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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”.
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. 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. 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 doesn not only concern Greek-Italian relations. Neapolitan music, however, seems to have found other ways of communicating with the Greek-speaking music world. One such case is the song "Ego ki esy".
It is a composition by Giovanni Ingenito with lyrics by D. Vitalis, as documented by two musical scores of the song in Athanasios Trikoupis’ and Thomas Tamvakos’ archive.
One of them, on which is written "Tipografia del Vesuvio-Napoli" and the initials "A.S.E.F.P.", is entitled "Ego kai sy! - Lemvodia", and, the other one, which was published in Athens by the Georgios D. Fexis publishing house, is entitled "I kastani - Ego kai sy".
Giovanni Ingenito was born in Palma Campania, a small community outside Naples, and immigrated to America shortly before 1920. In the book Mousourgoi tis Thrakis (Composers of Thrace) (Konstantzos, Tamvakos, Trikoupis, 2014), some information about the composer Giovanni Ingenito is presented. It is mentioned that during "his short stay in Constantinople (early 20th century) [...], he composed some works published by the Christidis and the Lehner music publishing houses in Constantinople. Those were the following: 'Choris kardia', 'Sérenade d' amore' based on D. Vitalis’ poetry and 'S’ ekeini' for voice and piano, and also 'Valse Constantinople' for piano or mandolin or violin."
In addition, Athanasios Trikoupis (2015: 31) mentions that Ingenito took over as conductor of the orchestra of the "Neos Filarmonikos Syllogos Zakynthou" (Zakynthos’ New Philharmonic Association) in 1899.
The case of Ingenito is an extremely interesting chapter in the relations between Naples and the Greek-speaking world, as, from within the Greek network, we see him taking over posts and composing songs with Greek lyrics, but based on the aesthetics of the Canzone Napoletana.
According to the database that emerged from Alan Kelly's research and other sources, the song seems to have been recorded earlier than this recording and several times in Greek historical discography:
- "I Kastani, Varkarola (I Kastani)", Dimosthenis [Demosthènes], Constantinople (Istanbul), May 1900 (Gramophone 1803 A, refers to the fact that it was released on a 7-inch record whose details are not listed)
- "Kastany", Estudiantina Grecque, Constantinople (Istanbul), 1905 (Gramophone 398r - 11-12894, Zonophone X-102161 )
- "Kastani", Estoudiantina Zounaraki, Constantinople (Istanbul), 1906 (Odeon C 852 - 1859)
- "Ego kai sy", Estoudiantina Konstantinoupoleos (Estudiantina of Constantinople), Constantinople (Istanbul), 1907 (Odeon X ?)
- "Egho ke si", Mlle Maria, Estudiantina Grecque, Smyrna (Izmir), March 1909 (Gramophone 12826b - 4-13544)
- "Kastany", Mme Vanda Guerini (Greek), Constantinople (Istanbul), March 17, 1909 (Gramophone 12568b - 4-13528)
- "Treli kastani", New York, 1920, Georgios Kanakis - Menelaos Theletridis (Panhellenion 4665 - 7007)
- "I kastani", Athenian Vocal Trio, probably New York, 1924 (Columbia USA 105093 - 7012-F)
The recording was also released by Gramophone on record No. 3-14667.
Aristomenis Kalyviotis (2019: 24, 26) writes the following regarding the song: "After 1903, the record label 'The Gramophone Co Ltd', within the framework of its close cooperation with 'Victor', had acquired the rights of use of the label 'International Zonophone Co.'." According to Hugo Strötbaum, from 1905 (or from the end of 1904), the record label started releasing its new recordings exclusively under the labels of 'Disque pour Zonophone' and 'Zonophone Record'. All of these records were numbered in the X-100000 series. At the same time, 'The Gramophone Co Ltd' released some of its older recordings under the label of 'Zonophone'. This continued at least until 1907. [...] From 1909, 'The Gramophone Co Ltd' started releasing its new recordings again under the label of 'Concert Record Gramophone'. Many of the new recordings of 'The Gramophone Co Ltd' were released at the same time under the label of 'Zonophone'. This lasted until 1911 when the release of new records of the record company under the label of 'Zonophone' probably stopped."
