AVLU - Η ΚΑΓΚΕΛΟΠΟΡΤΑ

Book Title: AVLU - Η ΚΑΓΚΕΛΟΠΟΡΤΑ
Author: Andreas Franghias
ISBN: 978-975-08-1189-0
Language: Turkish
Publisher: In Turkey Yapı Kredi Yayınları, 2007, translation Berin Myisli
Description: Çok para kazanma hayalleriyle yanıp tutuşan sokak satıcısı Eftihis, taşrada öğretmenlik yapan kocasından hayallerine sığınan Lukia, direniş zamanının yiğitlerinden muhasebeci Andonis, siyasi suçlu, kendinden kaçak Angelos ve onu muazzam bir aşkla bekleyen İsmini...

Avlu, 2. Dünya Savaşı’nın yıkıntıları arasındaki Atina’nın belki de en yoksul mahallesinde yaşayan insanların hüzün ve mizah yüklü öyküsü. Kendisini yeniden biçimlendirmeye çalışan bir kentin geleceğinin belirsizliğiyle geçmişinin kâbusları arasında salınan bir toplumun portresini çizen Andreas Franghias’ın romanı, suyun öte yanından tutulan bir ayna.

Eftihis, the street vendor who is burning with a desire to make a lot of money, Lukia who hides in the memories of her husband who teaches in a village, the accountant Andonis, who used to be a brave fighter at times of resistance, the political prisoner Angelos, who also ran away from himself and Ismini who waits for him with undying love…The book is full of emotion and humor and tells about the story of people living in Athens during the Second World War, among the ruins of perhaps the city’s poorest district. Andreas Franghias’ın story is a reflection of a society that tries to restructure itself, torn between the nightmares of the past and ambiguities of the future.
Kitaptan: “…Angelos derin bir nefes alarak zorlukla devam etti: ‘Korku bir hastalıktır, İsmini. Sinirlerini bozar, beynini boşaltır, iç organlarının titrediğini hissedersin. Çok ağır bir hastalıktır, insanı felç eder, aptallaştırır. Bu durumun yaşamakla hiçbir ilgisi yoktur, her geçen gün kaosa sürüklenirsin. Yaşamda kalma çabası çok masraflıdır. Açıkça söylüyorum: Korkuyordum. Şimdi ikinci aşamadayım: Utanıyorum. Dün akşam yatağın altındaydım, hiç benden bunu bekler miydin? Bu akşam ise işe yaramaz bir şey gibi bu depodayım. Fakat teslim de olamam…’…”

From the Book: “ …Angelos took a deep breath and continued with great effort:
‘Fear is an illness, Ismini. It wrecks your nerves, empties your brain, you feel your internal organs shivering. It’s a severe illness, it paralyzes one, it makes one stupid. This condition has nothing to do with living, everyday you find yourself moving towards chaos. The cost of surviving is very high. I tell you honestly: I was afraid. Now, I’m in the second stage: I’m ashamed. Last night I was under the bed. Would you have ever expected this from me? Tonight I’m in this storage like a useless thing. But I can’t surrender either…”

Stratis Myrivilis - Argonaftis - Post Avcisi

Greek original title: Αργοναύτης, Argonaftis
Turkish edition title: Post Avcisi
Author: Stratis Myrivilis (Mirivilis)
ISBN: 960-05-0212-9, Turkish Edition: 9789750708695
Year published: - (Last Turkish publication 1981)
Publisher: Estia (http://www.hestia.gr) Turkey Istanbul: Yalçın Yayınları
Translation in Turkey: Ahmet Yorulmaz
Description:
Öğrenci olan Andrea`nın babası, sahilde müşterileri yalnızca denizciler olan bir kahvehane işletmektedir. Her gün, okuldan sonra babasının kahvesine gelip geç saatlere kadar kalan Andrea, hem oranın elli yıllık garsonunun, hem de kaptan ve tayfaların birbirlerine anlattıkları denizcilik öykülerini dinleyerek zamanını geçirmektedir. Denizciliğe tutkundur. Ancak, babasını ve iki kardeşini denizde kaybeden annesi oğlu Andrea`nın denizciliğe merak sarmaması için öğütlerde bulunmakta, "Eğer beni seviyorsan hiçbir zaman teknelere adım atmayacaksın. En güvenilmez şey denizdir oğlum,demektedir. Dedesinin, iki dayısının başına gelenlere karşın kahvehanede dinlediği denizcilik öyküleriyle Andrea çoktan denizciliğe gönül vermiştir. "Altın Post" söylencesinin etkisinde, içten içe onu gidip bulma isteğindedir. Kafasına iyiden iyiye yerleşmiş bu söylence Andrea`yı büyük bir maceraya sürükleyecektir. Ve bir gün, akşam alacasında Andrea`nın büyük macerası başlar...


