Nikos Xilouris

For the Greek swimmer (born in 1982), see Nikos Xylouris (swimmer).

Nikos Xylouris
File:NikosXilouris.jpg
Background information
Also known as	Psaronikos (Greek: Ψαρονίκος)
Born	(1936-07-07)7 July 1936 Anogeia, Crete, Greece
Died	8 February 1980(1980-02-08) (aged 43) Piraeus, Attica, Greece
Genres	Cretan music, Éntekhno
Occupation(s)	Singer, Musician, Composer
Instrument(s)	Cretan Lyra
Years active	1950-1980
Spouse(s)	Ourania Melampianakis

Nikos Xylouris (Greek: Νίκος Ξυλούρης, 7 July 1936 – 8 February 1980), Cretan nickname: Psaronikos (Greek: Ψαρονίκος), was a Greek singer, Cretan Lyra player and composer, who was and remains to this day among the most renowned and beloved Greek folk musicians of all time. Xylouris' outstanding vocal ability and diverse discographic repertoire managed to capture the essence of the Greek psyche, ethos and demeanor, rendering him extremely popular among the youth of his day, and making his work an essential part of the Great Greek Songbook. This fact, along with his appealing physical features (also reminiscent of Byzantine Iconography) and enormous personal affability ("noble in both countenance and decorum" as per the Ancient Greek Ideal) earned him the honorific moniker Archangel of Crete which is still in use, especially in Athens. His songs continue to be played regularly on Greek radio stations, and his legacy is held in the highest regard throughout the Greek Nation and the Greek Diaspora alike.

Origins and Background

Xylouris was born in Anogeia, Mylopotamos Province, Rethymno Prefecture, a village perched on the slopes of Mount Ida (aka Psiloritis, literally meaning "high mountain") of central Crete, itself the largest of all the Greek Islands. He was born to a family and community of herdsmen and farmers, who much like other Greek Islanders, were well versed in Greek traditional music, with many locals adept at playing multiple folk musical instruments, either as amateurs or in a semi-professional and fully professional capacity. The village of Anogeia has produced several musicians who rose to island-wide and later nation-wide prominence over the years, and as pertains to affairs of culture it continues to exert significant influence. Xylouris was the fourth child and first son of Giorgis Xylouris and his wife Eleftheria, and was born after sisters Elli, Zoumboulia and Euridice. His two male siblings who followed in order of birth, Antonis Xylouris or Psarantonis (Greek: Ψαραντώνης) and Giannis Xylouris or Psarogiannis (Greek: Ψαρογιάννης) are accomplished and celebrated figures of Cretan music in their own right, and members of their extended family continue to walk in the same footsteps.

Xylouris' nickname "Psaronikos" (the prefix "Psaro" meaning "Fish/Fish-like", plus his given name Nikos) is derived and inherited from his grandfather Antonis, who during one of the many instances of the Cretan Struggle for Liberation and Independence from Ottoman Rule displayed great valor, and was said to "consume the Turks as if they were fish", in an account provided by Xylouris himself, and reiterated by his brother Giannis. The nickname was passed down along the male line of the family, with each person's given name substituting the inaugural one respectively, and the prefix remaining intact. In a slightly different origin story, it was said that Antonis kept company with a group of Cretans who exercised guerilla warfare tactics against the Turks, with deliberate dispersal and reunification at predetermined locations after brief engagements and skirmishes. Antonis would "catch up to the rest of them as if they were a school of fish that broke up and then coalesced again; as slippery as fish, in waters they knew all too well, and thus impossible to apprehend", Antonis himself being the most nimble, frustrating the Turks who could never capture him. Or, in yet another variation, quick enough to strike at two distant target locations in a single day, and both times disappear as quickly and efficiently as fish vanish in the sea. The use of such nicknames, bestowed for specific traits or actions, is prevalent throughout the Greek countryside, and its familial aspect is often retained on purpose, to distinguish between clans, branches, and unrelated families with identical surnames. Conversely, some nicknames may be unique to specific individuals, and may reflect a notable incident of their lives which warrants extraordinary praise, attention, recognition, or, alternately, condemnation.

