Part of the content is temporarily available only in Greek
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”.
One of these fascinating networks concerns French songs, which were adopted by Greek musicians, among others. The adoption is twofold: on the one hand are the lyrics, which are now in Greek (often, in fact, they have nothing to do with the original ones), and, on the other hand, the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms and in the harmonies. Greek musicians adapt what they heard to their own condition, based on their own capabilities. The French ecumene lends its chansons, which carry a dynamic tradition of songwriting and performance. Paris, Montmartre and the cabarets artistiques influence the musics of the world. The atmosphere from the Chat Noir, which had been operating since 1881, also reaches the Greek world. Music venues of this type, the famous “cafés chantants”, appeared in Athens but also in other urban centers of the Greek state. These French songs were exported to the Greek-speaking world either directly or indirectly, through other repertoire networks. 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-French 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.
The present recording is an adaptation with Greek lyrics by Paul Menestrel (Giannis Chidiroglou) of the French song "Chica Chica Chou", with music by Roger Lucchesi and lyrics by Raymond Vincy.
The song originates from the French film "Valse Brillante", which premiered in France on 2 December 1949. The leading roles were performed by the Polish tenor and actor Jan Kiepura and his wife, the Hungarian soprano and actress Mártha Eggerth, who recorded the song in December 1949 with orchestral accompaniment under the direction of Paul Bonneau (Polydor 162-3 LEQ – 560.177).
The same year, in 1949, the song was also recorded in Paris by Tomas et ses Merrys Boys ("Chica-Chica Chou", Odeon Ki 10.778 – 282.151 B).
The commercial musical score was published in Paris in 1949 by S.E.M.I. Editions.
According to the available data, this recording is the only recording of the song in Greek historical discography.
The Greek musical score, with lyrics by Paul Menestrel, was published in Athens by Gaitanou Editions.
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”.
One of these fascinating networks concerns French songs, which were adopted by Greek musicians, among others. The adoption is twofold: on the one hand are the lyrics, which are now in Greek (often, in fact, they have nothing to do with the original ones), and, on the other hand, the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms and in the harmonies. Greek musicians adapt what they heard to their own condition, based on their own capabilities. The French ecumene lends its chansons, which carry a dynamic tradition of songwriting and performance. Paris, Montmartre and the cabarets artistiques influence the musics of the world. The atmosphere from the Chat Noir, which had been operating since 1881, also reaches the Greek world. Music venues of this type, the famous “cafés chantants”, appeared in Athens but also in other urban centers of the Greek state. These French songs were exported to the Greek-speaking world either directly or indirectly, through other repertoire networks. 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-French 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.
The present recording is an adaptation with Greek lyrics by Paul Menestrel (Giannis Chidiroglou) of the French song "Chica Chica Chou", with music by Roger Lucchesi and lyrics by Raymond Vincy.
The song originates from the French film "Valse Brillante", which premiered in France on 2 December 1949. The leading roles were performed by the Polish tenor and actor Jan Kiepura and his wife, the Hungarian soprano and actress Mártha Eggerth, who recorded the song in December 1949 with orchestral accompaniment under the direction of Paul Bonneau (Polydor 162-3 LEQ – 560.177).
The same year, in 1949, the song was also recorded in Paris by Tomas et ses Merrys Boys ("Chica-Chica Chou", Odeon Ki 10.778 – 282.151 B).
The commercial musical score was published in Paris in 1949 by S.E.M.I. Editions.
According to the available data, this recording is the only recording of the song in Greek historical discography.
The Greek musical score, with lyrics by Paul Menestrel, was published in Athens by Gaitanou Editions.
© 2019 KOUNADIS ARCHIVE
