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At the beginning of the 20th century, Europe is living in peace and prosperity. The “Belle Époque” is an outgrowth of previous important historical events and developments. The networks that are created and which evolve funnel both people and their products, tangible and intangible. It is within this multi-layered world that sound recording and sound reproduction is invented. Early record labels send mobile crews literally all over the world to record local musicians. The range of the repertoire is endless. Cosmopolitanism in large urban centers favors polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also circulations in all kinds of commercial channels in a world that evolves dynamically and anisotropically, form a complex network of “centers” and “peripheries” in alternating roles setting musical idioms in motion, both literally and figuratively. The networks in which the Greek-speaking musics participate, constantly conversing with their co-tenants, are magnificent. Discography has already provided important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.
The relevant evidence demonstrates the musical exchanges between the Balkan repertoires and elucidate an ecumene where everyone contributed to the great musical “melting-pot”, and where everyone may draw from it, as well as redeposit it, in a new form, with a reformulated text and its meaning, with sometimes clear and sometimes blurred references to its pre-text, until someone else pulls it out again, through the “melting-pot”, so that it becomes clear that there is no end in this recreational and dynamic process where fluidity prevails. One such case is this recording "Chasapiko Politiko argo".
According to the findings so far, the tune appears seven times in Greek historical discography under the following titles:
– “Chasapiko (Politiko)”, Unknown performers, New York, 1919 (Constantinople Record 463-1 – 4009-B).
– “Chasapiko”, Giannis Kyriakatis (clarinet), Athens, 1928 (Odeon Go 581-2 – GA-1368)
– “Chasapikos”, Trio Alexandris, Zervas and Agrios, New York, October 16, 1928 (OKeh W-500032 – 82531)
– “Chasapiko Politiko”, Popular Orchestra with harmonica, Athens, 1930 (Parlophon 101136 – B-21555-ΙΙ)
– “Chasapiko Politiko argo”, Popular Orchestra with harmonica, Athens, May 12, 1931 (His Master's Voice OW-94 – AO-1012). This is the present recording, which is one of the recordings made by "The Gramophone Co Ltd" in Athens between May 11 and June 14, 1931, led by sound engineer Arthur Douglas Lawrence.
– “Chasapiko Politiko”, V. Androutsopoulos (Psareos) [violin], K. Vourloumis (banjo), Unknown (piano), USA, 1949 (Oliver OL-101 – 5A)
– “Politikos chasapikos”, Jerry Vlesmas (clarinet), Tony Stevens, H. Cosmetos, USA, 1955 (Ariston 249-B)
As usual, both the form and the style of the melodies and harmony can be found in a variety of repertoires, the relationships of which have already been documented for a number of musical tunes in discography (see for example "Chasapiko Politiko", "Nina" and "Aeroplano tha paro"). In this particular case, with the first-basic theme as a starting and common point, multiple variations, edits, recompositions, reconstructions and assemblies of tunes, forms, and adaptations of these, arise. Thus, in the wider geographical area of Macedonia, one can find the tune known as "Kasapsko oro" (khoro or choro). In Alan Kelly's database, it appears that the first recording with this title was made in Sofia on September 1, 1910 (Gramophone 11300 - 18241) by Pulio Zurladzhiya. As there are other tunes with the same title in discography, we are not in a position to know if this first recording in Kelly’s database is about the same piece.
We also find the tune as "Bŭlgarsko kasapsko khoro" (Българско касапско хоро 1), recorded by Mr. D. Stoyanoff in 1919 or 1920 in New York (Columbia 85327 – E4708). In the recording, another musical theme that appears on Greek discography under titles such as "Serviko", «Choros Chasapikos» can also be heard from about 2′ 09″.
In 1948, in the USA, the Kime Nanchoff Orchestra recorded "Kasapsko Horo" [record made by RCA-Victor (QB-6361–1-D8 No. 5)]. As one can read on the website "Библиотека "Струмски", the clarinetist Kime Nanchoff (Киме Нанчов, 1902-1993) "was born in the village of Kriveni located in the Municipality of Resensko in North Macedonia" and "was a prominent Macedonian-Bulgarian musician and activist of the MPO (Macedonian Patriotic Organization)". For more about Nanchoff see here.
