Mariola

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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”.

One of these fascinating networks concerns French songs, which were appropriated by Greek musicians, among others. The appropriation 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 music 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.

This is a Greek adaptation of the French song "La mariolle" composed by Désiré Berniaux (1869–1960) and lyrics written by Edmond Bouchaud dit Defleuve (1870–1945).

It was probably recorded in 1910 by Marcelly on the record Pathé 104 (see 
here and here) and by Adolphe Bérard on an Edison cylinder in 1911, and probably on a record too.

The 
French music score of the song was published in Paris around 1910, by D. Berniaux (75 Passage, Brady, Paris).

According to Panos Mavraganis, the 
Greek music score was published under the title "La mariolla" by the Christidis publishing house in Constantinople (Istanbul). In the abovementioned score, A. Krikonis and D. Berniaux are mentioned as the composers and Tymfristos (nickname of D. Papadopoulos) as the lyricist. A music score of the song with lyrics in Greek and French was published in Constantinople by Internationale.

In the database that emerged from 
Alan Kelly's research, "Estudiantina Grecque – Melitzianos Choeur" is written in the performers field.

The sound engineer Charles Scheuplein was in charge of the recording.


Research and text: Leonardos Kounadis and Nikos Ordoulidis

Author (Composer):
Lyrics by:
[French lyrics: Bouchaud dit Defleuve Edmond Greek lyrics: Tymfristos (Papadopoulos Dimitrios) ?]
Singer(s):
Estudiantina Melitsianos
Orchestra-Performers:
Estudiantina Melitsianos
Recording date:
19/09/1912
Recording location:
Constantinople (Istanbul)
Language(s):
Greek
Publisher:
Concert Record Gramophone
Catalogue number:
14-12481
Matrix number:
17329½u
Duration:
3:26
Item location:
Kounadis Archive Record Library
Physical description:
10 in. (25 cm)
Source:
Kounadis Archive
ID:
GramoCR_14_12481_Mariola
Licensing:
cc
Reference link:
Kounadis Archive, "Mariola", 2019, https://vmrebetiko.gr/en/item-en?id=5013

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”.

One of these fascinating networks concerns French songs, which were appropriated by Greek musicians, among others. The appropriation 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 music 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.

This is a Greek adaptation of the French song "La mariolle" composed by Désiré Berniaux (1869–1960) and lyrics written by Edmond Bouchaud dit Defleuve (1870–1945).

It was probably recorded in 1910 by Marcelly on the record Pathé 104 (see 
here and here) and by Adolphe Bérard on an Edison cylinder in 1911, and probably on a record too.

The 
French music score of the song was published in Paris around 1910, by D. Berniaux (75 Passage, Brady, Paris).

According to Panos Mavraganis, the 
Greek music score was published under the title "La mariolla" by the Christidis publishing house in Constantinople (Istanbul). In the abovementioned score, A. Krikonis and D. Berniaux are mentioned as the composers and Tymfristos (nickname of D. Papadopoulos) as the lyricist. A music score of the song with lyrics in Greek and French was published in Constantinople by Internationale.

In the database that emerged from 
Alan Kelly's research, "Estudiantina Grecque – Melitzianos Choeur" is written in the performers field.

The sound engineer Charles Scheuplein was in charge of the recording.


Research and text: Leonardos Kounadis and Nikos Ordoulidis

Author (Composer):
Lyrics by:
[French lyrics: Bouchaud dit Defleuve Edmond Greek lyrics: Tymfristos (Papadopoulos Dimitrios) ?]
Singer(s):
Estudiantina Melitsianos
Orchestra-Performers:
Estudiantina Melitsianos
Recording date:
19/09/1912
Recording location:
Constantinople (Istanbul)
Language(s):
Greek
Publisher:
Concert Record Gramophone
Catalogue number:
14-12481
Matrix number:
17329½u
Duration:
3:26
Item location:
Kounadis Archive Record Library
Physical description:
10 in. (25 cm)
Source:
Kounadis Archive
ID:
GramoCR_14_12481_Mariola
Licensing:
cc
Reference link:
Kounadis Archive, "Mariola", 2019, https://vmrebetiko.gr/en/item-en?id=5013

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