Andrea's father runs a seaside cafe that is frequently visited by sailors. Every day after school Andrea goes to the cafe and spends his time listening to the maritime stories of the captains, the crew and the waiter, who has worked there for the last fifty years. Andrea is passionate about seamanship. However, his mother, whose father and two brothers has died at sea, warns him not to take an interest in the sea, saying that the sea is the least dependable thing and that he should never step onto a boat. Despite what has happened to his grandfather and uncles, thanks to the maritime stories he keeps listening to at the cafe, Andrea has long set his heart on seamanship. Influenced by the legend of “The Golden Hide”, he longs to go and find it. This legend is destined to lead him to a big adventure. His adventure starts one night at dusk…

Dimitri Kantemiroglu

Dimitri Kantemiroglu (1673 –1723) was twice Prince of Moldavia (in March-April 1693 and in 1710–1711). He was also a prolific man of letters – philosopher, historian, composer, musicologist, linguist, ethnographer, and geographer.Dimitrie was the son of Moldavian Voivode Constantin Cantemir.Remnants of Cantemir's mansion in Istanbul, located in Fener, on the grounds of the Cantacuzino estate.His education began at home, where he learned Greek and Latin and acquired a profound knowledge of the classics. Between 1687 and 1710 he lived in forced exile in Istanbul, where he learned Turkish and studied the history of the Ottoman Empire at the Patriarchate's Greek Academy, where he also composed music.During his stay at Istanbul he studied the Turkish language and music, in which he afterwords excelled to such a degree, that he was the first introducer of musical notes among the Turks, and composed several pieces of music.He had around 40 compositions in the Ottoman music of which few are performed today, but his greatest service to the Ottoman music is the fact that he helped survival of 350 instrumental pieces by recording them in a certain notation (the ebced) script he developed in his work Edvar which he presented to Sultan Ahmed II.The most recent publication of his abovementioned work, reprint along with complete transcription and explanations, is: Kantemiroğlu, Kitâbu 'İlmi'l-Mûsiki alâ Vechi'l-Hurûfât, Mûsikiyi Harflerle Tesbit ve İcrâ İlminin Kitabı, Yalçın Tura, Yapı Kredi Yayınları, Istanbul 2001

1.Jordi Savall & Hesperion XXI-Makam Nikriz usul Berevsan
2.Jordi Savall & Hesperion XXI-Makam Rast Semai

3.Jordi Savall & Hesperion XXI-Makam Rast (Murassa)

4.Bezmara-Bestenigâr Pesrev

5.Bezmara-Muhayyer Peşrev

Samples

More info (Turkish)

http://www.halksahnesi.org/incelemeler/kantemir/kantemir.htm

http://tr.wikipedia.org/wiki/Dimitri_Kantemiro%C4%9Flu

English:

http://en.wikipedia.org/wiki/Dimitrie_Cantemir

Kemani Tatyos Efendi - Kudsi Erguner Ensemble

Title: Kemani Tatyos Efendi
Artist: Kudsi Erguner Ensemble
Year: 1996
Production: Traditional Crossroads
Description: This two Cd contains all of the instrumental works of Tatyos, as well as a big part of the vocal. For those interested deeply in the music of the last Ottoman periode this is a fine example, of one of the best Armenian composers.
Musicians: Kudsi Erguner ney, Suleyman Erguner ney, Baki Kemanci violin, Sukru Kabaci, clarinete, Husnu Anil kanun, Mehmet Bitmez ud, Necip Gulses tanbur, Dogan Hossed def, Melihat Gulses vocals

Tracks CD 1
1. Suzinak Pesrev (3:55)
2. Suzinak Saz Semai (4:58)
3. Kurdili Hicazhar Pesrev (5:41)
4. Kurdili Hicazkar Saz Semai (4:07)
5. Rast Keman Taksim (5:08)
6. Rast Pesrev (7:06)
7. Rast Saz Semai (4:11)
8. Ushshak Ney Taksim (3:18)
9. Ushshak Peshrev (5:39)
10. Huseyni Ud Taksim (3:00)
11. Huseyni Saz Semai (4:38)
12. Karcigar Peshrev (3:26)
13. Karcigar Keman Taksim (1:29)
14. Karcigar Saz Semai (4:09)
15. Bestenigar Kanun Taksim (4:39)
16. Bestenigar Pesrev (4:15)

CD2
1. Ussak Taksim (4:34)
2. Gamzedeyim Deva Bulmam (5:29)
3. Bu Aksam Gun Batarken (3:16)
4. Guldun Eglendin (3:49)
5. Goz Suzup Yan Bakisinla (3:32)
6. Tanbur Taksim (3:19)
7. Gonul Dustu Yine (3:51)
8. Cektim Elimi (1:50)
9. Rast Ney Taksim (2:39)
10. Cesm-I Fettanin (3:02)
11. Mey-I Lalinle Dil Mestane Oslun (2:47)
12. Bir Gonlume Bir Hal-I Perisanima Baktim (5:05)
13. Bilmen Ki Nedendir, Bana Sen Hor Bakiyousun (2:26)
14. Keman Taksim (2:14)
15. Cana Firkatinle (2:37)
16. Klarnet Taksim (1:45)
17. Mani Oluyor (2:41)
18. Ehl-I Askin Nesvegahi Kusei Mey Hanedir (2:00)
19. Ud Taksim (3:15)
20. Atfetme Sakin Hancer-I Mujganini Nagah (3:35)
21. Gel Ela Gozlum Efendim Yanima (3:36)
22. Kanun Taksim (2:48)
23. Gozum Hasretle Giryandir (3:03)
Music samples

