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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”.
Tango is one of the main musical elements of the national identity of modern Argentina. It is born in the marginalized environment of the port of Buenos Aires, but soon conquers Europe and the USA, where it is carried by traveling Argentine musicians and dancers during the first decade of the 20th century. Its acceptance by the upper and middle classes was due to its transformation from a multicultural musical expression of the underworld to a dance-music one for whites, as well as to its thematic cleansing of its overtly sensual origins. Primarily marginal types and their provocative liminality are replaced by quaint figures who are possessed by unquenchable, but stylized love passions. This is how a “tamed” musical genre emerges that recalls a more romantic Argentina. Tango takes Parisian cabarets by storm, and its initially targeted popularity soon develops into widespread appeal. Record companies, composers and orchestras manage it as an integral part of their business. At the end of the 1920s and the beginning of the 1930s, Greece succumbs too to this “tangomania”. During the interwar period, tango has a central place in the repertoire of elafro (light music) and enriches discography’s catalogs with hundreds of original compositions which complement the systematic arrangements of popular pieces, mainly of European origin, “dressed” with Greek lyrics. 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 contains recordings in countless places, languages and aesthetical frameworks. One such case is the song "Tango ton rodon" (Tango of roses).
It is an adaptation of the Italian song "Tango delle rose" by Filippo Schreier and Aldo Bottero.
The musical score of the song was published in Italy in 1926 by the Allione publishing house.
It was recorded many times in historical discography, either as a song or as an instrumental cover, in several places and languages (English, French, Polish, Romanian, Albanian, etc.). For example:
– "Il tango delle rose", Daniele Serra, Milan, October 22, 1927 (Gramophone BD 4795 – 7-252581).
– "Tangoul Rozelor", Jean Moscopol, Vienna, November 11, 1929 (His Master's Voice BW 2929 II – ΑΜ 2486).
– "Tango delle Rose", Hélène Cals, Berlin, 1930 (Odeon DA 1458 – A 164177 a)
– "Tango des roses", Nitta Jo, France, May 6, 1931, (Columbia L 2965 – DF 580).
– "Kochaj mnie", Adam Aston – Tadeusz Faliszewski, Warsaw, 1934 (Syrena 24046 – 24046).
– "Il tango delle rose", Leo Reisman Orchestra, New York, December 10, 1937 (Victor BS 017498 – 25744).
– "Tango delle rose", Pancho and his Orchestra, New York, June 3, 1938 (Decca 63904 – 1982B).
– "Tangoja e Trandafilëve", Nicholas Arthur Kreshpani, New York, November 16, 1938 (Victor BS 030132-1 – V-28014).
–"Tango Of Roses (Love Me)", Steve Lawrence, England, March 1953 (Parlophone K 8268 – R3654).
It was also sung by Corinna Mura and included in the American film "Casablanca" (1942), directed by Michael Curtiz, starring Humphrey Bogart and Ingrid Bergman.
The Greek musical score, with lyrics by Xenofontas Asteriadis, was published in Athens by the "Stefanos Gaitanos" publishing house, as well as in New York by the "Apollo Music Co" publishing house.
In Greek historical discography, nine recordings of the song have been found, two of which are instrumental versions:
– “Tango ton rodon”, Dimitris Philippopoulos – Giorgos Savaris, with an orchestra conducted by Grigoris Konstantinidis, Athens, 1929 [Columbia UK 20572 – 18102 and reissued in the United States by Columbia USA (W-294191 – 56205-F)], this recording.
– “Xechase ta palia” (Forget the Old Things), Anna Kriona – Tetos Dimitriadis, New York, April 15, 1929 [Victor CVE-51162-2 – V 58029 and, under the title “Tango ton rodon”, issued by RCA Victor (CVE-51162-2 – 38-3054-A) and Orthophonic (CVE-51162-2 – S-669-A)].
– “Tango ton rodon”, Antonis Delendas, Athens, 1929 (Pathé 70061 – X. 80003 and X. 80.085).
– “To tango ton rodon”, Giorgos Vidalis, accompanied by the Berlin Orchestra, Berlin, 1929 (Odeon Go 1344 – GA 1421 / A 190246 a).
