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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”.
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.
Within these networks, already existing tendencies and aesthetic currents such as exoticism are often created or integrated, especially during the period when the phenomenon of sound recording and reproduction takes on commercial, mass and universal dimensions. Its meaning concerns, on the one hand, the characteristics of that which is outside the sphere of identity and, on the other hand, the attraction exerted by that which has such characteristics. The widespread acceptance of the phenomenon of exoticism is obvious: the multidimensional linguistic, musical and visual wealth accumulated around and within exoticism created a common stock of knowledge that perpetually feeds the collective and individual imaginary (see the digital collection "Exoticism in Greek-speaking repertoires").
Focusing on the modern Greek communities, we find very early established traces of exoticism in poetry and literature, which are quickly transferred to the theater, enriched in terms of their visual and dramatic texture. The explosion of popular forms of spectacle and mass entertainment in the 20th century will radiate their reach. In Greece, among all artistic fields, the most persistent and most obvious presence of exoticism is found in singing. In the era of discography, the advance of exoticism is irresistible and leaves a very strong imprint. However much it seems to be defined by the principle of "locality", exoticism is a global aesthetic constant, a "common" language of the new age strongly marked by modernism and inscribed in a complex and lengthy process of osmosis among "national" musicians, which produces repertoires with "ecumenical" or global characteristics.
The locations represented in exoticism, that is, the East, Latin America, Spain, Hawaii, are par excellence imaginary, disconnected from the real world. They are revealed like a theatrical stage, with alternating scenes, where fantasies are dramatized, overwhelm the senses and release intense emotions, offering the "visitor" an ideal experience, outside the limitations of the conventional world: an eternal feast, pleasures, adventure.
The song refers to a story set in a caravan in Africa. The particular example of representations of Africa demonstrates that in exoticism, geographical boundaries do not coincide with cultural boundaries: the Maghreb (the western part of the Arab world, which includes Algeria, Libya, Mauritania, Morocco and Tunisia) is always represented as the East and never as Africa.
This recording features an adaptation with Greek lyrics of the French song "La Caravane", composed by French composer Raoul Moretti with lyrics by André Barde. It originates from the three-act operetta "Comte Obligado!" with music by Raoul Moretti and libretto/lyrics by André Barde. The operetta was first performed at the Théâtre Nouveautés in Paris on December 16, 1927, and ran until September 5, 1928, completing 264 performances. In the operetta, the song is performed by the character Antoine, portrayed in the performances by George Milton (for the plot, see here).
In 1927 or 1928, ten songs from the operetta, including "La Caravane" sung by George Milton, were recorded in Paris by the production's lead performers for the French Columbia label (see here).
In French discography, the song was primarily recorded in instrumental form by the American Lud Gluskin and his versatile juniors ("Comte Obligado, La Caravan ou La fille du bédouin", Pathé Salabert N 8439 – 8528, Paris, September 17, 1928) and by the Orchestre Jazz du Moulin Rouge ("Comte Obligado – La Caravane", Gramophone BK 2795-1 – K5388, Paris, March 13, 1928) but also in song form by Nicolas Amato ("Comte Obligado, La Caravane (La fille du bédouin", Polydor 2194½ BK – 521502, Paris 1929). For other performances, see here.
On February 1, 1935, the film "Le comte Obligado", based on the operetta, began screening in French cinemas.
In Greek historical discography, the song was also recorded by the Trio Pierrakou (Aliki and Petros Epitropakis, Kostas Iordanou) in Vienna on November 13, 1928 ("To karavani", His Master's Voice ΒΜ 528-1 – ΑΟ 562).
The Greek musical score of the song was published 1927 in Athens by the Gaitanos– Konstantinidis– Starr publishing house (see here).
The operetta was performed in Greece under the title "Komis Ompligkanto" on July 20, 1928, at the Ideal Theater in Athens by the Oikonomou – Samartzis troupe.
The inextricable relation between music and performing arts is more than vital. The theater (and later the cinema as well) traffics music on its own terms and plays a key role in diffusing it to places that are often far away. It also builds a special network that communicates with discography. Some of the songs written for the plays are often the tip of the spear as regards their popularity. One such case is the song "Karavani".
Research and text: George Evangelou, 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”.
