Music of Lesbos

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Musicians and dancers from Agiasos at Karini Lesvos, Painting by Theophilos Hatzimihail(1930)

During the opening decades of the twentieth century, Mytilene (or Lesbos, as it is formally known) became an island. Of course, while it was never physically connected to the western coast of Anatolia, Mytilene was for centuries politically, economically, and culturally tied to Asia Minor. Mytilene was incorporated into modern Greece only in 1912. Prior to that, Mytilene constituted part of the Ottoman Empire, its orientation eastward towards Asia Minor and the port city of Smyrna (Izmir), in particular.

The formal ties gradually began to dissolve first with the joining of Mytilene to Greece in 1912 and later, to an even greater extent, following the destruction of Smyrna by Attaturk’s army in 1922. At the same time, the subsequent expulsion of Asia Minor’s entire Greek population only served to strengthen the cultural impact of Asia Minor upon places, like Mytilene, that absorbed large numbers of Anatolian refugees.

The traditional music of Mytilene bears witness to its once close connection to Smyrna. Prior to its destruction in 1922, Smyrna was a cosmopolitan commercial center whose sizeable non-Turkish population caused the city to be known among the Turks as Gavur Izmir, or “Infidel Smyrna.” The Greeks, Armenians, Jews, Turks, and Westerners who made their home in Smyrna all left their imprint upon its music, a tradition that came to be known as “Smyrneika.” Often performed in a cabaret setting known as the “Cafe Aman,” Smyrneika was a predominantly urban tradition, though it also incorporated elements from the Anatolian interior and the neighboring Aegean islands.

Likewise, the influence of Smyrnëika was felt throughout the Aegean, especially on Mytilene, where it blended with the indigenous musical idiom to produce a distinct “Mytilinëika” style, as local musicians, some of whom traveled regularly between Mytilene and Asia Minor, reinterpreted existing melodies. What resulted were distinct versions of songs known elsewhere, sometimes by other names. Throughout the late nineteenth and early twentieth centuries, Mytilineika continued to evolve, drawing upon elements imported not only from Smyrna, but also from Constantinople (Istanbul), Aïvali (Ayvalik), Pergamum(Bergama), the Thracian coast, the neighboring islands, and the West.

The sandouri-violin (sontouroviolia) combo is one of the most important and recognizable parts of Mytilene’s distinctive musical idiom. Perhaps nowhere else in the Greek-speaking world does this particular piece of Smyrna’s musical legacy survive with as much vigor as it does on Mytilene. Similarly, the outi and darbouka, understood as having been introduced by refugees from Asia Minor, serve as a reminder of Mytilineika’s Anatolian roots. On the other hand, the guitar reveals the assimilation of Western musical traditions and the more refined European-style entertainment favored by Mytilene’s urban elite. It is precisely this combination of influences that has resulted in the island’s rich and amazingly diverse musical heritage.

The songs and tunes that are listened and wanted most in every area in Lesvos Island Greece differ. Generally the "Sirtos" (in Turkey Sirtos, Halay, Hora) dances that are preferred are "Ta Xila (The wood)" (Sirtos dance), "Geragorikos Sirtos", Karsilamas dances "Pingi", "The marbles of Istanbul ", Zeybek dance "Ayvaliotikos" (An old dance from Mytilini or "Ayvalik" but there are many other that are also danced. The below midies are just a "sample" of the music of Lesvos Island. These songs maybe not exactly originated from Lesvos but are play and danced for more than a 100 years and still played and danced today.

Γεραγώτικος Συρτός (Geragotikos Sirtos Halay)

Συρτός ιδιαίτερα αγαπητός σε όλη τη Λέσβο σε μεταγραφή, Νίκου Ζωγράφου όπως τον έμαθε από το Μικρασιάτη από το Δεκελί Γρηγόρη Κωνσταντέλλια. A sirtos dance (2/4) very popular all around Lesvos Island, written by Grigoris Konstantelias about (1925) from Dikeli(Dikili), Minor Asia and who lived at Skopelos Gera Lesvos. Transcription by the 85 year old Nikos Zografos.