– “Tango ton rodon”, Michalis Thomakos, probably Milan, 1930 (Columbia G 21 – DG 6).
– “Tango des Roses”, Orestis Makris with the Polydor Orchestra conducted by Panos Glykofrydis, Athens, 1930 (Polydor V 51009).
– “Tango ton rodon”, Hawaiian Trio Hoana conducted by Grigoris Konstantinidis, Athens, 1930 (Columbia WG 49 – D.G. 70).
– “Tango ton rodon”, Fofo Vali, USA, 1940s (Standard F-9064-A).
Of particular interest is the instrumental version of the song by the Greek Hawaiians of Bezos – Stipas, recorded in Athens in 1930 under the title “Tango ton rodon” (Odeon Go 1493 – GA 1455 / A 190282 a). As documented by the matrix number Go 1493, the same recording was also issued for the Polish market under the title “Tango Róż” on the Odeon record O 253014 a. On the label of the Polish edition, the ensemble is listed as Gitary hawajskie (Hawaiian Guitars). Next to the title, in parentheses, the name Gaetano is also given, which likewise appears on the label of this recording by Dimitris Philippopoulos and Giorgos Savaris.
It should be noted that the reverse side of the Polish record (O 253014 b) contains another instrumental recording, entitled “Tylko dla mnie” (Only for Me). The performers are again listed as Gitary hawajskie, while the composer is identified as Joannidis. Based on the matrix number Go 1537, the same recording was also issued on the reverse side of the Greek Odeon record GA 1455. It is the instrumental version of the song “Mono emena” (Only Me, Odeon Go 1537 – GA 1455 / A 190282 b), composed by Sosos Ioannidis with lyrics by Minos Matsa, which was recorded in Athens in 1930 by the Greek Hawaiians of Bezos – Stipas. Consequently, the Greek record with catalogue number Odeon GA 1455 / A 190282 was also reissued for the Polish market, with Polish titles and adapted label information. Indeed, the use of different titles, performer names, and catalogue numbers, depending on the country of release and the audience targeted by each company, was common practice in the discography of the period.
Research and text: Leonardos Kounadis, George Evangelou 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”.
Tango is one of the main musical elements of the national identity of modern Argentina. It is born in the marginalized environment of the port of Buenos Aires, but soon conquers Europe and the USA, where it is carried by traveling Argentine musicians and dancers during the first decade of the 20th century. Its acceptance by the upper and middle classes was due to its transformation from a multicultural musical expression of the underworld to a dance-music one for whites, as well as to its thematic cleansing of its overtly sensual origins. Primarily marginal types and their provocative liminality are replaced by quaint figures who are possessed by unquenchable, but stylized love passions. This is how a “tamed” musical genre emerges that recalls a more romantic Argentina. Tango takes Parisian cabarets by storm, and its initially targeted popularity soon develops into widespread appeal. Record companies, composers and orchestras manage it as an integral part of their business. At the end of the 1920s and the beginning of the 1930s, Greece succumbs too to this “tangomania”. During the interwar period, tango has a central place in the repertoire of elafro (light music) and enriches discography’s catalogs with hundreds of original compositions which complement the systematic arrangements of popular pieces, mainly of European origin, “dressed” with Greek lyrics. 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 contains recordings in countless places, languages and aesthetical frameworks. One such case is the song "Tango ton rodon" (Tango of roses).
It is an adaptation of the Italian song "Tango delle rose" by Filippo Schreier and Aldo Bottero.
The musical score of the song was published in Italy in 1926 by the Allione publishing house.
It was recorded many times in historical discography, either as a song or as an instrumental cover, in several places and languages (English, French, Polish, Romanian, Albanian, etc.). For example:
– "Il tango delle rose", Daniele Serra, Milan, October 22, 1927 (Gramophone BD 4795 – 7-252581).
– "Tangoul Rozelor", Jean Moscopol, Vienna, November 11, 1929 (His Master's Voice BW 2929 II – ΑΜ 2486).
– "Tango delle Rose", Hélène Cals, Berlin, 1930 (Odeon DA 1458 – A 164177 a)
– "Tango des roses", Nitta Jo, France, May 6, 1931, (Columbia L 2965 – DF 580).
