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LIGHT SONG

Light songs

The origin of light song

In late 19th - early 20th century, Greek songs were closely connected to the theatre. Songs were produced to serve the needs of musical comedies, reviews and light operas and borrowed most of their characteristics from European songs.

Given the lack of technology to store and reproduce sound, the theatre represented the main vehicle of transmission to a wide audience. People learned and loved the songs through the theatre and then looked for them in music labels where the scores were published almost immediately. These songs, played on the piano by the gentle hands of young women, were transformed into the protagonists of urban Sunday fiestas.

Thus, the songs created for the needs of the theatre assumed a life of their own. At that particular time, only the Athenian song and serenade (see relevant sections) created independent songs that were performed in taverns and transmitted from one person to the other.

The emergence of technology

When, in mid 1930s, Greece obtained the means to produce records, something that previously could only be done abroad, and the first Radio Station in Athens was created (1938), the scenery began to change. The technical means facilitated the rapid circulation of music and Greek songs began to detach from the theatre. Technology also insured the mass reception of music information from Europe and America.

Influences in Light song - The lyrics

Songs written since the 1920s ceased to have the heavy influence of Italian “Belle canto”. Composers were now more influenced by the French music school, creating skilful songs in melody and harmony, compatible to the romantic ideas of the time that could function as a source of family entertainment. However, in many occasions they did not hesitate to merge these songs with oriental rhythms and motifs borrowed from Greek music, like the 7/8.

However, French songs were not the only influence. From the late 1920s, the Argentinean tango had conquered urban areas Èåüäùñïò Ðáðáäüðïõëïò «Ôé êáçìüò» [1936]. Ôñáãïõäïýí ïé ËïõíôéÜíá êáé ÅëÝíç íôå ÑïæÝ Eldo di Lazzaro – Ë. Êáôóïõñüðïõëïõ «Äõï ìáýñá ìÜôéá» [1937]. Ôñáãïõäïýí ïé ÄáíÜç êáé ÐÜíïò ÂéóâÜñäçò , as well as other Latin-American rhythms , like fox-trot, samba, rumba, etc, thrust the popular waltz aside, while jazz orchestras appeared in luxury entertainment centers. All of those things led to the creation of songs that incorporated a new kind of message.

The lyrics were mainly about love Íßêïò Ãïýíáñçò – Óðýñïò ×áñþíçò «ÃëõêÜ ìïõ ìÜôéá áãáðçìÝíá» [1953]. ÔñáãïõäÜ ï óõíèÝôçò , fun Ãéþñãïò ÌïõæÜêçò – ÍáðïëÝùí Åëåõèåñßïõ «ÈÝëù íá ôá óðÜóù» [1954]. ÔñáãïõäÜ ç ÌÜãéá ÌåëÜãéá , and wine Ìßìçò ÊáôñéâÜíïò – Êþóôáò ÍéêïëáÀäçò «Ðéåò ãëõêü êñáóß» [1933]. Ôñáãïõäïýí ïé Ä. Öéëüðïõëïò êáé Ä. Åõóôáèßïõ.

The theatre and the cinema

The theatre, and especially reviews and light operas, continued to create songs, many of which became major successes. Composers had closely related their songs to theatrical productions. Christos Chaeropoulos represents a characteristic example of composers whose most popular songs came from light operas and were written to serve the needs of several Athenian theatrical companies.

In addition, the emergence of the Greek film industry that began mass production from the early 1950s, created a need for music production. The film industry offered the composers good pay as well as an ideal framework for the process of new music context and ideas Ç åôáéñåßá ÅëëÞíùí Èåáôñéêþí ÓõããñáöÝùí, Ìïõóéêþí êáé Ìåôáöñáóôþí, ôï óõìâïýëéï ôïõ 1950: Áðü áñéóôåñÜ (üñèéïé), Êþóôáò Ãéáííßäçò, ÁóçìÜêçò ÃéáëáìÜò, Ìé÷Üëçò Óïõãéïýë, Ðáíáãéþôçò Ðáðáäïýêáò, Êþóôáò Âåëìüñáò, ×ñÞóôïò Ãéáííáêüðïõëïò, (êáèéóôïß), ÁëÝêïò ÓáêåëëÜñéïò, Ãéþñãïò Ãéáííáêüðïõëïò, ÄçìÞôñçò ÃéáííïõêÜêçò.

