Yabandan Gel (Kostak Yörü)
From Niğde- by Rıfat Çavuş- Collected by Muzaffer Sarısözen
Yabandan Gel Usul Da Boylum Yabandan (Aslanım Hey Hey)
Refrain:
Amman Yörü Yörü
Çapraz Yörü Yörü
Kostak Yörü Yörü
Yörü Yörü Yörü
Aldım Haberini De Çobandan (İmanım Hey Hey)
(repeat refrain)
Yaban Ellerinden De Özendim Geldim (Aslanım Hey Hey)
(repeat refrain)
Gördüm Cemalini De Efendim Geldim (İmanım Hey Hey)
(repeat refrain)
Yaban Ellerinde De Yatmış Uyumuş (Aslanım Hey Hey)
(repeat refrain)
Ela Gözlerini De Uyku Bürümüş (İmanım Hey Hey)
Şirin Yörü Yörü
Tek Tek Yörü Yörü
Bebek Yörü Yörü
Kostak Yörü Yörü
Usul Yörü Yörü
Güzel Yörü Yörü
Yörü Yörü Yörü
Saturday, February 11, 2006
Kostak Family Name
The Kostak surname is derived from the personal names Kosty and Kost, which are pet forms of the male given name Konstanty, which is the Polish form of the name Constantine. The name Constantine is a derivative of the Latin name Constantinus, which means steadfast and faithful. This name was borne by the first Christian ruler of the Roman Empire, Constantine the Great (280-337). Constantine rebuilt the city named Byzantium, renamed it Constantinople and made it the capital city of the Eastern Roman Empire. Constantinople is the modern city of Istanbul, Turkey.
Wednesday, February 01, 2006
Cadde-i Kebir and Pont du Galata
Imagine Petri at Galata or dodging the police at Cadde-i Kebir in Pera.
Galata Bridge
Sinan imprint, 36
Cadde-i kebir, Pera / İstiklal Caddesi, Beyoğlu
Editeur Zellich Frères, 34
Galata Bridge
Sinan imprint, 36
Cadde-i kebir, Pera / İstiklal Caddesi, Beyoğlu
Editeur Zellich Frères, 34
Tabachaniotika
Tabachaniotika Listen sample
The tabachaniotika (sing., tabachaniotiko) songs are a Cretan urban musical repertory which belongs to the wide family of musics, like the rebetika and music of the Café-aman, that merge Greek and Turkish elements. This genre represents an outcome of the Greek-Turkish cultural syncretism in Crete during the period of Ottoman domination. According to Chaniá musicians, the tabachaniotika probably arose in Crete in the towns of Chaniá and Rethymnon around the middle of nineteenth century. It was then the typical musical repertory of the so-called turkokritikoí, Muslim Cretans. It developed mainly after the immigration of Smyrna's refugees in 1922, as did the more widespread rebetika.
Various conjectures are advanced to explain the meaning and origin of the term "tabachaniotika." Kostas Papadakis believes that it comes from tabakaniotikes, which may mean places where hashish was smoked and music performed, as in the tekédes of Piraeus. But a quarter named Tabahana existed in Smyrna and the name had a Turkish root (Trk., tabak: tanner; tabakhane: tannery). In Chaniá too, there was a quarter with the same name, where refugees from Smyrna lived after the 1922 diaspora. Tabachaniotiko was also the name of a song of the amané genre, which was popular in Smyrna in the period before 1922, together with some other songs called Minoré, Bournovalio, Galata, and Tzivaeri (Kounadis 1993: 23). Compare the Greek-Turkish ballos performed by a Greek ensemble in New York City in 1928, included in the article by Karl Signell.
See more from the Article's Source posting
The tabachaniotika (sing., tabachaniotiko) songs are a Cretan urban musical repertory which belongs to the wide family of musics, like the rebetika and music of the Café-aman, that merge Greek and Turkish elements. This genre represents an outcome of the Greek-Turkish cultural syncretism in Crete during the period of Ottoman domination. According to Chaniá musicians, the tabachaniotika probably arose in Crete in the towns of Chaniá and Rethymnon around the middle of nineteenth century. It was then the typical musical repertory of the so-called turkokritikoí, Muslim Cretans. It developed mainly after the immigration of Smyrna's refugees in 1922, as did the more widespread rebetika.
Various conjectures are advanced to explain the meaning and origin of the term "tabachaniotika." Kostas Papadakis believes that it comes from tabakaniotikes, which may mean places where hashish was smoked and music performed, as in the tekédes of Piraeus. But a quarter named Tabahana existed in Smyrna and the name had a Turkish root (Trk., tabak: tanner; tabakhane: tannery). In Chaniá too, there was a quarter with the same name, where refugees from Smyrna lived after the 1922 diaspora. Tabachaniotiko was also the name of a song of the amané genre, which was popular in Smyrna in the period before 1922, together with some other songs called Minoré, Bournovalio, Galata, and Tzivaeri (Kounadis 1993: 23). Compare the Greek-Turkish ballos performed by a Greek ensemble in New York City in 1928, included in the article by Karl Signell.
See more from the Article's Source posting
Petri's Tavern Song
Petri wrote the lyrics of this song and sang it in Galata taverns/dives (meyhane). His song remained popular years later and was remembered. We have no record of his song today. As part of a sources music project for Costak we want the greek wording to be proof-read and are planning a new composition based on the historic style and we plan to record it both for the film and the Sources CD that will be released before the film.
Dose mu krasi
Yemise tis asimenies palames sou
Na pio to krasi ap'tis fuhtes sou
Dipsasmena dipsasmena
Δώσε μου κρασί
Γεμισέ τις ασημένιες παλάμες σου
Να πιώ το κρασί απ'τις φούχτες σου
Διψασμένα Διψασμένα
Bana sarap ver
Gumus avuclarina doldur
Sarabi avuclarindan iceyim
Kana kana
Give me wine
Fill your silver palm
I will drink from your hands
With a great thirst
My friend Leigh Kline wrote back:"It could be done as a Kamilieriko -sort of a zeybek type but a little faster" .
The Hellinic zeimpekikos is a slow 9/8 rythm with a 15 syllable verse broken into 2, one 8 syllable and one 7. In the 'school' of Pireas the well known troumpa there was a variation of rythms, which is why we find songs from Bambakaris, Tsitsanis etc. played in a 9/18 rythm or the 'fast' 9/8 seen in the 'aptaliko' and the 'kamilieriko'.
Dose mu krasi
Yemise tis asimenies palames sou
Na pio to krasi ap'tis fuhtes sou
Dipsasmena dipsasmena
Δώσε μου κρασί
Γεμισέ τις ασημένιες παλάμες σου
Να πιώ το κρασί απ'τις φούχτες σου
Διψασμένα Διψασμένα
Bana sarap ver
Gumus avuclarina doldur
Sarabi avuclarindan iceyim
Kana kana
Give me wine
Fill your silver palm
I will drink from your hands
With a great thirst
My friend Leigh Kline wrote back:"It could be done as a Kamilieriko -sort of a zeybek type but a little faster" .
The Hellinic zeimpekikos is a slow 9/8 rythm with a 15 syllable verse broken into 2, one 8 syllable and one 7. In the 'school' of Pireas the well known troumpa there was a variation of rythms, which is why we find songs from Bambakaris, Tsitsanis etc. played in a 9/18 rythm or the 'fast' 9/8 seen in the 'aptaliko' and the 'kamilieriko'.
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