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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. This recording belongs to a corpus of songs 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 recording "Garoufalaki".
It is a Greek adaptation of the Neapolitan song "Altalena" or "L'Altalena". Regarding the paternity of the song, the following is noted:
In 1898, a musical score entitled "L'Altalena" in the name of F. Florentio was published in Florence by the Societá Editrice Fiorentina publishing house. In the same year, a musical score (see here and here) entitled "Altalena", which mentions Giovanni Battista Pirani as having covered the song and B. Torena as the lyricist, was published by the Forlivesi & C. publishing house in Florence. This musical score, the only one which could be accessed, includes the song of this recording.
Also, a French musical score of the song, in the name of G. Pirani with lyrics by Maurice Guidon, was published in 1899, in Nice, by P. Decourcelle. In the name of the same composer with lyrics by L. Chojecki a Polish musical score was also published in Warsaw by the B. Rudzki publishing house.
On the label of Odeon’s record No. 36550, which includes the French version of the song under the title "Balançoire", G. V. Pirani is listed as the composer; the names "(Selesi / Florentis)" are listed in Odeon’s catalog, in the details of the same recording.
According to the database that emerged from Alan Kelly's research, the DAHR, Yuri Bernikov's archive website and other sources, the song entitled "L'Altalena", which in some cases is accompanied by the designation "canzone popolare" or "canzone italiana", was recorded several times in historical discography in various locations (London, Vienna, Paris, Milan, Trento, Naples, Warsaw, Lima) between the years 1902–1917 by the following people: Florentis, Florentino, Selesi, Senese, Pirani, Pisani. The following are some examples of the recordings, for the most of which no audio material was found:
- "L'Altalena" (Florentis), Signor Fantoni, London, October 1, 1902 (Gramophone 2405b – 52383)
- "L'Altalena", Italienisches Lied (Selesi), K u K Infanterie Regiment Nr 51, Freiherr Von Probst, Vienna, 1906 (Gramophone 2598k – 20161)
- "L'Altalena" (Selesi), Coppia Corbetta, Milan, 1906 (Gramophone 9519b – X 94035)
- "Balançoire" (Pirani), Altalena, Chanson Napoletaine, Mr Maréchal [Maréchal André], Paris, 1906 (Odeon XP 2378 – No 36550).
- "L'Altalena" – Valzer (G. B. Pirani), Lanner, Vienna, November 1908 (Odeon A 92028)
- "Altalena", piosnka włoska Pisani’ego (Altalena, Italian song by Pisani), Редо Йосиф (Józef Stanisław Redo), Warsaw, probably 1909 (Сирена-Рекорд 8494)
- "L'altalena", canzonette populare napoletane (Senese), Signorina Bollini, Naples, c. 1912 (Polyphon 9236 – 14009)
- "L'Altalena", Canzone italiana, Corpo Municipale di Trento, Trento, Austria, June 18, 1913 (Gramophone 15559l – 590014)
- "Altalena", Canzonetta (G. B. Pirani), Orquesta del Zoológico, Lima, September 3, 1917 (Victor G 2329 – 73251)
- "La Sorrento – L'Altalena", Tichy und Schmiedl [Schmidt], Europe, 19; (Drucker "Sokol" Record, 54354 - 2080 a)
In Greek historical discography, apart from the present recording, another one has been found so far, which was performed by Giorgos Chelmis in New York approximately in August 1918 under the title "Otan vgaineis to proi sto parathyri"(Columbia USA 84612 - E4124).
The Greek musical score was published in Athens by the G. Fexis publishing house under the title "Sto parathyri" and is accompanied by the initials Χ.X.
According to Giorgos Konstantzos, Thomas Tamvakos, Athanasios Trikoupis (2014, 150–151), X. X. was the nickname used by the composer Sotirios Grec.
The record, on the label of which there are no details regarding the performers, contains only one recording. Aristomenis Kalyviotis (2015: 95-96) writes about it: "[...] until 1904, phonograph records were pressed on one side only. In 1905, the German record label "Odeon Rec." was the first to begin producing double-sided records, and other labels of the time immediately followed."
This recording is not included in Alan Kelly's database. However, based on the matrix numbers, it is probably part of the recording cycle carried out by the sound engineer W. Sinkler Darby in Constantinople (Istanbul) in October 1904, with the Athinaiki Estudiantina (Athenian Estudiantina).
