Καλησπερα.
Θα ηθελα να ζητησω πληροφοριες για τον συγκεκριμενο οργανοποιο, οργανοπαικτη και youtuber. Δεν μου ειναι γνωριμος σαν οργανοποιος ουτε υπηρχε οποιαδηποτε πληροφορια για αυτη του την ενασχοληση στο ιντερνετ. Οτι γνωριζετε καλοδεχουμενο !
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Τι έγινε ρε Φοίβο, το γυρίζεις στο τετράχορδο;
Δεν τον είχα ξανακουσει, έκατσα και ειδα πεντεξι βιντεάκια. Φαίνεται καλός άνθρωπος και με ιστορία, αλλά δεν με έπεισε ούτε βρήκα αξιοποιησιμες πληροφορίες στα βίντεο.
Πχ τα βίντεο του Γιάννη Βιλλιώτη ή του Αντώνη Κωνσταντάκη μου φάνηκαν πολυ πιο συγκροτημένα και βοηθητικά για έναν αρχάριο. Αυτά τα λέω χωρίς κανένα όφελος ή διάθεση διαφήμισης/δυσφήμισης.
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Καλως τον Γιαννη Σαρρηνικο !
Ζηταω πληροφοριες για τον κ. Κρουσθιανακη καθαρα και ΜΟΝΟ σαν οργανοποιο. Προσφατα καποιος μου εδειξε οργανο και ειπε πως ειναι κατασκευης κρουσθιανακη, αλλα η ελλειψη πληροφοριων με προβληματισε !
ΥΓ λαθος δικο μου δεν εκανα εξ αρχης ξεκαθαρο τι ειδους πληροφοριες θελω
ΥΓ2 στοχος της ζωης μου να παιζω ρουμπες στο 42χλμ αθηνων Λαμιας Νικε !
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Εντάξει, στην σωστή ενότητα έβαλες το θέμα.
Τώρα μπορείς να μας πεις εσύ τις εντυπώσεις σου!
Από ότι λέει στα βίντεο μάλλον για ερασιτέχνη οργανοποιό πρόκειται.Θυμάμαι σε ένα άλλο βίντεο πούλαγε τρίχορδα και τετράχορδα γύρω στα 700 με 800 αν δεν κάνω λάθος.
Δυστυχως δεν εχω πιασει ακομη στα χερια μου οργανο του, θα συμβει ομως και θα σας πω. Φιλε Λαμπρο και εγω αυτο καταλαβαινω. Εχει κανεις οργανο του για να μας πει εντυπωσεις ?
Δεν νομίζω…γιατί και εγώ δεν έχω ξαναδιαβάσει γιαυτόν στο forum.Ότι έχω δει είναι από youtube που έχω παρακολουθήσει παλιότερα.Για τρίχορδο ή τετράχορδο ενδιαφέρεσαι?Έχεις έρθει σε επικοινωνία μαζί του?
Καποιο τριχορδο αυτην την περιοδο αλλα με ενδιαφερει μεταχειρισμενο. Δεν εχω επικοινωνησει, αλλα το thread εχει και στοχο να συλλεχθουν πληροφοριες γενικοτερα
Πριν καμια εικοσαρια χρόνια είχε μεγάλο ωδείο στην Αγία Παρασκευή και έφτιαχνε και μπουζούκια αλλά λίγο απλά.Τωρα δεν ξέρω τι εξέλιξη έχει κάνει.
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It’s been quite some time, but have we finally learned anything more specific about the gentleman’s organs?
Are you talking about this person? (from FB)
< My name is Nikolaos Krousthianakis and I live in Nea Penteli.
From a relatively young age, I became involved in music, as my wife (Kalliopi Krousthianaki) and I worked as singers. More specifically, the woman then known as Popi Asteri (Kalliopi) handled the sound equipment, while I played the bouzouki, spending endless hours on stage in many well-known venues, both in Greece and abroad, including England, America and Australia.
After many years, I decided to open a music school. And indeed, in 1985 I successfully managed to open my own music school in Agia Paraskevi.
I now give private lessons, both in person and online. Specifically, I teach via Skype, or prepare videos which I then put on DVD or USB and send to any part of the world.
For any information or bouzouki lessons, call 6944743587>
Although this is an older topic, I would like to mention the following:
While he describes, in a gentle manner, the events that shaped certain folk singers, musicians, himself and others, he falls short in accuracy and detail in places.