From the findings in discography, it is clear that the tune is still active in the repertoire related to the wider Balkan region, constantly producing new performances and arrangements. The appearance of the tune in multiple performative environments, which determine its performative and, ultimately, overall aesthetic identity, is of great interest:
- "Kasapsko Oro", Ansambl Čalgija, in the record "Kaži Jano, Kaži Dušo", Jugoton – LPY-61294, 1976.
- "Kasapsko Oro", Vlatko Stefanovski (spanish guitar), Miroslav Tadic (spanish guitar), Theodosii Spassov (kaval), Swapan Chaudhuri (tabla) (concert in Zagreb 2007, uploaded on YouTube in 2010).
- "Butcher's Air", New York Gypsy All Stars (uploaded on YouTube in 2010).
- "Kasapsko Oro", Ampe & Despina Band (uploaded on YouTube in 2023).
It is worth noting the communication with the Ashkenazi repertoire. The book Jewish Instrumental Folk Music – The Collections and Writings of Moshe Beregovski, edited by Mark Slobin, Robert Rothstein, and Michael Alpert (2001), includes transcriptions from Skotshne (numbers 54 and 116), i.e., tunes associated with Eastern Ashkenazi dances. The first pattern we are interested in is transformed at the beginning of these Skotshnes.
In 1956, the American composer of Armenian origin Allan Hovhaness [Alan Vaness Chakmakjian (Աական Հայիկան Պայաներեն), Somerville, Massachusetts, March 8, 1911 – Seattle, June 21, 2000] completed his work "Seven Greek Folk Dances, Op. 150". Hovhaness, who considered the Greek painter Ermolaos Ionidis (better known as Hermon di Giovannno) as his spiritual teacher while visiting Greece in the period 1953 – 1955, arranged seven Greek dances for harmonica and strings (or piano): 1. Hassapiko, 2. The Selybrian Syrtos, 3. Sweet Basil Green, 4. Karagouna, 5. Tsaconian dance, 6. Pastoral, 7. Sousta. The first, entitled "Hassapiko" draws material from the tune we are examining. The work was presented in 1958 in Berlin by John Sebastian, harmonica, and Renato Josi, piano (see here), in 2001 in Athens by Christos Zerbinos, accordion, and the Athens String Orchestra conducted by Lefteris Kalkanis (see here), in 2003 in Tokyo by the Japanese Joe Sakimoto, harmonica, and Haruki Mino, piano (see here), and in 2013 in Milan by the Italian Gianluca Littera, harmonica, and the Orchestra Stesichoros conducted by Francesco Di Mauro (see here).
The tune, however, also appears in Dutch discography. The Dutch composer Derek Laren (Elsa Antonia de Groot, Amsterdam, December 19, 1919 – May 29, 1994) is inspired by this tune and writes the 1′ 22″ song under the title "Hassapicos". The instrumental song was recorded in 1963 in London by the London Studio Orchestra conducted by Hugh Granville. It is included, along with the instrumental song "Danse Saharienne" by British composer H.M. Farar, on a 78-rpm record (DW-2760-A – D.W. 2760 A) by the library music publisher and record label Music De Wolfe (see here).
Finally, various parts from the multiple expressions of this tune seem to communicate with other "puzzles" of motifs, such as for example, the song "Tatavliano chasapiko" by Loukianos Kavvadias, or the song "Servikaki" by Spyros Peristeris, from the Greek repertoire, which, in turn, also communicate with tunes from other repertoires, such as, for example, the Turkish song "Kasap Havası", a Bulgarian "Касапско хоро", or with the repertoire of the zurna and tunes such as the Turkish piece "Kasap", or the "chasaposervikos" from the city of Serres in Greece.
(Many thanks to Josh Horowitz, Joel Rubin, Martin Schwartz and Ilya Saitanov for their advice and information.)