Therefore, a whole new category of songs was created, the so called light songs, which addressed the middle and upper social and economical classes Ç ðáñôéôïýñá ôïõ ôñáãïõäéïý «¶óôá ôá ìáëëÜêéá óïõ» (åîþöõëëï) Ç ðáñôéôïýñá ôïõ ôñáãïõäéïý «¶óôá ôá ìáëëÜêéá óïõ» (ðñþôç óåëßäá) Ìé÷Üëçò Óïõãéïýë – ÁëÝêïò ÓáêåëÜñéïò «¶óôá ôá ìáëëÜêéá óïõ» [1951]. Áðü ôçí ôáéíßá ôïõ ÁëÝêïõ ÓáêåëÜñéïõ «Åêåßíåò ðïõ äåí ðñÝðåé í’ áãáðïýí». ÔñáãïõäÜ ï Íßêïò Ãïýíáñçò ÊëÝùí Ôñéáíôáöýëëïõ Þ Áôôßê «Ôá ôåëåõôáßá ãéáóåìéÜ» [1943]. Áðü ôçí ôáéíßá ôïõ ÁíäñÝá Ëáìðñéíïý «Ôçò ìéáò äñá÷ìÞò ôá ãéáóåìéÜ». Ôñáãïõäïýí ï ÏñÝóôçò ÌáêñÞò êáé ç ÔæÝíç ÂÜíïõ

The composers

Many significant composers appeared in that time, among who were:

  1. Kleon Triantafyllou, also known as Attik (Athens 1885 – 1944) «Ï ÊëÝùí Ôñéáíôáöýëëïõ Þ Áôôßê óôï ðéÜíï» ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ï Áôôßê ôñáãïõäÜ ìå êÜðïéåò êïðÝëåò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ «Éóôïñßåò ôñáãïõäéþí». Ôï ðñüãñáììá ôçò ìïõóéêÞò ðáñÜóôáóçò – äéÜëåîçò ðïõ Ýäùóå ï Áôôßê ôï 1944 ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ «Ï äéáâÜôçò ôçò æùÞò – Åîþöõëëï ðáñôéôïýñáò» ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ «Ï äéáâÜôçò ôçò æùÞò – Ç ðáñôéôïýñá» ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÊëÝùí Ôñéáíôáöýëëïõ Þ Áôôßê «ÖáëçñÜêé» [1928]. ÔñáãïõäÜ ï Ãéþñãïò ÓáâáñÞò Öùôü: «ÖáëçñÜêé - Åîþöõëëï ðáñôéôïýñáò» ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÊëÝùí Ôñéáíôáöýëëïõ Þ Áôôßê «ÆçôÜôå íá óáò ðù» [1930]. ÔñáãïõäÜ ç ÆùÞ ÌÜãêïõ Öùôü: «ÆçôÜôå íå óáò ðù - Ç ðáñôéôïýñá» ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÊëÝùí Ôñéáíôáöýëëïõ Þ Áôôßê «Ï äéáâÜôçò ôçò æùÞò» [1932]. ÔñáãïõäÜ ï Íéêüëáò Ìïó÷ïíÜò ÊëÝùí Ôñéáíôáöýëëïõ Þ Áôôßê «ÌáñáìÝíá ôá ãéïýëéá êé ïé âéüëåò» [1935]. ÔñáãïõäÜ ç ÊÜêéá ÌÝíäñç
  2. Antonis Vottis (Athens 1890; - 1970) Ï Áíôþíçò Âþôôçò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Áíôþíçò Âþôôçò «ÊáôéíÜêé ìïõ» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Áíôþíçò Âþôôçò «ÊáôéíÜêé ìïõ» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Áíôþíçò Âþôôçò – Ëüëá Âþôôç «Ôçò êéèÜñáò ôï êëÜìá» [1930]. ÔñáãïõäÜ ï Ìé÷Üëçò ÈùìÜêïò
  3. Grigoris Konstantinidis (Phillipoupoli 1893 - Athens 1979) Ãñçãüñçò Êùíóôáíôéíßäçò «Äåí óå ÷ïñôáßíù» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ãñçãüñçò Êùíóôáíôéíßäçò «Äåí óå ÷ïñôáßíù» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ãñçãüñçò Êùíóôáíôéíßäçò «¼ëá ðåñíïýí óôïí êüóìï áõôü» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ãñçãüñçò Êùíóôáíôéíßäçò – Êþóôáò Êïöéíéþôçò «Ìéá íý÷ôá óáí áðüøå» [1937]. ÔñáãïõäÜ ç ÅëÝíç íôå Ñüæå Ãñçãüñçò Êùíóôáíôéíßäçò – Óðýñïò ÌåôáîÜò «Ãõíáßêåò üìïñöåò» [1936]. Ôñáãïõäïýí ïé ÐÝôñïò ÅðéôñïðÜêçò êáé ×. ÅõèõìéÜäïõ
  4. Iosiph Ritsiardis (Corfu 1896 - 1979)  Ï ÉùóÞö ÑéôóéÜñäçò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÉùóÞö ÑéôóéÜñäçò «ÐÜíôá óå èõìÜìáé» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÉùóÞö ÑéôóéÜñäçò «ÐÜíôá óå èõìÜìáé» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÉùóÞö ÑéôóéÜñäçò – Êþóôáò Íéêïëáúäçò «Ìçí êëáéò ìïõôóÜôóá» [1951]. ÔñáãïõäÜ ç Êïýëá Íéêïëáúäïõ ÉùóÞö ÑéôóéÜñäçò «ÔçëåöþíçóÝ ìïõ». Áðüóðáóìá áðü ôçí ôáéíßá ôïõ Ãéþñãïõ Ëáæáñßäç «Ï ìðáìðÜò åêðáéäåýåôáé» [1953]. ÔñáãïõäÜ ç Æùæþ ÓáðïõíôæÜêç
