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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 network in which the Greek-speaking urban popular song participates, constantly conversing with its co-tenants, is 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”.
Historical sources underline the close relations between Italian-speaking and Greek-speaking music. The conversations that developed with specific places, such as the Ionian Islands, the Dodecanese and Patras, as well as their results, are enough to highlight the strong ties between the two ethno-cultural groups. Furthermore, relationships were forged in places where the two ethnicities lived together, such as, for example, in the case of cosmopolitan Smyrna (Izmir) in the Ottoman Empire, or that of New York, where Italians and Greeks immigrated. When researching the historical material, it seems that one particular city in the Italian peninsula developed special relations with the large urban centers where Greek-speaking musicians played a leading role: it was Naples, with its famous Canzone Napoletana. "Valse Espagnole" (or "Ela, ela mi me paideveis pia" or "I treli kastani") belongs to a corpus of songs from which the Greek protagonists borrowed music and/or lyrics from pre-existing Neapolitan-speaking songs. In many cases, the appropriations concern not only Neapolitan-speaking songs but the Italian language as a whole, since, often, the original Neapolitan-speaking songs were translated into Italian, from which the loan arose. These songs arrived at 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 plays a key role in its transformation. The appropriation by Greek musicians 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, are the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms but also in the harmonies. Greek musicians adapt what they hear to their own condition, based on their own capabilities. After all, the mandolins, the guitars, the marches, polyphonic song and the bel canto singing style are characteristics that reveal the influences of the Canzone Napoletana on the Greek-speaking urban popular song. It should also be noted that, in various cases, often due to the great international success of the songs, the network that is finally formed is extremely complex and contains recordings in countless places, languages and aesthetical frameworks. One such case is the song "Vals espaniol".
So far, three recordings has been identified in Greek historical discography:
- "I treli kastani", Elliniki Estudiantina (Greek Estudiantina), Smyrna (Izmir), March 1909 (Gramophone 12788b - 6-12679)
- "Ela, ela mi me paideveis pia", Elliniki Estudiantina (Greek Estudiantina), Constantinople (Istanbul), December 1909 (Odeon xC 2112 - 46360 & Odeon USA 82011-B)
- "Valse Espagnole", Elliniki Estudiantina (Greek Estudiantina), Constantinople (Istanbul), July 3, 1910 (Gramophone 1640y - 10-12804, present recording, & re-release "Vals espaniol", Victor 63539-A)
The song is a Greek adaptation of the famous Neapolitan song "La Spagnola", to music and lyrics by Vincenzo Di Chiara (1864 – 1937).
The musical score of the song was included in the newspaper "La tavola Rotonda, Piedigrotta 1906", p. 11–12 (a literary, illustrated, music newspaper that was published every Sunday), published by the F. Bideri publishing house in Naples on September 3, 1906. "Piedigrotta", which is written on the headline of the publication, refers to one of the most famous and oldest religious festivals that took place in Naples. During the festival, a music competition took place, which, in the 19th century, turned into a dynamic festival. This festival took the form of a commercial mechanism which played a key role in shaping and promoting Neapolitan song.
The song, in its Italian version, was recorded several times in 78 rpm discography: see for example the lists in the database that emerged from Alan Kelly's research. Labels from records and audio recordings from recordings made in the United States are available on the website of the Discography of American Historical Recordings (DAHR). For example, the recording with Francesco Daddi, which took place between 1907–1908 in New York (Columbia 3787 – C731 and Ε146).
The song was a global hit, being recorded and covered many times in many countries’ historical discography in different formats and in different regions and languages. For example:
-"Испанское болеро: 'Гордая прелесть осанки'", А.М.Давыдовъ (Alexander Davydov), Saint Petersburg , October 3, 1910 (Gramophone 14892b - 4-22178)
- "ИСПАНКА", М.Д.Ксендзовский (Mikhail D. Ksendzovzky), Wilna, June 1911 (Zonophone 2347 ae - X-2-62753)
- "Hiszpanka", Loda Rogińska, Warsaw 1912 (Syrena Grand Record 12815). For other Polish recordings see here.
- "The Spanish dancer", Elizabeth Spencer, New York, April 1914 (Edison 2984 - 80175)
- "La española", Juan Pulido, Camden, New Jersey, September 1, 1927 (Victor BVE-38556 - 80298)
- "Espanjatar (Valssi)", Mäki Trio, New York, January 29, 1929 (Victor BVE-57387 - V-4036)
The Greek version of the song was published in New York by the Apollo Music Co publishing house under the title "La Spaniola (Ela - ela)" (Come - come), and by the S. Christidis publishing house in Constantinople (Istanbul) under the title "Ela Ela" ("Come Come") on the cover of which the following is written: "The Italian La Spaniola, Lyrics: N. Vlyssidou, Music: Χ. Χ., Cover: N. Baldi".
