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”.

Austria’s geographical position naturally renders the country the center of European developments, but also an important sort of conduit for the diffusion of tangible and intangible products from all and towards all directions. However, it is not a popular part of the relevant historiographical research as far as the relations between the Greek-speaking and the rest of the world. Not to mention that that within the musicological field, research is almost completely absent. However, geography often speaks for itself: The Habsburg Empire (Austro-Hungarian Empire after the Compromise of 1867) bordered the Ottoman Empire to the south. Both claimed territories of the later Yugoslavia, and especially those of Bosnia and Herzegovina, which, on the one hand, accommodated a notable Muslim population, and, on the other hand, communicated directly with the historical region of Macedonia and the Greek-speaking population that lived there. Vienna was a unique melting pot of cultures; the arts, dominated by music, were experiencing an unprecedented boom. A particular theatrical genre, which developed in various forms throughout Europe, was at the heart of Viennese creation: it was the Volkstheater (the folk theater), which was part of a long tradition of comical performing arts, with music playing a dominant role. According to the relevant discourse, after 1850 this style is transformed in the Viennese operetta, which had an unprecedented dynamic in terms of production of new works. Soon, discography would enter this network, and together with the already vibrant reality of the music publishing houses, would contribute to the mass diffusion of the Viennese operetta both in Europe and America. The leading element of these works was, among other things, the waltz, a trademark of the Austrian capital, as well as its main exported cultural product all over the world. The role played by the Strauss family was a catalyst in this development. These trends reached and were adopted and adapted by the Greek-speaking world, which incorporated them into its own conditions. In any case, the circulation of musics is already a reality before the 20th century with theatrical and musical performances tours, but also with the networks of music publishing houses. Discography is not only embedded in this context, but also plays a key role in its transformation. It should also be noted that, in various cases, often due to the great international success of the songs, the resulting network is extremely complex and does not only concern Greek-Austrian relations. Finally, we have time and time again stumbled upon songs whose creators were born in a different place, worked in another, and, in the end, met in a third location and created a new work, often inspired by something pre-existing. Undoubtedly, cases of this type demonstrate the complexity regarding the issues of ownership of works, but also the problem of applying national signs to musical creations.

This recording includes an adaptation with Greek lyrics of the song "Adieu Mimi" from the three-act Austrian operetta of the same name, with music and lyrics by Ralph Benatzky (Rudolf Frantiśek Josef Benatzky, Mährisch-Budwitz, Austro-Hungarian Empire [now Moravské Budějovice, Chech], June 5, 1883 – Zurich, October 16, 1957) and libretto by Alexander Engel (Turocz-Neczpal, Austro-Hungarian Empire, April 10, 1868 – Wienna, November 17, 1940) and Julius Horst (Josef Hostasch, Innsbruck, Austrian Empire, November 12, 1864 – Wienna, May 12, 1943). The operetta premiered at the στο Johann-Strauß-Theater, in Vienna, on June 9, 1926 (see here and for the plot see here).

According to the available data, on December 15, 1926, the operetta was staged at the Croatian National Theatre in Osijek, Croatia, on February 26, 1927, at the Serbian National Theater in Novi Sad, Serbia (see here), on May 20, 1927, at the Antonín Dvořák Theatre in Ostrava, Czech Republic (see here), on September 10, 1927, at the Vasateatern in Stockholm under the title “Adjö Mimi” (see here), on 29 December, 1927 at Bydgoszcz Municipal Theatre in Poland (see here) and on May 7 1930, at the Maribor Slovene National Theatre (see here).

The commercial musical score of the song was published in 1926, by Drei-Masken-Verlag AG, Berlin, München, while scores were published in Belgrade by Jovan Frajt (see here) and in Tartu, Estonia by G. Paukam (see here).

The instrumental or song version of "Adieu Mimi" can be found in historical discographies of several countries. For example:

– "Adieu Mimi", Odeon Tanz Orchester – Max Kuttner, Berlin, July 12, 1926 (Odeon Be 5215 – O-1905 / A 42182).
– "Adieu Mimi", Dajos Béla Orkester, Berlin, July 28, 1926 (Odeon Be 5219 – O-1921 / A 42172).
– "Adieu Mimi", Marek Weber und sein Orchester, Berlin, August 4, 1926 (Electrola BW 167-2 – E.G. 246 / 8-40031).
– "Adjö Mimi", Margit Rosengren – Lars Egge, Stockholm, September 16, 1927 (His Master's Voise BK 2281-1 – X2537 / 7-284136).
– "Adieu Mimi", Dejan Dubajić – Jazz orkestar Vimer, Zagreb, 1928 (Edison Bell Penkala Z. 273 – Z. 1182).

About seven years after the premiere of operetta, on April 18, 1933, the Swedish film "Den Farliga leken" (see here), which is based on the operetta "Adieu Mimi" and the play "Die blaue Maus" by Alexander Engel και Julius Horst, opened in Sweden cinemas.

Ιn Greece, the operetta was staged for the first time by the Opereta P. Oikonomou under the title "Antio Mimi", on May 28, 1927, at Montial theater, in Athens.

Another performance of the song can be found in Greek-speaking historical discography with Athinaiki Estudiantina (Athenian Estudiantina), recorded in Athens in 1928 (Homocord G 809 – G. 4-32044).

The commercial musical score of the song was published in Athens, in 1926, by the Gaitanos – Konstantinidis – Starr publishing house.

Research and text: Leonardos Kounadis and Nikos Ordoulidis