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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”.
Historical sources underline the close relations between Italian-speaking and Greek-speaking music. The conversations that developed with specific places, such as the Ionian Islands, the Dodecanese and Patras, as well as their results, are enough to highlight the strong ties between the two ethno-cultural groups. Furthermore, relationships were forged in places where the two ethnicities lived together, such as, for example, in the case of cosmopolitan Smyrna (Izmir) in the Ottoman Empire, or that of New York, where Italians and Greeks immigrated. When researching the historical material, it seems that one particular city in the Italian peninsula developed special relations with the large urban centers where Greek-speaking musicians played a leading role: it was Naples, with its famous Canzone Napoletana, from which the Greek protagonists borrowed music and/or lyrics from pre-existing Neapolitan-speaking songs. In many cases, the appropriations concern not only Neapolitan-speaking songs but the Italian language as a whole, since, often, the original Neapolitan-speaking songs were translated into Italian, from which the loan arose. 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 is not only embedded in this context, but plays a key role in its transformation. 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, are the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms but also in the harmonies. Greek musicians adapt what they hear to their own condition, based on their own capabilities. After all, the mandolins, the guitars, the marches, polyphonic song and the bel canto singing style are characteristics that reveal the influences of the Canzone Napoletana on the Greek-speaking urban popular song. It should also be noted that, in various cases, often due to the great international success of the songs, the network that is finally formed is extremely complex and does not only concern Greek-Italian relations. One such case is the song "Santa Lucia".
This recording is an adaptation with French lyrics of the Teodoro Cottrau's Neapolitan song "Santa Lucia", which became an international hit and was recorded many times in historical discography in various regions, languages (English, French, Polish, Czechoslovakian, Latvian, German, Danish, etc.) and aesthetical frameworks. For example:
- Ferruccio Giannini, USA (see here), November 1898 (E. Βerliner's Gramophone 1617).
- Fantoni, Milan or London, 1901 (Berliner's Gramophone 2922 – 52612).
- André Maréchal, Paris, 1905–1906 (Odeon XP 2328 – Νο 36525).
- Reed Miller, New Jersey, Camden, June 14, 1911 (Victor B 10533 – 16882).
- Neapolitańska śpiewka, 1911–1912, Jan Sztern (Stella Concert Record 12218 – 12218).
- Enrico Caruso, New York, March 20, 1916 (Victor C 17344 – 88560).
- Sbor Svazu mandolinistů a kytaristů pro ČSR v Praze,
First Czechoslovak Republic, 1936 (?) (Esta 2085 – E7343).
- Santa Lučija, Arturs Priednieks-Kavarra, Riga, 1938 (Bellaccord M 4640 – 3745).
- Santa Lucia (Schon glänzt das Mondenlicht), Herbert Ernst Groh, Berlin, 1940 (Odeon Be 12677 – O26415a).
- Hans Kurt, Denmark, 1949 (Odeon KPO 4691-1 – D.K. 1099).
The first musical score of the Neapolitan song seems to have been printed around 1850. Another musical score was also printed in 1898, in Teodoro Cottrau’s collection "Eco del Vesuvio, scelta di celebri canzoni napolitane".
According to the website www.napule-de-canzone.com the song was composed in 1849 by Teodoro Cottrau (1827–1879) and was based on lyrics from the 18th century. Because the song in the Neapolitan language was not a hit, Cottrau translated it into Italian. Although the lyrics of the Italian version are considered to have been written by Enrico Cossovich, the translation is often attributed to Cottrau. According to the above source, "Santa Lucia" is the first Neapolitan song translated into Italian.
Four recordings have been found so far in Greek historical discography, entitled "Lampei mes sto gialo", which are adaptations of the Neapolitan song:
- Elliniki Estudiantina (Greek Estudiantina), Zonophone 314r – X 104000, 1905.
- Estudiantina Christodoulidis, Odeon Cx 709 – X 31316, 1906.
- Giorgos Kanakis – Menelaos Theletridis, Panhellenion Record 7008 A – 4667, maybe 1921.
- Roumpanis Choir, Victor Orthophonic CVE 39155 – 68884, September 7, 1927.
