EGYPTIAN INFLUENCE ON MUSIC by Anne Midgley

       It is possible to form some idea of Ancient Egyptian melodies from traditional tunes which still linger in the Arab world. Music had been an integral part of the Temple ritual from the most remote times. Whole families were employed in the temples as singers and some singers formed part of the entertainment in the houses of the rich and powerful along with musicians and dancers.                                                 
                                                   

        Harps were one of their favourite instruments and very magnificent they were, as can be seen by the painting of the blind harpists and their instruments in the tomb of Ramesses 111. There were also lutes and flutes and all three were highly developed instruments and it is likely that the Ancient Egyptians had a system of music equal to that of the present day. Also played were sistra, a kind of rattle. Music and dancing are depicted in the wall paintings as are the musical instruments and these formed a very important part of the entertainment.             
       Later music was not directly influenced by Ancient Egyptian music but more through the history and antiquities and the sheer magic of this ancient civilisation. Several operas have been inspired by this. Mozart's "The Magic Flute" was first performed in 1791. Mozart himself was a Freemason and the opera is full of Ancient Egyptian atmosphere. Other operas with Egyptian themes include "The Egyptian Festival" of 1800, "Egypt" of 1801 and "Aergyptiaca" of 1902.

                                                       

       The opera which springs to mind when thinking of Egypt has to be "Aida" which was performed for the first time at Cairo's new opera house in 1871. In celebration of the opening of the opera house, the Khedive Pasha wanted an 'Egyptian hymn'. Finally,after twice turning down the commission to compose the music, Giuseppe Verdi (1813 - 1901) accepted, in return for a fee of 150,000 lire (£20,000) . He wanted to try and achieve something new, something exceptional. The libretto was written by Auguste Mariette, Director of Egypt's Museum and Antiquities Service.However Verdi employed the poet Antonio Ghislanzoni to versify du Locle's French draught of Mariette's original idea. But he gave Ghislanzoni no peace, querying and altering each verse. It has been said that Verdi virtually wrote the libretto himself. Above all, it seems, he was insistent on naturalism - plausible characters in authentic situations; poignant simplicity where other composers would be tempted into colourful rhetoric.

                                                             

           Ethiopia is pitted against Egypt in war. Vanquished and outnumbered, Ethiopia nevertheless continues to struggle for independence. Aida is a helpless victim of this struggle, but finds herself a captive slave, obliged to wait on the Princess of Egypt and keep secret her royal blood. Amid the monumental grandeur of the Pharaoh's palace, the news arrives of an Ethiopian invasion. It presents no more than a challenge to Radames, Captain of the Egyptian guard, who is eager to lead the army to put down the revolt. The gods have been consulted as to a fitting commander, and Radames longs for the honour to be his. Strident war has its attractions for Radames, though there is a more romantic dream behind his military ambition. He would like to fight and win in the name of Aida, with whom he shares a secret love. He dreams of returning Aida to her own land and enthroning her in love. In the opening aria, Radames reveals his passionate love for the Princess who is as dear to him as his own life. The stage is set in Memphis and Thebes. It is still being performed in Egypt today and must be quite spectacular at the beautiful temple of Queen Hatshepsut on the West Bank at Luxor.                                              

                                                       

      There is popular music from earlier this century which has been influenced by the Ancient Egyptians. Pieces include "Ballet Egyptien" by Alexandre Luigini, "Cleopatra Waltz" by Juliet Romer and "The Queen of the Caravan", Valse Orientale, by Iola Joyce. The cover of the music for "Dance Caprice" by F. Hargreaves shows an Egyptian lady dancing in front of Egyptian columns.
                                                  
                                           
                                      
                                                     

                                                     
                   
                                                
                                        
                      Egyptian decoration is also used to adorn modern record covers.
                                               Anne Midgley, September 1998.    

                                      
                        (The above album covers are from my own collection, Gavin)

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