Audio

Greece, Dora Stratou

As you can read in the story about Dora Stratou, Esoteric Records recorded two records of the Dora Stratou Greek Dance Company during their tour in the United States:

  • Greek Folk Music and Dances, Esoteric ES 527
  • Greek Island and Mountain Songs, Esoteric ES 531

Both records have the following introductory notes on the back of the cover, written by the Greek ethnomusicologist Fivos Anoyanakis.

Music is part of the national heritage, an heirloom treasured by the people of Greece since earliest times when the ancient Greeks entrusted the divine gift of Music into the hands of Apollo and when the Patron-Muse Terpsichore presided over their dances. Today music is still inseparable from Greek life. In dance and song the Greek gives dramatic expression to his joys and sorrows, records his hopes and history and stores his legends.

Considered as a whole, Greek folk music is a superb combination of elements of ancient Greek music—a theoretical basis of scales, and rhythmic forms—and oriental influences, fused together under the particular conditions of life in the Byzantine and post-Byzantine ages. It is, with few exceptions, entirely free in its native state from any Western characteristics. Such an exception is some of the music of the Ionian Islands lying between Italy to the west and the Greek mainland to the east. They received and successively assimilated all the life-giving streams of European thought and art, fashioning out of them their own particular Ionian Islands’ culture.

The modal and rhythmic characteristics of nearly all Greek folk music are largely unfamiliar to western ears. Times such as 7/8, 9/8 and 5/8, and scales employing intervals different to the ones we are used to the European majore and minore—(such as the tone interval between the 7th and 8th degree, the augmented second, or intervals of less than a semitone) account for the appeal of Greek folk music.

The folk dances of Greece, accompanied by music played on traditional instruments and frequently also with singing, are of two distinct kinds. The lively “pidiktos” and the restrained “syrtos” are the distinguishing measures of these two groups. Dances comprised of alternating pidiktos and syrtos measures constitute a third and derivative group.

The pidiktos, literally the “leaping” dance, was born on the rugged mountains of Greece and is appropriately danced by men alone. The syrtos or “dragging” dance, on the other hand is most frequently seen in the lowlands, coastal regions and the islands. Both men and women dance the syrtos.

The dances and songs of Pontos, an extensive tract of country along the southern shore of the Black Sea, claim an especial place of their own in Greek folk music, having a particular quality not to be found elsewhere. Some are lyrical, some dithyrambic and others, like the Serra, martial. The Serra, an exclusively Pontiac dance, has a pyrrhic theme leading up to a display of sword-fighting. There is a description of this dance in Homer's Iliad, in the lines describing the embossed decoration on Achilles’ shield.

Greek circular dances, the characteristic pattern of most national dances in the country, are often named after the place where they first developed into a recognized form or variation—thus Pelioritikos and Tsakonikos; or after a profession as in the case of “Hassapikos”, the Butcher’s dance, whose origin is to be sought in the Byzantine age. Finally, their names denote the category to which they belong, as the Klephtikos or Klephtic, that is, the warrior-patriots’ dance.

While in general the women dancers of Greece, according to an ancient habit, still dance “demurely and with downcast eyes”, the men in sharp contrast perform all manner of agile leaps and springs and turns, improvising complicated steps with an astonishing ingenuity and yet with absolute respect for the formal and rigid rhythms of Greek dance melody.

The musical instruments that provide accompaniment to the national dances and songs of Greece, and which can be heard on this Counterpoint recording, fall familiarly into three principal groups:

  • Strings: lira (viol), fiddle, lute, santouri (dulcimer)
  • Winds: pipiza (a primitive, exceedingly sharp oboe), cornemusa, clarinet and all manner of pastoral flutes (such as the aulos)
  • Percussion: small and big drums, bells, triangles, deft (a crude tambourine), wooden spoons and the like

The lira is largely concerned with the music belonging to the Pontos or Black Sea area, to the islands of Crete and the Dodecanese; the cornemusa to the mainland provinces of Greece and certain islands; while the fiddle, clarinet and flute, frequently in association with the santouri comprise the instrumental group most widespread in the countryside.

THE ROYAL GREEK FESTIVAL COMPANY, under the High Patronage of H. M. Queen Frederika of the Hellenes made their American debut in early 1954 and were an astonishing success. With the exception of Dora Stratou, the Director of the Group, no member of “Panegyris” has had any musical education beyond that handed down from father to son. The result is that this music is performed as it was centuries ago.

