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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”.
In the same period America had already turned into an unprecedented cultural melting pot. It is a microcosm of the globe: a “successful Babel”. Naturally, a unique syncretism also dominates in the field of music. The genesis of discography builds a condition that favors conversation and osmosis between the innumerable ethno-cultural groups that make up the population. These processes will lead to the reinterpretation, updating and renewal of old musical trends that arrive in the United States, and, at the same time, to their re-exportation to the “old worlds”, thus setting up a uniquely multi-layered network. Within this network, 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 written for the plays are often the tip of the spear as regards their popularity.
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 includes an arrangement with Greek lyrics of the song "Rose-Marie" from the first act of the two-act American musical of the same name ("Rose-Marie"), or operetta according to others, set to music by Rudolf Friml [Prague, Austro-Hungarian Empire (now Czech Republic), December 7, 1879 – Hollywood, January 12, 1972] and Herbert P. Stothart (Milwaukee, September 11, 1885 – Los Angeles, February 1, 1949) and libretto-lyrics by Otto Harbach (Salt Lake City, August 18, 1873 – New York, January 24, 1963) and Oscar Hammerstein II (New York, July 12, 1895 – Doylestown , Pennsylvania, August 23, 1960). The play premiered on Broadway, in New York, at the Imperial Theater, on September 2, 1924, and ran through January 16, 1926, completing 557 performances (see here for the plot and here and here for other information).
The play, which was Broadway's first major international success, was adapted in several languages and staged on theater stages in cities in America, Europe, Australia, Canada, etc. For example:
– On January 12, 1925, it premiered at the Royal Alexandra Theater in Toronto (see here).
– On March 20, 1925, it was presented at the Theatre Royal Druly Lane in London for 581 performances (see here).
– It was staged in Her Majesty's Theatre in Sydney, Australia, on May 29, 1926.
– On April 9, 1927, the French version of the play premiered at the Théâtre Mogador in Paris, where it was staged until September 30, 1929 (see here).
– In Germany, it premiered on March 30, 1928 at the Admiralspalast in Berlin.
– It was staged at the Király Színház in Budapest, Hungary, on March 31, 1928.
– It was presented on June 18, 1928 at the Urania Theater in Prague, the composer's birthplace.
– On January 28, 1933, the German version of the play was presented at the Stadttheater in Brussels.
Indicative of the impact the play had are all three American film adaptations of the same title, the first being the 1928 silent film with Joan Crawford as Rose-Marie (see here). This was followed by the 1936 version with Jeanette MacDonald and Nelson Eddy in the lead roles (see here), and twenty-eight years later, in 1954, the CinemaScope film starring Ann Blyth and Howard Keel (see here).
The music and several of the songs included in the play were a great success, which is reflected in historical discography with recordings in various languages and regions of the world, either in song or instrumental form. Two songs are found in Greek-speaking discography, which were the most popular internationally. These are "Indian call love" (see "To tragoudi tis kardias") and the song of the same title of this recording.
The song "Rose Marie" was first recorded in instrumental form by the Golden Gate Orchesta (pseudonym of the California Ramblers) on September 8, 1924 in New York (Banner 5619-1 – 1407, Regal 5619-2 – 9709-A, and reissue in England Imperial 586 – 1417). Ten days later, on September 18, 1924, it was recorded in New York by Paul's orchestra Whiteman (Victor B-30832 – 19461). On October 10, 1924, Lambert Murphy recorded the song at Victor's studios in Camden, New Jersey (Victor B-30988 – 45456). Many adaptations and recordings followed in various languages and locations (see here, here, here and here). For example:
– "Rose-Marie", The Romaine Dance Orchestra, London, March 31,1925 (Zonophone Yy 5965-2 – 2567 / X-2-40641).
– "Rose Marie - O ma Rose Marie", Robert Burnier, Paris, 1927 (Pathé 203.798-MC1 – M3-64831 – X. 91.054).
– "O Rosemarie, ich lieb' dich!", Richard Tauber, Berlin, 1927 (Parlophone xxB 7679-2 – O-8310 a).
– "Rose Marie", Tino Folgar, Barcelona, September 6, 1929 (Gramophone BJ2416 – AA-171 and reissue Victor 4195-Α).