Research and text by: 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. This recording belongs to a corpus of songs 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 recording "Garoufalaki".
It is a Greek adaptation of the Neapolitan song "Altalena" or "L'Altalena". Regarding the paternity of the song, the following is noted:
In 1898, a musical score entitled "L'Altalena" in the name of F. Florentio was published in Florence by the Societá Editrice Fiorentina publishing house. In the same year, a musical score (see here and here) entitled "Altalena", which mentions Giovanni Battista Pirani as having covered the song and B. Torena as the lyricist, was published by the Forlivesi & C. publishing house in Florence. This musical score, the only one which could be accessed, includes the song of this recording.
Also, a French musical score of the song, in the name of G. Pirani with lyrics by Maurice Guidon, was published in 1899, in Nice, by P. Decourcelle. In the name of the same composer with lyrics by L. Chojecki a Polish musical score was also published in Warsaw by the B. Rudzki publishing house.
On the label of Odeon’s record No. 36550, which includes the French version of the song under the title "Balançoire", G. V. Pirani is listed as the composer; the names "(Selesi / Florentis)" are listed in Odeon’s catalog, in the details of the same recording.
According to the database that emerged from Alan Kelly's research, the DAHR, Yuri Bernikov's archive website and other sources, the song entitled "L'Altalena", which in some cases is accompanied by the designation "canzone popolare" or "canzone italiana", was recorded several times in historical discography in various locations (London, Vienna, Paris, Milan, Trento, Naples, Warsaw, Lima) between the years 1902–1917 by the following people: Florentis, Florentino, Selesi, Senese, Pirani, Pisani. The following are some examples of the recordings, for the most of which no audio material was found:
- "L'Altalena" (Florentis), Signor Fantoni, London, October 1, 1902 (Gramophone 2405b – 52383)
- "L'Altalena", Italienisches Lied (Selesi), K u K Infanterie Regiment Nr 51, Freiherr Von Probst, Vienna, 1906 (Gramophone 2598k – 20161)
- "L'Altalena" (Selesi), Coppia Corbetta, Milan, 1906 (Gramophone 9519b – X 94035)
- "Balançoire" (Pirani), Altalena, Chanson Napoletaine, Mr Maréchal [Maréchal André], Paris, 1906 (Odeon XP 2378 – No 36550).
- "L'Altalena" – Valzer (G. B. Pirani), Lanner, Vienna, November 1908 (Odeon A 92028)
- "Altalena", piosnka włoska Pisani’ego (Altalena, Italian song by Pisani), Редо Йосиф (Józef Stanisław Redo), Warsaw, probably 1909 (Сирена-Рекорд 8494)
- "L'altalena", canzonette populare napoletane (Senese), Signorina Bollini, Naples, c. 1912 (Polyphon 9236 – 14009)
- "L'Altalena", Canzone italiana, Corpo Municipale di Trento, Trento, Austria, June 18, 1913 (Gramophone 15559l – 590014)
- "Altalena", Canzonetta (G. B. Pirani), Orquesta del Zoológico, Lima, September 3, 1917 (Victor G 2329 – 73251)
- "La Sorrento – L'Altalena", Tichy und Schmiedl [Schmidt], Europe, 19; (Drucker "Sokol" Record, 54354 - 2080 a)
In Greek historical discography, apart from the present recording, another one has been found so far, which was performed by Giorgos Chelmis in New York approximately in August 1918 under the title "Otan vgaineis to proi sto parathyri"(Columbia USA 84612 - E4124).
The Greek musical score was published in Athens by the G. Fexis publishing house under the title "Sto parathyri" and is accompanied by the initials Χ.X.
According to Giorgos Konstantzos, Thomas Tamvakos, Athanasios Trikoupis (2014, 150–151), X. X. was the nickname used by the composer Sotirios Grec.
The record, on the label of which there are no details regarding the performers, contains only one recording. Aristomenis Kalyviotis (2015: 95-96) writes about it: "[...] until 1904, phonograph records were pressed on one side only. In 1905, the German record label "Odeon Rec." was the first to begin producing double-sided records, and other labels of the time immediately followed."
This recording is not included in Alan Kelly's database. However, based on the matrix numbers, it is probably part of the recording cycle carried out by the sound engineer W. Sinkler Darby in Constantinople (Istanbul) in October 1904, with the Athinaiki Estudiantina (Athenian Estudiantina).
Research and text by: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
