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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”.
The inextricable relation between music and performing arts is more than vital. The theater (and later the cinema too) 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 that used for the cinema are often the tip of the spear as regards the popularity of the films. One such case is the present recording.
It includes the Katina–Pipinos duet from the three-act operetta “Oi erotevmenoi” (The lovers), with music by Nikos Chatziapostolou and libretto by Antonis Nikas. The work was first presented on 12 August 1919 at the “Alambra” theatre, featuring Emmanouil Kantiotis, Rozalia Nikas, and others.
As stated in a publication of the newspaper Astir (issue no. 23417-732, Tuesday 13.8.1919, p. 1): “It is not an operetta but a musical work, adapted by Mr. Nikas from the immortal “Mylonades” (Millers), with the music set by Mr. Chatziapostolou.”
The song was recorded several times in the history of Greek discography. For example:
– “Agapis logia” (Words of Love), Athenian Estudiantina, Constantinople, 1920 (Orfeon 3102 / S. 3092 – 12898).
– “Agapis logia”, Marika Papagkika, New York, 28 September 1921 (Victor B-25628-3 – 73137-B).
– “Agapis logia”, Giorgos Kanakis, New York, April 1922 (Columbia 88495-2 – E-7676), present recording.
– “Agapis logia”, Aliki Vitsou [Epitropaki] – Petros Epitropakis, Athens, 1927 (His Master’s Voice BF-761 – AO-506).
– “Agapis logia”, Metronome Mandolinata of Chicago – K. Stavropoulos, New York, March 1932 (Columbia 206580-3 – 56296-F).
– “Agapis logia”, Dimitris Krionas (vocal) and Kostas Kallinikos (piano), New York, 1946 (Απόλλων 2-A).
The musical score of the song was published by Fexis Editions in Athens (see here) and by the Apollo house in New York (see here).
On 13 July 1923, the orchestra of violinist and conductor Sándor Józsi or Dajos Béla, pseudonyms of the Jewish Leon Golzmann (Лев Гольцман), who was born in Kyiv in present-day Ukraine, recorded an orchestral version of the tune in Berlin (Odeon Xbe 3840 – A 44912). This recording was also released by the Greek branch of Odeon (GA 1031 / A 154925) as well as by Odeon USA (28013-Α). On the label of this reissue, Dajos Béla’s orchestra is listed as the Athenian Orchestra.
Around 1947, the Mexican musician Don Pablo (Pablo Mireles) and his orchestra recorded, probably in the USA, the orchestral piece “Words of love” (Rondo QB-9180-1-D9 – R-176-A (8-B) and Latin American 8B).
Eight years later, in 1955, American Eddy Howard adapted the song with English lyrics by Simon Gallop. It was recorded by the Swiss singer Lys Assia (real name Rosa Mina Schärer), together with the British vocal ensemble The Jonston Singers (also known as The Johnson Brothers), in London under the title "Words of love" (45 rpm, London Records 45-1578 DFR.20495).
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”.
The inextricable relation between music and performing arts is more than vital. The theater (and later the cinema too) 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 that used for the cinema are often the tip of the spear as regards the popularity of the films. One such case is the present recording.
It includes the Katina–Pipinos duet from the three-act operetta “Oi erotevmenoi” (The lovers), with music by Nikos Chatziapostolou and libretto by Antonis Nikas. The work was first presented on 12 August 1919 at the “Alambra” theatre, featuring Emmanouil Kantiotis, Rozalia Nikas, and others.
As stated in a publication of the newspaper Astir (issue no. 23417-732, Tuesday 13.8.1919, p. 1): “It is not an operetta but a musical work, adapted by Mr. Nikas from the immortal “Mylonades” (Millers), with the music set by Mr. Chatziapostolou.”
The song was recorded several times in the history of Greek discography. For example:
– “Agapis logia” (Words of Love), Athenian Estudiantina, Constantinople, 1920 (Orfeon 3102 / S. 3092 – 12898).
– “Agapis logia”, Marika Papagkika, New York, 28 September 1921 (Victor B-25628-3 – 73137-B).
– “Agapis logia”, Giorgos Kanakis, New York, April 1922 (Columbia 88495-2 – E-7676), present recording.
– “Agapis logia”, Aliki Vitsou [Epitropaki] – Petros Epitropakis, Athens, 1927 (His Master’s Voice BF-761 – AO-506).
– “Agapis logia”, Metronome Mandolinata of Chicago – K. Stavropoulos, New York, March 1932 (Columbia 206580-3 – 56296-F).
– “Agapis logia”, Dimitris Krionas (vocal) and Kostas Kallinikos (piano), New York, 1946 (Απόλλων 2-A).
The musical score of the song was published by Fexis Editions in Athens (see here) and by the Apollo house in New York (see here).
On 13 July 1923, the orchestra of violinist and conductor Sándor Józsi or Dajos Béla, pseudonyms of the Jewish Leon Golzmann (Лев Гольцман), who was born in Kyiv in present-day Ukraine, recorded an orchestral version of the tune in Berlin (Odeon Xbe 3840 – A 44912). This recording was also released by the Greek branch of Odeon (GA 1031 / A 154925) as well as by Odeon USA (28013-Α). On the label of this reissue, Dajos Béla’s orchestra is listed as the Athenian Orchestra.
Around 1947, the Mexican musician Don Pablo (Pablo Mireles) and his orchestra recorded, probably in the USA, the orchestral piece “Words of love” (Rondo QB-9180-1-D9 – R-176-A (8-B) and Latin American 8B).
Eight years later, in 1955, American Eddy Howard adapted the song with English lyrics by Simon Gallop. It was recorded by the Swiss singer Lys Assia (real name Rosa Mina Schärer), together with the British vocal ensemble The Jonston Singers (also known as The Johnson Brothers), in London under the title "Words of love" (45 rpm, London Records 45-1578 DFR.20495).
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