The Great God Pan
Texts and music inspired by the god Pan, with readers Haydn Gwynne and Anton Lesser. With Shelley, Pound and de la Mare, plus Debussy, Ravel and Dvorak.
An invitation to Arcadia to celebrate the god Pan in poetry and music. Haydn Gwynne and Anton Lesser read work by Shelley, Ezra Pound, Elizabeth Barrett Browning, Walter de la Mare, Kenneth Grahame and Ted Hughes. Debussy, Ravel, Dvorak, Carl Nielsen, Alberto Ginastera, Lionel Monkton and Pink Floyd provide music.
Producer: Philippa Ritchie.
Last on
Music Played
Timings (where shown) are from the start of the programme in hours and minutes
-
00:00
Claude Debussy
Syrinx (from album Claire de Lune, Music of Debussy)
Performer: Marisa Robles, harp James Galway, flute.- RCA RD87173.
- 5.
-
Kenneth Grahame
The Wind in the Willows, Chapter 7: The Piper at the Gates of Dawn, Anton Lesser
00:00Claude Debussy
Syrinx (from album Claire de Lune, Music of Debussy)
Performer: Marisa Robles, harp James Galway, flute.- RCA RD87173.
- 5.
00:02Alberto Ginastera
Invocation of the Powerful Spirits
Performer: London Symphony Orchestra, cond. Eugene Goossens.- EVEREST EVC9007.
- 8.
A Musical Instrument
Elizabeth Barrett Browning, Haydn Gwynne
00:05Gheorghe Zamfir
Panpipes
Performer: Gheorghe Zamfir.- PHILIPS 4260572.
- 5.
00:07Joan Baez
Baptism: Magic Wood
Performer: Joan Baez.- VANGUARD VMD792752.
- 15.
00:10Carl Stamitz
Concerto for Flute
Performer: Simion Stanciu, pan-pipes.- ERATO ECD88262.
- 9.
Percy Bysshe Shelley
Hymn to Pan, Anton Lesser
Ted Hughes
Midas (Tales from Ovid), Haydn Gwynne
00:17Gheorghe Zamfir
Panpipes
Performer: Gheorghe Zamfir.- PHILIPS 4260572.
- 5.
00:18unknown (mood music)
Lyre music
Performer: Unknown.- KPM 565.
- 10.
00:20Maurice Ravel
Interlude from Daphnis et Chloe
Performer: Boston Symphony Orchestra cond. Bernard Haitink.- PHILIPS 4262602.
- 5.
00:21Syd Barrett, Roger Waters, Ricky Wright, Nicky Mason
The Piper at the Gates of Dawn
Performer: Pink Floyd.- EMI CDP7463842.
- 5.
00:24Armstrong Gibbs
Danger  Songs by Armstrong Gibbs
Performer: Stephen Varco, bass baritone Roger Vignoles, piano.- HYPERION CDA67337.
- 21.
Robert Ogilvy Crombie
Gentleman and the Faun: Encounters with Pan and the Elemental Kingdom, Anton Lesser
00:28Claude Debussy
Prelude LÂApres Midi dÂun Faun
Performer: Berliner Philharmoniker, cond. Simon Rattle.- EMI 5580452.
- 1.
00:29Lionel Monckton
The Arcadians, overture  original London
Performer: Vilem Tausky & his orchestra.- EMI CDANGEL1.
- 1.
J.M. Barrie
Peter Pan in Kensington Gardens, Haydn Gwynne
00:36Moose Charlap
Peter Pan, IÂm Flying from Peter Pan  original Broadway cast
Performer: Mary Martin.- RCA 37622RG.
- 6.
00:38Carl Nielsen
Pan and Syrinx (Pastorale)
Performer: City of Birmingham Symphony Orchestra cond. Simon Rattle.- EMICDC7475032.
- 1.
00:42Harrison Birtwistle
Panic
Performer: John Harle, sax Paul Clarvis, drums, ±«Óătv Symphony Orchestra, cond. Andrew Davis.- ARGO 4521042.
- 1.
Kenneth Grahame
The Wind in the Willows, Chapter 7: The Piper at the Gates of Dawn, Anton Lesser
00:43Carl Nielsen
Pan and Syrinx (Pastorale)
Performer: City of Birmingham Symphony Orchestra cond. Simon Rattle.- EMICDC7475032.
- 1.
00:45Claude Debussy
Prelude LÂApres Midi dÂun Faun
Performer: Berliner Philharmoniker, cond. Simon Rattle.- EMI 5580452.
- 1.
00:48Franz Doppler
Andante et Rondo, Op. 25 for Two Flutes and Piano
Performer: James Galway and Jeanne Galway (flutes) Phillip Moll (piano).- RCA 09026688822.
- 9.
J.M. Barrie
Peter and Wendy, Haydn Gwynne
00:52James Newton Howard
Peter Pan film score
Performer: The Hollywood Studio Orchestra.- VARESE SARABANDE VSD6534.
- 3.
00:54John Antill
Corroboree: Suite from the Ballet
Performer: London Symphony Orchestra, cond. Eugene Goossens.- EVEREST EVC9007.
- 2.
Aleister Crowley
Hymn to Pan, Anton Lesser
00:57Javier Navarrete
PanÂs Labyrinth film score: Pan and the Full Moon
Performer: The City of Prague Philharmonic Orchestra.- MILAN 3990602.
