Δείγμα της εξαιρετικής φωνής της, το αισθησιακό τραγούδι του Βαγγέλη Παπάζογλου "Βάλε με στην αγκαλιά σου". Η Μαρίκα Καναροπούλου εκείνη τη μέρα είναι 20 χρονώ.
http://www.fileden.com/files/2008/6/6/1947074/Vale%20me%20stin%20angalia%20sou.mp3
Περιεχόμενα
1. Στοιχεία βιογραφικού
2. Σημείωμα από το blog http://amanyala.blogspot.com/2006/07/rembetiko-of-month.html
3. Δισκογραφία
1. Βιογραφικά στοιχεία μηδενικά. Έτος γέννησης ca. 1914 στην Bursa (Προύσα) Τα χαϊδευτικά της, "Μαρίκα Μπρουσαλιά" και "Τουρκαλίτσα". Γραμμοφώνησε τον πρώτο της δίσκο (Μέσα στου Μάνθου τον τεκέ - Κ. Τζόβενου, ODEON GA1746, το 1932 σε ηλικία 18 χρονών.
Μετανάστευσε στις ΗΠΑ. Επέστρεψε (πότε;). Θάνατος στην Αθήνα το 1990, σε ηλικία 76 χρονών. Απ' ότι ξέρουμε, κανείς δε την πλησίασε. Yπάρχει πάντα η σκέψη πως έγιναν προσπάθειες κι εκείνη τις απέπεμψε... Μιά απ' τις καλύτερες φωνές που πέρασαν απ' τη δισκογραφία.
Ηχογράφησε 3 τραγούδια το 1933, 13 το 1934 - που σημαίνει ότι πουλούσε - μόνο 3 το 1935 και ένα μόνο το 1940, το "Κάποτε θα κλάψεις", που το ψάχνω απεγνωσμένα. Μήπως τόχεις ή ξέρεις κάποιον/α που να τό΄χει;
2. To παρακάτω αγγλικό κείμενο είναι αναδημοσίευση (χωρίς να ρωτήσω, γιατί δε μπορώ να΄ρθώ σε επαφή μαζί του) από το πολύ ενδιαφέρον blog http://amanyala.blogspot.com/2006/07/rembetiko-of-month.html
Marika Kanaropoulou sang Aman like no other. Far less prolific than either Roza Eskinazi or Rita Abadzi, Marika Kanaropoulou’s αμανέδες (a-man-EH-des) convey a lost innocence. Perhaps it is because her voice possesses an almost adolescent quality. At the same time, Kanaropoulou’s vocal skills were anything but adolescent. Her control and mastery of the art of makam, her unique style, and her thick, rich vowels rank her as one of the top female singers of Rembetika, despite the fact that she recorded far less than others. Very little is known about Marika Kanaropoulou. Kanaropoulou may in fact be a stage name, since it literally means “daughter of the canary” and may be a reference to the dulcid quality of her voice. It could also be a surname carried by a family with a long tradition of singing. It is quite possible that Kanaropoulou came from a musical family.Also known as “Tourkalitsa” (the little Turkish girl) and “Brousalia” (the girl from Brousa), Kanaropoulou was a native of Bursa (Brousa in Greek), located in western Turkey not far from the southeast coast of the Sea of Marmara. Bursa had a sizeable Greek population prior to the Asia Minor catastrophe of 1922. Kanaropoulou most likely left her homeland when the Greek population was expelled from Asia Minor, though it’s possible that she and her family left earlier during the First World War or shortly thereafter. She recorded a handful of songs in Athens, mostly αμανέδες in 1933 and 1934 before emigrating to America. There is no record of her having recorded in the United States. At some point, she returned to Greece, where she died in 1990. Kanaropoulou recorded Neva Manes in Athens in December 1933. As in the case of Abadzi’s Gazeli Neva Sabah, once again Neva is erroneously used to denote the key of D, even though in reality Neva is the name for A, and the song, like Gazeli Neva Sabah, seems to be in D#. I’ve already theorized in an earlier post as to what might have caused this error.Kanaropoulou’s Neva Manes is set in makam Ussak. In classical makam theory (by which I mean Turkish and Arabic), Ussak (referred to as Bayyati in Arabic) has a microtone as its