When Xylouris was age eight, and with World War II battles still raging, the Nazis razed Anogeia to the ground in reprisal for acts of Cretan Resistance against the Axis Occupation, as well as the great number of casualties the Germans had sustained during their initial assault on Crete some three years prior, when German paratroopers, descended upon the island, only to be decimated by the locals. The mayor and citizens of Anogeia would support and harbor Special Operations Executive (SOE) agents and Cretan Resistance fighters in their village. In addition, under the direction of Captain William Stanley Moss, Cretans ambushed a detachment of German soldiers which had received orders to attack Anogeia. The legendary SOE operative Captain Patrick Leigh Fermor had also been ensconced in Anogeia during the kidnapping of Heinrich Kreipe in May 1944 but escaped with his band of Cretan partisans when the Germans forces approached. Such acts of defiance caused Germans to target specific villages and retaliate against them, sometimes regardless of direct villager involvement. The razing of Kandanos and the Viannos massacres were similar instances of Nazi atrocities committed in Crete. In the aftermath of the devastation, Xylouris family members, along with the rest of the inhabitants of Anogeia, were forced to flee to other villages of the Mylopotamos region, and in some cases found refuge in major cities until the Liberation of Crete, which came with the Allied Advance and the German Surrender. Upon their return to Anogeia, citizens had to rebuild their homes and town from scratch, and the harshness of the undertaking imbued them with a sense of purpose, dedication, self-reliance, solidarity and pride. Due to the fact that village archives had perished in the flames, some ambiguity still remains as to the exact birth dates of all persons who had yet to produce additional official documentation (such as marriage and/or military service certificates), Xylouris included. This is the reason why certain sources may offer conflicting birth dates, although the one presented herein is considered to be the most probable and accurate by consensus. Archives were recreated based on village elder and relative testimony, to the best of the inhabitants' ability. The unique cultural climate of Crete left lasting impressions to all Allied personnel who had served there. In the years following the war, Patrick Leigh Fermor so often sang what would later become one of Xylouris' most popular hits, the song Filedem (Greek: Φιλεντέμ) that his friends attached it to him permanently as a sobriquet reminiscent of his war years.

Early life and career in Crete

At a very young age, Xylouris discovered his musical inclination (all three male siblings learned the basics of how to play the mandolin and other instruments alongside their friends at village feasts and peer gatherings) and besought his father Giorgis to purchase him a Cretan Lyra, (the three-stringed or four-stringed Cretan fiddle analogue, which is played held upright, usually supported on the knee), a significant investment at the time. Giorgis resented the notion of his elder son becoming a musician, which was deemed somewhat menial and rather disreputable as a full-time occupation, and preferred that he attain higher education instead, which would enable him to improve the overall outlook of his life, and escape the circumstances of poverty and hardship that plagued his fellow villagers. Thus, Giorgis fiercely opposed his son's demand at first. However, between the boy's entreaties and the exhortations of local school teacher Menelaos Dramountanis who had identified Xylouris' enormous potential and considered his singing voice a decisive asset, Giorgis acquiesced and Xylouris acquired his first instrument at the age of twelve. After an apprenticeship under the tutelage of the experienced lyra player Leonidas Klados, Xylouris started performing at social functions and local festivities throughout the region and later across the island, usually accompanied by his younger brother Giannis who played the lute. In those events, gifted musicians were being generously rewarded, and not just by one single organizing party, but by all participants to the celebration who, if affluent enough, as per custom, would present the orchestra with banknotes for every single song or dancing tune they requested be played. A musician's reputation grew by crowd acclaim and word of mouth, once they were proven able to please, stir and entertain their audience for the duration of the event, which could sometimes last for days on end. Having earned such a reputation of a capable musician, at age seventeen Xylouris again surprised his parents when he decided to move from Anogeia to the city of Heraklion, making nightly appearances at the venue "Kastron" (Greek: Κάστρον, literally meaning Castle, which invokes the city's Medieval name) and aspiring to become an established professional musician with full financial independence. At first, little was gained in terms of headway, and making ends meet in the city was challenging. The audience, mostly urban and somewhat upper class, had moved away from Cretan traditional music, Xylouris' own turf, and had become much more accustomed to European rhythms and tunes, looking down upon the "old men's music" of their rural contemporaries and counterparts. In such an environment, folk musicians struggled to adapt and survive financially, not least due to their utter lack of multilingual term familiarity, which foreign lyrics seemed to necessitate. Furthermore, city musicians were distrustful of all newcomers and unwilling to yield them any professional breathing space. By his own account, Xylouris was reluctant to admit to his father that he was facing great hardships at that time, and instead assured him to the contrary. Gradually, he managed to develop a personal following, found a firm foothold, and carved out a niche for himself. His friends and admirers not only provided encouragement, but organized gatherings for him to play music at, earn a living from, and attract additional support by. In 1967 he took an unprecedented step and established in Heraklion the first exclusively Cretan music hall, which he named "Erotokritos", in honor of the great poetic work of the same name. In the course of time, Xylouris not only managed to find acceptance as a musician in Heraklion, but he was also able to turn his demanding urban audience around, causing them to rediscover, appreciate and preserve Cretan traditional music for future generations. And a few years later, he would manage to captivate the attention of the Greek national audience in its entirety.