- 18.
01:00AntonĂn DvoĆĂĄk
Silent Woods
Performer: Orchestre de Paris cond. Semyon Bychkov.- Deutsche Grammophon 4357812.
- 4.
Ezra Pound
Pan is Dead, Anton Lesser and Haydn Gwynne
Walter de la Mare
They Told Me, Haydn Gwynne
01:06Claude Debussy
The Little Shepherd
Performer: Marisa Robles, harp James Galway, flute.- RCA RD87173.
- 8.
01:07Claude Debussy
Images and Impressions (Arabesque No.1)
Performer: Judith Hall, flute Elinor Bennett, harp.- NIMBUS.
- N15247.
Kenneth Grahame
The Wind in the Willows, Chapter 7: The Piper at the Gates of Dawn, Anton Lesser
Producer's Note
Pan is an intriguing god, maybe because heâs actually only half a god. He is also half a goat.  Although heâs a gentle deity of woods, mountains and shepherds, heâs also a lusty god of unbridled sexuality.  Of all the Olympian gods heâs the one who has remained most strongly in the popular imagination and continues to inspire writers and artists. Perhaps itâs his dual nature that appeals to us â a conflicted hero is always more interesting.
The goat-godâs favourite diversion was to chase and seduce nymphs.  It was often not  seduction, but rape.   One of the most famous myths of Pan involves his pursuit of the water nymph Syrinx. In her desperation to escape she appealed to the river gods for help who turned her into a water reed. Thwarted in his desire, Pan tore up the reed and made Syrinx into Pan pipes. The tale has been recounted by poets many times, usually from Panâs point of view. Similarly, painters, most famously Rubens, have tended to portray Syrinx voluptuously as if seen through the eyes of Pan.  The English Romantic poets, tended not only to depict Pan as the victim of the story, but viewed Pan as a prototype artist who transmuted his pain into art. I was interested to discover Elizabeth Barrett Browningâs poem (published in 1860) which tells the story from a different point of view, painting Panâs actions as brutal and pointing out that
âThe true gods sigh for the cost and pain, â
For the reed which grows nevermore again
 As a reed with the reeds in the river.
When Pan wasnât pursuing nymphs he enjoyed frightening travellers. He would lie in wait, concealed in the bushes and when a traveller passed by he would gently rustle the bushes engendering a sense of apprehension or Panic in the person walking by. The ancient Greeks credited the battle of Marathonâs victory to Pan, using his name for the frenzy and terror displayed by the fleeing Persian soldiers. I have chosen several pieces of music which allude to the danger of Panâs presence including Harrison Birtwistleâs composition Panic, featuring John Harle on the alto saxophone.
However in Kenneth Grahameâs classic childrenâs book The Wind in the Willows, Rat and Mole experience an epiphany of Pan that is a vision of complete beneficence.  Pan also features as a benign force in the ballet Daphnis and Chloe. Diaghilev commissioned the work from Ravel with choreography by Fokine and design by Bakst. The first production in 1912 starred Nijinsky and Karsavina. When Chloe is seized by pirates her lover Daphnis falls lifeless to the ground and it is left to Pan to come to the rescue accompanied by a team of satyrs. The pirates soon flee in terror.
Another positive encounter with Pan is recounted by the scientist and writer Robert Ogilvy Crombie (detailed in his book Encounters with Pan). Crombie, who went on to become a seminal member of the Findhorn community, assures Pan that he is not afraid of him, despite the god pointing out that he is seen as the devil.
The association between Pan and the devil is a mysterious one. The Christian devilâs hooves, tail and horns appear to be derived from the appearance of Pan. Itâs often claimed that the early Christian teachers wanted to kill off the pagan gods but as Pan was such a popular deity it was easier to keep him and transform him into a devil. Scholarship has shown the truth may be more complex. Â
I have included Peter Pan in the programme because although he is not the same as the god Pan, he shares important characteristics: He is wild, untamed and connected with nature and he is immortal, as he refuses to grow up. He doesnât possess the legs or horns of a goat but in J.M. Barrieâs book, Peter Pan in Kensington Gardens, (published in 1906, two years after the play) I was fascinated to find that the Peter Pan is associated with a goat.
In 1954 Jerome Robbins directed a Broadway musical version of Peter Pan which starred Mary Martin as Peter. It became a signature role for her and she also appeared in three television productions of the musical.   I have included her big number Iâm Flying which she sung while flying dynamically around the childrenâs nursery. You can find a film of her performing it online.
The other famous myth involving Pan is that of his death, which is referenced in several of the poems Iâve chosen. It was first told by Plutarch who relates the story of a shipâs pilot commanded by an unseen voice to announce the message âGreat Pan is deadâ as he passed near the Greek island of Palodes. Plutarch tells us that after the pilot delivered this sad message the air immediately became filled with a terrible lamentation. This event is said to have transpired close to the date Christians believed Jesus died and early church fathers quoted Plutarchâs story widely, which they saw as a prophesy of the death of paganism.
However Pan is not dead â he is continually re-born in works of art, and tonight he will be conjured up on Radio 3 thanks to the inspired readings of Haydn Gwynne and Anton Lesser.
Producer: Philippa Ritchie Â
Broadcast
- Sun 3 May 2015 17:30±«Óătv Radio 3
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