Κώστας Μουντάκης
Kostas Mountakis
I Kriti tou Kosta Mountaki - 45" records
Tracks:
CD1
01. Tin tihi ti dokimasa (Kostas Mountakis-Ermina Nikoladaki)
02. Eharisa ta niata mou
03. O ponos o dikos mou
04. Rethemniana mou kimata
05. Pote tha kani xasteria
06. Tou kouzoulou to fesi
07. Tou kosmou i katakravgi
08. Rethemniotikos sirtos
09. I pantermi xenitia
10. Palies anamnisis
11. Onte peraso ke me dis
12. Sirtos Apokoronou
13. Sti gitonia mas idane
14. Apo ton Agio Mina
15. Ego eho tin kardia sou
16. Kontilies Milopotamitikes
17. Kritiko pentozali
CD2
01. Glikoharazi avgerinos
02. Dos mou apo ta hili sou krasi
03. Saranta hronia
04. Sousta Rethimnis
05. Tis akrogialias neraida
06. Malevisiotikos pidihtos horos
07. Mi me rotate an agapo
08. Kastro kai poune i pirgi sou
09. Kritikopoula mou
10. Ke na me sfaxis den pono
11. Variitero anastenagmo
12. Eftase o ponos stin kardia
13. Iha mia mikri agapi
14. Exomologisis (Kostas Mountakis-Stavrakakis)
15. Na zitianevo ti hara (Kostas Mountaksi-Stavrakakis)
16. Sirtos Rethemniotikos
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♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫
Kostas Mountakis (Greek:
Κώστας Μουντάκης, a.k.a.
Μουντόκωστας) (10 February 1926, Alfa in Milopotamos, Rethymno Prefecture – 31 January 1991) was a Greek musician who popularized the traditional music of the island of Crete, primarily with the lyra, the bowed string instrument of Crete and most popular surviving form of the medieval Byzantine lyra. His parents came from the village Kallikratis in Sfakia, Crete. His older brother Nikistratos was playing the lira and so did Mitsos Kaffatos - one of the best musicians in Rethymno at that time - who was to become Kostas’ tutor.
When the German military occupation of Crete started, Kostas Mountakis was 15 years old. In those days, he played his lira and sang at the village coffee shop, and later at wedding receptions.
In 1952, Kostas Mountakis participated for the first time in an album recording when he accompanied Stelios Koutsourelis at the song “Arpaxsa kai Baildisa”. In 1954, he recorded his first personal album accompanied by the Koutsourelis brothers with the all time classics “De thelo stin kardia”, “O pramateutis”, “O argaleios”, “Milonades kai mazoxtres”, “Sto stadio pou m’efere”, “Rethemniane mou kantife”, “Harami sou”, Erotokritos”, “Kritikos Gamos”, “H mahi tis Kritis”, “O thanatos tou lirari”. These songs are a small sample of his music.
Kostas Mountakis played an important and vital role to the popularization of the
lyra as well as to the formation of its teaching methods. His overall contribution to the musical tradition of Crete is very important.
Kostas Mountakis 1926-1981“Birds, take my pain and sing it to the world!”Kosta Mountakis often used to say that an artist should continuously practice. How can today's players practice, however, when there are but few points of reference? How, when the greatest and most inspired pieces of music, such as those by Kostas Mountakis, are almost entirely absent from the catalogues of today's recording industry.
This situation has presented "Seistro" music publications with a special challenge, which is none other than to issue a complete collection of this great artist's work aimed primarily at young artists as well as at its natural audience: the people who worshipped him.
It was during the fall of 2001 that discussions began, in both Crete and Athens, with Manos Mountakis (K.Mountakis' son) laying the foundations for the commencement of this work. Many fans and collectors of Kostis Mountakis' music, following the initiative of his son, contributed to the process of collecting archival material, interviews, rare recordings, photographs, and even narrations of striking and magical moments in the life of this exceptional musician.
This process would never have been possible without the assistance of a particular individual who has, for many years, played a unique role in the creation of an archive of recordings of Cretan Music: Giorgos Gongas. During his long residence in Athens, Cretan artists would always find "refuge" in his hospitable home. It was there that their final rehearsals before studio recordings would inevitably take place. These live recording sessions at the home of Giorgos Gongas, are indeed unique and constitute the primary source for this edition. Of special importance also were the recordings from radio programs, unreleased recordings, as well as recordings from concerts in London, all of which were put at our disposal by Manos Mountakis. Valuable material was also obtained from local radio stations, events in honor of Kostas Mountakis, festivals, weddings, as well as from various other performances, such as those at the theatre Nikos Kazantzakis in Iraklio which were generously provided by various individuals.
Of great importance also was a visit to Estavromeno, to the home and school of Kostas Mountakis, where his son Manos, his student (and now teacher himself), Giorgos Skoutelis, and the music historian-musicologist Anna-Maria Giannakodimou presented us with a wealth of unique documents from the archives of Kostas Mountakis himself.
Resulting, having gathered all of the necessary material reflecting the life and work of Kostas Mountakis, we began in February 2002, the process of sorting and selection. The sheer amount of material at our disposal was such that we were obliged to make a careful selection which would be suitable for this edition. It was also necessary to ascertain the exact time and location of each recording, as well as the identity of each of the accompanying musicians. It was also very important to chose the recordings which best reflect the best moments and the particular atmosaphere of Mountakis’ unique playing. In this respect, I hope that we have managed to bring about the best possible result.
Once, when Kostas Mountakis was asked how he sees Cretan Music, he answered in the following words: «
Whatever begins with the criterion, and basic motive of material gain, without having any real feeling , can never be successful, it will never realize its full potential. Music is not made to order, it isn’t just executed, whenever you try and contain it within specific boundaries, to limit it, to play just to make a living, for example, it will never achieve its potential grandeur.It must always rest on feeling because maintaining the tradition means treating it as a passion, as something which inspires deep feelings, not seeing it as merely a profession. When you treat music in this way only then can you progress. We have such richness in our tradition, rhythms, poetry, great strength. Let’s look at our tradition from the point of view of what we can offer and not what we can gain, what can we leave behind us for others.»
We are now in the very fortunate position to be able to share with you this effort, to listen, to celebrate together with the great Master himself, Kostas Mountakis.
Michael Aerakis
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