Xylouris' first foray into studio recordings came in 1958 by means of a vinyl single in 7-inch 45rpm format which carried the songs "Mia mavrofora otan perna" (When a woman clad in all black passes by | Greek: Μια μαυροφόρα όταν περνά) on the obverse and "Den klaine oi dynates kardies" (Strong hearts don't cry | Greek: Δεν κλαίνε οι δυνατές καρδιές) on the reverse. The recording very nearly did not materialize. Although Odeon Records, the company Xylouris, his brother Giannis and their friend Zacharias Fasoulas had approached to make their pitch, followed standard procedure and granted them an audition, the executives were worried that Cretan music lacked commercial potential at that time, and therefore initially rejected the idea of going forward with the release of a single. Upon hearing of the company's decision, Greek MP from Crete Pavlos Vardinogiannis, who provided Xylouris lodging during his visit to the label's corporate headquarters and was fond of Cretan musical tradition, intervened not only vouching for Xylouris as a musician, but promising to fully reimburse Odeon for every unit that remained unsold, should the project fail to meet their expectations. Odeon relented, and the recording took place with Xylouris' wife Ourania providing supporting vocals for her husband at the studio. The single was a major success, completely vindicating Vardinogiannis and his judgment. Other singles would follow with Odeon, but its executives remained ambivalent as to the marketability of both Xylouris as an artist and Cretan music as a genre. Much later, when Columbia, their main competitor, signed Xylouris and his popularity exploded, Odeon having realized their mistake, tried to lure him out of his new contract and back into their ranks with a very lucrative counteroffer. However, being a person who as a matter of principle placed honor and loyalty before profits and self-advancement, Xylouris politely turned them down. When Columbia leadership found out about their rivals' failed bid, they decided to improve the financial terms of Xylouris' contract of their own accord, without him ever having requested a renegotiation.

The turning point in his career came in 1969, with the release of another famed vinyl single, also in 7-inch 45rpm format, this time under the Columbia label, which carried the songs "Anyfantou" (Weaver | Greek: Ανυφαντού) on the obverse and "Kavgades me to giasemi" (Quarrels with the jasmine | Greek: Καβγάδες με το γιασεμί) on the reverse. The single was a resounding success, and the public's enthusiastic response meant that prior reservations concerning the appeal of Cretan folk music were mostly unfounded, a fact which was not lost on company executives. Xylouris had caught the eye of the top brass, and his future looked brighter than ever. Shortly thereafter, he began making appearances in Athens, which would eventually become his new home. Nevertheless, in spite of Anyfantou's soaring popularity, not all parties involved in folk music were enthralled. When, at the behest of his brother Giannis and Zacharias Fasoulas who both accompanied him with their lutes and were his permanent associates, Xylouris met with the highly controversial musicologist and Director for Folk Music Programming at the Greek National Radio Simon Karas, the latter derided Anyfantou and questioned Xylouris' ability to properly render traditional songs that were core to his repertoire, an opinion which none of the major composers and conductors Xylouris would later work with shared, but which left him understandably shocked and dismayed at the time. Ultimately, the Greek National Radio would come around to embrace Anyfantou, by featuring the song in one of its special commemorative broadcasts.

