Βλάχα πλένει στο ποτάμι ⬥ Studio recording, 1984. After a superb introduction on the clarinet, the song is constructed around a series of questions without answers; we will never know the real reasons for the sadness of this peasant woman ‘washing by the river’.
Αλησμονώ και χαίρομαι ⬥ Forgetful I am truly glad, but mindful I am saddened; remembering those foreign lands, I want to set out for them. – Get up, good mother, knead some dough, bake fresh rusks for my journey. Aggrieved she pours the water in, she kneads with tears a-plenty; [...]
Αλησμονώ και χαίρομαι ⬥ Forgetful I am truly glad but mindful I am saddened; remembering those foreign lands, I want to set out for them. "Get up, good mother, knead some dough, bake fresh rusks for my journey". Aggrieved she pours the water in, she kneads with tears a-plenty; with [...]
Forgetful I am truly glad, but mindful I am saddened; remembering those foreign lands, I want to set out for them. – Get up, good mother, knead some dough, bake fresh rusks for my journey. Aggrieved she pours the water in, she kneads with tears a-plenty; with heavy heart she [...]
Μου ’λεγε η μάνα μου ⬥ Studio recording, 1984. Accompanied homophonic song. The tune is simple and repetitive, borne along by a rhythm whose linear character makes one think that this 'table song' must be one of the oldest in the repertory. Translated by Derek Yeld
Yannos and Marigo went to the same school. Yannos could read and write, Marigo could sing. They loved each other, no one knew it. Yannos came to a decision and told his mother, – Mother, I love Marigo and want to marry her. – What are you saying, my crazy [...]
Κλαιν οι πέρδικες στα πλάγια ⬥ Studio recording, 1984. A capella polyphonic song belonging to the reper tory of emigration songs. The fiancee who has stayed behind in her village sings to her beloved who has gone away to seek his fortune. Her parents want to marry her to a [...]
Καλότυχα είναι τα βουνά ⬥ Studio recording, 1984. Polyphonic a capella song. A short but profound meditation on the inexorability of death. We notice the exclamations which punctuate each phrase sung by the ‘embroiderer’; do they not perhaps play the same role as the cries of distress of the Chorus [...]
