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The story of Pan and Syrinx is the inspiration for the first movement in Benjamin Britten's work for solo oboe, Six Metamorphoses after Ovid first performed in 1951. Britten titled the movement, "Pan: who played upon the reed pipe which was Syrinx, his beloved."
Pan and Syrinx: To save her from the amorous Pan, Syrinx is transformed into a water reed (Metamorphoses 1.689ff). Salmacis and Hermaphroditus: As Hermaphroditus is embraced by the Naiad Salmacis, they are merged into one being (Metamorphoses 4.285ff). Cupid and Pan: Representing the Virgilian phrase Omnia vincit amor (love conquers all), Cupid ...
Syrinx ("pipe") Reeds: Naiads: Much like Daphne, Syrinx was a nymph and follower of the goddess Artemis who swore to never marry or have any children. Syrinx caught the attention of the goat-god Pan, who, enamored with her, chased her as she fled. Syrinx, as she reached the river Ladon, begged the river nymphs to help her out.
Pitys was chased by Pan—as was Syrinx, who was turned into reeds to escape the god who then used her reeds for his panpipes. The flute-notes may have frightened the maenads running from his woodland in a "panic."
The story of Pan is the inspiration for the first movement in Benjamin Britten's work for solo oboe, Six Metamorphoses after Ovid first performed in 1951. Inspired by characters from Ovid's fifteen-volume work Metamorphoses, Britten titled the movement, "Pan: who played upon the reed pipe which was Syrinx, his beloved."
Syrinx: Arcadian nymph. To hide from the amorous Pan she was metamorphosed into hollow water reeds. I: 691-712 [222] Telamon: Son of Aecus, brother of Peleus, half-brother of Phocus, and father of Ajax. VII: 476–669, VIII: 3–378, XI: 216, XII: 624, XIII: 22-345 [223] Tereus: Son of Mars, father of Itys, husband of Procne, and king of Thrace.
Pan cut the reeds to fashion the first set of pan pipes, which were thenceforth known as syrinx. [2] As the piece features Syrinx it obviously has major parts for woodwind solos. The music was written at the height of Nielsen's powers as a composer, shortly after he finished the Fourth Symphony. It is a vigorous, pretty, and poetic work. [3]
The poem’s 4th stanza continues to identify the garden with a retreat from sexuality. It includes allusions to the myths of Apollo and Daphne and Pan and Syrinx from Ovid’s Metamorphoses, stories that both describe a nymph’s escape from threatened rape through transforming into a plant. The speaker claims that "Apollo hunted Daphne so ...