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”.
Historical sources underline the close relations between Italian-speaking and Greek-speaking music. The conversations that developed with specific places, such as the Ionian Islands, the Dodecanese and Patras, as well as their results, are enough to highlight the strong ties between the two ethno-cultural groups. Furthermore, relationships were forged in places where the two ethnicities lived together, such as, for example, in the case of cosmopolitan Smyrna (Izmir) in the Ottoman Empire, or that of New York, where Italians and Greeks immigrated. When researching the historical material, it seems that one particular city in the Italian peninsula developed special relations with the large urban centers where Greek-speaking musicians played a leading role: it was Naples, with its famous Canzone Napoletana, from which the Greek protagonists borrowed music and/or lyrics from pre-existing Neapolitan-speaking songs. In many cases, the appropriations concern not only Neapolitan-speaking songs but the Italian language as a whole, since, often, the original Neapolitan-speaking songs were translated into Italian, from which the loan arose. 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 is not only embedded in this context, but plays a key role in its transformation. 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, are the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms but also in the harmonies. Greek musicians adapt what they hear to their own condition, based on their own capabilities. After all, the mandolins, the guitars, the marches, polyphonic song and the bel canto singing style are characteristics that reveal the influences of the Canzone Napoletana on the Greek-speaking urban popular song. It should also be noted that, in various cases, often due to the great international success of the songs, the network that is finally formed is extremely complex and does not only concern Greek-Italian relations. One such case is the song "Santa Lucia".
This recording is an adaptation with French lyrics of the Teodoro Cottrau's Neapolitan song "Santa Lucia", which became an international hit and was recorded many times in historical discography in various regions, languages (English, French, Polish, Czechoslovakian, Latvian, German, Danish, etc.) and aesthetical frameworks. For example:
- Ferruccio Giannini, USA (see here), November 1898 (E. Βerliner's Gramophone 1617).
- Fantoni, Milan or London, 1901 (Berliner's Gramophone 2922 – 52612).
- André Maréchal, Paris, 1905–1906 (Odeon XP 2328 – Νο 36525).
- Reed Miller, New Jersey, Camden, June 14, 1911 (Victor B 10533 – 16882).
- Neapolitańska śpiewka, 1911–1912, Jan Sztern (Stella Concert Record 12218 – 12218).
- Enrico Caruso, New York, March 20, 1916 (Victor C 17344 – 88560).
- Sbor Svazu mandolinistů a kytaristů pro ČSR v Praze,
First Czechoslovak Republic, 1936 (?) (Esta 2085 – E7343).
- Santa Lučija, Arturs Priednieks-Kavarra, Riga, 1938 (Bellaccord M 4640 – 3745).
- Santa Lucia (Schon glänzt das Mondenlicht), Herbert Ernst Groh, Berlin, 1940 (Odeon Be 12677 – O26415a).
- Hans Kurt, Denmark, 1949 (Odeon KPO 4691-1 – D.K. 1099).
The first musical score of the Neapolitan song seems to have been printed around 1850. Another musical score was also printed in 1898, in Teodoro Cottrau’s collection "Eco del Vesuvio, scelta di celebri canzoni napolitane".
According to the website www.napule-de-canzone.com the song was composed in 1849 by Teodoro Cottrau (1827–1879) and was based on lyrics from the 18th century. Because the song in the Neapolitan language was not a hit, Cottrau translated it into Italian. Although the lyrics of the Italian version are considered to have been written by Enrico Cossovich, the translation is often attributed to Cottrau. According to the above source, "Santa Lucia" is the first Neapolitan song translated into Italian.
Four recordings have been found so far in Greek historical discography, entitled "Lampei mes sto gialo", which are adaptations of the Neapolitan song:
- Elliniki Estudiantina (Greek Estudiantina), Zonophone 314r – X 104000, 1905.
- Estudiantina Christodoulidis, Odeon Cx 709 – X 31316, 1906.
- Giorgos Kanakis – Menelaos Theletridis, Panhellenion Record 7008 A – 4667, maybe 1921.
- Roumpanis Choir, Victor Orthophonic CVE 39155 – 68884, September 7, 1927.
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