second. More specifically, the second is flatted, but instead of a half step, what you get is a note that is somewhere between a half step and a whole step. Greek music eventually evolved away from microtones, so that the Greek version of Ussak has a simple half step between the first and second. It looks like this:In reality, many Greek songs in makam Ussak compensate for the loss of the microtone by including both a natural second and a flatted second, as if to approximate the microtone, which lies somewhere in between. It’s not the same as having the microtone, but the effect is arguably just as lovely. In Neva Manes, Kanaropoulou and her accompanists (Dimitris Ladopoulos on violin with an unknown oud player whom Outiboy is convinced is Agapios Tomboulis) follow the classical version of Ussak, not the version of the makam that eventually became prevalent in Greek music. The second is neither a half step nor a whole step. The effect is to create a wonderful tension within the melody. During the interwar period it was common for Greek artists, who were well versed in classical makam theory, to set their melodies within the true versions of the makams—that is, the versions that included the microtones. This is what they knew. To complicate matters, however, Neva Manes also throws in an occasional microtone as the sixth. Classical Ussak/Bayyati has a flatted sixth (i.e. a simple half step, not a microtone). In Neva Manes, Ladopoulos sometimes plays the sixth slightly sharp. This appears to be a reference to an Arabic makam known as Ushak Masri (though Outiboy says it’s actually a makam called Huseyni), which has a three-quarter step between the fifth and the sixth, though not between the first and the second. In the end, it is the seventh on which Ladopoulos hangs that ends up sounding wonderfully microtonal because he plays the sixth slightly sharper than it would normally be in Ussak.Click here to listen.ΑμάνΤίνους νά πω τον πόνο μου νά με παρηγορήσει,Αφού ο κόσμος ψέφτησε καί η ζωή θα σβήσει;AmanTo whom can I tell my pain, so that I can be comforted,Since the world has become false and life is erased? Kanaropoulou knew pain. She lost her home and her roots. She became a refugee in a strange land. I think of the hundreds of thousands of Israelis and Lebanese who have become refugees in the past few weeks because of the violence that grips their countries, their towns, and their neighborhoods. Aman was a word frequently on the lips of those Greeks and Turks who lost their homes and loved ones because two peoples could not find a way to coexist peacefully with one another.
_________________________________________
5. ΔΙΣΚΟΓΡΑΦΙΑ (από Διονύση Δημ. Μανιάτη)
1933
1935
ΑΧΡΟΝΟΛΟΓΗΤΑ
1940
http://www.fileden.com/files/2008/6/6/1947074/Vale%20me%20stin%20angalia%20sou.mp3
Περιεχόμενα
1. Στοιχεία βιογραφικού
2. Σημείωμα από το blog http://amanyala.blogspot.com/2006/07/rembetiko-of-month.html
3. Δισκογραφία
1. Βιογραφικά στοιχεία μηδενικά. Έτος γέννησης ca. 1914 στην Bursa (Προύσα) Τα χαϊδευτικά της, "Μαρίκα Μπρουσαλιά" και "Τουρκαλίτσα". Γραμμοφώνησε τον πρώτο της δίσκο (Μέσα στου Μάνθου τον τεκέ - Κ. Τζόβενου, ODEON GA1746, το 1932 σε ηλικία 18 χρονών.
Μετανάστευσε στις ΗΠΑ. Επέστρεψε (πότε;). Θάνατος στην Αθήνα το 1990, σε ηλικία 76 χρονών. Απ' ότι ξέρουμε, κανείς δε την πλησίασε. Yπάρχει πάντα η σκέψη πως έγιναν προσπάθειες κι εκείνη τις απέπεμψε... Μιά απ' τις καλύτερες φωνές που πέρασαν απ' τη δισκογραφία.