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 network in which the Greek-speaking urban popular song participates, constantly conversing with its co-tenants, is 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”.
Historical sources underline the close relations between Italian-speaking and Greek-speaking music. The conversations that developed with specific places, such as the Ionian Islands, the Dodecanese and Patras, as well as their results, are enough to highlight the strong ties between the two ethno-cultural groups. Furthermore, relationships were forged in places where the two ethnicities lived together, such as, for example, in the case of cosmopolitan Smyrna (Izmir) in the Ottoman Empire, or that of New York, where Italians and Greeks immigrated. When researching the historical material, it seems that one particular city in the Italian peninsula developed special relations with the large urban centers where Greek-speaking musicians played a leading role: it was Naples, with its famous Canzone Napoletana. "Valse Espagnole" (or "Ela, ela mi me paideveis pia" or "I treli kastani") belongs to a corpus of songs from which the Greek protagonists borrowed music and/or lyrics from pre-existing Neapolitan-speaking songs. In many cases, the appropriations concern not only Neapolitan-speaking songs but the Italian language as a whole, since, often, the original Neapolitan-speaking songs were translated into Italian, from which the loan arose. These songs arrived at 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 plays a key role in its transformation. The appropriation by Greek musicians 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, are the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms but also in the harmonies. Greek musicians adapt what they hear to their own condition, based on their own capabilities. After all, the mandolins, the guitars, the marches, polyphonic song and the bel canto singing style are characteristics that reveal the influences of the Canzone Napoletana on the Greek-speaking urban popular song. It should also be noted that, in various cases, often due to the great international success of the songs, the network that is finally formed is extremely complex and contains recordings in countless places, languages and aesthetical frameworks. One such case is the song "Vals espaniol".
So far, three recordings has been identified in Greek historical discography:
- "I treli kastani", Elliniki Estudiantina (Greek Estudiantina), Smyrna (Izmir), March 1909 (Gramophone 12788b - 6-12679)
- "Ela, ela mi me paideveis pia", Elliniki Estudiantina (Greek Estudiantina), Constantinople (Istanbul), December 1909 (Odeon xC 2112 - 46360 & Odeon USA 82011-B)
- "Valse Espagnole", Elliniki Estudiantina (Greek Estudiantina), Constantinople (Istanbul), July 3, 1910 (Gramophone 1640y - 10-12804, present recording, & re-release "Vals espaniol", Victor 63539-A)
The song is a Greek adaptation of the famous Neapolitan song "La Spagnola", to music and lyrics by Vincenzo Di Chiara (1864 – 1937).
The musical score of the song was included in the newspaper "La tavola Rotonda, Piedigrotta 1906", p. 11–12 (a literary, illustrated, music newspaper that was published every Sunday), published by the F. Bideri publishing house in Naples on September 3, 1906. "Piedigrotta", which is written on the headline of the publication, refers to one of the most famous and oldest religious festivals that took place in Naples. During the festival, a music competition took place, which, in the 19th century, turned into a dynamic festival. This festival took the form of a commercial mechanism which played a key role in shaping and promoting Neapolitan song.
The song, in its Italian version, was recorded several times in 78 rpm discography: see for example the lists in the database that emerged from Alan Kelly's research. Labels from records and audio recordings from recordings made in the United States are available on the website of the Discography of American Historical Recordings (DAHR). For example, the recording with Francesco Daddi, which took place between 1907–1908 in New York (Columbia 3787 – C731 and Ε146).
The song was a global hit, being recorded and covered many times in many countries’ historical discography in different formats and in different regions and languages. For example:
-"Испанское болеро: 'Гордая прелесть осанки'", А.М.Давыдовъ (Alexander Davydov), Saint Petersburg , October 3, 1910 (Gramophone 14892b - 4-22178)
- "ИСПАНКА", М.Д.Ксендзовский (Mikhail D. Ksendzovzky), Wilna, June 1911 (Zonophone 2347 ae - X-2-62753)
- "Hiszpanka", Loda Rogińska, Warsaw 1912 (Syrena Grand Record 12815). For other Polish recordings see here.
- "The Spanish dancer", Elizabeth Spencer, New York, April 1914 (Edison 2984 - 80175)
- "La española", Juan Pulido, Camden, New Jersey, September 1, 1927 (Victor BVE-38556 - 80298)
- "Espanjatar (Valssi)", Mäki Trio, New York, January 29, 1929 (Victor BVE-57387 - V-4036)
The Greek version of the song was published in New York by the Apollo Music Co publishing house under the title "La Spaniola (Ela - ela)" (Come - come), and by the S. Christidis publishing house in Constantinople (Istanbul) under the title "Ela Ela" ("Come Come") on the cover of which the following is written: "The Italian La Spaniola, Lyrics: N. Vlyssidou, Music: Χ. Χ., Cover: N. Baldi".
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
