musical performances. The limitations of the instrument (and let us not forget, every instrument has its limitations) are not sufficient to constrain the composer’s imagination.
But why focus on the lyre?
- The lyre, gifted by Hermes (its first sponsor) to Apollo, the god of the Sun and Music, functioned as the “national” instrument of the Greeks for over 1,200 years.
- The lyre is an instrument of unique beauty! Its sound familiar and original simultaneously—stands apart from every other instrument due to the exclusive use of open strings. Only the harp bears some resemblance, but… the few strings of the lyre create its enchanting character.
- It is an instrument that entertains, heals, and educates.
Today, following approximately fifteen years of intensive research and practical engagement, the technique I have developed allows for the performance of pre-Classical music in arrangements for lyre, works composed specifically for the instrument, as well as a variety of other pieces that can be effectively adapted for it—and I assure you, they are not few.
As for the choice of instrument, I have collaborated with several luthiers. Initially with Nikolaos Bras, from whom I acquired a lyre of exceptional quality and durability. This instrument accompanied me through thousands of hours of study and became dear to me. Three years ago, I met Giorgos Nikas. Nikas is a rare example of a talented and tireless artisan, one who refuses to compromise until he discovers what fully expresses him. His persistence and keen observation have led him down new paths, resulting in instruments of extraordinary acoustic beauty. My collaboration with him continues to blossom, and I firmly believe that fruitful companionships are what truly propel things forward.
How do we perceive the lyre?
Its past—glorious, fading into the mists of history.
Its present—dynamic, with people from around the world enchanted by its resonant sound.
Its future—Entertainment, Healing, and Education are our goals, pursued through research and profound study.
And let us not forget:
“A gram of practice is worth more than ten tons of theory.”
The International Lyre Society is a platform aspiring to unite all those who have committed themselves to reviving the spirit of Ancient Greek music—not as a museum artifact, but as a living, daily practice. Our vision includes personal recreation, as in the case of Achilles playing alone in his tent to banish the darkness of his Psyche with the sounds of his lyre, and the lyre as a professional instrument—enchanting audiences and healing individuals through its connection with the Harmony of the Universe.
Join Me on a Historic Journey
The revival of the ancient Greek seven-stringed lyre is not merely an academic endeavor—it is a living, breathing return to one of the deepest roots of Western musical heritage. Through years of research, performance, and collaboration with dedicated artisans, we have begun to restore the voice of an instrument once central to Greek education, ceremony, and artistic expression.
I warmly invite you to join me in this journey—whether as a musician, a scholar, or a curious soul drawn to the echoes of antiquity. Together, we can ensure that the lyre, symbol of harmony and healing, may once again inspire, educate, and elevate.
Dr. Nikos Xanthoulis