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”.
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. 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. 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 doesn not only concern Greek-Italian relations. Neapolitan music, however, seems to have found other ways of communicating with the Greek-speaking music world. One such case is the song "Ego ki esy".
It is a composition by Giovanni Ingenito with lyrics by D. Vitalis, as documented by two musical scores of the song in Athanasios Trikoupis’ and Thomas Tamvakos’ archive.
One of them, on which is written "Tipografia del Vesuvio-Napoli" and the initials "A.S.E.F.P.", is entitled "Ego kai sy! - Lemvodia", and, the other one, which was published in Athens by the Georgios D. Fexis publishing house, is entitled "I kastani - Ego kai sy".
Giovanni Ingenito was born in Palma Campania, a small community outside Naples, and immigrated to America shortly before 1920. In the book Mousourgoi tis Thrakis (Composers of Thrace) (Konstantzos, Tamvakos, Trikoupis, 2014), some information about the composer Giovanni Ingenito is presented. It is mentioned that during "his short stay in Constantinople (early 20th century) [...], he composed some works published by the Christidis and the Lehner music publishing houses in Constantinople. Those were the following: 'Choris kardia', 'Sérenade d' amore' based on D. Vitalis’ poetry and 'S’ ekeini' for voice and piano, and also 'Valse Constantinople' for piano or mandolin or violin."
In addition, Athanasios Trikoupis (2015: 31) mentions that Ingenito took over as conductor of the orchestra of the "Neos Filarmonikos Syllogos Zakynthou" (Zakynthos’ New Philharmonic Association) in 1899.
The case of Ingenito is an extremely interesting chapter in the relations between Naples and the Greek-speaking world, as, from within the Greek network, we see him taking over posts and composing songs with Greek lyrics, but based on the aesthetics of the Canzone Napoletana.
According to the database that emerged from Alan Kelly's research and other sources, the song seems to have been recorded earlier than this recording and several times in Greek historical discography:
- "I Kastani, Varkarola (I Kastani)", Dimosthenis [Demosthènes], Constantinople (Istanbul), May 1900 (Gramophone 1803 A, refers to the fact that it was released on a 7-inch record whose details are not listed)
- "Kastany", Estudiantina Grecque, Constantinople (Istanbul), 1905 (Gramophone 398r - 11-12894, Zonophone X-102161 )
- "Kastani", Estoudiantina Zounaraki, Constantinople (Istanbul), 1906 (Odeon C 852 - 1859)
- "Ego kai sy", Estoudiantina Konstantinoupoleos (Estudiantina of Constantinople), Constantinople (Istanbul), 1907 (Odeon X ?)
- "Egho ke si", Mlle Maria, Estudiantina Grecque, Smyrna (Izmir), March 1909 (Gramophone 12826b - 4-13544)
- "Kastany", Mme Vanda Guerini (Greek), Constantinople (Istanbul), March 17, 1909 (Gramophone 12568b - 4-13528)
- "Treli kastani", New York, 1920, Georgios Kanakis - Menelaos Theletridis (Panhellenion 4665 - 7007)
- "I kastani", Athenian Vocal Trio, probably New York, 1924 (Columbia USA 105093 - 7012-F)
The recording was also released by Gramophone on record No. 3-14667.
Aristomenis Kalyviotis (2019: 24, 26) writes the following regarding the song: "After 1903, the record label 'The Gramophone Co Ltd', within the framework of its close cooperation with 'Victor', had acquired the rights of use of the label 'International Zonophone Co.'." According to Hugo Strötbaum, from 1905 (or from the end of 1904), the record label started releasing its new recordings exclusively under the labels of 'Disque pour Zonophone' and 'Zonophone Record'. All of these records were numbered in the X-100000 series. At the same time, 'The Gramophone Co Ltd' released some of its older recordings under the label of 'Zonophone'. This continued at least until 1907. [...] From 1909, 'The Gramophone Co Ltd' started releasing its new recordings again under the label of 'Concert Record Gramophone'. Many of the new recordings of 'The Gramophone Co Ltd' were released at the same time under the label of 'Zonophone'. This lasted until 1911 when the release of new records of the record company under the label of 'Zonophone' probably stopped."
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