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.
Within these networks, already existing tendencies and aesthetic currents such as exoticism are often created or integrated, especially during the period when the phenomenon of sound recording and reproduction takes on commercial, mass and universal dimensions. Its meaning concerns, on the one hand, the characteristics of that which is outside the sphere of identity and, on the other hand, the attraction exerted by that which has such characteristics. The widespread acceptance of the phenomenon of exoticism is obvious: the multidimensional linguistic, musical and visual wealth accumulated around and within exoticism created a common stock of knowledge that perpetually feeds the collective and individual imaginary (see the digital collection "Exoticism in Greek-speaking repertoires").
Focusing on the modern Greek communities, we find very early established traces of exoticism in poetry and literature, which are quickly transferred to the theater, enriched in terms of their visual and dramatic texture. The explosion of popular forms of spectacle and mass entertainment in the 20th century will radiate their reach. In Greece, among all artistic fields, the most persistent and most obvious presence of exoticism is found in singing. In the era of discography, the advance of exoticism is irresistible and leaves a very strong imprint. However much it seems to be defined by the principle of "locality", exoticism is a global aesthetic constant, a "common" language of the new age strongly marked by modernism and inscribed in a complex and lengthy process of osmosis among "national" musicians, which produces repertoires with "ecumenical" or global characteristics.
The locations represented in exoticism, that is, the East, Latin America, Spain, Hawaii, are par excellence imaginary, disconnected from the real world. They are revealed like a theatrical stage, with alternating scenes, where fantasies are dramatized, overwhelm the senses and release intense emotions, offering the "visitor" an ideal experience, outside the limitations of the conventional world: an eternal feast, pleasures, adventure.
The song refers to a story set in a caravan in Africa. The particular example of representations of Africa demonstrates that in exoticism, geographical boundaries do not coincide with cultural boundaries: the Maghreb (the western part of the Arab world, which includes Algeria, Libya, Mauritania, Morocco and Tunisia) is always represented as the East and never as Africa.
This recording features an adaptation with Greek lyrics of the French song "La Caravane", composed by French composer Raoul Moretti with lyrics by André Barde. It originates from the three-act operetta "Comte Obligado!" with music by Raoul Moretti and libretto/lyrics by André Barde. The operetta was first performed at the Théâtre Nouveautés in Paris on December 16, 1927, and ran until September 5, 1928, completing 264 performances. In the operetta, the song is performed by the character Antoine, portrayed in the performances by George Milton (for the plot, see here).
In 1927 or 1928, ten songs from the operetta, including "La Caravane" sung by George Milton, were recorded in Paris by the production's lead performers for the French Columbia label (see here).
In French discography, the song was primarily recorded in instrumental form by the American Lud Gluskin and his versatile juniors ("Comte Obligado, La Caravan ou La fille du bédouin", Pathé Salabert N 8439 – 8528, Paris, September 17, 1928) and by the Orchestre Jazz du Moulin Rouge ("Comte Obligado – La Caravane", Gramophone BK 2795-1 – K5388, Paris, March 13, 1928) but also in song form by Nicolas Amato ("Comte Obligado, La Caravane (La fille du bédouin", Polydor 2194½ BK – 521502, Paris 1929). For other performances, see here.
On February 1, 1935, the film "Le comte Obligado", based on the operetta, began screening in French cinemas.
In Greek historical discography, the song was also recorded by the Trio Pierrakou (Aliki and Petros Epitropakis, Kostas Iordanou) in Vienna on November 13, 1928 ("To karavani", His Master's Voice ΒΜ 528-1 – ΑΟ 562).
The Greek musical score of the song was published 1927 in Athens by the Gaitanos– Konstantinidis– Starr publishing house (see here).
The operetta was performed in Greece under the title "Komis Ompligkanto" on July 20, 1928, at the Ideal Theater in Athens by the Oikonomou – Samartzis troupe.
The inextricable relation between music and performing arts is more than vital. The theater (and later the cinema as well) traffics music on its own terms and plays a key role in diffusing it to places that are often far away. It also builds a special network that communicates with discography. Some of the songs written for the plays are often the tip of the spear as regards their popularity. One such case is the song "Karavani".
Research and text: George Evangelou, Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
