Antonios Katinaris was a Greek musician. He was born in Chania, the first son of a refugee family from Asia Minor. Since his earliest years, he demonstrated his talent in music, he was a music professional at the age of 16. His virtuoso bouzouki-playing made him famous on the popular music stages of Chania, he went to Athens in the 1960s, where he made his big break into the Greek popular musical scene as a composer. The song What can you do, with only one heart, with lyrics by Eftichia Papagianopoulou, marked the start of his national career. Katinaris was married to Maria Rippi, herself a singer and member of a famous musicians family, he has three daughters, from which one, Maria Katinari, is continuing his music work as a singer and songwriter. 12 Fylla tis Kardias, Columbia, 1971 Palia Merakia, Columbia, 1973 Baglamades, Columbia, 1973 Asta na pane, Columbia, 1974 Neotera ki Anotera, Columbia, 1974 Synanastrofes, Columbia, 1974 Aftapates, Columbia, 1975 Bouzoukokelaidismata, Polyphone 1978 Akou ti tha po, Relans, 1982 12 Epityxies, Relans, 1982 Laiko Palko, Polyphone, 1987 Gia sas ta Dialeksa, WEA, 1994 Official biography - authorized by his daughter Maria KatinariGreek Rempetiko Music Site The Song, "Ti na sou kanei mia Kardia"
Vinicio Capossela is an Italian singer-songwriter. His style is influenced by US singer and songwriter Tom Waits, though it draws from the traditions of Italian folk music. Capossela's lyrics are original and are inspired by literary sources such as John Fante, Geoffrey Chaucer, Louis-Ferdinand Céline, Oscar Wilde, Samuel Taylor Coleridge and others. Capossela was born in Hannover to Italian parents, moved early to Campania, he has been living in Milan since 1987. All'una e trentacinque circa - 1990 Modì - 1991 Camera a sud - 1994 Il ballo di San Vito - 1996 Liveinvolvo - 1998 - Canzoni a manovella - 2000 L'indispensabile - 2003 Ovunque proteggi - 2006 Nel niente sotto il sole - Grand tour 2006 - 2007 - Da solo - 2008 - Solo Show Alive - 2009 - The Story-Faced Man - 2010 La nave sta arrivando - 2011 - Marinai, profeti e balene - 2011 Rebetiko Gymnastas - 2012 Canzoni della cupa - 2016 Vinicio Capossela, Non si muore tutte le mattine, ISBN 88-07-01647-8, Milan Vinicio Capossela, Vincenzo Costantino Cinaski, In clandestinità, ISBN 978-88-07-01785-8, Milan Vinicio Capossela, Tefteri - Il libro dei conti in sospeso, ISBN 9788842819417, Il Saggiatore, Milan Elisabetta Cucco, Vinicio Capossela.
Rabdomante senza requie, ISBN 88-86784-31-7, Milan Vincenzo Mollica, Niente canzoni d'amore + DVD Parole e canzoni, ISBN 88-06-18668-X, Turin Massimo Padalino, Il ballo di San Vinicio, ISBN 978-88-6231-083-3, Arcana Official Site
Music of Greece
The music of Greece is as diverse and celebrated. As its history. Greek music separates into two parts: Greek traditional music and Byzantine music, with more eastern sounds; these compositions have existed for millennia: they originated in the Byzantine period and Greek antiquity. Music is a significant aspect of Hellenic culture, both in the diaspora. Greek musical history extends far back into ancient Greece, since music was a major part of ancient Greek theater. Influences from the Roman Empire, Eastern Europe and the Byzantine Empire changed the form and style of Greek music. In the 19th century, opera composers, like Nikolaos Mantzaros, Spyridon Xyndas and Spyridon Samaras and symphonists, like Dimitris Lialios and Dionysios Rodotheatos revitalized Greek art music. However, the diverse history of art music in Greece, which extends from the Cretan Renaissance and reaches modern times, exceeds the aims of the present article, which is, in general, limited to the presentation of the musical forms that have become synonymous to'Greek music' during the last few decades.
Instruments included the double-reed aulos and the plucked string instrument, the lyre the special kind called a kithara. Music was an important part of education in ancient Greece, boys were taught music starting at age six. Greek musical literacy created a flowering of development. Due to Rome's reverence for Greek culture, the Romans borrowed the Greek method of'enchiriadic notation' to record their music, if they used any notation at all; the tradition of eastern liturgical chant, encompassing the Greek-speaking world, developed in the Byzantine Empire from the establishment of its capital, Constantinople, in 330 until its fall in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical Greek age, on Jewish music, inspired by the monophonic vocal music that evolved in the early Christian cities of Alexandria and Ephesus. In his lexicographical discussion of instruments, the Persian geographer Ibn Khurradadhbih cited the lūrā as a typical instrument of the Byzantines along with the urghun and the salandj.
