Up until the appearance of discography in Greece, the main field in which “elafro” (“light style”) Greek music was being heard was the theater. The role of the revue (but also of the operetta, until its declining years) in the dissemination of songs would continue to be considerable for many more years, in parallel with discography, as the latter was taking its first slow steps. The prospect of a recording career, of course, intensified the efforts of composers and lyricists to create new songs. And as time went on, this perspective became their main ambition, even when a song of theirs was written for or was launched from the stage of a revue play.
...The musical face of the material is determined by the attachment not only to the spirit but also to the letter of Western European entertainment music in the context of the well-known attempt to approach European urban culture. Regarding the themes of the first songs registered in “elafro”’s discography, references from earlier Athenian music were still there (romanticism, wine, tavern, women), but this particular genre became more and more open to various sentimental cases that had the potential of also approaching younger audiences. There was generally an atmosphere of romantic escapism that one could say rather counteracted the intensity of Argentine tangos and other seasonal dance rhythms that were being introduced from time to time in the Athenian entertainment scene. “Eros” (“Love”) is fundamentally romantic but, as the revue and operetta stages was getting more and more open to the mores of the time, extremely... spicy (for the perceptions of the day) songs started to slowly make their appearance.
Gyrna
(Reviens)
Musical Scores / Παρτιτούρες 1934, Athens, Anysios M.