By the many music critics who acclaimed the “Panegyris Troupe” the Greek form of art is considered to be “art with its pure soul.” The Baltimore SUN remarked, “One realises that Greece and her culture is not of the past but very much alive in the present!”


On the basis of further research we were able to find out the names of musicians who have played on the Esoteric recordings.

Insturmentalists:

  • Cretan lira & solo singer: Alexander (Alekos) Karavitis
  • Laouto & bouzouki: Nicholas Mastrokalos (“Tzouganos”)
  • (Epirot) clarinet: Georgios Brachiopoulos
  • (Epirot) violin and guitar: Alexandros (Alekos) Tzoumas
  • Gaida, pontic lira & singer: Alexandros (Alekos) Akrivopoulos
  • Pontic lira: Elias Mavropoulos

Vocalists:

  • solo singer: Dora (Dorothea) Stratou
  • solo singer: Afroditi Papanikolaou
  • solo singer & dancer: Alexandros (Alekos) Akrivopoulos

or in Greek:

Μουσικοι:

  • Κρητική λύρα & σολίστ τραγούδι: Αλέξανδρος (Αλέκος) Καραβίτης
  • Λάουτο, κιθάρα & μπουζούκι: Νικόλαος Μαστρόκαλος ("Τζουγάνος")
  • (Ηπειρωτική) κλαρίνο: Γεώργιος Βραχιόπουλος
  • (Ηπειρωτική) βιολ: Αλέξανδρος (Αλέκος) Τζούμας
  • Γκάϊδα, Ποντιακή λυρα & τραγούδι: Αλέξανδρος (Αλέκος) Ακριβόπουλος
  • Ποντιακή λύρα: Ηλίας Μαυρόπουλος

Τραγουδιστριεσ & τραγουδιστεσ

  • Τραγούδι: Δόρα (Δωροθέα) Στράτου
  • Τραγούδι: Αφροδίτη Παπανικολάου
  • Τραγούδι & χορός: Αλέξανδρος (Αλέκος) Ακριβόπουλος
Album cover

