Part of the content is temporarily available only in Greek
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. It should also be noted that, in various cases, often due to the great international success of the songs, the resulting network is extremely complex and does not only concern Greek-French relations. Finally, we have time and time again stumbled upon songs whose creators were born in a different place, worked in another, and, in the end, met in a third location and created a new work, often inspired by something pre-existing. Undoubtedly, cases of this type demonstrate the complexity regarding the issues of ownership of works, but also the problem of applying national signs to musical creations.
This recording (a re-issue from the record Columbia USA 106909 - 7028-F) is an adaptation with Greek lyrics of the French song "Fleur d'amour", set to music by the Spanish composer José Padilla (see here) and lyrics by Albert Willemetz (see here) and Jacques Charles (Paris, February 15, 1882 - Paris, September 27, 1971). It was included in the French revue "Bonjour Paris", which premiered on November 10, 1924 at the Casino de Paris. The song was performed live on the stage of the famous musical theater in Paris by Mlle Mistinguett (Jeanne Bourgeois).
The musical score was published in 1924, in Paris, by the F. Salabert publishing house.
The song soon became a global hit, and has been recorded times in historical discography, in various forms, languages and locations. For example:
– "Fleur d'amour", Stiklen's Orchestra, Paris, 1924 (Disque Francis Salabert 236 – S.27)
– "Fleur d'amour", Dajos Bella Orchestra, Berlin, December 4, 1924 (Odeon Be 4393 - BL A 76339, A 44602, O-3252)
– "Fleur d'amour", Orchestra di Danza Moderne, Italy, 1925 (Odeon 32914 – O-84348 – N. d. O. 7397)
– "Fleur d'amour", Orchestra di danze Ferucci, Milan, 1926 (Disco La Fonografia Nationale Milano A-5329)
– "Fleur d'amour", Jack Hylton and his Orchestra, London, March 19, 1926 (Gramophone Bb 8120-2 – 5-915, B5041, EG171)
– "Fleur d'amour", Jazz Band Sul Americano Romeu Silva, Rio de Janeiro, 1926 (Odeon R 123000)
– "Fleurs d'amour", Abe Lyman's California Orchestra, Chicago, July 22, 1926 (Brunswick C520 – 3285-B)
According to the Greek commercial score of the song, which was released by Michalis Gaitanos, Grigoris Konstantinidis and Starr, the lyrics belong to Aimilios Dragatsis.
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”.
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. It should also be noted that, in various cases, often due to the great international success of the songs, the resulting network is extremely complex and does not only concern Greek-French relations. Finally, we have time and time again stumbled upon songs whose creators were born in a different place, worked in another, and, in the end, met in a third location and created a new work, often inspired by something pre-existing. Undoubtedly, cases of this type demonstrate the complexity regarding the issues of ownership of works, but also the problem of applying national signs to musical creations.
This recording (a re-issue from the record Columbia USA 106909 - 7028-F) is an adaptation with Greek lyrics of the French song "Fleur d'amour", set to music by the Spanish composer José Padilla (see here) and lyrics by Albert Willemetz (see here) and Jacques Charles (Paris, February 15, 1882 - Paris, September 27, 1971). It was included in the French revue "Bonjour Paris", which premiered on November 10, 1924 at the Casino de Paris. The song was performed live on the stage of the famous musical theater in Paris by Mlle Mistinguett (Jeanne Bourgeois).
The musical score was published in 1924, in Paris, by the F. Salabert publishing house.
The song soon became a global hit, and has been recorded times in historical discography, in various forms, languages and locations. For example:
– "Fleur d'amour", Stiklen's Orchestra, Paris, 1924 (Disque Francis Salabert 236 – S.27)
– "Fleur d'amour", Dajos Bella Orchestra, Berlin, December 4, 1924 (Odeon Be 4393 - BL A 76339, A 44602, O-3252)
– "Fleur d'amour", Orchestra di Danza Moderne, Italy, 1925 (Odeon 32914 – O-84348 – N. d. O. 7397)
– "Fleur d'amour", Orchestra di danze Ferucci, Milan, 1926 (Disco La Fonografia Nationale Milano A-5329)
– "Fleur d'amour", Jack Hylton and his Orchestra, London, March 19, 1926 (Gramophone Bb 8120-2 – 5-915, B5041, EG171)
– "Fleur d'amour", Jazz Band Sul Americano Romeu Silva, Rio de Janeiro, 1926 (Odeon R 123000)
– "Fleurs d'amour", Abe Lyman's California Orchestra, Chicago, July 22, 1926 (Brunswick C520 – 3285-B)
According to the Greek commercial score of the song, which was released by Michalis Gaitanos, Grigoris Konstantinidis and Starr, the lyrics belong to Aimilios Dragatsis.
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
