What unites a modern versatile composer with a Smyrna rebetiko composer? In particular, he Dimitris Papadimitriou To Panagiotis Tunda (1886-1942), the most famous composer of pre-war Smyrna? With this question, we interrupted the evening game of D. Papadimitriou with his two and a half year old son Stelios, for whom he always finds time. Even cook for him, as he says. “Maybe I’m better at cooking than writing music.”

The rebetiko song and its impact on contemporary performers is the theme of the Greek Plan 2022-2023 titled “The Treasure of Panagiotis Tundas and the New in Rebetiko”. The first part began last December and continues with action in three different locations and unknown material from Tounda, as well as works by Eugenios Khalil, Thassos Rossopoulos, Vangelis Korakakis, Dimitris Papadimitriou and Grigoris Vassilas, who have already been performed.

OUR today’s concert at “Micro Pallas” includes the songs of the great Smyrna composer in their first performance, orchestrated by Manolis Pappos. Dionisis Kapsalis, Giorgos Koropulis, Kostas Fasoulas, Veronika Davaki and Mr. Papadimitriou himself, the founder of the Hellenic Project, complete the missing verse.

“Some had some titles, others had no words, except for a note or a word,” says the latter. ink” and emphasizes that Tundas was well versed in music theory. He also notes that “his successful experiments with the bold multi-modality of his melodies illuminate even today the inaccessible area of ​​​​Greek melodicism. However, knowledge of Western music did not change the natural Greek element in his music. On the contrary, it helped him expand it.”

Thirty songs are featured in this year’s Greek Project supported by the Onassis Foundation. “Today it would seem funny to me to imitate Tunda’s speech, talking about things that no longer exist, just to show that this is his style,” explains D. Papadimitriou and adds: “I was interested in transcendent cooperation at a distance of a century. . I wanted today’s poet and lyricist to write not the way he wrote 100 years ago, but the way he will write today.

Young people may not like folk song or art at all, but they are crazy about rebetiko.

But what is his own relationship with rebetiko? He may have written beautiful folk songs, played the bouzouki and baglam many times in discography, in bands and on tour, but what drives him in this musical genre? “I believe that I carry the folk song in my most artistic works, such as the Violin Concerto, which was recently performed at the Megaron Musikikis,” the composer replies.

He was a student of the 1st high school in Piraeus when he first heard rebetika songs. “I heard the sound of a bouzouki from the basement. I stopped in surprise. Through the open window I could see only the bouzouki and the feet of the musician playing. When he noticed me, he stopped being annoyed and kicked me out. The next day I followed the same route. He again went out to drive me away, but at the last moment, as if regretting it, he asked: “Are you a musician?” I play the guitar, I replied. “Come in,” he said, and handed me a guitar with wire strings that cut my fingers. A few days later he met me with a group of old people who were waiting for him at the EVGA show in Piraiki. While making kopans, I learned rebetiki. And yet, another bouzouki from what was heard – as far as it was heard – on the radio, which was basically a four-chord with a magnet. The trichord is almost a different instrument.”

Shortly thereafter, Vamvakaris’ recordings were added to the family’s music library. “My parents didn’t have much of an interest in folk songs, but I remember those songs at family parties. And even play them with my brother Giorgos – he is on the accordion. His parents never knew about the group of old people who played the bouzouki, nor about the kopans. “I was skipping classes, you see, so I was in control. Since then, rebetiko for me has been the point of constant restart of the song.”

And the bouzouki today? “He is prone to degeneration. I hear them say: “We are going to the bouzouki”, and where they go, the bouzouki is not heard.” Is it because for years the nightclubs have been dominated by folk-pop, which is suitable for a poor environment? “It’s just like a kennel salon. Manolis Pappos has to give workshops to his fellow bouzouki players who are excellent musicians but don’t play the bouzouki. When I hear an instrument from them, I hear a cascade of notes, but not one that causes grief. And one more thing: young people may not like folk song or art at all, but they are crazy about rebetiko.”

In the unknown material of Panagiotis Tundas, he was impressed by the correct and careful scores and his notes. “For a score to be well written, the other person must have an aesthetic desire. The handwriting reveals a lot.”

Interest in today’s concert lies in the fact that the works of the youngest organist Evgenios Khalil will also be presented. “Little Pictures” are short instrumental pieces and songs with lyrics by Christos Spurdalakis. “It was interesting for me to see not only the old, but also the present,” emphasizes Dimitris Papadimitriou about the assignment for the project. “He’s a young guy I met while playing the bouzouki and he impressed me with his ability to play, even though he’s young. In addition, he is an amazing pianist and writes in an interesting and modern way,” notes the initiator of Hellenic Plan.