Esoteric ES 527

Side One
01 Cyprus and other islands
02 Moirologhia
03 Ionian Islands

Side two
01 Macedonia
02 Crete
03 Roumeli and the Peloponnese
Track info
Side one
  1. Cyprus and other islands
    1. HASSAPIKOS, a “butcher’s dance” whose origin is to be found in the Byzantium; here played on a bouzouki (a small variety of lute) and a guitar.
    2. ZERVOS KARPATHOU, a syrtos dance from Karpathos, Dodecanese.
    3. ANTIKRISTOS KYPROU, a suite of five dances performed by pairs of men and women facing each other. The alternation of simple composite rhythms (9/8 and 7/8 times—that is, 9/8=3/8 + 2/8 + 2/8 + 2/8) gives an air of particular variety to this dancing suite from the island of Cyprus.
    4. PSAROPOULA, a lyrical island song in which the womenfolk hail the boats that have just set sail for the fishing-grounds, hoping that they return full of sponges, coral and pearls.
  2. Moirologhia
    Threnodies, sung by Dora Stratou. These funeral laments are sung by women mourners, especially in the Peloponnese and Epirus. Sometimes a threnody is part of a sad, slow dance around the bier or grave of the deceased. There is a brute pagan naturalism in Greek moirologhia.
  3. Ionnian islands
    This is a selection of songs and dances exhibiting a blend of Western and Eastern cultural influences—the sensuality of the East is balanced by the strict rules of the West. Ionian songs, often polyphonic in structure, and Ionian melodies as a whole, reveal a high degree of culture.
    1. LEFKADITIKOS, a dance of Lefkas Island in which simple and composite measures alternate.
    2. YIALO-YIALO, a polyphonic song typical of Kephalonia. Known as “cantades” these songs are a kind of serenade whose lyrical theme most frequently concerns love.
    3. BALLOS, the most characteristic of island love-dances and possibly of Venetian origin. Danced in pairs, it illustrates love at play.
    4. XYPNA DAKTILIDOSTOMI, (Awake my round-mouthed beauty), a cantada of Zakynthos Island.
Side two
  1. Macedonia
    1. DOINA, the melody is improvised by the clarinetist and is remarkable for its lyricism.
    2. PANOU STA ALONIA (At the threshing-floors). A dancing-song from Kapoutsides village. The words set the scene: in the upper quarter of the village on the threshing-floor, a bride and her mother-in-law dance to the tune of drum and fiddle, mimicking the behaviour of a man and his newly-wed wife.
    3. CHORIATIKOS, a village dance of mixed syrtos-pidiktos measures performed on holidays and festival days (9/8 time).
    4. TI KLAIS KAIMENI MARIA (Why do you weep, Maria). The slow tempo of this dancing-song livens up as the singer unfolds her grief for her sick husband who lies at death’s door, but Charon (the reaper of souls) does not come to take him.
    5. YERAKINA, a favorite dancing-song in 7/8 time. Yerakina, her bracelets all a-jingle, goes to the well to draw water and falls in. A young man hearing her screams for help, lets down his golden belt, rescues her, and makes her his wife.
    6. ANTIKRISTOS, A love-dance performed by pairs of dancers in Macedonia. A flirtatious opening and the free rhythm of the melody on a clarinet are succeeded by a more intense tempo and more robust movements as the dance progresses, changing from simple to composite measures (7/8 time).
  2. Crete
    1. THA KANI XASTERIA (When will the night sky clear). One of the most typical heroic and revolutionary songs of Crete Island, dating from the time of the mountain patriots’ determined struggles to rid their native land of the Ottoman yoke.
    2. KASTRINOS, a syrtos, danced in the locality of Kastro (Iraklion).
    3. MANDINADES. The violist accompanies himself as he sings mandinades (Cretan distichs). There are hundreds of known mandinades, but a versatile singer often composes his own on the spur of the moment and in sympathy with the mood of the occasion.
    4. SOUSTA, originally a martial dance (supposedly danced by Achilles round the funeral-pyre of Patroclus outside the walls of Troy), the sousta is nowadays a pair dance with a love motif.
    5. PENTOZALIS. The Pentozalis derives its name from the “giddy five-step rhythm in which the dancers, usually men, move, increasing in speed and performing intricate steps on the spot.
  3. Roumeli and the Peloponnese
    1. YOURIA-YOURIA, a song of Thessaly.
    2. KARAGOUNA, a Thessalian dance performed at Eastertime, portraying young suitors choosing their brides. There are two movements: slow syrtos and lively Kalamatianos-pidiktos measures alternating.
    3. TSAKONIKOS, from ancient Kynouria in the Peloponnese, this dance has its origin in one of the oldest Cretan myths. It represents Theseus progress through the famous Labyrinth in which the dreadful Minotaur had its lair. The steps and movements are identical with a dance seen in Delos by Lucian and described by him in the second century A.D.
    4. TORA TA POULIA, an allegoric “klephtic” song. The klephts were the armed Patriot outlaws who from the 17th to the 19th centuries opposed the Ottoman occupiers of their country and eventually, joining with other Greek forces, won independence for their native land in the war that began in 1821.
    5. TSAMIKOS, a magnificent klephtic dance of great virility. Performed only by men, the leader displays an agile virtuosity in improvising martial leaps and springs.
    6. TRIA PEDIA (Three Youths). Another klephtic song of expressive rhythm, frequently heard in Central Greece.
Album cover

