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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.
This recording includes an adaptation with Greek lyrics by Foivos Atreidis of the tango "Poema", with music by Mario Melfi (Buenos Aires, August 5, 1905 - September 21, 1970) and lyrics by Eduardo Bianco (Rosario, Santa Fe, Argentina, June 28, 1892 - Buenos Aires, October 26, 1959).
The musical score of the song was published in Paris by Julio Garson.
The song became a great hit and was recorded many times in various formats, locations and languages. For example:
– "Poema", Orquesta A. J. Pesenti du Coliseum de Paris – Nena Sainz, Paris, July 11, 1932 (Columbia WL 3848 – DF 946).
– "Poema", Imperio Argentina – Orchestra with guitars, piano, violin, Barcelona, 1932-1933 (Parlophon 129649 – B 25.872.I, Odeon 129649 – O 4784, Columbia 129649 Α – J 2281).
– "Poema", Eduardo Bianco and his Orchestra – Manuel Bianco [Eduardo Bianco], New York, January 11, 1934 (Brunswick B14575 – 6923).
– "Poemat", Stefan Witas – Orkiestra Odeon, Warsaw, 1934 (Odeon Wo. 1524 – O. 271035 a.).
– "Poema", Francisco Canaro su Orquesta Tipica – Roberto Maida, Buenos Aires, June 11, 1935 (Odeon e 8189 – 4945 B).
– "Poema", Pauls Zakks – Arpada Czegledy Orkestris, Riga, 1938 (Bellaccord Electro M 4746 – 3800).
– "Poema", Rita Drangsholt, Øivind Berghs Bristolorkester, Oslo, 1942 (Columbia CN 1563 – GN 928).
– "Poema", Orchestra Rio Rita, Italy, 1947 (Cetra 53100BC – AA474).
– "Poema", Veikko Tuomi – Triola-yhtye, Helsinki, 1953 (Triola 4108 II L – T 4108).
In Greek historical discography, in addition to the present recording, the song was released in two more covers:
– "Poema", Petros Epitropakis, Athens, 1933 (Parlophon 101315 – B. 21670-I).
– "Poema", Artemis Manesi, Athens, 1933 (Odeon Go 1856 – GA 1641).
The Greek musical score with the title "Poema - San tragoudaki erotiko" (Poema - Like a love song) and lyrics by Foivos Atreidis, was published in Athens, in 1933, by the Gaitanos publishing house.
Research and text: George Evangelou, 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”.
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.
This recording includes an adaptation with Greek lyrics by Foivos Atreidis of the tango "Poema", with music by Mario Melfi (Buenos Aires, August 5, 1905 - September 21, 1970) and lyrics by Eduardo Bianco (Rosario, Santa Fe, Argentina, June 28, 1892 - Buenos Aires, October 26, 1959).
The musical score of the song was published in Paris by Julio Garson.
The song became a great hit and was recorded many times in various formats, locations and languages. For example:
– "Poema", Orquesta A. J. Pesenti du Coliseum de Paris – Nena Sainz, Paris, July 11, 1932 (Columbia WL 3848 – DF 946).
– "Poema", Imperio Argentina – Orchestra with guitars, piano, violin, Barcelona, 1932-1933 (Parlophon 129649 – B 25.872.I, Odeon 129649 – O 4784, Columbia 129649 Α – J 2281).
– "Poema", Eduardo Bianco and his Orchestra – Manuel Bianco [Eduardo Bianco], New York, January 11, 1934 (Brunswick B14575 – 6923).
– "Poemat", Stefan Witas – Orkiestra Odeon, Warsaw, 1934 (Odeon Wo. 1524 – O. 271035 a.).
– "Poema", Francisco Canaro su Orquesta Tipica – Roberto Maida, Buenos Aires, June 11, 1935 (Odeon e 8189 – 4945 B).
– "Poema", Pauls Zakks – Arpada Czegledy Orkestris, Riga, 1938 (Bellaccord Electro M 4746 – 3800).
– "Poema", Rita Drangsholt, Øivind Berghs Bristolorkester, Oslo, 1942 (Columbia CN 1563 – GN 928).
– "Poema", Orchestra Rio Rita, Italy, 1947 (Cetra 53100BC – AA474).
– "Poema", Veikko Tuomi – Triola-yhtye, Helsinki, 1953 (Triola 4108 II L – T 4108).
In Greek historical discography, in addition to the present recording, the song was released in two more covers:
– "Poema", Petros Epitropakis, Athens, 1933 (Parlophon 101315 – B. 21670-I).
– "Poema", Artemis Manesi, Athens, 1933 (Odeon Go 1856 – GA 1641).
The Greek musical score with the title "Poema - San tragoudaki erotiko" (Poema - Like a love song) and lyrics by Foivos Atreidis, was published in Athens, in 1933, by the Gaitanos publishing house.
Research and text: George Evangelou, Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
