Thursday, October 11, 2007
Pontus Şarkıları - 1930 Ses Kayıtları
VA - Pontus Şarkıları - 1930 Ses Kayıtları
2004 Kalan Music Turkish Ethnic Music ~256kbps 44100 kHz Joint Stereo 62 Tracks ~274 Mb
The present anthology is devoted to Pontic Greek music as recorded in Athens in 1930 by Melpo Merlier. The musicians were all refügees from Turkey. The style of the music is characteristic of the Eastem Pontos region. it is sung in the Greek Pontic dialect which differs considerabiy from common Greek. The lyrics of the songs have a regional flavour, but the prevailing meter is the Panhellenic fifteen syllable verse. The favored musical instrument of the Pontic Greeks is the lyra or kemence, it has a long rectangular shape and was traditionally played as a solo instrument accompanying both songs and dances. Another tradİtional instrument is the bagpipe or tulum, which is sometimes accompanied by the large drum or davul. To these one could add the kaval (a longish flute up to approximately 85 cm) and the piccolo or siliavri. A peculiarity of the Pontic lyra is that it is played in parallel fourths by double stopping the strings with the fîngertips.
The dance music of the Pontic Greeks presents great rhythnüc variety. The use of assymetric metres is common. For instance we often come upon five-beat (3+2) and seven-beat measures (3+4) many of which are played in an extremely fast tempo. At the end of this brief introduction some of the most common Pontic dances are mentioned along with a short description.
Special attention should be paid to the following items in this collection: the lullaby (no. 24, cd 2), the laments (no. 16, 17, cd l, no. 8, 15, cd 2), the emigrant songs (no. 17, 18, cd 2), the carols (no. 6, 7, cd 2), and certain religious stories that used to be sung in Turkish (no. 27, 28, cd 1).
Listening to this double cd, one cannot hide ones admiration for all participants, both singers and instrumentalists. Not only do they possess rare vocal qualities and an exceptional virtuosity, but are also stirring interpreters of their deepiy compassionate music. And our admiration becomes stronger upon the realization that some of them play and sing simultaneousiy, or talk, sing and weep with the truth and persuasiveness ofahighiy gifted actor. This art could become a starting point for the modernisation and renewal of speech expression in ancient Greek tragedy.
by Markos Ph. Dragoumis
Some Potnic Dances
Apan kek a (2/4): This is the name of a dance where the dancers would raise their hands and then step fonvard. Suddenly, one of the singers would shout “epar ka” and then everybody advanced with bent knees. After a while someone else would shout “parte pano” and the dancers would stand up and raise their hands towards the sky. This is a different form of the “Tik” dance and was popular mainly in Ano Maçka.
Double omal (9/8): Danced by miners, a variation of the omal from Giresun.
Timisman (2/4): A wedding dance led by the newly-weds and seven married couples. The text praises the newly weds and the bridesmaids.
Koçagel (2/4): According to I. Parcharidis (History of Kromni, Trabzon, 1911, p. 96) in this dance “the dancers, move around making various cirdes, under the direction of a skilful dancer. İt is danced mainly at the end of wedding celebrations, after which everybody retires”. Koçagel and the customs accompanying it differ from place to place.
Lazikon (2/4): Another name for the dance “Sera” (see below).
Miteritsa (2/4): A cheerful round dance of Western origin, performed by men and women and accompanied by the title-song.
Omal (9/8): A smooth dance, one of the most common in Pontos. It has a ritual character and its steps are simple and quiet. Each area has its own variation. For instance there is an Omal frem Kars, an omal from Giresun etc. Some of the omal dances sung by Haraklambidis are pcrformed in 6/8 metsr.
Pipilomatena (9/8): This is how the dance “Patula” is called in east Pontos. it is accompanied by the title-song. It is a cheerful, round dance. Usualiy, women dance it with their hands placed on their neigbor’s shoulders.
Sera (7/16,2/4): This is a war dance. K. Papamihalopulos describes it in his book Promenades in Pontos (Athens, 1903, p. 224-26) in the following way: “… a war dance, danced in a circle, where the dancers taking part usualiy wear the local costume and their suit of armour. The name of this dance is taken from the river Sera. The villagers nearby were known to be the bcst performers of this remarkabiy difficult and spectacular dance. The bodies move towards all directions and keep close to one another. They then turn violently towards the ground. Next comes the stamping and the thudding of the arms. The body muscies twitch. The enthusiasm overtaking the dancers, the appiause of the audience, the excitement that spreads like a spark everywhere, all these lend so much originality and glamour to the Sera that it would be no exaggeration to dassİfy it among the most celebrated folk dances in the world.
