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This recording features a tune that was recorded several times in Greek historical discography, either as a song or an instrumental piece, in locations such as Constantinople (Istanbul), New York, Athens. For example:
– “Bate koritsia sto choro”, Giagkos Psomathianos (harmonica), Constantinople, August-September 1906 (Zonophone 1458 r – X-102816, Gramophone 14-12961 and Victor 67192-Β).
– “Bate koritsia sto choro”, Jangouli [Giagkos Psomathianos?] (harmonica), Constantinople, 1906-1907 (Odeon CX-724 – X 31990), present recording.
– “O agapitikos tis voskopoulas II”, Philharmonic Orchestra of the Municipality of Piraeus, Athens, 1907-1908 (Odeon GX-97 – 65075). This is instrumental medley, in which the tune is heard from 0′ 01″ to 1′ 50″.
– “Bate koritsia sto choro”, Sotiris Stasinopoulos, New York, September 11, 1924 (OKeh S-72810 – 82502-B).
– “Bate koritsia sto choro (I Papadia)”, Choir and Folk Orchestra, Athens, 1926 (Polydor 4612 ar – V 45069).
– “Bate koritsia sto choro”, Markos Sifnios Popular Orchestra, New York, November 22, 1927 (OKeh W81855 – 82512).
– “Bate koritsia sto choro”, Dimitris Arapakis and Popular Orchestra, Athens, 1928 (Columbia UK 20305 – 8275).
– “Bate koritsia sto choro”, Virginia Magidou and Nikos D. [Nick Doneff] (violin), Stratis (clarinet), Lymberis (santouri), USA, 1940s (Kaliphon D-753-B).
Regarding the brand name of the record label that can be heard in several recordings that were made during the period when they used a horn to make recordings, otherwise known as the "acoustic" period (until 1925), Aristomenis Kalyviotis (2002: 125-126) states the following: "As for the counterfeit of music records, some cunning fellows avoided the whole process of recording and producing records by releasing their own records on the market as follows: they used to buy a series of records from those that were available on the market and then created new matrices from them. They would then set up a record cutting machine and produce the exact same records. The quality of these records did not differ much from the one of the originals. The cost, however, was much lower, because they did not have to support the expenses arising from the sound equipment and the personnel, the travel expenses for the sound recording crews and other general expenses. [...]
We do not exactly know where this 'factory' of illegal record cutting was set up and if it was just one or more. Copying was usually done by creating a new matrix. The counterfeiters used various tricks in order for them not to be noticed: they altered the embossed matrix numbers of the records and inserted their own. In other cases, they did not write the title of the song on the label of the record. In fact, sometimes the name of a random song was written on the label and another song could actually be heard when the record was being played.
In order for the record labels to face that problem, they had to word their brand name at the beginning of the recordings so that whoever listened to the record could understand which company made the original recording. [...]
These phrases were not easy for the counterfeiters to get rid of because at that time it was difficult to erase a part of a recording."
This recording features a tune that was recorded several times in Greek historical discography, either as a song or an instrumental piece, in locations such as Constantinople (Istanbul), New York, Athens. For example:
– “Bate koritsia sto choro”, Giagkos Psomathianos (harmonica), Constantinople, August-September 1906 (Zonophone 1458 r – X-102816, Gramophone 14-12961 and Victor 67192-Β).
– “Bate koritsia sto choro”, Jangouli [Giagkos Psomathianos?] (harmonica), Constantinople, 1906-1907 (Odeon CX-724 – X 31990), present recording.
– “O agapitikos tis voskopoulas II”, Philharmonic Orchestra of the Municipality of Piraeus, Athens, 1907-1908 (Odeon GX-97 – 65075). This is instrumental medley, in which the tune is heard from 0′ 01″ to 1′ 50″.
– “Bate koritsia sto choro”, Sotiris Stasinopoulos, New York, September 11, 1924 (OKeh S-72810 – 82502-B).
– “Bate koritsia sto choro (I Papadia)”, Choir and Folk Orchestra, Athens, 1926 (Polydor 4612 ar – V 45069).
– “Bate koritsia sto choro”, Markos Sifnios Popular Orchestra, New York, November 22, 1927 (OKeh W81855 – 82512).
– “Bate koritsia sto choro”, Dimitris Arapakis and Popular Orchestra, Athens, 1928 (Columbia UK 20305 – 8275).
– “Bate koritsia sto choro”, Virginia Magidou and Nikos D. [Nick Doneff] (violin), Stratis (clarinet), Lymberis (santouri), USA, 1940s (Kaliphon D-753-B).
Regarding the brand name of the record label that can be heard in several recordings that were made during the period when they used a horn to make recordings, otherwise known as the "acoustic" period (until 1925), Aristomenis Kalyviotis (2002: 125-126) states the following: "As for the counterfeit of music records, some cunning fellows avoided the whole process of recording and producing records by releasing their own records on the market as follows: they used to buy a series of records from those that were available on the market and then created new matrices from them. They would then set up a record cutting machine and produce the exact same records. The quality of these records did not differ much from the one of the originals. The cost, however, was much lower, because they did not have to support the expenses arising from the sound equipment and the personnel, the travel expenses for the sound recording crews and other general expenses. [...]
We do not exactly know where this 'factory' of illegal record cutting was set up and if it was just one or more. Copying was usually done by creating a new matrix. The counterfeiters used various tricks in order for them not to be noticed: they altered the embossed matrix numbers of the records and inserted their own. In other cases, they did not write the title of the song on the label of the record. In fact, sometimes the name of a random song was written on the label and another song could actually be heard when the record was being played.
In order for the record labels to face that problem, they had to word their brand name at the beginning of the recordings so that whoever listened to the record could understand which company made the original recording. [...]
These phrases were not easy for the counterfeiters to get rid of because at that time it was difficult to erase a part of a recording."
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