Γεραγώτικος Συρτός (Geragotikos Sirtos version II)

Η εκτέλεση Νίκου Καλαϊτζή ή "Μπινταγιάλα" The same as above but a different version by Nikos Kalaitzis or "Bindagialas"

Αϊσέ (Ayse Karsilama) (Iskender Bogazi Karsilama)

Πεταχτός Καρσιλαμάς, ευρύτερα γνωστός στην Ανατολική Μεσόγειο (Μεταγραφή Δ. Κοφτερού) Karsilamas dance (9/8) know all around the East Mediterranean. Transcribed by Dimitris Kofteros The first verse of the tune was transcribed in a book of Nikos Fardis in 1876.

Πολίτικος Συρτός (Politikos Sirtos Halay)

Ευρηματικός και πολύ όμορφος συρτός από τη Πόλη που διακρίνεται για την όμορφη εναλλαγή της μελωδίας του (Μεταγραφή Π. Αγιακάτσικα) A very popular sirtos (2/4) dance all around Greece from Constantinople (Istanbul). Transcribed by Panagiotis Agiakatsikas

Συλίβρια (Συλιβριανός) (Silibrianos Sirtos Halay)

Συρτός που προέρχεται από τη Συλίβρια, πόλη στα παράλια της Προποντίδας. Η εκτέλεση Νίκου Καλαϊτζή ή "Μπινταγιάλα" (Μεταγραφή Π. Αγιακάτσικα) Sirtos dance from Silibria Constantinople, version by Nikos Kalaitzis or "Bindagialas". Transcribed by Panagiotis Agiakatsikas

Πιγκί (Pigi Karsilama)

Απτάλικος πολύ γνωστός σε όλη τη Λέσβο. Η εκτέλεση Νίκου Καλαϊτζή ή "Μπινταγιάλα" Aptalikos Karsilamas dance (9/8) (3+2+2+2) version by Nikos Kalaitzis or "Bindagialas". This also is one of the most popular karsilama dances played and danced until today. It is oriented from Minor Asia.

Αδραμυτιανό ή Πηγιανό Ζεϊμπέκικo (Zeybek Edremit dance)

Σε ρυθμικό σχήμα 3+2+2+2, που όπως δηλώνει προέρχεται από το Αδραμύτιο της Μ. Ασίας, και αγαπητό και στην Πηγή. (Μεταγραφή Δ. Κοφτερού) Zeybek dance (9/4) (3+2+2+2) from Edremit, Balıkesir Minor Asia. (Transcribed by Dimitris Kofteros)

Μαζεμένος (Mazemenos)

Πηδηχτός χορός (χασαποσέρβικο) γνωστό σε όλη τη Λέσβο (Μεταγραφή Δ.Κοφτερού) Hasaposerbikos dance (hopped dance) (fast 2/4) popular in Lesvos Island. (Transcribed by Dimitris Kofteros)

Πολίτικο Χασάπικο (Politiko Hasapiko)

Χασάπικο από τη Πόλη (Μεταγραφή Δ.Κοφτερού) Hasapiko dance (slow 2/4) from Istanbul. (Transcribed by Dimitris Kofteros)

Παληός Καρσιλαμάς (Old Karsilamas)

Μυτιληνιός καρσιλαμάς διαδεδομένος στην Αγιάσο (Μεταγραφή Δ.Κοφτερού) Old Karsilamas dance (9/8) very popular in the village Agiasos Lesvos. (Transcribed by Dimitris Kofteros)

Τα Ξύλα (Ta Xila-the wood)

(ή Κιούρτικο ή σκοπός του Οσμάν Πασά) - Συρτός ο πιο γνωστός Μυτιληνιός σκοπός...ο οποίος προέρχεται από το Cecen Kizi του Tanburi Cemil Bey Εκτέλεση Νίκου Καλαϊτζή ή "Μπινταγιάλα" The most popular sirtos dance (2/4) Lesvos Island also known as "Kurdish" (Kiourtiko), or Osman Pasa version of Nikos Kalaitzis or "Bindagialas". There is no "panagiri" with out this song. This instrumental derives from the Cecen Kizi(Chechnya Girl)of Tanburi Cemil Bey

Κασάπικος Βουλγάρα (Kasapikos Bulgara)

Μικράς Ασίας (Μεταγραφή Δ.Κοφτερού) Ηasapikos (2/4) from Minor Asia transcribed by Dimitris Kofteros

Απτάλικος (Aptalikos)

Γνωστός Απτάλικος από τη Μικρά Ασία... (Μεταγραφή Δ. Κοφτερού) Aptalikos Karsilamas (Abdal Havasi) dance (9/8) (3+2+2+2) from Minor Asia transcribed by Dimitris Kofteros A very known karsilama dance around Greece.