Tik (5/8,2/4): This is a circle dance. The name originates from the Turkish word Dik, meaning upright, vertical. It is also called “chorondikon” or “monon” (single) as compared to the double Tik which is shorter by two steps. The dancers hold each other’s palm, with their elbows bent towards the shoulders, stepping back and forth.
Tromahton (7/16): A male round dance derived from Tik. It is of an ecstatic character and is danced enthusiastically mainly by the Pontic Greeks from Kars. In its course the body performs a trembling movement.
[The information here is drawn from Chrisios Samouilidis’ book on “Pontic dances” Athens 2000]
Producer:Markos F. Dragumis
Prepeared by:Thanasis Moraitis
Prepeared by:Markos F. Dragumis
Text Writer:Markos F. Dragumis
Text Writer:Dimitris Loukopoulos
Text Writer:Hristos Samouilidis
Translation to Turkish:Anna Kondu
Translation to Turkish:Vula Berber
Muzikolojik Analiz:Markos F. Dragumis
Production:Melpo Merlie Muzik Folklor Arsivi Dostlari
Copyright:Muzik Folklor Arsivi
Photograph Archive:Anadolu Arastirmalari Enstitusu
Blacksea Kemenche:Ioannis Haralambidis
Blacksea Kemenche:Nikos Halivoopoulos
Blacksea Kemenche:Nikos Tiftikidis
Blacksea Kemenche:Ioannis Orfanidis
Blacksea Kemenche:Theodoros Mistakopoulos
01- Kirk Kirmizi Elma - Lazikon (Enstrümantal) (2:54)
02- Evin Çok Küçük (1:09)
03- Uyudugum Yerde Ana (3:06)
04- Ölürsem Ana (3:07)
05- Güvercin Uçarken (1:42)
06- Senin Için Kiz (1:48)
07- Yeni Yil Sarkisi (1:10)
08- Annecigim (0:50)
09- Kilisede Ayin Yapilir (2:36)
10- Lemona (1:32)
11- Günes Anasina Gidiyor (2:02)
12- Zeytin Gözlüm (3:26)
13- Timisman (3:29)
14- Sanki Küçük Çocuksun (3:26)
15- Ugurlama (3:28)
16- Agit (3:24)
17- Sera Dansi (2:36)
18- Size Kimi Gördügümü Anlatayim (3:09)
19- Kiz Çagir Beni (3:30)
20- Bu Gece Bir Rüya Gördüm (3:39)
21- Santa Dansi (3:26)
22- Yalniz Yanni Ve Kurtadam (3:15)
23- Kil Köprüsü (3:20)
24- Ben Kizimi Toprak Onu… (3:17)
25- Bir Yildiz Dogdu (1:41)
26- Enstrümantal (1:52)
27- Aleksios’un Hikayesi (1:24)
28- Yusuf’un Hikayesi (1:05)
29- Yemen’in Öyküsü (3:01)
01- Bir Zamanlar Santa’da
02- Bir Gün Hareket Ettim
03- Haber Verip al beni Kızım
04- Nişanlanana Ne Mutlu
05- Kraliyet Yollarında
06- İsa doğuyor
07- Aziz Vasil Geliyor
08- Aşk Olsun
09- Güneşin Kalesi
10- On iki Yaşında Deliknalı olsam
11- Kurban Olayım Sana MEryem ana
12- Çimende Oturuyorum
13- Bugün Pazar
14- Türk Muhacir Türküsü
16- Beni Hasatalık bitirecek
17- Maçka Uzun Havası
18- Ne olup bitiyor
19- Tonya Havası
20- Kars Havası
21- Zamanın az Olsun
22- Harman Dalı
23- Kromni’nin Aya Teodorisi’nde
24- Gel Uykum
25- Akritas Tarla Sürerken
26- Kocanın Ruhu İçin
27- Ana Uzak Tepede
28- On İki Yaşında Delikanlı olsam
29- Kıl Köprüsü
32- Ev Kadını Teyze
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