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. "I dolia sou i matia" 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.

The song is a Greek adaptation of the Neapolitan song "A 'nnammurata d’ ’o Bersagliere", set to music by composer Vittorio Fassone (1872 – 1953) and lyrics by Giuseppe Irace. So far, three Italian historical recordings have been found:

- Pietro Mazzone, Naples, 1910–1911, Phonotype 43240
- Luigi Marcarella, Milan, December 1910, Favorite 1-35450
- Tina Onorful, Milan, December, 1 1910, Gramophone 928 ah – 253029

According to the Neapolitan musical score, which was published (under No. 3164) in Naples in 1910 by the Libreria Editrice Bideri publishing house in the Biblioteca Musicale de la "Tavola Rotonda" series, the song was presented for the first time in the "Tavola Rotonda" (La tavola rotonda: Giornale, letterario, illustrato, musicale della domenica – a literary, illustrated, music newspaper that was published every Sunday) competition, at the Piedigrotta festival in 1910. "Piedigrotta", which is written on the headline of the newspaper, refers to one of the most famous and oldest religious festivals that took place in Naples. During the festival, a music competition took place, which, in the 19th century, turned into a dynamic festival. This festival took the form of a commercial mechanism which played a key role in shaping and promoting Neapolitan song.

According to Panos Mavraganis, a Greek musical score of a song with the same title was published by the Christidis publishing house in Constantinople (Istanbul) as a cover by Nikos Platsaios. Although the musical text of the score could not be accessed, it is very likely that it is the recorded song.

In addition, according to the musical score published in Athens in 1914 by "Mousiki" publishing house entitled "Eklogi-Apokria", the song "'A 'nnammurata d’ ’o Bersagliere", adapted by Theofrastos Sakellaridis and with different lyrics by Bampis Anninos, Giorgos Tsokopoulos and Polyvios Dimitrakopoulos was included in the revue “Panathinaia 1914” (written by Bampis Anninos, Giorgos Tsokopoulos and Polyvios Dimitrakopoulos, music by Theofrastos Sakellaridis). It premiered on June 12, 1914 at the Kotopoulis theater by the Kotopoulis troupe.

Research and text: Leonardos Kounadis and Nikos Ordoulidis