Written by Sotiris Bekas
In the mid-1980s, with over four decades of activity behind them, the French Laboratory for Languages and Cultures in Oral Traditions at C.N.R.S. (the National Center for Scientific Research in Paris) decided to send a team to Zagori, in Epirus, Greece. Their mission was to record the first official (as unofficial recordings already existed) album documenting “Takoutsia,” a group that dominated the region and was primarily composed of members of the Kapsalis family.
As we learn from the valuable notes accompanying the album, titled “Takoutsia, Musiciens de Zagori – Gréce – Épire,” this was also the group’s final public appearance. Zoulis Kapsalis had already retired, though he played on the track “When the Branches Bloom.” The other two veterans, Kostas and Spyros Kapsalis, were performing less frequently by then. In contrast, Grigoris Kapsalis, significantly younger than the others, was fully active. By the 1980s, he was widely recognized as one of Zagori’s finest musicians. Today, at the remarkable age of 95, Grigoris Kapsalis is rightfully considered a historic musical figure who left an indelible mark on this repertoire with his playing and contributions.
For many reasons, the album “Takoutsia, Musiciens de Zagori – Gréce – Épire” is an important recording. The project was led by the esteemed Franco-Jewish ethnomusicologist Simha Arom, whose extensive and globally renowned work focuses on the musical traditions of Central Africa. The choice of such a distinguished leader underscores how highly the National Center for Scientific Research valued this project.
And rightly so. The Kapsalis family, and specifically the Takoutsia ensemble—founded before World War II by Kostas, Spyros, and Zoulis Kapsalis—preserved and disseminated a particularly rich repertoire over the years. In their time, they were considered (and rightly so) the custodians of Zagori’s musical tradition.
A particularly illustrative narrative comes from Grigoris Kapsalis himself, shared in 2013 with Metronomos magazine and the author of this article:
“I worked with Takoutsia for about 25 years until they stopped performing. Takoutsia literally means the children of Takis. Three brothers and a cousin—all Kapsalises. Though we were distant relatives, I was included as well. They guided me on how to behave in musical interpretation. It was different here in Zagori than what I brought from Agrinio. The elders used to tell me, ‘When we’re on the stage, all eyes are on us. No gestures are allowed. We had a clean handkerchief, the clarinet on our trousers, and we played with poise.’ I recognize that they were teachers in terms of behavior. Once, during a wedding, as the newlyweds danced in the village square, Kostas, holding the violin, said to me, ‘What kind of playing is that? Are you entertaining the soles of their shoes? Lift the clarinet and play it up here.’ I felt shy. How could I raise the clarinet like that? ‘And if someone comes close, play it right into their ear,’ he continued. These were attitudes I was unfamiliar with at the time, but I learned. They had so much professionalism…”
The recording “Takoutsia, Musiciens de Zagori – Gréce – Épire” showcases three categories of Epirus’s musical tradition: lament songs (Moiroloi), dance music, and drinking songs. While all performances are exceptional, the Moiroloi stands out. This track opens the album, an unusual choice given its somber tone. However, Epirus’s tradition explains this: every significant event in the “land of pentatonic scales” begins with a Moiroloi, honoring those who have passed. Moreover, it is in a Moiroloi that a musician’s skill and creativity can truly shine.
Indeed, in the 22 minutes and 55 seconds of this extraordinary recording, the listener is treated to a musical masterpiece. Rich in improvisation—not chaotic but serving as a storyteller of drama and catharsis—it is a gift for anyone seeking a profound understanding of Epirus’s musical phrasing and expression. Like all great works of art, each listening reveals new layers of emotion and personal resonance.