Ηχογράφησε 3 τραγούδια το 1933, 13 το 1934 - που σημαίνει ότι πουλούσε - μόνο 3 το 1935 και ένα μόνο το 1940, το "Κάποτε θα κλάψεις", που το ψάχνω απεγνωσμένα. Μήπως τόχεις ή ξέρεις κάποιον/α που να τό΄χει;
2. To παρακάτω αγγλικό κείμενο είναι αναδημοσίευση (χωρίς να ρωτήσω, γιατί δε μπορώ να΄ρθώ σε επαφή μαζί του) από το πολύ ενδιαφέρον blog http://amanyala.blogspot.com/2006/07/rembetiko-of-month.html
Marika Kanaropoulou sang Aman like no other. Far less prolific than either Roza Eskinazi or Rita Abadzi, Marika Kanaropoulou’s αμανέδες (a-man-EH-des) convey a lost innocence. Perhaps it is because her voice possesses an almost adolescent quality. At the same time, Kanaropoulou’s vocal skills were anything but adolescent. Her control and mastery of the art of makam, her unique style, and her thick, rich vowels rank her as one of the top female singers of Rembetika, despite the fact that she recorded far less than others. Very little is known about Marika Kanaropoulou. Kanaropoulou may in fact be a stage name, since it literally means “daughter of the canary” and may be a reference to the dulcid quality of her voice. It could also be a surname carried by a family with a long tradition of singing. It is quite possible that Kanaropoulou came from a musical family.Also known as “Tourkalitsa” (the little Turkish girl) and “Brousalia” (the girl from Brousa), Kanaropoulou was a native of Bursa (Brousa in Greek), located in western Turkey not far from the southeast coast of the Sea of Marmara. Bursa had a sizeable Greek population prior to the Asia Minor catastrophe of 1922. Kanaropoulou most likely left her homeland when the Greek population was expelled from Asia Minor, though it’s possible that she and her family left earlier during the First World War or shortly thereafter. She recorded a handful of songs in Athens, mostly αμανέδες in 1933 and 1934 before emigrating to America. There is no record of her having recorded in the United States. At some point, she returned to Greece, where she died in 1990. Kanaropoulou recorded Neva Manes in Athens in December 1933. As in the case of Abadzi’s Gazeli Neva Sabah, once again Neva is erroneously used to denote the key of D, even though in reality Neva is the name for A, and the song, like Gazeli Neva Sabah, seems to be in D#. I’ve already theorized in an earlier post as to what might have caused this error.Kanaropoulou’s Neva Manes is set in makam Ussak. In classical makam theory (by which I mean Turkish and Arabic), Ussak (referred to as Bayyati in Arabic) has a microtone as its second. More specifically, the second is flatted, but instead of a half step, what you get is a note that is somewhere between a half step and a whole step. Greek music eventually evolved away from microtones, so that the Greek version of Ussak has a simple half step between the first and second. It looks like this:In reality, many Greek songs in makam Ussak compensate for the loss of the microtone by including both a natural second and a flatted second, as if to approximate the microtone, which lies somewhere in between. It’s not the same as having the microtone, but the effect is arguably just as lovely. In Neva Manes, Kanaropoulou and her accompanists (Dimitris Ladopoulos on violin with an unknown oud player whom Outiboy is convinced is Agapios Tomboulis) follow the classical version of Ussak, not the version of the makam that eventually became prevalent in Greek music. The second is neither a half step nor a whole step. The effect is to create a wonderful tension within the melody. During the interwar period it was common for Greek artists, who were well versed in classical makam theory, to set their melodies within the true versions of the makams—that is, the versions that included the microtones. This is what they knew. To complicate matters, however, Neva Manes also throws in an occasional microtone as the sixth. Classical Ussak/Bayyati has a flatted sixth (i.e. a simple half step, not a microtone). In Neva Manes, Ladopoulos sometimes plays the sixth slightly sharp. This appears to be a reference to an Arabic makam known as Ushak Masri (though Outiboy says it’s actually a makam called Huseyni), which has a three-quarter step between the fifth and the sixth, though not between the first and the second. In the end, it is the seventh on which Ladopoulos hangs that ends up sounding wonderfully microtonal because he plays the sixth slightly sharper than it would normally be in Ussak.Click here to listen.ΑμάνΤίνους νά πω τον πόνο μου νά με παρηγορήσει,Αφού ο κόσμος ψέφτησε καί η ζωή θα σβήσει;AmanTo whom can I tell my pain, so that I can be comforted,Since the world has become false and life is erased? Kanaropoulou knew pain. She lost her home and her roots. She became a refugee in a strange land. I think of the hundreds of thousands of Israelis and Lebanese who have become refugees in the past few weeks because of the violence that grips their countries, their towns, and their neighborhoods. Aman was a word frequently on the lips of those Greeks and Turks who lost their homes and loved ones because two peoples could not find a way to coexist peacefully with one another.
_________________________________________
5. ΔΙΣΚΟΓΡΑΦΙΑ (από Διονύση Δημ. Μανιάτη)
1933
- Νέα μερακλού (1933) Columbia DG-478 WG-746 - Μαρίκα Καναροπούλου/Κώστας Τζόβενος - ρεμπέτικο, ζεϊμπέκικος
- Νεβά Μανές (1933)(Τίνος να πω τον πόνο μου) παραδοσιακό - Μαρίκα Καναροπούλου - ρεμπέτικο, μανές
- Τσιφτετέλι Μανές (Ψεύτη ντουνιά και άπιστε) (1933) Parlophone Eλλάδος B-21752 101465 - Μαρ. Καναροπούλου/Σπύρος Περιστέρης - ρεμπέτικο, τσιφτετέλι.