The Greeks were familiar, in a period that stretched from the 15th century to the time of Greek war of independence, with Greek folk music and dances from Byzantine music and more with hymns: Church music. These genres have reached a high degree of evolution, they were forms of a mono music that had many elements of ancient Greek origin but they had nothing to do with Western polyphonic music. By the beginning of the 20th century, music-cafés were popular in Greek cities like Constantinople and Smyrna, where small groups of musicians from Greece played; the bands were led by a female vocalist and included a violin. The improvised songs exclaimed amán amán, which led to the name amanédhes or café-aman. Greek musicians of this period included Rosa Eskenazi and Rita Abatzi; this period brought in the Rebetiko movement, which had local Smyrnaic and Byzantine influences. Greek folk traditions are said to derive from the music played by ancient Greeks. There are said to be two musical movements in Greek folk music: Klephtic songs.
Akritic music comes from border guards of the Byzantine Empire. Following the end of the Byzantine period, klephtic music arose before the Greek Revolution, developed among the kleftes, warriors who fought against the Ottoman Empire. Klephtic music uses no harmonic accompaniment. Dhimotika tragoudhia are accompanied by clarinets, guitars and violins, include dance music forms like syrtó, kalamatianó, tsámiko and hasaposérviko, as well as vocal music like kléftiko. Many of the earliest recordings were done by Arvanites like Georgia Mittaki and Yiorgios Papasideris. Instrumentalists include clarinet virtuosos like Petroloukas Halkias, Yiorgos Yevyelis and Yiannis Vassilopoulos, as well as oud and fiddle players like Nikos Saragoudas and Yiorgos Koros. Greek folk music is found all throughout Greece Cyprus and several regions of Turkey, as well as among communities in countries like the United States and Australia; the island of Cyprus and several regions of Turkey are home to long-standing communities of Greeks in Turkey with their own unique styles of music.
Nisiotika is a general term denoting folk songs from the Greek islands the Aegean Islands. Among the most popular types of them is Ikariótiko traghoúdhi, "song from Ikaria". Ikariótikos is a traditional type of dance, the name of its accompanying type of singing, originating in the Aegean island of Ikaria. At first it was a slow dance, but today Ikariotikos is a quick dance; some specialists say that the traditional Ikariotikos was slow and the quick "version" of it is in fact Ballos. Music and dancing are major forms of entertainment in Ikaria. Throughout the year Ikarians host baptisms, weddings and religious festivals where one can listen and dance to live traditional
Laïkó, is a Greek music genre composed in Greek language in accordance with the tradition of the Greek people. Called folk song or urban folk music, in its plural form is a Greek music genre which has taken many forms over the years. Laïkó followed after the commercialization of Rebetiko music, it is dominated by Greek folk music and it is used to describe Greek popular music as a whole. When used in context, it refers to the form it took in the period from the 1950s to the 1980s; until the 1930s the Greek discography was dominated by two musical genres: the Greek folk music and the Elafró tragoudi. The latter was represented by ensembles of singers/musicians or solo artists like Attik and Nikos Gounaris, it was the Greek version of the international popular music of the era. In the 1930s the first rebetiko recordings had a massive impact on Greek music; as Markos Vamvakaris stated "we were the first to record laïká songs". In the years to follow this type of music, the first form of what is now called laïkó tragoudi, became the mainstream Greek music.
1920s–1950s Attik Nikos Gounaris Tony Maroudas Giorgos Mouzakis Michalis Souyioul Danaë Stratigopoulou Sofia Vembo 1930s–1960s Markos Vamvakaris Manolis Chiotis Roza Eskenazi Vassilis Tsitsanis Giannis Papaioannou Panagiotis Toundas Kostas Skarvelis Classic laïkó as it is known today, was the mainstream popular music of Greece during the 1960s and 1970s. Laiko music evolved from the traditional Greek music of the ancient and the medieval Greek era and was established until the present day. Laïkó was dominated by singers such as Stelios Kazantzidis. Among the most significant songwriters and lyricists of this period are George Zambetas and the big names of the Rebetiko era that were still in business, like Vassilis Tsitsanis and Manolis Chiotis. Many artists combined the traditions of éntekhno and laïkó with considerable success, such as the composers Stavros Xarchakos and Mimis Plessas. 1960s–80s Contemporary laïkó can be called in Greece the mainstream music genre, with variations in plural form as Contemporary laïká.