– "O Rose Marie, o báje...!", Valentin Šindler, probably Berlin, 1928 (Homocord M-20412 – 2-1646).
– "Oh, ma Rose Marie", Dorothy Ennor – Orquestra Victor Paulista de Salão, Rio de Janeiro, July 7, 1930 (Victor 50374 – 33300 A).
– "Rose Marie", Marian Denmar – Orkiestra J. Gerta, Warsaw, 1936 (Odeon Wo 1727 – O 271157 b).
– "Oh Rose Marie", Meme Bianchi, Milan, 1936 (Odeon Mo 6793 – GO 12770).
– "Розмари", Vladimir Ancharov – Orchestra Bellaccord, Riga, 1937 (Bellaccord Electro M 4259-2 – 3576).
– "Роз-мари", Alexander Tsfasman and his Orchestra, Moscow, 1939 (Aprelevka Plant 8423 – 8423).
The commercial musical score of the song was published in 1924, in New York, by the Harms Inc. publishing house.
In Greece, the play was first performed on June 16, 1928 at the Mondial theater by the Makedos troupe.
In addition to the present recording, four other covers of the song have been released:
– "Roz Mari", Savaris Trio – Choir – Orchestra conducted by Angelos Martino, Athens, 1928 (Columbia UK 20366 – 8307).
– "O! Roz Mari", Sotiria Iatridou - Giorgos Vidalis - Orchestra, Athens, 1928 (Odeon Go 789 – GA 1261 / A 190143 a).
– "Roz Mari", Kostas Kontopoulos – Polydor Orchestra conducted by Panos Glykofridis, Athens, 1929 (Polydor V-50569).
– "O! Roz-Mari", Renos Talmas - Orchestra conducted by Iosif Ritsiardis, Athens, 1938 (His Master's Voice OGA 849-1 – AO 2530). The lyrics were written by Evangelos Bezos.
The Greek commercial musical score of the song, with lyrics by Aimilios Dragatsis, was published in Athens 1929 by the Gaitanos - Konstantinidis - Starr publishing house (see here) and by the Gaitanos publishing house (see here).
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”.
In the same period America had already turned into an unprecedented cultural melting pot. It is a microcosm of the globe: a “successful Babel”. Naturally, a unique syncretism also dominates in the field of music. The genesis of discography builds a condition that favors conversation and osmosis between the innumerable ethno-cultural groups that make up the population. These processes will lead to the reinterpretation, updating and renewal of old musical trends that arrive in the United States, and, at the same time, to their re-exportation to the “old worlds”, thus setting up a uniquely multi-layered network. Within this network, 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 written for the plays are often the tip of the spear as regards their popularity.
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 includes an arrangement with Greek lyrics of the song "Rose-Marie" from the first act of the two-act American musical of the same name ("Rose-Marie"), or operetta according to others, set to music by Rudolf Friml [Prague, Austro-Hungarian Empire (now Czech Republic), December 7, 1879 – Hollywood, January 12, 1972] and Herbert P. Stothart (Milwaukee, September 11, 1885 – Los Angeles, February 1, 1949) and libretto-lyrics by Otto Harbach (Salt Lake City, August 18, 1873 – New York, January 24, 1963) and Oscar Hammerstein II (New York, July 12, 1895 – Doylestown , Pennsylvania, August 23, 1960). The play premiered on Broadway, in New York, at the Imperial Theater, on September 2, 1924, and ran through January 16, 1926, completing 557 performances (see here for the plot and here and here for other information).
The play, which was Broadway's first major international success, was adapted in several languages and staged on theater stages in cities in America, Europe, Australia, Canada, etc. For example:
– On January 12, 1925, it premiered at the Royal Alexandra Theater in Toronto (see here).
– On March 20, 1925, it was presented at the Theatre Royal Druly Lane in London for 581 performances (see here).
– It was staged in Her Majesty's Theatre in Sydney, Australia, on May 29, 1926.
– On April 9, 1927, the French version of the play premiered at the Théâtre Mogador in Paris, where it was staged until September 30, 1929 (see here).
– In Germany, it premiered on March 30, 1928 at the Admiralspalast in Berlin.
– It was staged at the Király Színház in Budapest, Hungary, on March 31, 1928.
