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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”.
This recording comes from an unidentified, so far, music revue. Richard Spottswood (1991: 1186) lists "Anastasiadis" as the lyricist and "Zakis" as the composer. According to the Discography of American Historical Recordings and the record label, the composer is Ierotheos Skizas. The song was recorded once again by Antonis Ntalgkas (Diamantidis) in May 1931 in Athens (His Master's Voice OW-168 – AO-2010).
In this recording, a musical theme popular in the Greek-speaking repertoire appears from 4′ 17″ until the end of the recording as the final part. This tune is found several times in Greek discography, under titles such as "Vlachiko syrto", "Tha paro dyo", "Tha paro nio", "Mou proxenevoun dyo". This musical theme can also be found in the Serbian, Romanian and Jewish repertoires (for more information see the recording of "Vlachiko syrto").
(Many thanks to Joel Rubin and Josh Horowitz for pointing out the connection of this recording with the Jewish ones).
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”.
This recording comes from an unidentified, so far, music revue. Richard Spottswood (1991: 1186) lists "Anastasiadis" as the lyricist and "Zakis" as the composer. According to the Discography of American Historical Recordings and the record label, the composer is Ierotheos Skizas. The song was recorded once again by Antonis Ntalgkas (Diamantidis) in May 1931 in Athens (His Master's Voice OW-168 – AO-2010).
In this recording, a musical theme popular in the Greek-speaking repertoire appears from 4′ 17″ until the end of the recording as the final part. This tune is found several times in Greek discography, under titles such as "Vlachiko syrto", "Tha paro dyo", "Tha paro nio", "Mou proxenevoun dyo". This musical theme can also be found in the Serbian, Romanian and Jewish repertoires (for more information see the recording of "Vlachiko syrto").
(Many thanks to Joel Rubin and Josh Horowitz for pointing out the connection of this recording with the Jewish ones).
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
