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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 the Spanish world, which, through a variety of paths, meets the Greek one. A key chapter in this influence was the unparalleled international success achieved by a Spanish estudiantina in 1878 in Paris. Following its success, the band toured countless locations around the world. According to the sources, on February 28, 1886, the Spanish estudiantina gave a concert in Constantinople (Istanbul) and on April 26 and 29, 1886, in Athens (for the first Greek estudiantina, see Ordoulidis, 2021a: 88–100 and Ordoulidis, 2021b). The Spanish students mainstream the culture of semi-professional music bands, the culture of the banduria, the mandolin, the guitar, the “tuna”, that is, the street serenades, and the habanera. The latter follows a path that starts from the Afro-Cuban repertoires and ends up being appropriated by Greek musicians, finding its place even in the form of the manes (see, for example, the Smyrneiko minore (Smyrnaean minor), Gramophone 12574b). The network of the theater is a key environment for the circulation of music; and the relationship between the two (music-theater) is more than dynamic. The appropriation by Greek musicians 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 hear to their own condition, based on their own capabilities. In 1894, when the play of the then most popular zarzuela “La Gran Vía” was played for the first time, a new path that led to the appearance of the Athenian revue opened. Spanish songs started being adapted into Greek since then. These songs arrived at 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 was not only embedded in this context, but played 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. One such case is the unique and all-time hit "La Paloma".
The Spanish original version is a composition by Sebastián Iradier (or Yradier, 1809–1865). The oldest musical score, and most likely the first edition found so far, was printed in Madrid in 1859. It is located in the Biblioteca Nacional de España (La Paloma). The relevant bibliography states that Iradier traveled to America a little earlier. The subhead in the musical score seems to be related to this journey: "canción americana". In addition, on the cover one can read that the song is dedicated to the about 30 years younger Hungarian soprano Sarolta Bujanovics, who, at that time, sang at the Teatro Real in Madrid.
In historical discography, the song was recorded countless times, in various forms and locations. The following seem to be among the oldest recordings of the song:
- La Paloma, Edison Symphony Orchestra, Cylinder Edison 565, circa 1900
- La Paloma, Carlos Francisco, Victor 3052, January 22, 1901
In 1887, the song seemed to be already popular in Greek circles, as it was advertised in the "Panygiriki Ellinoispaniki Parastasi" (Festive Greek-Spanish Performance) that was to be given on July 26 at the O Paradeisos Theater. "Estudiantina Espanola" also took part in this performance.
It should also be mentioned that a Greek musical score of the song was released by Apollo Music Co, in New York. The following is written in this score: "Lexeis G. Vougiouka" (Words by G. Vougioukas). Nevertheless, the Nea Elliniki Anthologia, itoi syllogi eklekton kai neoteron ellinikon poiimaton ypo Michail Saliverou (Modern Greek Anthology, i.e. a collection of selected and modern Greek poems by Michail Saliveros), which was published in 1911, includes the poem "O naftis" (The sailor, p. 408), with the note "based on the Spanish 'La paloma'", transcribed by Isidoros Skyllitsis. The latter, a Smyrnaean scholar originally from the island of Chios, led the pro-European side of the musical spectrum and supported the direct connection of the ancient world with the modern one, rejecting Byzantium’s eastern civilization.
This recording with Tetos Dimitriadis is a re-issue of the record the USA Columbia 7032-F.
In Greek historical discography, the song was also recorded by Marios Lymperopoulos ("Mana tis eipa tora tha pao makra", New York, August 7, 1917, Victor Β-20286 - 69744-A), Elvira de Hidalgo ("Paloma", Athens, 1933, HMV OT-1445 - AO 2053 & AO 2392), Eleni de Roze - Panos Visvardis ("Paloma", Athens, 1937, Columbia CG-1885 - DG 6287) etc.
Research and text: 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 the Spanish world, which, through a variety of paths, meets the Greek one. A key chapter in this influence was the unparalleled international success achieved by a Spanish estudiantina in 1878 in Paris. Following its success, the band toured countless locations around the world. According to the sources, on February 28, 1886, the Spanish estudiantina gave a concert in Constantinople (Istanbul) and on April 26 and 29, 1886, in Athens (for the first Greek estudiantina, see Ordoulidis, 2021a: 88–100 and Ordoulidis, 2021b). The Spanish students mainstream the culture of semi-professional music bands, the culture of the banduria, the mandolin, the guitar, the “tuna”, that is, the street serenades, and the habanera. The latter follows a path that starts from the Afro-Cuban repertoires and ends up being appropriated by Greek musicians, finding its place even in the form of the manes (see, for example, the Smyrneiko minore (Smyrnaean minor), Gramophone 12574b). The network of the theater is a key environment for the circulation of music; and the relationship between the two (music-theater) is more than dynamic. The appropriation by Greek musicians 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 hear to their own condition, based on their own capabilities. In 1894, when the play of the then most popular zarzuela “La Gran Vía” was played for the first time, a new path that led to the appearance of the Athenian revue opened. Spanish songs started being adapted into Greek since then. These songs arrived at 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 was not only embedded in this context, but played 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. One such case is the unique and all-time hit "La Paloma".
The Spanish original version is a composition by Sebastián Iradier (or Yradier, 1809–1865). The oldest musical score, and most likely the first edition found so far, was printed in Madrid in 1859. It is located in the Biblioteca Nacional de España (La Paloma). The relevant bibliography states that Iradier traveled to America a little earlier. The subhead in the musical score seems to be related to this journey: "canción americana". In addition, on the cover one can read that the song is dedicated to the about 30 years younger Hungarian soprano Sarolta Bujanovics, who, at that time, sang at the Teatro Real in Madrid.
In historical discography, the song was recorded countless times, in various forms and locations. The following seem to be among the oldest recordings of the song:
- La Paloma, Edison Symphony Orchestra, Cylinder Edison 565, circa 1900
- La Paloma, Carlos Francisco, Victor 3052, January 22, 1901
In 1887, the song seemed to be already popular in Greek circles, as it was advertised in the "Panygiriki Ellinoispaniki Parastasi" (Festive Greek-Spanish Performance) that was to be given on July 26 at the O Paradeisos Theater. "Estudiantina Espanola" also took part in this performance.
It should also be mentioned that a Greek musical score of the song was released by Apollo Music Co, in New York. The following is written in this score: "Lexeis G. Vougiouka" (Words by G. Vougioukas). Nevertheless, the Nea Elliniki Anthologia, itoi syllogi eklekton kai neoteron ellinikon poiimaton ypo Michail Saliverou (Modern Greek Anthology, i.e. a collection of selected and modern Greek poems by Michail Saliveros), which was published in 1911, includes the poem "O naftis" (The sailor, p. 408), with the note "based on the Spanish 'La paloma'", transcribed by Isidoros Skyllitsis. The latter, a Smyrnaean scholar originally from the island of Chios, led the pro-European side of the musical spectrum and supported the direct connection of the ancient world with the modern one, rejecting Byzantium’s eastern civilization.
This recording with Tetos Dimitriadis is a re-issue of the record the USA Columbia 7032-F.
In Greek historical discography, the song was also recorded by Marios Lymperopoulos ("Mana tis eipa tora tha pao makra", New York, August 7, 1917, Victor Β-20286 - 69744-A), Elvira de Hidalgo ("Paloma", Athens, 1933, HMV OT-1445 - AO 2053 & AO 2392), Eleni de Roze - Panos Visvardis ("Paloma", Athens, 1937, Columbia CG-1885 - DG 6287) etc.
Research and text: Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