Kemani Tatyos Eksertzian

Kemani Tatyos Eksertzian was born in Constantinople in 1858. Of Armenian origin, he is recognized as an outstanding personality in the multi-cultural music community—made up mainly of Turks, Greeks, Armenians and Jews—which was based in the capital of the Ottoman Empire. The appellation «Kemani» means violinist, from the Persian word, keman, i.e. bow, which is used by Turks for the violin. He was taught by the famous blind violinist Kemani Sebuh. Tatyos was very well acquainted with the Hamparsum musical notation, a kind of notional script used in transcriptions before the establishment of the pentagram, with additional modulation signs for the rendition of the intervals of Eastern music. He was actively involved in urban musical events and also in those of the ottoman court, which, at that specific period, was home to Sultan Abdul Hamid II, the last Ottoman monarch. Tatyos played the violin in the so-called «sema‘i cafes» and the tavernas of Constantinople which, around the end of the nineteenth and beginning of the twentieth centuries, served as intimate settings for musical performances, both by day and night.
He was an alcoholic and died poor in 1913 from cirrhosis of the liver. Investigation of the old discography catalogues reveals that Tatyos himself took part in only one recording session, playing Huseyni Saz Sema‘i. But many of his songs and compositions were recorded by established musicians who were his contemporaries, such as Tanburi Cemil Bey, Udi Nevres Bey and others.

His oeuvre consists of instrumental compositions in the forms of the pesrev (overture, prelude) and the saz sema‘i, as well as songs (sark?). They are typified by their melodic originality, stylistic invention—with frequent changes of the makam within the same piece—as well as an intense dialectical relationship between the melody and rhythm. The end result holds the attention of the listener throughout and gives the feeling that, apart from playing the music, Tatyos was playing with the music…This is why the performance of a composition by Tatyos is a real joy for a musician or singer. It is abundantly clear that, as a composer, Tatyos was mindful of the function of music as a means of enjoyment, as, in any case, he experienced it himself, but at the same time he shows total respect for the texture and mores of Classical Ottoman music. It is no accident that his instrumental compositions spread far beyond the bounds of Constantinople and became well-known and extremely popular throughout the Arab Mediterranean.
The enduring value of Tatyos’s work is confirmed by the fact that his compositions have continued to be played from the time he created them until today, that they are well-established in the basic repertoire of musicians and singers and also that they are very well represented in the discography.
The present collection brings together eleven instrumental compositions and twenty nine songs of the seventy two works attributed to Tatyos and is based on a comparative study of various transcriptions in the pentagram, some published,
others not, some printed others in manuscript form. Different versions of the melody appear to be the result of different people writing down a living tradition which, without question, is the work of Tatyos. We note the recording in Byzantine notation of the Kurdili Hicazkar Sark? entitled Sohbetinle hos gecen
eyyam? cana ozlerim in the collection «Ο Ρυθμογράφος» [O Rythmografos] by Agathangelos Kyriazides (Constantinople 1909). All the material which has been collected, together with observations from comparative research, are available to
musicians and musicologists in the Library of En Chordais.

Vassilis Tzortzinis

This article is from
En Chordais (Greece)
http://www.medimuses.gr/english.html

Music samples
1. Anastas Leontarides - Karcigar Pesrev
2. Anastas Leontarides - Rast Pesrev
3. Mahur - Kurdilihicazkar Saz semaisi
4. Ussak Sarki - Bu aksam gun batarken gel
5. Derya Turkan- Murat Aydemir - Suzinak Saz Semai
6. Ensemble Kudsi Erguner - Bestenigar Peshrev
7. Ensemble Kudsi Erguner - Bilmen Ki Nedendir, Bana Sen Hor Bakiyousun
8. Ensemble Kudsi Erguner - Ushshak Peshrev
9. Gecmisten Gunumuze Turk Muzigi - Isbank - Kurdili hicazkar pesrevi - Ehl-i askin - Vasilaki
10. Giorgos Bacanos - Kurdilihicazkar Pesrev
11. Huseyni Saz Semai
12. Istanbul Klasik Turk Muzigi Orkestrasi - Kurdilihicazkar Pesrev
13. Mete Aslan - Suzinak Pesrev
14. Richard A. Hagopian - Huseyni Saz-Semai
15. Richard A. Hagopian - Rast Pesrev
16. Serap Caglayan/Mahinur Ozustun - Suzinak Pesrev
17. Udi Hrant - Huseyni saz semai

Video

Kürdilihicazkar Peşrev (Kemani Tatyos Efendi)
Göksel Baktagir (Kanun) - Yurdal Tokcan (Ud). Live from "1002 Nihtes Club" Athens Greece, 3 Febuary 2009.

Domna Samiou - Ehe geia Panagia

Title: Ehe Geia Panagia
Artist: Domna Samiou
Year: 1973
Production: Columbia
Description: One of her best studio recordings, with music from all around Greece

Tracks
1. Ehe geia Panageia (Hasapiko Politiko)
2. Gianni mou to Mandili sou
3. Katou sta roda (Paintouska Thakis)
4. Saranda pente mastoroi (Kageleftos horos Makedonias)
5. O Marandon (Omal Pontou)
6. Zeybebiko Smyrnis
7. O Mparba Mathios (Hasapiko Samou)
8. Rousa Papadia (Sirto Roumenils)
9. Epse proipses eperasa (Argo Makedonias)
10. Zonaradikos horos Thrakis
11. Oso varoun ta sidera (Crete)
12. Moiroloi (Heperos)
13. Aman Gel Aman (Karsilamas Mikras Asias)

