Πάντα ανοιχτά πάντα άγρυπνα..!

Ελευθερία ή θάνατος

Τρίτο όνειρο ήταν νύχτα ήμουν στο σπίτι μαζί με τον Απόστολο ήμουν στην κρεβατοκαμαρα και βλέπω τον Ξανθοπουλο να προσπαθεί να μπει και τότε φωνάζω τον Απόστολο και λέω στον Ξανθοπουλο γιατί δεν μπαίνεις απ την πόρτα πεσ του να μπει απ την πόρτα λέω του Αποστόλου ο Ξανθοπουλος μας έφερε μια εικόνα της Παναγίας φτιαγμένη από ψημένο κρέας βάζω τις φωνές πάρε γρήγορα αυτήν την εικόνα δεν μπορούσες να μας φέρεις μια ωραία αγιογραφία και ξυπνησα

+Andrea Dobetti What about Manos Loizos? For me he is either #2 or #3. The other 2 in top 3 Theodorakis and Markopoulos.

Loizos cannot be compared with symphonikos and metasymphonikos Mikis ;) of course I consider not only the 1000 pop songs, but oratoria, symphonies too

Mikis is number 1 of course. But apart from that, at least for me, the brilliance of the music is in the melody and the development of the melody. You know more than me in music, it is evident because I have met your comments in many many videos, but I also listen to symphonic and I feel that if your melodies are eternal like Loizos' are, and their development, then the construct-the engineering of the rest is something a good trained musician can do. The brilliance, the very rare thing is in the melody. That is why I place Loizos' melodies there, they are like they always existed and always will. The rest is a construct on top of this. If you distill a symphonic work to the most lean true beauty, you remain with the melody. And the best symponic works of all time by Beethoven, Mozart, Bach etc and Verdi this melody, this "pop" as you call it, melody, remains. For me there is no pop or no pop, only the melody.

The melody, but the harmony and the rhythm too, and when you have the best melody then you have to assign it to the instrument (orchestration): Mikis and Markopoulos are master of orchestration; with Mikis I have the whole history of music at hand (and not only occidental): I have bachian counterpoint in Axion esti, fast 1000 original and fantastic melodies, dodecaphonic chords, wagnerian chromatisms, polyrhythmic as Zappa...I really have all I ask to music: melody, (eventually counterpoint), chords, and rhythms like the terrific and wonderful meters in Canto General, I eleftheroi poliorkimenoi...then ok good melodies in Hatzidakis, Zampetas. Perhaps the orchestration is even more important them the melody ifself: I can write a wonderful melody, but then? I assign it to the violins or to the clarinets, and in the meantime the horns? and the intelligent usage of percussions: a lot of composers use a lot of percussion only to demonstrate that they studied very weel the manual of composition, but the percussion in Mikis and Markopoulos are the top. The melody can be a fragment like Wagner (2 seconds of "melody"), we have to distinguish if we wnat mellody = refrain, or melody = theme, or melody = a very small idea, or 2-3-4-melodies at the same time (polyphony). A master of orchestration (recognized by Brahms, Verdi, Wagner, Liszt) was Johann Strauss.

I admit that I prefer the rhythm, therefore I wrote a little analysis here: postimg.org/image/75twh2brv/full/ why I prefer the rhythm? because in Greece (but In Macedonia and Bulgaria too) the rhythm is often changing, mixed, odd, asymmetric, what I dont find in "occidental music". Thanks the rhythm I discovered Mikis and others, and bulgarian folksong, only after this discovering I read about Mikis, and wanted to hear the more songs I can do ;) The first song was at shool Thafisw tin manoula mou, then I forgot Mikis, then after 20 years I re-discovered him ;)