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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 heavy heart she lights the fire to heat the baking oven.
“O oven, bide your time to heat, and you, o loaf, to finish;
just let the caravaneer go past, my son must then remain here”.
Translated by John Leatham
«Αλησμονώ και χαίρομαι, θυμιούμαι και λυπιούμαι,
θυμήθηκα την ξενιτιά και θέλω να πααίνω.
Σήκω, μάνα μ’, και ζύμωσε καθάριο παξιμάδι».
Με πόνους βάζει το νερό, με δάκρυα το ζυμώνει·
και με πολύ παράπονο βάζει φωτιά στο φούρνο.
«Άργησε, φούρνε, να καείς και συ, ψωμί, να γένεις,
για να περάσει ο κερατζής* κι ο γιος μου ν’ απομείνει».
*κερατζής (ή κυρατζής): οδηγός καραβανιού
A representative example of the unique polyphonic songs found in the Greek region, and one of the most intriguing forms in the global repertoire of traditional polyphonic music.
These songs are found in the area around today’s Greek-Albanian border (Pogoni, Dropull, etc.), where, until 1944, Greek and Arvanite populations coexisted.
They are performed by 4 to 10 singers, without instrumental accompaniment, following a strict hierarchy regarding each member’s role and technique. The lead singer (partis or sikotis) “takes” or starts the song. The second (gyristis) “turns” it, responding, while the isokrates “hold the drone”.
An additional member of the group may be the klostis, who performs vocal ornamentation with a “false” voice (falsetto), “spinning” the song between the tonic and subtonic of the melody. Both the gyristis and the klostis abruptly cut the note at the subtonic, creating a strong dissonance (a second interval) with the partis, giving this polyphony its distinctive sound.
Although research has not yet led to definitive conclusions, many indicators support the antiquity of these songs, which preserve the pentatonic, anhemitonic scale. At the same time, influences from Byzantine ecclesiastical music have left their mark, especially on the melodic line of the gyristis and the drone of the isokrates.
Lambros Liavas (1989)
From the introductory notes to the album Songs About Greeks Far From Home
Studio recording (1961). Released in 1969 on an extended play 45 rpm disc (Philips 8433), supervised by Domna Samiou (Recordings in 45 RPM), as well as on the LP Songs of the Sea and of the Highlands (Philips 600506 PR). In 1969, it was featured on the LP Songs and Tunes from all Around Greece (Fidelity 0320 PL). In 2008, Yiorgos Tsambras included the track in the CD collection Mousiko Odiporiko 1959-1969 (Universal Music, 2008).
Singers