Domna Samiou - Introduction

DOMNA SAMIOU
Domna Samiou was born on 12 October 1928 in Kesariani Athens. Her parents were refugees from Asia Minor, and lived in a village, Baintiri, outside Izmir. Her mother came to Greece after the disaster, and her father four years later, «because he remained there as a prisoner». She was introduced to Greek folk music at an early age by her parents, as she admits in an interview. In this way she grows up and loves the folk songs and music.
At the age of 13 years she becomes actively involved in music. She goes to "Association for Diadosin of National Music", where she is taught by the intellectual supporter, researcher and teacher of Greek Music, Simon Karras. There she takes the first courses of Byzantine music and discovers the secrets of the traditional songs. Also, at that time she attends the nocturnal Gymnasium.
From 1954 till 1971 she works at the National Radio Institute (E.I.R) along with the Greek Television (E.R.T) where she takes part in the preparation of a series of musical documentaries titled "Musical Journey". This preparation will help her gain a rich reservoir of musical materials, which proved important, aiming at the preservation of traditional Greek music.
In 1971, a milestone year for her future course, she performs traditional songs on the stage together with Dionissis Savvopoulos. But her singles and Lps have already been popular in Greece, France and Sweden since1960, which represent the impact of her work mainly in Greece and the Greek Diaspora.
Against the commercial abuse and the popularisation of Greek tradition, she begins to show over the years her most authentic performance. She not only gives countless concerts in which she sings in her own authentic way, but also presents original and creative artists of the folk tradition.
Her works go beyond the Greek borders and the Greek language. She becomes well-known in many countries of Europe, America and cities in Australia, where she gives concerts.

The most important stations in her career
- At the "Odeon of Herodes Atticus" singing for four consecutive years (1995-1998).

- Great recognition given from the "Megaron Musikis (Music Hall of Athens), where she performs her "Border Songs" (May 1995) and Greek traditional carols (Christmas 1996)

- In 1981 she creates the Artistic Society of Traditional Music "Domna Samiou", where she continues the same quality and a remarkable record production.

- In addition, from 1994 to 2001, she gives lessons on folk song music at the Museum of Greek Popular Musical Instruments in Athens.

- In 2006, she receives the Arion Award for her total contribution for the preservation of the Greek folk music.
The Domna Samiou continues today investigating and recording traditional Greek music.
The depth of her knowledge of traditional Greek music as well as her long experience and accuracy in performing the music style of each region, make her unique in this sector.

Adoption from Wikipedia and the Greek text, Panos and Filiz

Introduction files:
1. Aganta Yialesa
2. Armenaki
3. Dimitroula (Mikras Asias)
4. Fetos to kalokairaki
5. Gianni mou to mantili sou (Sirtos sta tria Hipiros)
6. Heliem Kai ti Polargiases
7. Ipopsia na min eheis (Mikras Asias)
8. Lambros Papathanasiou - Violeta m' Anthismen
9. Nanourisma
10. O Marandon (Omal Pontus)
11. Oso varoun ta sidera (Kritis)
12. Toutes Oi Meres To Xoune

Videos

Book Title: Biz İstanbullular Böyleyiz! Fener’den Anılar 1906-1922 Ta Konstantinu-Politika Ke Ala
Author: Haris Spataris
ISBN: 975-8704-71-0
Language: Turkish
Publisher: In Turkey Kitap Yayınevi, 2004, translation Iro Kaplangı
Description: Haris Spataris, 1906, İstanbul Fener doğumlu. Ailesi 1922’de Yunanistan’a göç etmiş. “Küçük Asya Felaketi”nden sonra, Mübadele İstanbul Rumlarını kapsamasa da, artık kendileri için bir gelecek olmadığını düşünen bazı Rumlar doğdukları şehri terk ediyorlar. İşte böyle bir siyasi geri planda dikkatli bir gözlemci Spataris. Bizlere, binaları yerinde kalsa da artık var olmayan bir dünyayı anlatıyor: Fener’in ara sokakları, evler, insanlar, vapurlar, sandallar, sandalcılar, patrikhanenin papazları, sokaklardaki havagazı lambalarını yakıp söndüren memurlar, mahallede yanan ilk elektrik ampulü, “dünyanın merkezi” Galata, gençliğinde onu heyecanlandıran Galata’nın kötü şöhretli evleri, Bolşevik devrimi sırasında Rus elçiliği önünde çatışan Ruslar, Rumların “tavan taburu” (askere gitmemek için tavan arasında saklananlar), Tünel’in onarılması, Rum cemaatinin ileri gelenleri. Rumların yemekleri, eğlenceleri, bayramları, hamam sefaları… Ayazmalar, yangınlar, tulumbacılar, sokak satıcıları, Ermeniler, Kürtler, Yahudiler… Bu kitap, Haris Spataris’in anlattığı Fener’in sokakları adım adım dolaşılarak hazırlandı. Döneme ait fotoğrafların yanı sıra günümüzü yansıtan fotoğraflara da yer verildi. Jacques Pervititch’in hazırladığı, Fener’e ait 1929 tarihli sigorta haritalarının birkaçı da kitaba eklendi.