  5. Kostas Giannidis (Smyrna 1903 - Athens 1984) «Ï Êþóôáò Ãéáííßäçò» ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Êþóôá Ãéáííßäç – Âáóßëç Óðõñüðïõëïõ êáé Ðáíáãéþôç Ðáðáäïýêá «Ëßãá ëïõëïýäéá áí èÝëåéò óôåßëå ìïõ» [1940]. Ôñáãïõäïýí ï Íßêïò Ãïýíáñçò êáé ôï Ôñßï ÌÝëïíôé Êþóôá Ãéáííßäç – ÁëÝêïõ ÓáêåëÜñéïõ êáé ×ñÞóôïõ Ãéáííáêüðïõëïõ «ÐÜìå óáí Üëëïôå» [1948]. ÔñáãïõäÜ ç Êïýëá Åõóôñáôïðïýëïõ Êþóôá Ãéáííßäç «Íá ãéáôß áêüìá ó’ áãáðþ» [1938]. ÔñáãïõäÜ ç Óïößá ÂÝìðï who was also involved in “scholarly” music using his real name, Giannis Konstantinidis.
  6. Yiannis Kyparissis (Piraeus 1906) ÃéÜííçò Êõðáñßóóçò «Åãþ äåí åßìáé ìðåêñÞò» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÃéÜííçò Êõðáñßóóçò «Åãþ äåí åßìáé ìðåêñÞò» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÃéÜííçò Êõðáñßóóçò «Ìå äõï êñáóéÜ» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÃéÜííçò Êõðáñßóóçò «Ìå äõï êñáóéÜ» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ãéþñãïò Êõðáñßóóçò – ×ñÞóôïò Ãéáííáêüðïõëïò «Ôï ðñùß ìå îõðíÜò ìå öéëéÜ» [1940]. ÔñáãïõäÜ ç Óïößá ÂÝìðï
  7. Michalis Sougioul (Aydin 1906 - Athens 1958) Ï Ìé÷Üëçò Óïõãéïýë ìå êÜðïéï ößëï ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ «Ï Ìé÷Üëçò Óïõãéïýë» ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ç ðáñôéôïýñá ôïõ ôñáãïõäéïý «ÁãÜðç ìïõ ãéá óÝíá» (åîþöõëëï) Ç ðáñôéôïýñá ôïõ ôñáãïõäéïý «ÁãÜðç ìïõ ãéá óÝíá» (ðñþôç óåëßäá) Ìé÷Üëçò Óïõãéïýë – Íßêïò ÖáôóÝáò «Ãéá ìáò êåëáçäïýí ôá ðïõëéÜ». ÔñáãïõäÜ ï Íßêïò Ãïýíáñçò
  8. Mimis Katrivanos (Athens 1906 - 1972) «Ï Ìßìçò ÊáôñéâÜíïò ìå ôçí ¶ííá ÊáëïõôÜ» ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ìßìçò ÊáôñéâÜíïò «Åóý ‘óáé êüììáôïò» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ìßìçò ÊáôñéâÜíïò «Åóý ‘óáé êüììáôïò» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ìßìçò ÊáôñéâÜíïò – ×ñÞóôïò Ãéáííáêüðïõëïò «¸ëá ìéá íý÷ôá í’ áëçôÝøïõìå». Ôñáãïõäïýí ×ñõóïýëá Óôßíç êáé Öþôçò ÐïëõìÝñçò Ìßìçò ÊáôñéâÜíïò «¼ìïñöç êïðÝëá» [1933]. ÔñáãïõäÜ ï Íßêïò Ðåñäßêçò