Along with Modern laïká in Greek is Greece's mainstream music genre. The main cultural Greek dances and rhythms of today's Greek music culture laïká are Nisiotika, Rebetika, Zeibekiko, Hasaposerviko and Syrtaki; the more cheerful version of laïkó, called elafró laïkó and it was used in musicals during the Golden Age of Greek cinema. Τhe Greek Peiraiotes superstar Tolis Voskopoulos gave the after-modern version of Greek Laïko listenings. Many artists have combined the traditions of éntekhno and laïkó with considerable success, such as the composers Mimis Plessas and Stavros Xarchakos. Contemporary laïká emerged as a style in the early 1980s. An indispensable part of the contemporary laïká culture is the písta, "dance floor/venue". Night clubs at which the DJs play only contemporary laïká where colloquially known on the 90s as ellinádhika. Modern laiko is mainstream Greek laïkó music mixed in with modern Western influences, from such international mainstream genres as pop music and dance. Renowned songwriters or lyricists of contemporary laïká include Alekos Chrysovergis, Nikos Karvelas, Nikos Terzis, Giorgos Theofanous and Evi Droutsa.
In effect, there is no single name for contemporary laïká in the Greek language, but it is formally referred to as σύγχρονο λαϊκό, a term, however used for denoting newly composed songs in the tradition of "proper" Laïkó. The choice of contrasting the notions of "westernized" and "genuine" may be based on ideological and aesthetic grounds. Laiko interacted more westernized sounds in the late of 2000s; the term modern laïká comes from modern songs of the people. Despite its immense popularity, the genre of contemporary laïká has come under scrutiny for "featuring musical clichés, average singing voices and slogan-like lyrics" and for "being a hybrid, neither laïkó, nor pop". Anna Vissi Elli Kokkinou Konstantinos Argyros Yiannis Parios Antonis Remos Natassa Theodoridou Elena Paparizou Notis Sfakianakis Kostas Makedonas Christos Nikolopoulos Thodoris Ferris Dimitris Basis Yiannis Parios Sakis Rouvas Thanos Petrelis Giannis Ploutarhos Nikos Oikonomopoulos Katy Garbi Despina Vandi Peggy Zina Giorgos Mazonakis Pantelis Pantelidis Rebetiko Greek folk music Nightclubs in Greece
Sotiria Bellou was a famous Greek singer and performer of the Greek rebetiko style of music. She was one of the most famous rebetisa of all, mentioned in many music guides, a contributor to the 1984 British Documentary entitled Music of the Outsiders. On 14 March 2010, Alpha TV ranked Bellou the 22nd top-certified female artist in the nation's phonographic era. Bellou was born in Halia on the island of Euboia, she was the oldest of five siblings of a wealthy family. Her grandfather Sotiris Papasotiriou, after whom she was named and, fond of her, was an Orthodox priest at Shimatari; as a little girl, Sotiria would go to church along with her grandfather and she would absorb the religious sounds and Byzantine hymns. She began singing at the age of three, was soon making her own guitars out of wire and wood and playing them, her father, Kyriakos Bellos, had a grocery store in Neapolis in the northern part of Chalkida. The movie "The little emigree" featuring the popular singer Sofia Vembo was the catalyst that pushed her to pursue an artistic career.
On hearing of her daughter's ambitions, her mother Eleni beat her because, as a conservative woman of that time, she did not want her daughter to pursue an artistic career. However, her father paid for private lessons. In 1940, she decided to move to Athens, her arrival in Athens coincided with a new challenging period started for Bellou. Her family lost touch with her, they found her again after seven years. In the meantime, she had worked as a servant at a wealthy lawyer's house, as a hawker selling pasteli, as a luggage carrier and in many other different jobs. One night she was working as a waitress in a rebetiko club in the Exarheia neighborhood of downtown Athens and sang two songs after a bet with a customer. Kimonas Kapetanakis recognised her genuine talent, he introduced her to Tsitsanis, who became fond of her powerful and melodic voice, with whom she recorded the first of her many 78 rpm gramophone records. In December 1948, after a beating by a group of right-wingers, she moved from the "Tzimis o Hontros" club to the "Panagaki" where she worked with Markos Vamvakaris.
She sang in the best music clubs of Athens such as the Rosiniol, Tzimis o Hontros, Triana and many more. As the times changed, rebetiko was no longer sought after, like many other artists of her generation, found little work in night clubs; the mid 1960s brought with them a sense of cultural awakening, a new-found interest in rebetiko among young people, which peaked in the 1980s. Sotiria was heard on many recordings, helped usher in a new era for rebetiko. During her career from 1941 to 1976 she collaborated with the best composers of rebetiko; some of her greatest hits were: Synefiasmeni Kyriakh by Vassilis Tsitsanis Kavourakia by Vassilis Tsitsanis Otan pineis stihn taverna by Vassilis Tsitsanis Kane ligaki ypomoni by Vassilis Tsitsanis Pos tha perasei i vradia by Yannis Papaioannou Kane kourayio kardia mou by Yannis Papaioannou Anoixe, anoixe by Yannis Papaioannou O naftis by Giorgos Mitsakis To svisto fanari by Mitsakis Eipa na sviso ta palia by Apostolos Kaldaras Laiko Tsigaro by Apostolos Kaldaras Bellou was a political activist who joined the Greek Resistance against the Axis occupation of Greece during World War II.