Haris Spataris was born in 1906 in Fener, İstanbul. His family immigrated in 1922 from Greece. After the “Minor Asia Disaster”, some of the Greeks who did not see a future for themselves anymore, decided to leave the city where they were born in. The observant Spataris enters the scene in such a political environment. He tells us about a world which doesn’t exist anymore, even if the walls are still there. The side streets of Fener, houses, people, ships, boats, boatmen, the clergymen of patriarchate, men who switch off the gas lamps in the streets, the first electric bulb lit in the street, “the center of the world” Galata, certain houses in Galata with a bad reputation, which used to excite him in his youth, Russians fighting in front of the Russian Embassy during the Bolshevik Revolution, Russians, the Greeks “ceiling soldiers” (those who hid in the ceiling to avoid going to the army), the reparation of Tunel, the leading members of the Greek community. Greek food, their way of entertainment, bayrams, hamam sessions… The small churches, fires, tulumba sellers, street vendors, Armenians, Kurds, Jews…For this book, Fener district as narrated by Haris Spataris, has been thoroughly researched, inch by inch. The book includes photos from the past and present. It also includes some insurance maps from 1929 belonging to Fener prepared by Jacques Pervititch.

Yorum: Fener semtini keşfetmek için pek çok farklı gezi rehberi bulabilirsiniz ama semtin 1900’lerin başlarındaki sosyal yaşamını, sokaklarını samimi, mizah dolu ve olabildiğince tarafsız bir gözle anlatan başka bir kitap bulunabilir mi bilmiyorum. Fenerin eski sakinlerini tanımak ve semtin gayri resmi tarihini öğrenmek için ideal bir kitap.

Comment: One can find many tour guides to discover the Fener district but I don’t know if any other book exists which tells the district’s social life and street life in the beginning of 1900’s with such warmth, humor and objectivity. The book is ideal for getting to know the old residents of Fener and learn about the district’s unofficial past.

Metronomos Magazine issue No32

Τεύχος 32 ΙΑΝΟΥΑΡΙΟΣ - ΜΑΡΤΙΟΣ 2009
Περιεχόμενα
Το σύγχρονο «λαϊκό» κιτς, τα χαρακτηριστικά και τα παρελκόμενά του,
του Αλέξη Βάκη
Κατερίνα Παπαδοπούλου, του Ηλία Βολιότη – Καπετανάκη
Νίκος Κυπουργός, του Αντώνη Περιβολάκη
«Άλλος δρόμος δεν υπήρχε», μια ταινία του Σταύρου Ψυλλάκη
Σοφία Εμφιετζή, της Τούλας Καρώνη
Πηγή Λυκούδη, του Τάσου Π. Καραντή
Ένωση Μουσικοσυνθετών Στιχουργών Ελλάδος του Θανάση Συλιβού
Αλέξανδρός Παπαδάκης, του Λευτέρη Γ. Μαυρογιαννάκη
Δημήτρης Ατραΐδης, του Παναγιώτη Γερογιάννη
Ανθολόγιο αναμνήσεων Στέλιου Δούση: Τσάρκα με ένα μπουζούκι
Μανώλης Λιδάκης του Τάσου Π. Καραντή
Tirill - Μια χαρισματική τραγουδοποιός από τη χώρα του Henrik Ibsen και του Edvard Grieg, του Αλέξη Βάκη
Γιάννης Ήττος – Τραγουδιστής του πάλκου, του Ηλία Βολιότη – Καπετανάκη
Θανάσης Σπυρόπουλος – Καραγκιοζοπαίχτης με ρεμπέτικη διαδρομή,
του Ηλία Μπαρούνη
Η δύναμη της μουσικής στην εκπαίδευση, του Κωνσταντίνου Τσικλέα
Ένα τραγούδι, για να ΄ν΄ τραγούδι; του Σπύρου Κουρκουνάκη
Βαγγέλης Μαχαίρας, του Ηλία Βολιότη – Καπετανάκη
Ο λαϊκός χορός στην Αρμενία, του Αγκόπ Τζελαλιάν
Τα ερωτικά λιανοτράγουδα, του Ανδρέα Καρζή
Για τα «αμαρτωλά» κορίτσια που αγαπήσαμε, του Γιάννη Σαμπά
Ο «κρυμμένος» Καζαντζίδης, του Θόδωρου Βαλσαμίδη
Πίσω από τα όργανα: Σπύρος Γκούμας, του Γιώργου Αλτή
Αναγνώσεις
Ακροάσεις
ΕΝΘΕΤΟ
Εξώφυλλα, μουσικές και αναμνήσεις από τις 45 στροφές
Δεκαετία του ΄60: Ελληνική ποπ & ροκ Β΄ μέρος

Stratis Myrivilis - Ζωή εν Τάφω - Hayat Mezarda

Greek original title: Ζωή εν Τάφω Zoi en Tafo
Turkish edition title: Hayat Mezarda (1968, 2006), Savaştan korkuyorum (1982)
English edition title: Life in a Tomb
Author: Stratis Myrivilis (Mirivilis)
ISBN: 960-05-0239-0, Turkish Edition: 975-571-136-8 English Editions: 1-932455-05-1
0-87451-391-Χ
Year published: 1924 (Last Turkish publication 2006)
Language: Greek - Turkish - English
Publisher: Estia (http://www.hestia.gr) Turkey Istanbul: Arıon Yayınevi
Translation in Turkey: Kriton Dinçmen
Description: This summary written by Stratis Myrivilis

Summary of the war book “Life in a tomb”
One student, full of patriotic and democratic ideals joins the revolution of the national defence and enlists the Archipelago Division, to fight «for freedom of the people and for the liberation of the enslaved Greeks and Democracy». His dreams turn into frustration with the barbarism he finds in the city of Monastirion in Serbia, and seeing what the allies have done to the Greek population of the city. Without faith in combat, without ideals, without believing in the honesty of war, he goes through a terrible crisis in the trench of the parapet of Monastirion, and describes the war with the sincerity of a man who faces death and does not want to lie neither to himself nor to others. After an adventurous life of battle, he is accidentally killed in a Bulgarian trench by a French flame-thrower. The book is a cry against the war between nations who do not hate each other, but are mobilized against each other by various political interests.

