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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 network in which the Greek-speaking urban popular song participates, constantly conversing with its co-tenants, is 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 appropriated by Greek musicians, among others. The appropriation 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 music 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. 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.
This recording is an adaptation with Greek lyrics of the French song "Je cherche après Titine", set to music by Léo Daniderff (Gaston-Ferdinand Niquet) and lyrics by Louis Maubon, Marcel Bertal, Émile Ronn.
According to the website http://dutempsdescerisesauxfeuillesmortes.net, the song was written in 1917.
It was a global hit and was recorded many times in historical discography in various locations, forms and languages (Italian, English, Polish, German, Spanish, etc.). For example:
- "Je cherche après Titine", Emma Liebel, Paris, July 1923 (Henry Saphir 159 A)
- "Ich suche dich Titine", Efim Schachmeister, Berlin, 1924 (Grammophon 1721ax - B 40767 / 14972)
- "Når alle lygter tændes", Johan Hye Knudens Strygeorkester, Copenhagen, August 3, 1924 (Gramophone BT 890-2 - 7-280966 - X 2104 - AM 151)
- "Titina", Fernando, Brazil, probably in 1924 (Odeon 122988)
- "Titine", Eugeniusz Bodo, Warsaw, 1925 (Płyta Polska 10535 - 10535)
- "Io cerco la Titina", Roberto Ciaramella, Italy, 1925 (Phonotype 4238)
- "Titina", Bill Murray, New York, April 3, 1925 (Victor B-32294 - 19640A)
- MUZICA AVIAŢEI MILITARE ROMÂNE, Bucharest, May 19, 1925 (Gramophone BT 1520-1 - 2-10792 - AM 546)
- "Titina" (instrumental), Pedro Laurenz - Pedro Maffia, Buenos Aires, November 12, 1925 (Victor BA-705 - 79609)
- "Oy, vai, Titina", Yiddish American Jazz Band, New York, November 17, 1925 (Victor BVE 33877 - 78453)
- "Yo busco a Titino", Goyita (Pepita Ramos), Barcelona, 1927 (Odeon SO 3770 - 101944)
- "Titina" (στο "Maza Tokijiete"), Tālis Matīss, Riga, 1937 (Bellacord Electro M 4320 - 3600)
- "ФОКСТРОТ", Концертный ансамбль под упр. Ф. Ф. КРИШ (Ferdinand Krish's Concert Ensemble), Moscow, 1946 (Aprelevka Plant 13694 - 13694)
- Rita Elmgren, Finland, 1958 (HMV OBF 232 - TJ 84)
In 1936, the director, screenwriter and actor Charlie Chaplin performed the song uniquely (see here) in his film "Modern Times" (1936).
Three years later, in 1939, a Polish parody of the song, with lyrics by Marian Hemar and entitled "Wąsik, ach ten wąsik" (Oh, what a moustache), was presented in the revue "Orzeł czy Rzeszka" at the Ali Baba Theater in Warsaw. The song, with references to Charlie Chaplin and Adolf Hitler, was performed by Ludwik Sempoliński.
In Greek historical discography, one more recording of the song by Tetos Dimitriadis ("Titina", New York, May 20, 1925, Victor B-32647-2 - 78129) has been found so far.
The Greek musical score, with lyrics by Nikos Vlyssidis, was published in Athens, probably in 1924, by the Gaitanos - Konstantinidis - Starr publishing house.
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 network in which the Greek-speaking urban popular song participates, constantly conversing with its co-tenants, is 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 appropriated by Greek musicians, among others. The appropriation 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 music 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. 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.
This recording is an adaptation with Greek lyrics of the French song "Je cherche après Titine", set to music by Léo Daniderff (Gaston-Ferdinand Niquet) and lyrics by Louis Maubon, Marcel Bertal, Émile Ronn.
According to the website http://dutempsdescerisesauxfeuillesmortes.net, the song was written in 1917.
It was a global hit and was recorded many times in historical discography in various locations, forms and languages (Italian, English, Polish, German, Spanish, etc.). For example:
- "Je cherche après Titine", Emma Liebel, Paris, July 1923 (Henry Saphir 159 A)
- "Ich suche dich Titine", Efim Schachmeister, Berlin, 1924 (Grammophon 1721ax - B 40767 / 14972)
- "Når alle lygter tændes", Johan Hye Knudens Strygeorkester, Copenhagen, August 3, 1924 (Gramophone BT 890-2 - 7-280966 - X 2104 - AM 151)
- "Titina", Fernando, Brazil, probably in 1924 (Odeon 122988)
- "Titine", Eugeniusz Bodo, Warsaw, 1925 (Płyta Polska 10535 - 10535)
- "Io cerco la Titina", Roberto Ciaramella, Italy, 1925 (Phonotype 4238)
- "Titina", Bill Murray, New York, April 3, 1925 (Victor B-32294 - 19640A)
- MUZICA AVIAŢEI MILITARE ROMÂNE, Bucharest, May 19, 1925 (Gramophone BT 1520-1 - 2-10792 - AM 546)
- "Titina" (instrumental), Pedro Laurenz - Pedro Maffia, Buenos Aires, November 12, 1925 (Victor BA-705 - 79609)
- "Oy, vai, Titina", Yiddish American Jazz Band, New York, November 17, 1925 (Victor BVE 33877 - 78453)
- "Yo busco a Titino", Goyita (Pepita Ramos), Barcelona, 1927 (Odeon SO 3770 - 101944)
- "Titina" (στο "Maza Tokijiete"), Tālis Matīss, Riga, 1937 (Bellacord Electro M 4320 - 3600)
- "ФОКСТРОТ", Концертный ансамбль под упр. Ф. Ф. КРИШ (Ferdinand Krish's Concert Ensemble), Moscow, 1946 (Aprelevka Plant 13694 - 13694)
- Rita Elmgren, Finland, 1958 (HMV OBF 232 - TJ 84)
In 1936, the director, screenwriter and actor Charlie Chaplin performed the song uniquely (see here) in his film "Modern Times" (1936).
Three years later, in 1939, a Polish parody of the song, with lyrics by Marian Hemar and entitled "Wąsik, ach ten wąsik" (Oh, what a moustache), was presented in the revue "Orzeł czy Rzeszka" at the Ali Baba Theater in Warsaw. The song, with references to Charlie Chaplin and Adolf Hitler, was performed by Ludwik Sempoliński.
In Greek historical discography, one more recording of the song by Tetos Dimitriadis ("Titina", New York, May 20, 1925, Victor B-32647-2 - 78129) has been found so far.
The Greek musical score, with lyrics by Nikos Vlyssidis, was published in Athens, probably in 1924, by the Gaitanos - Konstantinidis - Starr publishing house.
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