She was caught by the Nazis and put into prison. In 1944 she participated in the Dekemvriana as a member of the Greek People's Liberation Army. During the civil war she supported the leftists and she was caught at least once and kept in detention. Members of extreme right groups never forgave her political stance and her participation in the Dekemvriana and in one incident they visited the club "Tzimis o hontros" where she was singing on stage with Peristeris, Keromytis, Stelios and Tourkakis, demanded that she sing a famous right wing song. After her refusal she was beaten by six members of the royalist group X known as'Chites', who threatened to kill her and called her "vulgara". Years afterwards she still expressed her grievance that not one man from those in the club and none of her colleagues stood up to defend her. In 1938, at the age of 17 she met her future husband a bus conductor, her father arranged her marriage despite her objections because he thought that her husband could tame her.
Their marriage lasted for only six months as he abused her causing her a miscarriage. Being a hot-blooded woman, during one of their fights she reacted by throwing vitriol, a corrosive acid, in his face, she was sentenced to three months imprisonment. She spent three months in prison at Chalkida before the trial and one month at the Averof prison in Athens, she appealed and her sentence was reduced to six months. After paying for bail, she returned to her home town where she was treated with hostility and was beaten by her relatives for the embarrassment that she brought to her family. In her personal life, she had two big weaknesses: gambling and alcohol, which led her to poverty and caused her mental problems, she was treated in a psychiatric clinic on at least one occasion. Sotiria was a lesbian in a t
Marika Ninou, was an Armenian-Greek rebetiko singer, born Evangelia Atamian. She was born in 1922 on the ship "Evangelistria" that brought her mother, her two sisters and her eight-year-old brother, Barkev Atamian, from Smyrna to Piraeus, she came out of her mother's belly, because they thought she would not live, she was taken to a warehouse. However, she survived and the captain of the Evangelistria baptized her, how she was named Evangelia. In Greece, her family settled in Kokkinia, at 50 Megara Street. At the age of seven, Ninou started attending the Armenian School of Blue Cross of Greece "Zavarian" in Kokkinia. There she joined the school orchestra. Meanwhile, because of her voice qualities, she chanted at the Armenian Church of St. Hagop in Kokkinia. In 1939, she married her first husband Haig Mesrobian, a locksmith and had a shop in Kokkinia, in 1940 gave birth to their son Ovanes. In 1947, Soviet ships came to Greece to take the Armenians who would want to leave and go to Armenia. Half the Armenian population of Thessaloniki and Athens left.
Among them was Ninou's husband, who left his wife and son behind. She married him, they began to perform together as "The Duo Nino". When her son joined the act they became "the Two-and-a-half Nino". In a performance of the Ninos, the artist Petros Kyriakos heard her singing and recommended her to Manolis Chiotis. Chiotis recorded two songs with her in 1948. In October, 1948, Stelakis Perpiniadis brought her under his wing as a singer at the Florida club. By 1949, Ninou had begun working with Vassilis Tsitsanis at Fat Jimmy's, a place that would come to play a decisive role in both their lives, with the Tsitsanis-Ninou pairing coming to possess a special place in the history of the music of Greece. In October, 1951, Ninou performed with Tsitsanis in Istanbul, but after this trip, they decided to go their separate ways. Before heading off to the United States in 1954, she underwent a cancer operation in Athens. Nonetheless, her cancer spread in the USA and she returned to Greece where she worked under great pain for a short while before succumbing to her illness at 35 years of age.
Ninou possessed a high-pitched voice of substantial body and volume and impeccable tonality, sang with emotional intensity. She recorded a total of which 119 as lead singer; the movie Rembetiko by Costas Ferris is based on her life
Rita Abatzi was a Greek rebetiko musician who began her career in the first part of the 1930s. She was born in the Aidin Vilayet of the Ottoman Empire; some sources have given her year of birth as 1903. A singer of rebetiko and other music, she was a popular performer on gramophone records in the 1930s. During that decade, the only female singer of rebetiko who rivalled her in popularity, in the number of her recordings, was Roza Eskenazi. Abatzi performed with many of the most famous musicians including Kostas Skarvelis, Spyros Peristeris, Dimitrios Semsis, Markos Vamvakaris and Vassilis Tsitsanis, her career ended after World War II. She died in Egaleo, her sister, Sofia Karivali, was a notable singer of rebetiko. Two collections dedicated to Rita Abatzi's recordings have been issued: Rita Abatzi 1933–1938, Heritage Rita Abatzi, Minos-ArkheioHer recordings appear on these anthologies: Women of Rembetika, JSP/Amazon Women of Rembetika 1908-1947, 4-CD collection, JSP/Amazon