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Zen Virtual Piano पर Markos Vamvakaris की पियानो शीट्स देखें। Markos Vamvakaris was a singer, composer, lyricist and instrumentalist, born in 1905 on Syros to a poor farming family of Catholics with musical roots, since his father played the gaida. Because of his family’s financial difficulties he never finished school; he left Syros for Piraeus, and from 1920 lived there working as a docker and later at the municipal slaughterhouses of Piraeus and Athens. The ERT archive calls him the “Patriarch” of rebetiko, since thanks to him that musical genre spread and became popular. A title of patriarch for a docker who never finished school can be read as authority earned outside the classroom. In Piraeus he heard the sound of the bouzouki for the first time and began learning the instrument and writing songs. In 1933 he recorded his first song, “Karantouzeni,” singing it himself and playing the bouzouki; it became a commercial success, and many more rebetiko composers soon followed in his footsteps. A first record that sold and drew followers can be read as a template being set. Together with his friends Giorgos Batis, Stratos Pagioumtzis and Anestis Delias, in the group “The Famous Foursome of Piraeus,” he played for the first time at Sarantopoulos’s shop in Piraeus, as the first orchestra with bouzoukia and baglamades. A first ensemble built from bouzoukia and baglamades can be read as the moment a sound became a band. In 1935 he recorded “Fragosyriani,” a song that became a huge hit in the 1960s in the voice of Grigoris Bithikotsis. A song recorded in 1935 that became a huge hit in the 1960s in another singer’s voice can be read as music finding a new voice. Wikipedia describes his composing style as utterly simple: minimal orchestration, melodic lines stripped of any embellishment, and lyrics as devoid of ornamentation as possible. During the dictatorship of Metaxas, because of the regime’s censorship, he removed from the lyrics of his songs the elements characteristic of the lawlessness that accompanied the life of the rebetis and the mangas. A songwriter who cut elements from his lyrics under the regime’s censorship can be read as reshaping his words to fit the times. In the late 1950s Vassilis Tsitsanis urged the record company Columbia, and records were released with old and new songs by Vamvakaris, performed by himself and by well-known singers such as Grigoris Bithikotsis, Kaiti Grey, Stratos Dionysiou and Angela Grecca. Old and new songs released with other singers can be read as a repertoire finding a second audience.
Zen Virtual Piano पर Markos Vamvakaris की पियानो शीट्स देखें।
Markos Vamvakaris was a singer, composer, lyricist and instrumentalist, born in 1905 on Syros to a poor farming family of Catholics with musical roots, since his father played the gaida. Because of his family’s financial difficulties he never finished school; he left Syros for Piraeus, and from 1920 lived there working as a docker and later at the municipal slaughterhouses of Piraeus and Athens. The ERT archive calls him the “Patriarch” of rebetiko, since thanks to him that musical genre spread and became popular. A title of patriarch for a docker who never finished school can be read as authority earned outside the classroom.
In Piraeus he heard the sound of the bouzouki for the first time and began learning the instrument and writing songs. In 1933 he recorded his first song, “Karantouzeni,” singing it himself and playing the bouzouki; it became a commercial success, and many more rebetiko composers soon followed in his footsteps. A first record that sold and drew followers can be read as a template being set. Together with his friends Giorgos Batis, Stratos Pagioumtzis and Anestis Delias, in the group “The Famous Foursome of Piraeus,” he played for the first time at Sarantopoulos’s shop in Piraeus, as the first orchestra with bouzoukia and baglamades. A first ensemble built from bouzoukia and baglamades can be read as the moment a sound became a band.
In 1935 he recorded “Fragosyriani,” a song that became a huge hit in the 1960s in the voice of Grigoris Bithikotsis. A song recorded in 1935 that became a huge hit in the 1960s in another singer’s voice can be read as music finding a new voice. Wikipedia describes his composing style as utterly simple: minimal orchestration, melodic lines stripped of any embellishment, and lyrics as devoid of ornamentation as possible. During the dictatorship of Metaxas, because of the regime’s censorship, he removed from the lyrics of his songs the elements characteristic of the lawlessness that accompanied the life of the rebetis and the mangas. A songwriter who cut elements from his lyrics under the regime’s censorship can be read as reshaping his words to fit the times.
In the late 1950s Vassilis Tsitsanis urged the record company Columbia, and records were released with old and new songs by Vamvakaris, performed by himself and by well-known singers such as Grigoris Bithikotsis, Kaiti Grey, Stratos Dionysiou and Angela Grecca. Old and new songs released with other singers can be read as a repertoire finding a second audience.
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