Stratis Myrivilis

Περίληψις του πολεμικού βιβλίου «Η Ζωή ένα Τάφω»
Ένας φοιτητής γεμάτος πατριωτικά ιδανικά και δημοκρατικά ιδεώδη προσχωρεί είς την επανάστασιν της Εθνικής Αμύνης και κατατάσσεται στην Μεραρχία Αρχιπελάγους δια να πολεμήσει «υπέρ της ελευθερίας των λαών και υπέρ της απελευθερώσεως των υποδούλων Ελλήνων και υπέρ της Δημοκρατίας». Τον περιμένουν αδιάκοπες διαψεύσεις των ονείρων του με τας βαρβαρότητας που ευρίσκει εις το Μοναστήριον της Σερβίας να κάμουν οι σύμμαχοι (υπέρ του οποίου επήγε να σκοτωθεί) είς βάρος του Ελληνικού πληθυσμού της πόλεως. Χωρίς πίστιν είς τον αγώνα πλέον, χωρίς ιδανικά, χωρίς να πιστεύει εις την τιμιότητα του πολέμου περνά τρομεράς κρίσεις μέσα εις το χαράκωμα της προκαλύψεως Μοναστηρίου, και περιγράφει την ζωήν του πολέμου με την ωμήν ειλικρίνιαν ανθρώπου ο οποίος ευρισκόμενος αντίκρυ στο θάνατο δεν θέλει να ψευσθεί ούτε προς τον εαυτόν του ούτε προς τους άλλους. Κατόπιν περιπετιεώδους πολεμικής ζωής σκοτώνεται κατά λάθος εις ένα βουλγαρικό χαράκωμα από ένα Γάλλον εξακοντιστήν του υγρού πυρός. Το βιβλίον είνε μια κραυγή εναντίον του πολέμου που γίνεται μεταξύ λαών που δε μισούνται αλλά κινητοποιούνται εναντίων αλλήλων από διάφορα πολιτικά συμφέροντα.

Στράτης Μυριβήλης

Various links:
http://worldliteratures.suite101.com/article.cfm/life_in_the_tomb
http://www.tulumba.com/storeItem.asp?ic=zBK339798DE587

Vassilis Tsitsanis 1936-1940 - REBETIKA 3

Title: Vassilis Tsitsanis 1936-1940 - REBETIKA 3
Artist: Vassilis Tsitsanis
Year: 2008
Production: JSP Records England
Description: This 5 CD colletction contains music of the productive years 1936-1940, of the Greek rebeti Vassilis Tsitsanis. One of the best collections with very good sound, that are reproduced from the 78,s. Compiled and Annotated by Charles Howard, who had done also the previous great CD collections, Rebetika 1 & Rebetika 2. For any serious lover of the Greek music this is a must.

Tracks:


Sample tracks

Vasilis Tsitsanis

Vasilis Tsitsanis is considered to be one of the greatest Greek composers, lyricists and singers of the 20th century (whose songs are heard even today). Also one of the major figures of rembetiko and (laiki mousiki) popular music of Greece.

Vasilis Tsitsanis was born in Trikala on 18 January 1915. From an early age he showed an interest in music and got violin, mandolin and bouzouki courses. In 1936 he went to Athens to study Law. In 1937 he made his first recording. During 1937-1940 he wrote great songs that he recorded with the voices of Dimitris Perdikopoulou, Stratos Pagioumtzis, Markos Vamvakaris, Apostolos Hatzihristos and Stellakis Perpiniadis on many recordings in which Tsitsanis participated as a second voice.

During the German occupation Tsitsanis stayed in Thessaloniki. There he wrote some of the best songs, which were recorded after the end of the war.

In 1946 he settled in Athens and began to record, beside the known singers, such as Sotiria Bellou, Ioanna Georgakopoulou, Ninou Marika and Prodromos Tsaousakis.

In his first pre-war period of his discography (1937-1940) he recorded more than 100 songs (87 under his own name). In the after-war period (1946-1960) he recorded more than 300 songs most of which are sung by the majority of the Greek people. One of the ingenious Greeks of that time, the painter Giannis Tsarouhis said in 1966 “Tsitsanis is the only proof that we have civilization”. After 1960 there were more than 300 songs recorded on 45s and 33rpm, records.

The following years Tsitsanis enjoyed widespread acceptance. He died on 18 January 1984 in London, and was buried in the first cemetery of Athens.