Esoteric ES 531

Side one
01 Pontos
02 Central Greece
03 Epirus
04 Aegean Islands

Side two
01 Roumeli And The Peloponnese
02 Rebetika
03 The Peloponnese
Track info
Side one
  1. Pontos
    1. ANGION, a prelude played solo on the cornemusa. This instrument, resembling a bag-pipe, and the lira are the popular instruments of the Pontos region.
    2. A Song, accompanied by the Pontos lira.
    3. OMAL, a rather restrained, even solemn dance which precedes all Pontiac festivities.
    4. MITERITSA (Mother Mine). This is a joyous festival dance, similar to a quadrille, accompanied with song and lira.
    5. SERRA, a pyrrhic dance of exceptionally martial quality terminating in a sword-fight.
  2. Songs (Sung by Dora Stratou)
    1. O AETOS (The Eagle). A typical klephtic song symbolising the heroism and the yearnings of the Greek klephts, the patriotic fighters of the highlands.
    2. NANOURISMA (Go to sleep, my child). Folk lullabies are sung throughout the country, and this particularly beautiful song is one of the most popular.
  3. Epirus
    1. SKAROS, a bucolic melody of the Greek mountain shepherd’s age-old pastoral song.
    2. VISSANIOTISSA, a solo love-song of Epirus.
    3. PERATIANOS, a variation of the syrtos, with contrasting moods and tempt (7/8 and 6/8 times alternating.)
    4. FISSOUNI, Another Epirot syrtos dance, this one in 9/8 time.
    5. POGONISSIOS, extremely ancient harmonics (fourths and fifths reminiscent of the medieval “organum”) survive in this dance.
  4. Aegean islands
    I TRATA (Our much-patched fishing-boat). An island song of the fishermen of the Aegean Sea.
Side two
  1. Dances and Songs
    1. STELITSA (Little Stella) A very popular syrtos dance of Epirus.
    2. AEGIOTISSA, a song of the islands with a lyric theme of love.
    3. BIRBILIS, an instrumental dance melody of Epirus.
    4. KATSANTONIS (When you go to Morea, little bird). A klephtic song about the deeds of Katsantonis, the warrior.
    5. KALAMATIANOS. Originating in the Peloponnese, this is the most popular dance of Greece. It is often accompanied by singers. (7/8 time)
  2. Popular Eances
    1. HASSAPIKOS. The origin of this dance is to be found in Byzantine times, and in the old “makellarikos” butcher’s dance, which, constantly renewed in melody and form, is danced today in urban centers and seaports where it still retains its former musical and dance characteristics. It is played here on the bouzouki (a small lute) and guitar.
    2. REBETIKO (Tonight, poor me, I will be alone). The rebetiko is rather morose and melancholy. This one is sung with a bouzouki and guitar accompaniment.
    3. REBETIKO. In this dance a solo voice is heard. The hassapikos is often danced to a rebetiko.
  3. The Peloponnese
    TRIS ADERFES (Three Sisters). A satiric song which, nevertheless, expresses the Greek's calm acceptance of often ill-sorted fortune. “We are three sisters, all married; one to a king, another to a good-for-nothing, and a third to a bent old man. At the king's table, roast lamb is served; at the good-for-nothing’s, there is fowl, while at the poor old man's, there is but a thin broth.”
Album cover

Philips N 00745 R

Side one
01 STIN KALAMATA AROSTISSA
02 ARACHOVA
03 HARALAMBIS
04 KERASOUNTA / KOTSI / TRIGONA
05 GAITANI / SOUSTA
06 NANOURISMA
07 MAS PIRE TO POTAMI

Side two
01 STIN KENTIMENI SOU PODIA
02 TO PIPINI
03 MANDINADES / PENTOZALIS
04 MYROLOGHIA
05 LOLENOUME
06 ARVANITOVLACHA
Track info
Side one
  1. STIN KALAMATA AROSTISSA, Afroditi Papanikolaou accompanied by popular instruments in 7/8 rhythm.
  2. ARACHOVA, a dance song that imitates the "Zygia" (an orchestra of popular organs violin, clarinet, lute and dulcimer).
  3. HARALAMBIS, one of the most_popular of Greek national folk songs, in 7/8 rhythm, satirical in content, describing the marriage of old-Charalambis.
  4. Songs and dances from Pontos:
    1. KERASOUNTA, Dance song accompanied by a Pontiac lyre.
    2. KOTSI, Dance played on a Pontiac lyre.
    3. TRIGONA, another dance sung and played on the Pontiac lyre.
  5. GAITANAI SOUSTA, a lyric Dodecanesean song. It is followed by a preeminently Dodecanesean dance, the "Sousta”.
  6. NANOURISMA, one of the numerous lullabies sung throughout the country by Greek mothers, by Afroditi Papanikolaou.
  7. MAS PIRE TO POTAMI, Dance, in the preeminently Greek rhythm of 7/8.
Side two
  1. STIN KENTIMENI SOU PODIA, a lyric song, sung by Afroditi Papanikolaou.
  2. PIPONI, a Dodecanesean song.
  3. Songs and dances of the Island of Crete:
    1. MANDINADES, Cretan distichs accompanied by a "lira" and lute.
    2. PENTOZALIS, one of the main Cretan dances.
  4. MYROLOGHIA, two laments (from Epirus and Dodecanese) sung by Dora Stratou.
  5. LOLENOUME, a love song from Thrace, sung by Afroditi Papanikolaou.
  6. ARVANITOVLACHA, dance, solo clarinet.
Album cover