– It was presented on June 18, 1928 at the Urania Theater in Prague, the composer's birthplace.
– On January 28, 1933, the German version of the play was presented at the Stadttheater in Brussels.
Indicative of the impact the play had are all three American film adaptations of the same title, the first being the 1928 silent film with Joan Crawford as Rose-Marie (see here). This was followed by the 1936 version with Jeanette MacDonald and Nelson Eddy in the lead roles (see here), and twenty-eight years later, in 1954, the CinemaScope film starring Ann Blyth and Howard Keel (see here).
The music and several of the songs included in the play were a great success, which is reflected in historical discography with recordings in various languages and regions of the world, either in song or instrumental form. Two songs are found in Greek-speaking discography, which were the most popular internationally. These are "Indian call love" (see "To tragoudi tis kardias") and the song of the same title of this recording.
The song "Rose Marie" was first recorded in instrumental form by the Golden Gate Orchesta (pseudonym of the California Ramblers) on September 8, 1924 in New York (Banner 5619-1 – 1407, Regal 5619-2 – 9709-A, and reissue in England Imperial 586 – 1417). Ten days later, on September 18, 1924, it was recorded in New York by Paul's orchestra Whiteman (Victor B-30832 – 19461). On October 10, 1924, Lambert Murphy recorded the song at Victor's studios in Camden, New Jersey (Victor B-30988 – 45456). Many adaptations and recordings followed in various languages and locations (see here, here, here and here). For example:
– "Rose-Marie", The Romaine Dance Orchestra, London, March 31,1925 (Zonophone Yy 5965-2 – 2567 / X-2-40641).
– "Rose Marie - O ma Rose Marie", Robert Burnier, Paris, 1927 (Pathé 203.798-MC1 – M3-64831 – X. 91.054).
– "O Rosemarie, ich lieb' dich!", Richard Tauber, Berlin, 1927 (Parlophone xxB 7679-2 – O-8310 a).
– "Rose Marie", Tino Folgar, Barcelona, September 6, 1929 (Gramophone BJ2416 – AA-171 and reissue Victor 4195-Α).
– "O Rose Marie, o báje...!", Valentin Šindler, probably Berlin, 1928 (Homocord M-20412 – 2-1646).
– "Oh, ma Rose Marie", Dorothy Ennor – Orquestra Victor Paulista de Salão, Rio de Janeiro, July 7, 1930 (Victor 50374 – 33300 A).
– "Rose Marie", Marian Denmar – Orkiestra J. Gerta, Warsaw, 1936 (Odeon Wo 1727 – O 271157 b).
– "Oh Rose Marie", Meme Bianchi, Milan, 1936 (Odeon Mo 6793 – GO 12770).
– "Розмари", Vladimir Ancharov – Orchestra Bellaccord, Riga, 1937 (Bellaccord Electro M 4259-2 – 3576).
– "Роз-мари", Alexander Tsfasman and his Orchestra, Moscow, 1939 (Aprelevka Plant 8423 – 8423).
The commercial musical score of the song was published in 1924, in New York, by the Harms Inc. publishing house.
In Greece, the play was first performed on June 16, 1928 at the Mondial theater by the Makedos troupe.
In addition to the present recording, four other covers of the song have been released:
– "Roz Mari", Savaris Trio – Choir – Orchestra conducted by Angelos Martino, Athens, 1928 (Columbia UK 20366 – 8307).
– "O! Roz Mari", Sotiria Iatridou - Giorgos Vidalis - Orchestra, Athens, 1928 (Odeon Go 789 – GA 1261 / A 190143 a).
– "Roz Mari", Kostas Kontopoulos – Polydor Orchestra conducted by Panos Glykofridis, Athens, 1929 (Polydor V-50569).
– "O! Roz-Mari", Renos Talmas - Orchestra conducted by Iosif Ritsiardis, Athens, 1938 (His Master's Voice OGA 849-1 – AO 2530). The lyrics were written by Evangelos Bezos.
The Greek commercial musical score of the song, with lyrics by Aimilios Dragatsis, was published in Athens 1929 by the Gaitanos - Konstantinidis - Starr publishing house (see here) and by the Gaitanos publishing house (see here).
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