Sources:
Rebetika III Tsitsanis
Kounadis Panagiotis, "Eis Anamnisin Stigmon Elkistikon"
Wikipedia
Photo: Ilias Petropoulos, Rebetika Tragoudia

Introduction samples:
After war songs (1946~1955)
1. Vasilis Tsitsanis, M. Ninou - I Serah
2. Vasilis Tsitsanis, M. Ninou, Prodromos Tsaousakis - Eimaste Alania
3. Vasilis Tsitsanis, Prodromos Tsaousakis - Giati me xipnises proi
4. Vasilis Tsitsanis, Prodromos Tsaousakis - Paixe Christo to bouzouki
5. Vasilis Tsitsanis, Prodromos Tsaousakis, Ioanna Georgakopoulou - Peftoun tis vrohis oi stales
6. Vasilis Tsitsanis, Prodromos Tsaousakis, M. Ninou - Sinnefiasmeni Kyriaki.
7. Vasilis Tsitsanis, Stratos Pagioumtzis - Arhondissa
8. Vasilis Tsitsanis, Stratos Pagioumtzis - Bakse Tsifliki

Pains of Autumn - Guz Sancisi

Pains of Autumn - Guz Sancisi - Φθινοπωρινή Οδύνη

The film, almost entirely shot in and around Beyoğlu with great assistance from Beyoğlu Mayor Ahmet Misbah Demircan, reflects Istanbul on the screen as it was in 1955. Naz Erayda, Nilüfer A. Giritlioğlu and Erol Taştan are the art directors of the film, each set, costume and accessory of which was meticulously and painstakingly prepared by a thorough research of Istanbul as it was in 1955.

Set in 1955, “Güz Sancısı” depicts the story of Behçet (Murat Yıldırım), the idealist and nationalist son of a rich land owner who falls in love with his Greek neighbour Elena (Beren Saat) across from his apartment and engages in a private settling of scores with his feelings and political ideas in the setting of the 6-7 September incidents.

Behçet’s father Kamil Efendi (Tuncel Kurtiz) is a wealthy land owner in whom the government has a close interest due to his strong influence in the region and who has close links with the “deep” powers within the country’s bureaucracy. A young man cast under the shadow of his father’s strong personality, Behçet’s greatest ambition is to heed Kamil Efendi’s suggestions and take his place and rise in the world of politics. His strongest supporter in realising this goal is Kenan Bey (Hüseyin Avni Danyal), his father’s close friend and the father of his fiancée Nemika (Belçim Bilgin Erdoğan). A former bureaucrat himself, Kenan Bey is among the top executives of the “Cyprus is Turkish Association” and gives direction to deep state operations.

Behçet is conservative, calm, serious, introverted and also places great value on justice and ethics. This causes him to be often disturbed by developments in the world of politics, but he basically believes his nationalist outlook is correct, fair and realistic. He believes the Turkish nation was under siege by the western powers and that this situation was most obvious in Cyprus. In fact, he also experiences this feeling of being under siege very strongly in his private life and he falls in love with his Greek neighbour Elena. As the darkness of the tense political atmosphere slowly descends upon Beyoğlu, the uncontainable love between the two young people is trying to defend itself. As Behçet walks the political line drawn by the ever darkening colours of a militant columnist, every step he takes towards the morning of September 6th makes it harder for him to reach Elena. The two lovers who are forced to carry the heavy burden of the Turkish political life are on the “same” side in the land of love but on “different” sides in the land of their country.

Tomris Giritlioğlu and her team who have together completed very successful projects to date including “Çemberimde Gül Oya” (My Rose Embroidered Scarf) and “Hatırla Sevgili” (Remember Darling) are bringing back the past to the present once again with the film “Güz Sancısı” (Pains of Autumn). With this special project she has been working on since 2002, Tomris Giritlioğlu is making a comeback as a film director after ten years. The director’s last film “Güz Sancısı”, along with “Suyun Öte Yanı” (The Other Side of the Water) and “Salkım Hanım'ın Taneleri” (Mrs. Salkim’s Diamonds) completes the trilogy she has set as a career goal. The film will be shown in film theatres as of 23 January 2009.

The film is produced by C Yapım and Film, distributed by Özen Film and shot in cooperation with Asis Yapım. Starring in “Güz Sancısı” are Murat Yıldırım, Beren Saat, Okan Yalabık, Belçim Bilgin Erdoğan, İlker Aksum, Hüseyin Avni Danyal, Umut Kurt, Avni Yalçın, Tuncel Kurtiz and Zeliha Berksoy. The screenpay, co-authored by Etyen Mahçupyan and Nilgün Öneş is based on a novel by Yılmaz Karakoyunlu under the same title. The novel also won the Writers Association of Turkey Novel Award in 1992.

The official Web Site
http://www.guzsancisi.net/

The Greek Newpapare Kathimerini
http://trans.kathimerini.gr/4dcgi/_w_articles_qsite1_1_24/04/2009_276487

From "Eis tin poli" blog
http://eistinpolin.wordpress.com/2009/04/05/sancisi/

Cretan Music and Dance

by Sandra Iedema

A Cretan’s life is drenched to the bone with rhythm and rhyme; not just today, but for as long as they remember, in times of peace and in times of war and oppression. All events, be them happy or sad, concerning love or fate, heroic deeds or hymns to nature are expressed by music and song. Everything that touches the soul has to be bared and soothed with music and songs that tell the tortured soul what to do.
Known all over the Aegean are the mandinádhes, 15 syllable two-verse rhymes that tell of sweet or bitter love, tricks of fate, advise someone or even give a sarcastic opinion of some recent event. At feasts, a mandinádhes-singer is not only supposed never to repeat the same verse twice, but he is also expected to compose new verses instantly, in answer to, or as continuation of those sung previously. This improvisation often takes the shape of a poetic contest between singer(s) and lýra player, thus keeping up the party’s cheerful atmosphere. Even today this form of rhyming is immensely popular with Cretan youth, to a point that they store the mandinádhes on their mobile phones!
Myrolóia, on the other hand, are chanted in times of grief and sorrow; they are not accompanied by music, often during the night wake after having lost a beloved one.