Research and text: Leonardos Kounadis and Nikos Ordoulidis
At the beginning of the 20th century, Europe is living in peace and prosperity. The “Belle Époque” is an outgrowth of previous important historical events and developments. The networks that are created and which evolve funnel both people and their products, tangible and intangible. It is within this multi-layered world that sound recording and sound reproduction is invented. Early record labels send mobile crews literally all over the world to record local musicians. The range of the repertoire is endless. Cosmopolitanism in large urban centers favors polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also circulations in all kinds of commercial channels in a world that evolves dynamically and anisotropically, form a complex network of “centers” and “peripheries” in alternating roles setting musical idioms in motion, both literally and figuratively. The networks in which the Greek-speaking musics participate, constantly conversing with their co-tenants, are magnificent. Discography has already provided important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.
The relevant evidence demonstrates the musical exchanges between the Balkan repertoires and elucidate an ecumene where everyone contributed to the great musical “melting-pot”, and where everyone may draw from it, as well as redeposit it, in a new form, with a reformulated text and its meaning, with sometimes clear and sometimes blurred references to its pre-text, until someone else pulls it out again, through the “melting-pot”, so that it becomes clear that there is no end in this recreational and dynamic process where fluidity prevails. One such case is this recording "Chasapiko Politiko argo".
According to the findings so far, the tune appears seven times in Greek historical discography under the following titles:
– “Chasapiko (Politiko)”, Unknown performers, New York, 1919 (Constantinople Record 463-1 – 4009-B).
– “Chasapiko”, Giannis Kyriakatis (clarinet), Athens, 1928 (Odeon Go 581-2 – GA-1368)
– “Chasapikos”, Trio Alexandris, Zervas and Agrios, New York, October 16, 1928 (OKeh W-500032 – 82531)
– “Chasapiko Politiko”, Popular Orchestra with harmonica, Athens, 1930 (Parlophon 101136 – B-21555-ΙΙ)
– “Chasapiko Politiko argo”, Popular Orchestra with harmonica, Athens, May 12, 1931 (His Master's Voice OW-94 – AO-1012). This is the present recording, which is one of the recordings made by "The Gramophone Co Ltd" in Athens between May 11 and June 14, 1931, led by sound engineer Arthur Douglas Lawrence.
– “Chasapiko Politiko”, V. Androutsopoulos (Psareos) [violin], K. Vourloumis (banjo), Unknown (piano), USA, 1949 (Oliver OL-101 – 5A)
– “Politikos chasapikos”, Jerry Vlesmas (clarinet), Tony Stevens, H. Cosmetos, USA, 1955 (Ariston 249-B)
As usual, both the form and the style of the melodies and harmony can be found in a variety of repertoires, the relationships of which have already been documented for a number of musical tunes in discography (see for example "Chasapiko Politiko", "Nina" and "Aeroplano tha paro"). In this particular case, with the first-basic theme as a starting and common point, multiple variations, edits, recompositions, reconstructions and assemblies of tunes, forms, and adaptations of these, arise. Thus, in the wider geographical area of Macedonia, one can find the tune known as "Kasapsko oro" (khoro or choro). In Alan Kelly's database, it appears that the first recording with this title was made in Sofia on September 1, 1910 (Gramophone 11300 - 18241) by Pulio Zurladzhiya. As there are other tunes with the same title in discography, we are not in a position to know if this first recording in Kelly’s database is about the same piece.
We also find the tune as "Bŭlgarsko kasapsko khoro" (Българско касапско хоро 1), recorded by Mr. D. Stoyanoff in 1919 or 1920 in New York (Columbia 85327 – E4708). In the recording, another musical theme that appears on Greek discography under titles such as "Serviko", «Choros Chasapikos» can also be heard from about 2′ 09″.
In 1948, in the USA, the Kime Nanchoff Orchestra recorded "Kasapsko Horo" [record made by RCA-Victor (QB-6361–1-D8 No. 5)]. As one can read on the website "Библиотека "Струмски", the clarinetist Kime Nanchoff (Киме Нанчов, 1902-1993) "was born in the village of Kriveni located in the Municipality of Resensko in North Macedonia" and "was a prominent Macedonian-Bulgarian musician and activist of the MPO (Macedonian Patriotic Organization)". For more about Nanchoff see here.
