The roots of Cretan musical tradition are not only lost in the depths of time, but also in the psyche of all Cretans. These roots are so strong that, even today, hold fast the Cretan’s love for his ancestral rhythms and songs, amidst a cosmogony of musical creations. It is from these roots that the multitude of modern Cretan artistes, eminent or otherwise, draw their inspiration and entertain all Cretans with melodies and songs.

The sounds of our musical tradition are as many as the grains of said. Most of them have been lost in the ebb of time. However, quite a large number of distinct sounds have been preserved and new ones were created by distinguished Cretan artistes during the first sixty wears of the 20th century. What has been preserved is not only the particular melodies or supple tunes of our traditional instruments, but also lyrics, dances, songs, ballads (mantinades), etc. This, however, would not have been possible outside the scope of technology (sound reproduction systems). Apart from technology, a number of songs, tunes and mantinades were handed down orally from one generation to another. It is not very difficult to find an old man at a village who is willing to recite an old mantinada or sing forgotten joyful or mournful songs. The contribution of N. Xylouris and G. Dramoundanis (the “Loudovicos” of Anogeia) to the preservation of tradition by word of mouth is remarkable.

During 1900 – 1960 Cretan music flourished in Crete with such eminent artistes as Antonis Skoulas or Karamouzantonis, Michalis Skoulas, Manolis Pasparakis or Stravos. They carried the burden of sustaining our musical tradition and passing it to younger generations.

During the same period we witness a relapse of an old custom at Anogeia, which encouraged young shepherds (voskakia) to leave their low grazing grounds for higher mountain locations in expectation of the musical gifts (tunes) of a mermaid. Like modern Moses they would scale down the mountains, rush to their village and teach the tunes to their fellow – villagers. Such practices gave rise to enormous poetic activities (mantinades, joyful / mournful songs, etc.). This necessitated the setting up of “schools” for a more systematic dissemination of tradition. Naturally, schools were set up in the open-air, in village squares, meadows, etc. and pupils rather disciples, sat on stone-benches, parapets and rock.

The tutors were the most experienced mantinada experts. Classes were held in the evening and were attended by all the young generation of Anogeia. They used to gather, rather congregate, in the evening in expectation of their homework –half mantinada (verse) to be presented complete the following day. One of those pupils was Mantratzis Fassaloyiannis (or Andreadis). One evening he took his homework home and in spite of all-night affords he was unable to complete it properly. The following day he climbed the mountains looking for inspiration. His first half of mantinada was: “Ta chili sou kataktipa to pos mou katarase…” (I see that you are muttering: I think that you are swearing at me…).

On his way down the mountain he came across Michalis Fassoulas or Michalos, a mantinada expert. Full of excitement and, hoping that Michalos would provide a most suitable latter part for the verse, he recited the first part and asked Michalos for the latter. Michalos, caught by surprise, uttered the following as completion to the verse: “Pou na chis to anathema tin alli de thimase.” (Be damned if you don’t remember the other half), which rhymed perfectly with the first part and indirectly reprimanded young Mantratzis for not having done his homework.

Goergis Sbokos

NB: I think that the younger generation of artistes (1955 – ff.) also merits mention for their contribution to the development and dissemination of Cretan poetry. Among those the most eminent are: Georgis Karatzis, Mitsos Stavrakakis, Michalis Stavrakakis (Nidiotis) and Aristeidis Cheretis (Yialaftis).