RCA Victor LPMG 9

Side one
01 STIN KALAMATA ARROSTISA
02 KERASUNTEYKO
03 A TRAGUDISSO KE A HARO
04 AGUROS PETRA PELEKA
05 VIOLETTA MU ANTHISMENI
06 EVGA STO PARATHYRI SU
07 IRAKLIOTIKA PENTOSALIA
08 OLES I DAFNES

Side two
01 TSAKONIKOS
02 THALASSA TI SOY EKANA
03 I PSAROVARKA
04 FARASSA KAPADOKIAS / SEYTATA
05 T' ASSTRINGI TU FENGARAKI
06 MYGDALO
07 PAIRNO TO KAMAKAKI MU
08 O ILIOS
Track info
Side one
  1. STIN KALAMATA ARROSTISA, I FELL SICK IN KALAMATA, Kalamatiano, Peloponnesian Dance.
  2. KERASUNTEYKO, song and Dance of Pontos, Black Sea.
  3. A TRAGUDISSO KE A HARO, LET’S SING AND BE JOYFUL, song of Skyros Island.
  4. AGUROS PETRA PELEKA, YOUTH HITS THE STONE, song of Skyros Island.
  5. VIOLETTA MU ANTHISMENI, MY BLOSSOMING VIOLETTA, song of Skyros Island.
  6. EVGA STO PARATHYRI SU, COME TO YOUR WINDOW, Pogonnesian and Epirus Song and Dance.
  7. IRAKLIOTIKA PENTOSALIA, Cretan war dance, Crete Island.
  8. OLES I DAFNES, ALL THE LAURELS, Tsamikos, Greek victorious war dance.
Side
  1. TSAKONIKOS, dance of Kythira Island. One of the oldest Greek dances at the rhythm 5/4 times.
  2. THALASSA TI SOY EKANA, SEA WHAT HAVE I DONE TO YOU ?, Dodecannesian Song.
  3. I PSAROVARKA, THE FISHING BOAT, song of the Sponge Fishers of the Dodecannese.
  4. FARASSA KAPADOKIAS / SEYTATA
  5. T' ASSTRINGI TU FENGARAKI, THE HOOK OF THE LITTLE MOON, leaping dance of Drimos — Thessaloniki.
  6. MYGDALO, song of Drimos - Thessaloniki.
  7. PAIRNO TO KAMAKAKI MU, I TAKE MY LITTLE SPEAR, song and Dance of Salamina Island.
  8. O ILIOS, THE SUN, Tsamikos dance.
Album cover

RCA Victor FPM 161

Side one
01 KERNA MAS KORI KERNA MAS
02 ALATSATIANI
03 HASSAPIKOS
04 SIRTOS RETHIMNOU
05 KASTRINOS
06 EPIROTIKA

Side two
01 O AITOS
02 OLA TA POULAKIA
03 AHI VAHI
04 SOUSTA RHODE
05 AN M’ AGAPOUSSES
06 ELA NA PAME
Track info
Side one
  1. KERNA MAS KORI KERNA MAS, give us a drink, young woman.
  2. ALATSATIANI, Zeibekiko dance.
  3. HASSAPIKOS
  4. SIRTOS RETHIMNOU, Cretan dance.
  5. KASTRINOS, Cretan dance.
  6. EPIROTIKA, Epirus.
Side two
  1. O AITOS, The Eagle, Tsamikos dance.
  2. OLA TA POULAKIA, All the Birds, Thassos.
  3. AHI VAHI, Thassos.
  4. SOUSTA RHODE, Simi, Dodecanesian dance.
  5. AN M’ AGAPOUSSES, If You Loved Me, Athenian song.
  6. ELA NA PAME, Let’s Go, Athenian song.
Album cover

Philips 6460407

Volume 1, Peloponissos and Roumeli

Side one Roumeli
01 O GERO NOTIS - KLEFTIKO
02 T' ANDROUTSOU I MANA HAIRETAI - TSAMIKO
03 O AITOS - KLEFTIKO
04 POLLES NYHTIES PERPATISA - TSAMIKO
05 O TAFOS TOU XENITEMENOU - KLEFTIKO
06 ENAS LEVENDIS HOREVE - TSAMIKO
VOCAL: VASILIS KOLOVOS