  9. Christos Chaeropoulos (Athens 1909 - 1992) Ï ×ñÞóôïò ×áéñüðïõëïò óôï ðéÜíï Ý÷ïíôáò äåîéÜ ôïõ ôïí ÐÝôñï ÅðéôñïðÜêç êáé áñéóôåñÜ ôïõ ôïõò Êþóôá Ìé÷áçëßäç êáé ÃéÜííç Êõðáñßóóç ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ×ñÞóôïò ×áéñüðïõëïò «Ãåéá óïõ» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ×ñÞóôïò ×áéñüðïõëïò – ×ñÞóôïò Ãéáííáêüðïõëïò «Øáñïðïýëá» [1942]. ÔñáãïõäÜ ç ÄáíÜç ×ñÞóôïò ×áéñüðïõëïò «Ìçí ãåëÜò üôáí óôåíÜæù» [1936]. ÔñáãïõäÜ ï ÄçìÞôñçò Öéëéððüðïõëïò
  10. Yiannis Vellas (1909 - 1999) ÃéÜííçò ÂÝëëáò – Êþóôáò Êïöéíéþôçò «Åßìáé åñùôåõìÝíïò ìå ôá ìÜôéá óïõ». ÔñáãïõäÜ ç ×ñõóïýëá Óôßíç ÃéÜííçò ÂÝëëáò – Êþóôáò Êïöéíéþôçò «Ðïéá êáñäéÜ äåí Ý÷åé êëÜøåé» [1937]. Ôñáãïõäïýí ïé ÁããÝëá Ëõêéáñäïðïýëïõ êáé ÐÜíïò ÂéóâÜñäçò
  11. Nicky Jiakovlev (Russia 1910 - 1981) Íßêõ ÃéÜêïâëåö – Êþóôáò Íéêïëáúäçò «ÊáðåôÜíéå – êáðåôÜíéå» [1948]. ÔñáãïõäÜ ï ÐÜíïò ÓÜìçò
  12. Leo Rapitis (Athens 1912 – Congo 1957) Ëåü Ñáðßôçò «Ëüíôñá, Ðáñßóé, ÁèÞíá» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ëåü Ñáðßôçò «Ëüíôñá, Ðáñßóé, ÁèÞíá» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ëåü Ñáðßôçò – Ôñáúöüñïò Ìßìçò «¼ëá ìïõ ãåëïýóáí» [1947]. ÔñáãïõäÜ ç Óïößá ÂÝìðï Ëåü Ñáðßôçò – Ôñáúöüñïò Ìßìçò «ÓâÞóå ôï öùò» [1946]. ÔñáãïõäÜ ç Óïößá ÂÝìðï
  13. Alekos Spathis (Edessa 1915 - Athens 1970) ÁëÝêïò ÓðÜèçò – Ãéþñãïò Ïéêïíïìßäçò «Ãéá ìéá êéèáñßôóá» [1950]. ÔñáãïõäÜ ôï Ôñßï ÊéôÜñá ÁëÝêïò ÓðÜèçò – Ãéþñãïò Ïéêïíïìßäçò «ÂñÞêá Ýíáí Ýñùôá ðéóôü». Ôñáãïõäïýí ç Ìáßñç Ìïíô êáé ôï Ôñßï ÌðåëêÜíôï
  14. Nikos Gounaris (Zagora, Pelion 1915 - Athens 1965) Íßêïò Ãïýíáñçò «¸íá âñÜäõ ðïõ ‘âñå÷å» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Íßêïò Ãïýíáñçò «¸íá âñÜäõ ðïõ ‘âñå÷å» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Íßêïò Ãïýíáñçò «¼ôáí ãåëÜò». ÔñáãïõäÜ ôï Ôñßï ÊéôÜñá êáé ï óõíèÝôçò Íßêïò Ãïýíáñçò – Êþóôáò Êïöéíéþôçò «Ðïéïò óå ðÞñå êáé ìïõ ‘öõãåò». ÔñáãïõäÜ ï óõíèÝôçò
  15. Takis Morakis (Athens 1916 - 1991) ÔÜêçò ÌùñÜêçò «Ôé åßíáé áõôü ðïõ ôï ëÝíå áãÜðç» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÔÜêçò ÌùñÜêçò «Ôé åßíáé áõôü ðïõ ôï ëÝíå áãÜðç» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÔÜêçò ÌùñÜêçò – Êþóôáò Êïöéíéþôçò «Ìüíï êïíôÜ óïõ» [1938]. Ôñáãïõäïýí ïé Óþôïò Ðáíáãüðïõëïò êáé ÔæÝíç ×áñßôïõ ÔÜêçò ÌùñÜêçò «ÌÝóá ìïõ ç áãÜðç». Áðüóðáóìá áðü ôçí êéíçìáôïãñáöéêÞ ôáéíßá ôïõ Êþóôá Áíäñßôóïõ «Ìáñßá ç Ðåíôáãéþôéóá» [1957]. ÔñáãïõäÜ ç Áëßêç ÂïõãéïõêëÜêç
