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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”.
It should be noted that, 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. Finally, we have time and time again stumbled upon songs whose creators were born in a different place, worked in another, and, in the end, met in a third location and created a new work, often inspired by something pre-existing. Undoubtedly, cases of this type demonstrate the complexity regarding the issues of ownership of works, but also the problem of applying national signs to musical creations.
This recording is an adaptation with Greek lyrics of the Hungarian song "Szonja: orosz ballada Op. 98", set to music by Eugen Pártos (Jenő Pártos, Budapest, May 26, 1885 - September 1, 1963), German lyrics by Fritz Löhner-Beda (Wildenschwert, Bohemia, Austria-Hungary, now Ústí nad Orlicí, Czech Republic, June 24, 1883 - Auschwitz III concentration camp, Monowitz, December 4, 1942) and Hungarian lyrics by Zágon István (Tiszaszőlős, Hungary, October 30, 1893 - Budapest, January 10, 1975).
The musical score was published in 1920, in Budapest, by the Rózsavölgyi és Társa Kiadó publishing house.
The song became a global hit and was recorded many times in various formats, locations and languages. For example:
- Max Bloch, New York, November 8, 1922 (Victor B-27073 - 73643-B)
- "Sonja, Sonja, píseň", Umělecké kvarteto Willy Bass, Prague, November 14, 1922 (Gramophone BE 818-1 - 278028 AM323)
- Broadway Dance Orchestra, New York, November 15, 1922 (Edison 8666 - 51093-L)
- "СОНЯ, изъ "Летучей Мыши", Dadiv Medoff, New York, January 1923 (Columbia 89035 - E7912). It is a recording made by members of the troupe of the world touring revue La Chauve-Souris during its first US tour.
- Fănică Georgescu, Bucharest, May 19, 1925 (Gramophone BT 1539-1 - 15-12907 - AM565)
- Milan Tomić Milanče, Berlin, 1927 (Odeon Vse 429 - A 300421)
- Carlos Gardel, Buenos Aires, October 6, 1927, (Odeon 18227 - E-1460)
- Hannes Saari, New York, October 18, 1927 (Columbia W 108414-2 - 3064 F)
- Sven Olof Sandberg, Stockholm, March 26, 1928 (Odeon Sto 3000 - A 162137 a)
- "Soňa", Ferda Kohout, Berlin, 1928 (Odeon Ze 1868 - A 186604 a)
- Vlaho Paljetak uz gitare Lebedjev,probably in England, 1929 (?) (Edison Bell Radio, SZ 844 - SZ 14730)
- Robert Koppel, Berlin, 1929 (Odeon Be 8129 - O-11139 a)
- Sigurður Skagfield, probably in Reykjavík, 1930 (Polyphon 3292 BR II - S 43065)
- Marian Demar, Warsaw, 1937 (Syrena-Electro 27993 - 9839)
The Greek musical score, with lyrics by Z. Loras, was published in 1924, in Athens, by the Gaitanos - Konstantinidis - Starr publishing house.
In Greek historical discography, the song was recorded by Ismini Diatsentou (present recording), Tzon Miliaris, Giorgos Vidalis - Giorgos Savaris, Mina Kyriakou and Kostas Kontopoulos.
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”.
It should be noted that, 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. Finally, we have time and time again stumbled upon songs whose creators were born in a different place, worked in another, and, in the end, met in a third location and created a new work, often inspired by something pre-existing. Undoubtedly, cases of this type demonstrate the complexity regarding the issues of ownership of works, but also the problem of applying national signs to musical creations.
This recording is an adaptation with Greek lyrics of the Hungarian song "Szonja: orosz ballada Op. 98", set to music by Eugen Pártos (Jenő Pártos, Budapest, May 26, 1885 - September 1, 1963), German lyrics by Fritz Löhner-Beda (Wildenschwert, Bohemia, Austria-Hungary, now Ústí nad Orlicí, Czech Republic, June 24, 1883 - Auschwitz III concentration camp, Monowitz, December 4, 1942) and Hungarian lyrics by Zágon István (Tiszaszőlős, Hungary, October 30, 1893 - Budapest, January 10, 1975).
The musical score was published in 1920, in Budapest, by the Rózsavölgyi és Társa Kiadó publishing house.
The song became a global hit and was recorded many times in various formats, locations and languages. For example:
- Max Bloch, New York, November 8, 1922 (Victor B-27073 - 73643-B)
- "Sonja, Sonja, píseň", Umělecké kvarteto Willy Bass, Prague, November 14, 1922 (Gramophone BE 818-1 - 278028 AM323)
- Broadway Dance Orchestra, New York, November 15, 1922 (Edison 8666 - 51093-L)
- "СОНЯ, изъ "Летучей Мыши", Dadiv Medoff, New York, January 1923 (Columbia 89035 - E7912). It is a recording made by members of the troupe of the world touring revue La Chauve-Souris during its first US tour.
- Fănică Georgescu, Bucharest, May 19, 1925 (Gramophone BT 1539-1 - 15-12907 - AM565)
- Milan Tomić Milanče, Berlin, 1927 (Odeon Vse 429 - A 300421)
- Carlos Gardel, Buenos Aires, October 6, 1927, (Odeon 18227 - E-1460)
- Hannes Saari, New York, October 18, 1927 (Columbia W 108414-2 - 3064 F)
- Sven Olof Sandberg, Stockholm, March 26, 1928 (Odeon Sto 3000 - A 162137 a)
- "Soňa", Ferda Kohout, Berlin, 1928 (Odeon Ze 1868 - A 186604 a)
- Vlaho Paljetak uz gitare Lebedjev,probably in England, 1929 (?) (Edison Bell Radio, SZ 844 - SZ 14730)
- Robert Koppel, Berlin, 1929 (Odeon Be 8129 - O-11139 a)
- Sigurður Skagfield, probably in Reykjavík, 1930 (Polyphon 3292 BR II - S 43065)
- Marian Demar, Warsaw, 1937 (Syrena-Electro 27993 - 9839)
The Greek musical score, with lyrics by Z. Loras, was published in 1924, in Athens, by the Gaitanos - Konstantinidis - Starr publishing house.
In Greek historical discography, the song was recorded by Ismini Diatsentou (present recording), Tzon Miliaris, Giorgos Vidalis - Giorgos Savaris, Mina Kyriakou and Kostas Kontopoulos.
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
