She was She had been suffering from diabetes and its eyesight and circulatory system complications for many years. In , both of her legs were amputated below the knees. A pre-eminent American singer who brought a classic sense of musical proportion and balance to everything she touched, Miss Fitzgerald won the sobriquet "first lady of song" and earned the unqualified admiration of most of her peers. Mel Torme hailed her as having "the best ear of any singer ever.
In a career that spanned six decades, Miss Fitzgerald stood above the emotional fray of the scores of popular standards she performed. Stylistically she was the polar opposite of her equally legendary peer, Billie Holiday, who conveyed a wounded vulnerability. Even when handed a sad song, Miss Fitzgerald communicated a wistful, sweet-natured compassion for the heartache she described.
Where Holiday and Frank Sinatra lived out the dramas they sang about, Miss Fitzgerald, viewing them from afar, seemed to understand and forgive all. Her apparent equanimity and her clear pronunciation, which transcended race, ethnicity, class and age, made her a voice of profound reassurance and hope. Bursa had a sizeable Greek population prior to the Asia Minor catastrophe of There is no record of her having recorded in the United States.
At some point, she returned to Greece, where she died in Kanaropoulou recorded Neva Manes in Athens in December In classical makam theory by which I mean Turkish and Arabic , Ussak referred to as Bayyati in Arabic has a microtone as its second. More specifically, the second is flatted, but instead of a half step, what you get is a note that is somewhere between a half step and a whole step. Greek music eventually evolved away from microtones, so that the Greek version of Ussak has a simple half step between the first and second.
It looks like this:In reality, many Greek songs in makam Ussak compensate for the loss of the microtone by including both a natural second and a flatted second, as if to approximate the microtone, which lies somewhere in between. In Neva Manes, Kanaropoulou and her accompanists Dimitris Ladopoulos on violin with an unknown oud player whom Outiboy is convinced is Agapios Tomboulis follow the classical version of Ussak, not the version of the makam that eventually became prevalent in Greek music.
The second is neither a half step nor a whole step. The effect is to create a wonderful tension within the melody. During the interwar period it was common for Greek artists, who were well versed in classical makam theory, to set their melodies within the true versions of the makams—that is, the versions that included the microtones. This is what they knew. To complicate matters, however, Neva Manes also throws in an occasional microtone as the sixth.
In Neva Manes, Ladopoulos sometimes plays the sixth slightly sharp.Για το καλό φαγητό στα περισσότερα ρεστοράν και ταβέρνες της πόλης. 7. Για τα απίστευτα γλυκά της: Bravo.