  16. Fotis Polymeris (Patra 1920) «Ï Öþôçò ÐïëõìÝñçò óå íåáñÞ çëéêßá» Öþôçò ÐïëõìÝñçò «ÃÝëá áãÜðá êáé ôñáãïýäá» [1948]. ÔñáãïõäÜ ï óõíèÝôçò
  17. Giorgos Mouzakis (Athens 1922 - 2005) Ãéþñãïò ÌïõæÜêçò «Ìáñßá» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Ãéþñãïò ÌïõæÜêçò – Êþóôáò ÌÜíåóçò «¼ôé óôïí êüóìï æçôÜò» [1949]. ÔñáãïõäÜ ç ËÝíá ÐáôåñÜêç Ãéþñãïò ÌïõæÜêçò – Êþóôáò Êïöéíéþôçò «Åãþ èá ó’ áãáðþ êáé ìç óå íïéÜæåé» [1948]. ÔñáãïõäÜ ï Ôüíçò Ìáñïýäáò Ãéþñãïò ÌïõæÜêçò – ÁëÝêïò ÓáêåëëÜñéïò «Ôï ìïíïðÜôé». ÔñáãïõäÜ ç ÌÜãéá ÌåëÜãéá
  18. Theodoros Papadopoulos (Constantinople - Athens 1964) Èåüäùñïò Ðáðáäüðïõëïò «ÂãÜëå ôç ìÜóêá óïõ» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Èåüäùñïò Ðáðáäüðïõëïò «ÂãÜëå ôç ìÜóêá óïõ» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Èåüäùñïò Ðáðáäüðïõëïò – Êþóôáò Êéïýóçò «Ðáßîå ðëáêéþôéêç êéèÜñá» [1951]. Ôñáãïõäïýí ïé Ð. ÂéóâÜñäçò êáé Ì. ÓôñÝç Èåüäùñïò Ðáðáäüðïõëïò «Ãéáôß ôñåëÜ íá ó’ áãáðÞóù» [1936]. Ôñáãïõäïýí ïé ÐÝôñïò êáé Áëßêç ÅðéôñïðÜêç
  19. Lola Votti Ëüëá Âþôôç «ÑåæåíôÜ» [1931]. ÔñáãïõäÜ ï ÄçìÞôñçò Öéëéððüðïõëïò
  20. Zozeph Korinthios ÆïæÝö Êïñßíèéïò «Óôçí ôáâÝñíá» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ ÆïæÝö Êïñßíèéïò – ÔÜóïò Ëåéâáäßôçò «Êáé ñùôÜù ôá êýìáôá» [1955]. ÔñáãïõäÜ ï Íßêïò Ãïýíáñçò ÆïæÝö Êïñßíèéïò – Íßêïò ÖáôóÝáò «Óôï ÐáæÜñé» [1951]. ÔñáãïõäÜ ï Íßêïò Ãïýíáñçò
  21. Giorgos Myrogiannis Ãéþñãïò ÌõñïãéÜííçò – Íßêïò ÖáôóÝáò «Ðùò íá ìçí ó’ áãáðþ» [1954]. ÔñáãïõäÜ ï Ãéþñãïò ËïõêÜò Ãéþñãïò ÌõñïãéÜííçò – ÃéÜííçò ÖåñìÜíïãëïõ «Ôé ôá èåò ôé ôá ãõñåýåéò» [1950]. ÔñáãïõäÜ ï Ãéþñãïò ËïõêÜò
  22. Spyros Ollandezos Óðýñïò ÏëëáíäÝæïò «Ôï ãåëåêÜêé» - Åîþöõëëï ðáñôéôïýñáò ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Óðýñïò ÏëëáíäÝæïò «Ôï ãåëåêÜêé» - Ç ðáñôéôïýñá ÁÑ×ÅÉÏ ÈÅÁÔÑÉÊÏÕ ÌÏÕÓÅÉÏÕ Óðýñïò ÏëëáíäÝæïò – ÃéÜííçò Èåïäùñßäçò «Ôï ãåëåêÜêé» [1932]. Ôñáãïõäïýí ïé ÄçìÞôñçò Öéëéðüðïõëïò êáé Ä. Åõóôáèßïõ
  23. Sosos Ioannidis Óþóïò Éùáííßäçò – Êþóôáò Êïöéíéþôçò «Ìðñïò óôï ñïëüé» [1935]. ÔñáãïõäÜ ï Êþóôáò ÌáíéáôÜêçò
  24. Angelos Martino ¶ããåëïò Ìáñôßíï – ÄçìÞôñçò ÃéáííïõêÜêçò «Èá óôï ðù ôï ìõóôéêü ìïõ» [1937]. Ôñáãïõäïýí ïé ÁããÝëá Ëõêéáñäïðïýëïõ êáé ÄáíÜç Óôñáôçãïðïýëïõ ¶ããåëïò Ìáñôßíï – Âáóßëçò Óðõñüðïõëïò «Ïé ãõíáßêåò åßíáé üëåò ßäéåò» [1933]. Ôñáãïõäïýí ïé ÄçìÞôñçò Öéëéðüðïõëïò êáé Ä. Åõóôñáôßïõ