Side one Morias
01 MOR' PERDIKOULA TOU MORIA - TSAMIKO
02 STON POTAMO MORE LENIO - SYRTO
03 MARATHIKAN TA DENDRA - TSAMIKO
04 XENOS IMOUNA MOR' KYRA PANAGIOTENA - KAGELI
05 TA LEROMENA T' APLYTA
06 PENDE DEKA PAPADIES - KALAMATIANOS
VOCAL: AFRODITI MASIA
Album cover

Philips 646408

Volume 2, Epirus and Macedonia

Side one Epirus
01 ALEXANDRA
02 MOIROLOI
03 DIPLI GAIDA
04 MOIROLOI
05 STROTO STA DYO
06 XEHORISTOS SYGATHISTOS


Side one Macedonia
01 KYRA MARIA
02 MAKEDONIKO MOIROLOI
03 KAGELEVTOS IERISSOU
04 HOROS EPIKLISIS
05 GEIKO
06 ANASTASIA
07 PAPADIA
Album cover

Philips 646409

Volume 3, Thrace and Pontus

Side one Thrace
01 ZONARADIKOS
02 EPITRAPEZIOS
03 SYRTOS
04 PODARAKI
05 IMASTAN PEND' EX DAIDES
06 KOUTSOS HOROS
07 ANTIKRISTOS
VOCAL: K. BOUZAMANIS

Side two Pontus
01 I NOSTALGIA SOU THA ME FAEI KAII AGAPI SOU THA ME TELEIOSEI
02 ANATHEMA SE EROTA
03 MOIROLOI
04 PERNANE TA MESANYHTA KI ANATOLI HARAZEI
05 SARANDA MILA KOKKINA
06 PYRIHIOS
VOCAL: GIORGOS AMARANTIDIS
Album cover

Philips 646410

Volume 4, Crete, Kythnos and Naxos

Side one Crete
01 O DIGENIS
02 AGALIASTOS / BRIMNIANOS
03 KISSAMITIKA SYRTA
04 MALEVIZIOTIKOS HOROS
05 POTE THA KANEI XASTERIA
06 RETHYMNIOTIKA PENTZALIA


Side two
Kythnos
01 O KOSMOS EINAI PSEVTIKOS
02 SGOUROS VASILIKOS
03 BALOS
Naxos
04 SKOPOS TIS NYFIS
05 PATINADA
06 BALOS

Album cover

Seven Seas GT 5024

Side two
01 HASAPIKOS
02 FLUTE SOLO
03 DANCES OF SOULI
04 DANCES OF KONITSA
05 TSAKONIKOS
06 DANCES OF MEGARA
07 TSAMIKOS-KALAMATIANOS
Album cover

Melophone SMEL 46

Side two Korfou
03 KORAKLANITIKOS
04 SPARTILIOTIKOS HOROS
05 ORINOS HOROS
06 SOKRAKITIKOS HOROS
Album cover

Fidelity 526534

Korfou
09 KORAKIANITIKOS
10 PATINADA TIS NYFIS
11 ANIX' TO PARATHYRI SOU
12 KERKYRAYKOS HOROS
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Dora Stratou DS 101

Greece

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Dora Stratou DS 102

Greece

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Dora Stratou DS 103

Greece

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Dora Stratou DS 104

Sarakatsanika

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Dora Stratou DS 105

Mainland Greece and Pontus

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Dora Stratou DS 106

Sandouri improvisation and Smyrna

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Dora Stratou DS 107

Greece

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Dora Stratou DS 108

Aegean Islands

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Dora Stratou DS 109

Aegean Islands

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Dora Stratou DS 110

Pontus and Aegean Islands

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Dora Stratou DS 111

Xirotopos (Serres)

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Dora Stratou DS 112

Sarakatsanitsa

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Dora Stratou DS 113

Eastern Macedonia (Pangaio)

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Dora Stratou DS 114

Eastern Macedonia (Pangaio)

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Dora Stratou DS 115

Roumeli

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Dora Stratou DS 116

Macedonia

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Dora Stratou DS 117

Thrace

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Dora Stratou DS 118

Pontus

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Dora Stratou DS 119

Thessaly (Argithea)

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Dora Stratou DS 120

Roumelie

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Dora Stratou DS 121

Epirus

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Dora Stratou DS 122

Greece

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Dora Stratou DS 123

Pontus

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Dora Stratou DS 124

Mainland Greece

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Dora Stratou DS 125

Central Greece and a Sandouri Improvisation

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Dora Stratou DS 126

Rhythms