– "Kochaj mnie", Adam Aston – Tadeusz Faliszewski, Warsaw, 1934 (Syrena 24046 – 24046).
– "Il tango delle rose", Leo Reisman Orchestra, New York, December 10, 1937 (Victor BS 017498 – 25744).
– "Tango delle rose", Pancho and his Orchestra, New York, June 3, 1938 (Decca 63904 – 1982B).
– "Tangoja e Trandafilëve", Nicholas Arthur Kreshpani, New York, November 16, 1938 (Victor BS 030132-1 – V-28014).
–"Tango Of Roses (Love Me)", Steve Lawrence, England, March 1953 (Parlophone K 8268 – R3654).
It was also sung by Corinna Mura and included in the American film "Casablanca" (1942), directed by Michael Curtiz, starring Humphrey Bogart and Ingrid Bergman.
The Greek musical score, with lyrics by Xenofontas Asteriadis, was published in Athens by the "Stefanos Gaitanos" publishing house, as well as in New York by the "Apollo Music Co" publishing house.
In Greek historical discography, nine recordings of the song have been found, two of which are instrumental versions:
– “Tango ton rodon”, Dimitris Philippopoulos – Giorgos Savaris, with an orchestra conducted by Grigoris Konstantinidis, Athens, 1929 [Columbia UK 20572 – 18102 and reissued in the United States by Columbia USA (W-294191 – 56205-F)], this recording.
– “Xechase ta palia” (Forget the Old Things), Anna Kriona – Tetos Dimitriadis, New York, April 15, 1929 [Victor CVE-51162-2 – V 58029 and, under the title “Tango ton rodon”, issued by RCA Victor (CVE-51162-2 – 38-3054-A) and Orthophonic (CVE-51162-2 – S-669-A)].
– “Tango ton rodon”, Antonis Delendas, Athens, 1929 (Pathé 70061 – X. 80003 and X. 80.085).
– “To tango ton rodon”, Giorgos Vidalis, accompanied by the Berlin Orchestra, Berlin, 1929 (Odeon Go 1344 – GA 1421 / A 190246 a).
– “Tango ton rodon”, Michalis Thomakos, probably Milan, 1930 (Columbia G 21 – DG 6).
– “Tango des Roses”, Orestis Makris with the Polydor Orchestra conducted by Panos Glykofrydis, Athens, 1930 (Polydor V 51009).
– “Tango ton rodon”, Hawaiian Trio Hoana conducted by Grigoris Konstantinidis, Athens, 1930 (Columbia WG 49 – D.G. 70).
– “Tango ton rodon”, Fofo Vali, USA, 1940s (Standard F-9064-A).
Of particular interest is the instrumental version of the song by the Greek Hawaiians of Bezos – Stipas, recorded in Athens in 1930 under the title “Tango ton rodon” (Odeon Go 1493 – GA 1455 / A 190282 a). As documented by the matrix number Go 1493, the same recording was also issued for the Polish market under the title “Tango Róż” on the Odeon record O 253014 a. On the label of the Polish edition, the ensemble is listed as Gitary hawajskie (Hawaiian Guitars). Next to the title, in parentheses, the name Gaetano is also given, which likewise appears on the label of this recording by Dimitris Philippopoulos and Giorgos Savaris.
It should be noted that the reverse side of the Polish record (O 253014 b) contains another instrumental recording, entitled “Tylko dla mnie” (Only for Me). The performers are again listed as Gitary hawajskie, while the composer is identified as Joannidis. Based on the matrix number Go 1537, the same recording was also issued on the reverse side of the Greek Odeon record GA 1455. It is the instrumental version of the song “Mono emena” (Only Me, Odeon Go 1537 – GA 1455 / A 190282 b), composed by Sosos Ioannidis with lyrics by Minos Matsa, which was recorded in Athens in 1930 by the Greek Hawaiians of Bezos – Stipas. Consequently, the Greek record with catalogue number Odeon GA 1455 / A 190282 was also reissued for the Polish market, with Polish titles and adapted label information. Indeed, the use of different titles, performer names, and catalogue numbers, depending on the country of release and the audience targeted by each company, was common practice in the discography of the period.
Research and text: Leonardos Kounadis, George Evangelou and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