From the findings in discography, it is clear that the tune is still active in the repertoire related to the wider Balkan region, constantly producing new performances and arrangements. The appearance of the tune in multiple performative environments, which determine its performative and, ultimately, overall aesthetic identity, is of great interest:
- "Kasapsko Oro", Ansambl Čalgija, in the record "Kaži Jano, Kaži Dušo", Jugoton – LPY-61294, 1976.
- "Kasapsko Oro", Vlatko Stefanovski (spanish guitar), Miroslav Tadic (spanish guitar), Theodosii Spassov (kaval), Swapan Chaudhuri (tabla) (concert in Zagreb 2007, uploaded on YouTube in 2010).
- "Butcher's Air", New York Gypsy All Stars (uploaded on YouTube in 2010).
- "Kasapsko Oro", Ampe & Despina Band (uploaded on YouTube in 2023).
It is worth noting the communication with the Ashkenazi repertoire. The book Jewish Instrumental Folk Music – The Collections and Writings of Moshe Beregovski, edited by Mark Slobin, Robert Rothstein, and Michael Alpert (2001), includes transcriptions from Skotshne (numbers 54 and 116), i.e., tunes associated with Eastern Ashkenazi dances. The first pattern we are interested in is transformed at the beginning of these Skotshnes.
In 1956, the American composer of Armenian origin Allan Hovhaness [Alan Vaness Chakmakjian (Աական Հայիկան Պայաներեն), Somerville, Massachusetts, March 8, 1911 – Seattle, June 21, 2000] completed his work "Seven Greek Folk Dances, Op. 150". Hovhaness, who considered the Greek painter Ermolaos Ionidis (better known as Hermon di Giovannno) as his spiritual teacher while visiting Greece in the period 1953 – 1955, arranged seven Greek dances for harmonica and strings (or piano): 1. Hassapiko, 2. The Selybrian Syrtos, 3. Sweet Basil Green, 4. Karagouna, 5. Tsaconian dance, 6. Pastoral, 7. Sousta. The first, entitled "Hassapiko" draws material from the tune we are examining. The work was presented in 1958 in Berlin by John Sebastian, harmonica, and Renato Josi, piano (see here), in 2001 in Athens by Christos Zerbinos, accordion, and the Athens String Orchestra conducted by Lefteris Kalkanis (see here), in 2003 in Tokyo by the Japanese Joe Sakimoto, harmonica, and Haruki Mino, piano (see here), and in 2013 in Milan by the Italian Gianluca Littera, harmonica, and the Orchestra Stesichoros conducted by Francesco Di Mauro (see here).
The tune, however, also appears in Dutch discography. The Dutch composer Derek Laren (Elsa Antonia de Groot, Amsterdam, December 19, 1919 – May 29, 1994) is inspired by this tune and writes the 1′ 22″ song under the title "Hassapicos". The instrumental song was recorded in 1963 in London by the London Studio Orchestra conducted by Hugh Granville. It is included, along with the instrumental song "Danse Saharienne" by British composer H.M. Farar, on a 78-rpm record (DW-2760-A – D.W. 2760 A) by the library music publisher and record label Music De Wolfe (see here).
Finally, various parts from the multiple expressions of this tune seem to communicate with other "puzzles" of motifs, such as for example, the song "Tatavliano chasapiko" by Loukianos Kavvadias, or the song "Servikaki" by Spyros Peristeris, from the Greek repertoire, which, in turn, also communicate with tunes from other repertoires, such as, for example, the Turkish song "Kasap Havası", a Bulgarian "Касапско хоро", or with the repertoire of the zurna and tunes such as the Turkish piece "Kasap", or the "chasaposervikos" from the city of Serres in Greece.
(Many thanks to Josh Horowitz, Joel Rubin, Martin Schwartz and Ilya Saitanov for their advice and information.)
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