(For example, in one of his earliest instructional videos, on “Prin To Harama” (D minor, with F minor in the introduction — which is obvious), he insisted that it was F major. That is not the problem — I make mistakes too, and some much more serious ones! …The point is that
he devotes two parts to Giannis Palaiologou (Part One and Part Two),
spending almost half an hour describing “how I learned the piano, because I play the bouzouki”. It is inconceivable to have been in the music scene for so many years, with a music-school background, and not know that Rondo Alla Turca was inspired by the Janissary marches that the Viennese heard when the conquerors reached Vienna with fury and music! At the very least, his daughter, who films the videos and is, by their own account, knowledgeable about classical music, could correct him at any time. Instead, he says in the video… “Noooo, Rondo Alla Turca has absolutely nothing to do with Turkey!” But… before going on air, make an effort: ask someone, look it up in books, or at least do a Google search, which is a huge source of information. He also made a slightly disparaging comment about the iconic Giannis Palaiologou, saying that “he would stick his tongue out involuntarily”, whereas it is well known that when a piece is difficult, we all develop certain “tics”. I would like to believe that he said it in good spirits / as a joke; after all, I believe it is our pleasure to watch and listen to what Mr Krusthianakis describes and says. We hear it all, and we can verify or reject everything. Based on his experience and love for what he does, he may well be able to build bouzoukis, but something does not convince me, even though he appears to be an extremely kind gentleman — knowledgeable about certain events, albeit in a fragmentary way — but that alone is not enough to deliver complete instruments at a high price. The man may work miracles, but I always reserve judgement. I would like to thank him and invite him to speak on the phone, yet something would stop me from buying a bouzouki from him. I may be wrong. The choice of an instrument should be made on the spot, with testing and doubts, with research and comparison, with passion and love for what is called Music. After a certain age, it is difficult to learn instrument-making techniques, especially when the competition is strong and ongoing. I wish this teacher and instrument maker all the best, beyond any doubts I express here. There is room for everyone! There is room for all the good ones. And Mr Nikos is an Artist, whatever he turns his hand to! Happy playing to everyone, and apologies if I have not shed any light on the essence of the matter.
The subject is interesting. Mozart and some other composers of the period did indeed write pieces based on a fashion for Orientalism that was prevalent not only in music but in art more generally. For example, the colour turquoise was, so to speak, an arbitrary fashionable reference to the unknown and alluring East.
Some pianos with keyboards were even made with what was known as a Turkish pedal, which simply produced a percussive sound like a drum.
Mozart wrote the March, the opera The Abduction from the Seraglio, and the “Turkish” violin concerto.
Let us clarify one thing, though: there is no evidence that Mozart ever heard a Janissary band or maqam in any form. There is not even the slightest indication that he sought out or studied this music in order to write his own works (whereas we know that, for example, he studied, copied and reworked earlier musical forms). He may perhaps have seen some musical instruments.
What is happening musically in this repertoire is the removal of musical sophistication in order to make something primitive, raw and perhaps barbaric be heard. In both the violin concerto and the march, the… Turkish episodes cease to receive harmonic development and mainly use rhythmic drones.
In a sense, then, yes, they have no musical connection whatsoever with any Turkish music. They are products of a brief fashion that depicted anything unknown and distant with a touch of allure, fear, and so on.
Could that be what the man meant?
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Personally, at any rate, when I hear Mozart’s Rondo alla Turca, I don’t make any connection whatsoever with the music of the Janissaries and the like. I should also add that marching to a two-four rhythm is a purely Western custom and was unknown to the old military bands of the Janissaries, with their enormous nakkare drums and shrill zurnas that froze the blood of the Viennese from thirty kilometres away…
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I agree, and thank you! I got goosebumps too when I found these parades on YouTube… With the Ottoman soldiers turning around… almost 180 degrees… As if they were saying, “We’re coming to conquer you; we’ll take ‘whatever we see in front of us’; we’ll sweep everything away!” I’m not sure whether the rondo refers to this circle (or semicircle, at least), or whether it’s a “turn in Turkish style”—rondo alla turca—as if to say, let’s play a kalamatianos now, or a hijaz! Could this rondo, or this half-turn, be a symbol of the crescent? I have more questions than answers!
Imagine that more than a million Greeks supplied the Ottoman conqueror through the devshirme.
I also agree with those who spoke before me: it was a fashion at the time, which passed, even though it was a hundred years apart (from the siege of Vienna… to the composition of the rondo alla turca). Anyway, I recently saw two shapely Turkish women (there have been lots of tourists!), with blue contact lenses, noses surgically altered into little Dutch-style retroussé slippers, plastic lips, and an air of supreme self-confidence… I thought… “Should I tell them… uzun, uzun?!” (“You’re tall!”), but I was afraid someone else might turn up and give me… a few slaps! (You never know what might happen!)
Let’s not get our wires crossed.
The term rondo refers to a musical form in which we have a recurring episode, with other episodes of a contrasting character inserted between repetitions.
For example, if the main theme is called A and the intervening episodes are 1, 2, 3, etc., the structure will be: A-1-A-2-A-3, etc.
There is no such thing as a Turkish rondo in Turkey. It is neither danced nor played. The closest examples would be the saz semai and peşrev, in which the teslim is inserted between each hane (but we’ll get lost if we start discussing that as well).
So, returning to our subject: perhaps Krousthianakis is right.