Authentic Cretan songs are the rizítika, discerned in songs of the table (távla) that are sung among friends during or after dinner – usually without music – and the songs of the walk that accompany a groom and his musician friends on their way to the bride’s house. Many of the rizítika tell of historical or heroic deeds or report events of contemporary society.

MUSICAL INSTRUMENTS

Ross Daly in concert (Malia, archaeological site, August 2008)

Very little is known about the origins of Cretan music, but with all the invaders that have made their appearance on the island over the centuries, it cannot but have been influenced. Cretan music belongs to the Eastern Mediterranean family of musical tradition, with discernable foreign traits from other regions of Greece as well as from the Middle East and Turkey.

The 2 basic Cretan instruments today are the lýra, a 3-stringed pear-shaped fiddle, resting on the knee and bowed with a bow, and the láouto, a large lute that is played like a guitar to accompany the lýra player. Other accompanying instruments are the askomandoúra, a small bagpipe made of goatskin, the thiaboli, a small flute and the daouláki, a little double-faced barrel drum. The mandolin is often used to accompany mantinádhes, while in eastern Crete in particular the viololýra, a combination of violin and lýra, is played. Most of Crete’s music is dance music, played at weddings, baptisms and local festivals and the like.
Some of the greatest Cretan musicians of the past include Andreas Rodhinós, one of Crete’s most important lýra players who died in 1936, aged only 23; Kostas Moudákis, lýra player and singer and Athanásios Askordhalós, a very gifted lýra player. Today’s most renowned musicians of Cretan music are without doubt Ross Daly, Thanássis Skoulás and Psarandónis, brother of Nikos Xiloúris.

NIKOS XILOURIS

Born in Anóyia in 1936, Nikos Xiloúris was a shepherd in his younger years. From the moment he got his first lýra at the age of 12, he played the instrument with an amazing feel, constantly perfecting his skill.
After endless performances at local feasts and celebrations, where he became highly popular, he made his first record in 1958; in 1966 he won the first prize at the San Remo festival, after which he started to pursue a national career by moving to Athens in 1970.
An extremely gifted lýra player with a golden voice, Nikos Xiloúris held Greece’s spirits up and inspired hope as a leading protest singer during the years of the military Junta. He became a national star in the late 1970s, interpreting the unforgettable songs of Greek composers. Sadly, at the peak of his career he died of cancer in 1980, aged 44. Many believe that if he were alive today, he’d have the world at his feet.

ROSS DALY – An Irish Lýra Player in Crete

Ross Daly, born in England, travelled all over the world during his childhood years with his Irish parents. There he came into contact with different cultures and their music. Daly is a unique composer of his music of the world, as well as a virtuoso on instruments like the Cretan lýra, the Turkish sazi, the outi, the Indian sitar and the Afghan rabab. He has been living in Crete for the last 25 years and is giving concerts all over Greece and abroad.

In Houdetsi, Ross Daly’s base some 20km south of Iraklio, Daly has created a musical workshop, the Labyrinth, where he yearly organizes seminars of the traditional music of Greece, the Balkans, Turkey, the Middle East, North Africa and North India (summer and winter seminars). Besides the seminars there are regularly held concerts during the summer months and there is a museum of musical instruments.

CRETAN DANCES

Panagiotis, Maria, Themis and Kalia showing off the 'real' Cretan spirit.

While the mantinádhes express a Cretan’s thoughtful and philosophical side, the Cretan dances display a Cretan's ‘levendiá’ or 'manliness', where he shows off his physical fitness and well-shaped body. There are 5 Cretan dances, all of which are danced by men and women alike today:

Syrtós is a slow, 12-step dance, even and imposing, where men and women line up circularly, holding each other’s hands and make small steps with sharp, straight-out footwork. The first dancer in line performs figures.
Sighanós is an easy, slow, circular 5-step dance, performed by men and women, with arms outstretched and hands resting on their neighbours’ shoulders.
Pendozális is based on the 5 steps of the sighanó and a continuation of this dance, which is completed with 5 more steps. Formerly this was a man’s dance only, as the vivid and jumpy movements on an increased rhythm were ‘not done’ for women. Nowadays the pendozális is danced by men and women alike and has a wide variety of movements.
Malevisiótis is one of the fastest and most energetic Cretan dances, danced in a circle and of a jumpy type, where men and women take each other by the hands that are kept at shoulder height and perform 8 small fast steps forward and 8 steps back. The impressive, acrobatic personal figures of the first dancer in line give the dance a strong, intense character.
Soústa is a jumpy, 3-step couple’s dance in two-quarter beat. Initially a war dance, the soústa was performed by a male couple, symbolizing the two warring opponents. Later it acquired an erotic character, as it is danced by a man and a woman, the man performing imposing and challenging movements that are received by the woman with dignity and modesty and to which she answers with graceful movements.

In this context, I would like to refer to
Aviva Gabriel's notes
• Instruments of Turkish Sufi and Folk Music
http://www.facebook.com/notes.php?drafts&id=1527124650#/note.php?note_id=153569150192
• Persian / Iranian Music
http://www.facebook.com/notes.php?drafts&id=1527124650#/note.php?note_id=140713090192
and Rowan Storm's note
• 14 Feb 09 ~ Silk Road Music and Dance Ensemble ~ Mingei International Museum
http://www.facebook.com/note.php?saved&preview&suggest&note_id=77813607807#/note.php?note_id=51639774226)