1934
- Μες του Μάνθου τον τεκέ (1934) Odeon Ελλάδος GA-5746 GO-2036 - Μαρίκα Καναροπούλου/Κώστας Τζόβενος - χασικλίδικο, ζεϊμπέκικος
- Μαχμούρικο (1934) Odeon Ελλάδος GA-1746 GO-2037 - Μαρίκα Καναροπούλου/Σπύρος Περιστέρης/Μίνως Τσάμας
- Ένας μάγκας στον τεκέ (1934) Odeon Ελλάδος GA-1806 GO-2087-2 - Μαρίκα Καναροπούλου/Κώστας Τζόβενος - χασικλίδικο, ζεϊμπέκικος
- Μιά χήρα μες την Κοκκινιά (1934) Odeon Ελλάδος GA-1807 GO-2168 - Μαρίκα Καναροπούλου/Κώστας Τζόβενος - ρεμπέτικο, μόρτικο
- Το μωρό μου (1934) Odeon Ελλάδος GA-1818 GO-2169 - Μαρίκα Καναροπούλου/Σπύρος Περιστέρης - ρεμπέτικο, νανούρισμα
- Το χανουμάκι (1934) Odeon Ελλάδος GA-1818 GO-2170 - Μαρίκα Καναροπούλου/Σταύρος Παντελίδης -ρεμπέτικο, αράπικο
- Βάλε με στην αγκαλιά σου (1934) Odeon Ελλάδος GA-1821 GO-2171 - Μαρίκα Καναροπούλου/Βαγγ. Παπάζογλου - ρεμπέτικο, ζεϊμπέκικος
- Το χανουμάκι (1934) Odeon Ελλάδος GA-1832 GO-2170-0 - Μαρίκα Καναροπούλου/Σταύρος Παντελίδης - ρεμπέτικο, αράπικο
- Καρίπ Νεβά Μανές (Δεν σκέφτεσαι βρε άνθρωπε) (1934) HMV AO-2149 OT-1701 - Μαρίκα Καναροπούλου/Κώστας Τζόβενος - ρεμπέτικο, μανές
- Η μπελαλού (1934) HMV AO-2149 OT-1704 - Μαρίκα Μπρουσαλιά/Γ. Δραγάτσης (Ογδοντάκης) - ρεμπέτικο, ζεϊμπέκικος
- Κατινάκι λυπήσου με (1934) HMV AO-2165 OT-1702-0 - Μαρίκα Μπρουσαλιά/Δημ. Ατραϊδης -ρεμπέτικο, συρτός
- Σαμπάχ Μανές (Τα χρόνια μου παρήλθανε) (1934) - Μαρ. Μπρουσαλιά/παραδοσιακό - ρεμπέτικο, μανές
- Μαρίτσα (1934) Parlophone Ελλάδος B-21855 101527 - Μ.Καναροπούλου/Αγάπιος Τομπούλης - ρεμπέτικο, τσιφτετέλι
1935
- Πάει η Μαριωρή (1935) Odeon Ελλάδος GA-1833 GO-2192 - Μαρίκα Καναροπούλου/Πάνος Τούντας - χασικλίδικο, ζεϊμπέκικος
- Τουρκοπούλα οπαλά (1935) Odeon Ελλάδος GA-1839 GO-2191 - Μ. Καναροπούλου/Αγάπιος Τομπούλης - ρεμπέτικο, συρτός
- Αλανάκι (1935) Odeon Ελλάδος GA-1852 GO-2193 - Μ. Καναροπούλου/Ν. Χατζηαντωνίου - ρεμπέτικο, χασάπικος
ΑΧΡΟΝΟΛΟΓΗΤΑ
- Νεβά Χετζάζ Μανές (Ως πότε πιά η τύχη μου) Parlophone Ελλάδος B-21752 101462 - Μ. Καναροπούλου&Σπύρος Περιστέρης - ρεμπέτικο, μανές
1940
- Κάποτε θα κλάψεις (1940) Odeon Ελλάδος GA-7250 GO-3409 - Μ. Καναροπούλου & Δ. Καββαδίας/Τ. Κόκκας/Κ. Μάνεσης & Δ. Ρηγόπουλος - ελαφρό, χαβάγιες
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