Wichtiger Hinweis: In einer griechischen Taverne ist es durchaus üblich, dass kalte und warme Speisen zeitgleich serviert werden. Wünschen Sie eine. Rembetiko, Hannover: Bewertungen - bei Tripadvisor auf Platz von von Hannover Restaurants; mit 4/5 von Reisenden bewertet. Haben Sie Lust auf gutes, griechisches Essen in Wien? Ihr bestes griechisches Restaurant Rembetiko wartet schon auf Sie. Essen Sie mit uns!
Rembetiko, HannoverUnser Autor ist Historiker und Musiker. Er kommt aus dem New Wave und dem Punk. Inzwischen spielt er Rembetiko. Hier beschreibt er. Restaurant REMBETIKO. Brabeckstraße Hannover. Telefon: - E-Mail: [email protected] Haben Sie Lust auf gutes, griechisches Essen in Wien? Ihr bestes griechisches Restaurant Rembetiko wartet schon auf Sie. Essen Sie mit uns!
Rembetiko Restaurants VideoRembetiko #1 (movie,1983) Das Rembetiko ist ein griechischer Musikstil, der aus der Verbindung der Volksmusik Griechenlands und der osmanischen Musiktradition in den sich zu Beginn des Jahrhunderts in den Städten Athen, Piräus und Thessaloniki bildenden Subkulturen. Das Rembetiko (auch Rebetiko, griechisch ρεμπέτικο, Mehrzahl Rembetika) ist ein griechischer Musikstil, der aus der Verbindung der Volksmusik. Rembetiko ist ein griechischer Musikfilm des Regisseurs Kostas Ferris aus dem Jahr , dem es gelingt, das Wesen der Rembetiko-Musik anhand einer. Haben Sie Lust auf gutes, griechisches Essen in Wien? Ihr bestes griechisches Restaurant Rembetiko wartet schon auf Sie. Essen Sie mit uns! Youtube Subscribe: space-ninja.com rebetika songs played by contemporary masters Agathonas, Gkoles, Lempesis, Tsertos, Rebetiki Kompania. Rembetiko is a kind of Greek folk music which started in Asia Minor, more specifically, in Smyrna and Constantinople. After the occupation and destruction of Smyrna, the refugees who sought shelter in Central Greece, along with their few suitcases and memories, also brought with them their culture and music. Excerpt from "Rembetiko", my most favorite Greek film. Read more at; space-ninja.com Fabuloso flick, worth seeing/buying!. Rebetiko is the Byzantine influenced folk song of early urban centres in Greece, Asia Minor, Alexandria and also the USA, performed by Greek immigrants to the states from Greece. immigration is one moto of the rebetiko tradition, relevant to the wave of immigrants that traveled to Greece from asia minor after the defeat of the Greek army by kemal and the neoturks. Directed by Costas Ferris. With Sotiria Leonardou, Nikos Kalogeropoulos, Michalis Maniatis, Themis Bazaka. The story of a group of Rembetes, singers and musicians of the Greek equivalent to the blues, in the early decades of the 20th century, seen through the eyes of a young female singer. Der Service ist auch super. Buch erstellen Als PDF herunterladen Druckversion. Psomi Merida. Kanns mir zwar denken.
Rebetiko probably originated in the music of the larger, mainly coastal cities in today's Asia Minor with large Greek communities during the Ottoman era.
In these cities the cradles of rebetiko were likely to be the ouzeri , the hashish dens tekedes with hookahs , coffee shops and even the prison.
In view of the paucity of documentation prior to the era of sound recordings it is difficult to assert further facts on the very early history of this music.
During the early 20th century, the main centre of the rebetico music was the multi-national port of Smyrna modern Izmir in Asia Minor. The musicians of Smyrna were influenced not only from the eastern sounds inside the Ottoman empire , but also from the European-style music of the many European communities of the city, most notably the Italians.
Smyrneiki Estudiantina was a group of musicians playing popular music for Greeks worldwide. After the Great fire of Smyrna many of them Panagiotis Toundas , Spyros Peristeris , Giorgos Vidalis , Anestis Delias and others fled to Greece contributing to the development of the rebetico style music in Greece.
In the wake of the Asia Minor Catastrophe and the population exchange of , huge numbers of refugees settled in Piraeus , Thessaloniki , Volos and other harbor cities.
Many of these Greek musicians from Asia Minor were highly competent musicians. Initially an "Athenean Estudiantina" was established with Giorgos Vidalis and some musicians of the old Smyrneiki Estudiantina.
The musical personalities of Peristeris and Toundas in particular came to have enormous influence on the further development of recorded rebetiko.
While from the middle of the s a substantial number of Anatolian-style songs were recorded in Greece, examples of Piraeus-style rebetiko song first reached shellac in see above.
During the s, the relatively sophisticated musical styles met with, and cross-fertilised, with the more heavy-hitting local urban styles exemplified by the earliest recordings of Markos Vamvakaris and Batis.
By the end of the s rebetiko had reached what can reasonably be called its classic phase, in which elements of the early Piraeus style, elements of the Asia Minor style, clearly European and Greek folk music elements, had fused to generate a genuinely syncretic musical form.
Simultaneously, with the onset of censorship, a process began in which rebetiko lyrics slowly began to lose what had been their defining underworld character.
This process extended over more than a decade. In , the 4th of August Regime under Ioannis Metaxas was established and with it, the onset of censorship.
Some of the subject matter of rebetiko songs was now considered disreputable and unacceptable. During this period, when the Metaxas dictatorship subjected all song lyrics to censorship, song composers would rewrite lyrics, or practice self-censorship before submitting lyrics for approval.
This was, however, not bouzouki music. The term amanedes, sing. The amanedes were perhaps the most pointedly oriental kind of songs in the Greek repertoire of the time.