Later life and career in Athens

Regarding his artistic discovery by the musical establishment of Athens, two views have been put forward, which are not necessarily mutually exclusive. According to the most widely reproduced narrative, his next career steps came as a product of early appearances in Athens at the Konaki Cretan Folk Music Hall. In what remains standard practice to this day, musicians who distinguish themselves in Crete are invited to perform for Cretans who permanently reside in the Capital, and to a lesser extent other major cities. During such a stint, Xylouris met movie director and screenwriter Errikos Thalassinos, himself also of Cretan descent, who became one of his dearest friends, and went on to introduce him to composer Yannis Markopoulos, who had previously written film score for some of Thalassinos' movies. Markopoulos and Xylouris initiated a fruitful collaboration that spanned the better part of a decade. However, as attested to by Xylouris' wife Ourania, it was Takis Lambropoulos, the head of Columbia Records Greece who had first spotted Xylouris when he was singing at a wedding reception in Crete, was moved by his voice, and made an impromptu live recording of him with his tape recorder. Lambropoulos then sent the tape to composer Stavros Xarchakos, who was living in Paris at the time, to make him aware of his find. More than a business associate, Xarchakos would become a bosom friend to Xylouris and his family. This version is bolstered by concurrent reports in the Athenian Press that Lambropoulos had found "a major new vocal talent" in Crete, as well as the in-law-type bond formed between him and Xylouris (Greek: κουμπαριά) which Lambropoulos would pride himself on. Xarchakos and Xylouris also had a prolific collaboration, which extended into the theater.

During the early 1970s, Xylouris' voice became identified not only with Cretan music but with the youth of Greece rebelling against the Greek military junta of 1967–1974, which came to power after a coup d'état. He embodied a new kind of popular, folk-music style which adapted verses of famous Greek poets, incorporating well-known poems into the music genre of the particular artist in the mantinada style. The emergence of this music, based on renowned Greek poets such as Nikos Gatsos, Yannis Ritsos, Giorgos Seferis, Kostas Varnalis, and Dionysios Solomos, was uplifting and inspiring to the Greeks, much like Sofia Vembo had galvanized the Greek populace during the Second World War. Other Greek singers had also embraced this style, such as Yannis Markopoulos, Stavros Xarchakos, Christodoulos Halaris, and Christos Leontis. Xylouris' music was as much a thorn in the side of the Greek military junta and its colonels, as it was a beacon of hope for liberation and return to Democracy to the Greek people.

Public and critical acclaim

In 1966 Xylouris was selected to represent Greece at the Sanremo Music Festival and won First Prize. In 1971 he was awarded the Grand Prix du Disque by the Académie Charles-Cros in France for his performance of the Cretan Rizitika album with Yannis Markopoulos.

Personal life

Xylouris met his wife Ourania Melampianakis at a festival in her native village of Venerato, nearby Heraklion, where he was called to perform. The pair only exchanged glances from afar, the local flirtship customs and norms being extremely austere, much more so in their case due to a considerable difference in social status. Ourania was the offspring of an affluent family, while Xylouris was seen as little more than an itinerant musician. Although Cretan society did not enforce strict class segregation per se, pairings that were viewed as socially unequal were frowned upon, and public opinion was certain to object to the prospect of such a union. In the following months, Xylouris would nonetheless serenade Ourania regularly (perform a "Cantada" in the local vernacular), a custom almost all medievally Italian-occupied areas of Greece share (the Ionian Islands being another prime example of the same practice) and which many male youths of Crete would often perform to woo the young ladies they admired. Eventually, Xylouris managed to approach Ourania at a chance encounter and propose to her, and the pair eloped heading for Anogeia where the wedding would occur. Due to the lack of prior consent on her family's side, and although her father did assent to the marriage and did sign off on it, thus averting the potential for a blood feud (aka Cretan Vendetta) between the two families, Ourania was ostracized by her family for the perceived insult of the elopement, and by her own account, that would create a lifelong psychological wound in her which the extremely warm reception she was given at Anogeia could not compensate for. Eventually, Ourania and her family managed to reconcile, after her husband's career took off and his livelihood was secured. The couple had two children, a son named Giorgis (George; Greek: Γεώργιος / Γιώργης) and a daughter named Rinio (Irene; Greek: Ειρήνη / Ρηνιώ) and remained happily married until Xylouris' untimely passing. As rural custom ordains, Ourania has maintained her mourning (Greek: πένθος) ever since, and never remarried. The love story of the couple is often recounted in Greek Media and it echoes in part the great Cretan poetic (epic-lyric) work Erotokritos by Vitsentzos Kornaros, an all-time Cretan folk classic, select verses of which were sung by Xylouris in one of his best-known records, a namesake of the literary work itself.

