Angeliki Michalakis Konsta was recorded in her kitchen at Vlahiotis, Laconia Greece, in 1992.
She is singing a traditional song, which she had learned from her mother, while sitting out in the fields, as a sheperd girl, watching over farm animals.
In spite of a certain lack in scholarly education (due to the breakout of World War II and the invasion of Greece), my Aunt Angeliki has good culture, exceptional social communication skills, and is calm, respectful as well as optimistic in life. She is married to Ioannis Konstas and, unfortunately, has no children.
She is religious and humble.
She is now 76 years old and is being treated for thyroid cancer.
May God be her help and protection, and ours as well.
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I feel this interpretation is a MASTERPIECE, in spite of a small number of minute inaccuracies.
Notice the COMPLEX, MULTI ISOCHRONOUS temporal divisions (that is, "POLYGORGA aneu parestigmenon"), with NO breaks within each complex division.
This is characteristic of the Hellenic Epitrapezion repertoire. Traditional Hindu music is similar to this.
Notice how far appart initial CONSONANTS are from the vowels that follow, and which EXPLODE at each measure's beginning.
This is NOT amanes, which makes use of COMPLEX ANISOCHRONOUS divisions as well.
Neither is it Psaltic Calophonikos chronos, which uses SIMPLE ANISOCHORNOUS divisions with SMOOTH ATTACKS (something which is used extensively in Turkish music, giving a more « sensual » texture to whatever is being sung).
Nor is it Traditional Psaltiki, which uses SIMPLE ANISOCHRNOUS divisions with VIVID (steep slope) ATTACKS.
Notice how ALL the melisms (vocalisations), however complex they might be, are BALANCED, in that they are RESPECTFUL of an obligatory REFRACTORY period before the NEXT melism.
Finally, this interpretation has nothing to do with contemporay sentimentalist SISSY singers, who use OCCIDENTAL intervals all too frequently (in spite of what they preach against occidental tempered scales), SMOOTH, sensual attacks, SIMPLE ISOCHRONOUS divisions used in Occidental elementary schools (e.g. FRERE JACQUES), « happy go lucky » trills that ALWAYS impede on the next vocalisations, etc..
Nor does this interpretation have anything to do with the ACHRONOS Thessalonicaens as well as almost all contemporary psaltis and singers, who are singing either out of tune (as comparted to TRADITIONAL intervals) or out of measure or both.
Lyrics
Ω! ρε, καλοτυχα ειναι τα βουνα,
καλομοιροι εινοι οι καμποι,
Ω! ρε, που δε φοβουνται Θανατον,
Ω! ρε, δε καρτερουναι Χαρο,
Ω! ρε, μον' καρτερουν την ανοιξη,
Ω! ρε, τ'ομορφο καλοκαιρι.
Α! ρε, να πρασινησουν τα βουνα,
Α! ρε, ν'ανθησουναι οι καμποι,
Α! ρε, να βγουν οι βλαχοι στα βουνα,
Ω! ρε, μαζι και οι βλαχοπουλες,
Α!
Ω!, ρε, με τα κατσικια στη ποδια,
Ω! ρε, με τ'αρνια γελωντας.
Extra
Τινος τα λετ'αυτ'ουλα,
ποιον κοροϊδευετε;
Τ'ανηψακι μου στα ξενα
μου'παν πως ερχεται!
Oh ! ye, of good luck are the mountains,
of great chance are the fields,
Oh ! ye, for they fear not Thanatos (Death),
Oh ! ye, for they fear not Charos (Death),
Oh ! ye, for they simply await spring,
Oh ! ye, and the beautiful summer,
Oh ! ye, whence the mountains shall turn green (once again)
Oh ! ye, and the fields shall flower,
Oh ! ye, whence the sheperd boys shall blossom on the mountains,
Oh ! ye, along with the sheperd girls,
Oh ! ye, holding goats on their laps,
Oh ! ye, and holding lambs as well, and all in laughter.
Extra dedication
Oh ! ye, to whom are you saying all this,
whom are you trying to hoax ?
I'm being told that my little nephew who is in foreign land,
is setting forth for his return.
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mode 4th nenano from Di (psaltic chromatic scale), here on D sharp (see position of cursor)
The last part is in first mode, where D sharp is modulated into a diatonic Pa.
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GKM psaltis Angeliki Michalakis Konsta Poimenikon Vocal transitions ORIGINAL speed αγγελικη δημητρακοπουλου ηλικια | |
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| Music | Upload TimePublished on 5 Feb 2009 |
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