Metaxas closed also all the tekedes hashish dens in the country. References to drugs and other criminal or disreputable activities now vanished from recordings made in Greek studios, to reappear briefly in the first recordings made at the resumption of recording activity in It is notable that Rebetiko music was also rejected by the Greek Left because of its "reactionary" according to the Communist Party of Greece and subculture character and the drug references.
Recording activities ceased during the Axis occupation of Greece during World War II — , and did not resume until ; that year, during a very short period, a handful of uncensored songs with drug references were recorded, several in multiple versions with different singers.
The scene was soon popularized further by stars like Vassilis Tsitsanis. His musical career had started in , and continued during the war despite the occupation.
A musical genius, he was both a brilliant bouzouki player and a prolific composer, with hundreds of songs to his credit. After the war he continued to develop his style in new directions, and under his wing, singers such as Sotiria Bellou , Ioanna Georgakopoulou , Stella Haskil and Marika Ninou made their appearance.
In Manos Hatzidakis shook the musical establishment by delivering his legendary lecture on rebetiko, until then with heavy underworld and cannabis use connections and consequently looked down upon.
Parallel to the post-war career of Tsitsanis, the career of Manolis Chiotis took rebetiko and the Greek popular music in more radically new directions.
In he added a fourth pair of strings to the bouzouki , which allowed it to be played as a guitar and set the stage for the future ' electrification ' of rebetiko.
Chiotis was also a bold innovator, importing Latin and South American rhythms such as flamenco , rumba , mambo etc. Perhaps most significantly of all, Chiotis, himself a virtuoso not only on the bouzouki but on guitar, violin and oud, was responsible for introducing and popularizing the modified 4-stringed bouzouki tetrahordho in A comparable development also took place on the vocal side.
In a young singer named Stelios Kazantzidis recorded a couple of rebetika songs that were quite successful. Although he would continue in the same style for a few years it was quickly realized, by all parties involved, that his singing technique and expressive abilities were too good to be contained within the rebetiko idiom.
Soon well-known composers of rebetika—like Kaldaras , Chiotis, Klouvatos —started to write songs tailored to Stelios powerful voice and this created a further shift in rebetika music.
The new songs had a more complex melodic structure and were usually more dramatic in character. Kazantzidis went on to become a star of the emerging laiki music.
Kazantzidis, however, did not only contribute to the demise of classical rebetika of the Piraeus style that is. Paradoxically, he was also one of the forerunners of its revival.
In he started his cooperation with Vassilis Tsitsanis who, in addition to writing new songs for Kazantzidis, also gave him some of his old ones to reinterpret.
Kazantzidis, thus, sung and popularized such rebetika classics as 'Synnefiasmeni Kyriaki' Clouded Sunday , "Bakse tsifliki" and "Ta Kavourakia".
These songs, and many others, previously unknown to the wider public, suddenly became cherished and sought-after. At about the same time many of the old time performers—both singers and bouzouki players—abandoned the musical scene of Greece.
Some of them died prematurely Haskil, Ninou , others emigrated to the US Binis, Evgenikos, Tzouanakos, Kaplanis , while some just quit music life for other work Pagioumtzis, Genitsaris.
This, of course, created a void which had to be filled with new "blood". In the beginning the new recruits—like for example Dalia, Grey and Kazantzidis—stayed within the bounds of classical rebetica.
Soon, however, their youthful enthusiasm and different experiences found expression in new stylistic venues which eventually changed the old idiom.
This combined situation contributed, during the s, to the almost total eclipse of rebetiko by other popular styles. The first phase of the rebetiko revival can perhaps be said to have begun around In that year the singer Grigoris Bithikotsis recorded a number of songs by Markos Vamvakaris , and Vamvakaris himself made his first recording since During the same period, writers such as Elias Petropoulos began researching and publishing their earliest attempts to write on rebetiko as a subject in itself.
From onwards prominent Greek composers such as Mikis Theodorakis and Manos Hatzidakis employed bouzouki virtuosi such as Manolis Chiotis, Giorgos Zambetas , and Thanassis Polyhandriotis in their recordings.
Many singers emerged and became popular during this period. It was during the s that the first work which aimed at popularizing rebetiko outside the Greek language sphere appeared [GH 2] and the first English-language academic work was completed.
During the s a number of older artists made new recordings of the older repertoire, accompanied by bouzouki players of a younger generation.
Giorgios Mouflouzelis , for example, recorded a number of LPs, though he had never recorded during his youth in the 78 rpm era.
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Vimeo Zweck: Hosting und Anzeige von Videos. Open menu Menu. Europe Greece Music. Rembetika: The Blues Of Greece. Rembetiko is beyond a genre of music; rather it is a state of mind.
Culture, tradition and expression of social concerns are combined to form the lines and ideas behind the rembetiko song. We take a deeper look at the history of this special form of music and how it encapsulates the soul of Greece.
Etymology, still a mystery. Rembetis or mangas: a very particular soul. The themes behind rembetiko music. Rembetiko today.
Read Next. History Aegean Blues: Exploring the Roots and Resilience of Rebetiko. Kategorien : Genre der traditionellen Musik Musik Griechenland Repräsentatives immaterielles Kulturerbe.
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Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Hauptseite Themenportale Zufälliger Artikel.The genre is a subject of growing international research, and its popularity outside Greece is now well-established. It is notable that Hal Sparks music was also rejected by the Playboy 2021 Left because of its "reactionary" according to the Communist Party of Greece and subculture character Ruf Der Wildnis Kritik the drug references. Edit Cast Credited cast: Sotiria Leonardou Sign In. The music industry in the United States came to play a particular role from the mids Köln 50667 Stella Instagram in recording rebetiko lyrics which would not have passed the censors in Greece.