Illness and death

Nikos Xylouris succumbed to lung cancer and metastasis to the brain after a long battle on 8 February 1980, in Piraeus, Greece. He was interred at the First Cemetery of Athens.

Discography

• Mia mavrofora otan perna — Μια μαυροφόρα όταν περνά (1958)
• Anyfantou — Ανυφαντού (1969)
• O Psaronikos — Ο Ψαρονίκος (1970)
• Mantinades kai Chorοi — Μαντινάδες και χοροί (1970)
• Chroniko — Χρονικό (1970)
• Rizitika — Ριζίτικα (1971)
• Dialeimma — Διάλειμμα (1972)
• Ithagenia — Ιθαγένεια (1972)
• Dionise kalokairi mas — Διόνυσε καλοκαίρι μας (1972)
• O tropikos tis parthenou — Ο τροπικός της Παρθένου (1973)
• O Xylouris tragouda yia tin Kriti — Ο Ξυλούρης τραγουδά για την Κρήτη (1973)
• O Stratis Thalassinos anamesa stous Agapanthous — Ο Στρατής Θαλασσινός ανάμεσα στους Αγάπανθους (1973)
• Perifani ratsa — Περήφανη ράτσα (1973)
• Akoluthia — Ακολουθία (1974)
• To megalo mas tsirko — Το μεγάλο μας τσίρκο (1974)
• Parastaseis — Παραστάσεις (1975)
• Anexartita — Ανεξάρτητα (1975)
• Komentia, i pali chorikon kai vasiliadon — Κομέντια, η πάλη χωρικών και βασιλιάδων (1975)
• Kapnismeno tsoukali — Καπνισμένο τσουκάλι (1975)
• Ta pou theemoumai tragoudo — Τα που θυμούμαι τραγουδώ (1975)
• Kiklos Seferis — Κύκλος Σεφέρη (1976)
• Erotokritos — Ερωτόκριτος (1976)
• I simfonia tis Gialtas kai tis pikris agapis — Η συμφωνία της Γιάλτας και της πικρής αγάπης (1976)
• I eleftheri poliorkimeni — Οι ελεύθεροι πολιορκημένοι (1977)
• Ta erotika — Τα ερωτικά (1977)
• Ta Xylourika — Τα Ξυλουρέικα (1978)
• Ta antipolemika — Τα αντιπολεμικά (1978)
• Salpisma — Σάλπισμα (1978)
• 14 Chrises epitichies – 14 χρυσές επιτυχίες (1978)

Posthumously released material

• Teleftaia ora Kriti — Τελευταία ώρα Κρήτη (1981)
• Nikos Xylouris — Νίκος Ξυλούρης (1982)
• Pantermi Kriti — Πάντερμη Κρήτη (1983)
• O Deipnos o mistikos — Ο Δείπνος ο μυστικός (1984)
• Stavros Xarchakos: Theatrika — Σταύρος Ξαρχάκος:Θεατρικά (1985)
• O Yiannis Markopoulos ston ellinikon kinematografo — Ο Γιάννης Μαρκόπουλος στον ελληνικό κινηματογράφο (1988)
• I synavlia sto Irodeo 1976 (1990) — Η συναυλία στο Ηρώδειο 1976 (1990)
• To chroniko tou Nikou Xylouri — Το χρονικό του Νίκου Ξυλούρη (1996)
• Nikos Xylouris — Νίκος Ξυλούρης (2000)
• I psichi tis Kritis — Η ψυχή της Κρήτης(2002)
• Itane mia fora... — Ήτανε μια φορά...(2005)
• Tou Chronou Ta Girismata — Του Χρόνου Τα Γυρίσματα (2005)
• Itane Mia Fora... Ke Emine Gia Panta! — Ήτανε Μια Φορά... Και Έμεινε Για Πάντα! (2017)

See also

• Music of Crete

External links

• Documentary traces the musical legacy of the great Nikos Xylouris
• Thirty Two Years After the Death Of Cretan Singer Nikos Xylouris
• Nikos Xilouris (Νίκος Ξυλούρης) — The Archangel of Crete
• Nikos Xilouris on YouTube
• Happy Birthday Filedem! Born 100 Years Ago Today