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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”.
Tango is one of the main musical elements of the national identity of modern Argentina. It is born in the marginalized environment of the port of Buenos Aires, but soon conquers Europe and the USA, where it is carried by traveling Argentine musicians and dancers during the first decade of the 20th century. Its acceptance by the upper and middle classes was due to its transformation from a multicultural musical expression of the underworld to a dance-music one for whites, as well as to its thematic cleansing of its overtly sensual origins. Primarily marginal types and their provocative liminality are replaced by quaint figures who are possessed by unquenchable, but stylized love passions. This is how a “tamed” musical genre emerges that recalls a more romantic Argentina. Tango takes Parisian cabarets by storm, and its initially targeted popularity soon develops into widespread appeal. Record companies, composers and orchestras manage it as an integral part of their business. At the end of the 1920s and the beginning of the 1930s, Greece succumbs too to this “tangomania”. During the interwar period, tango has a central place in the repertoire of elafro (light music) and enriches discography’s catalogs with hundreds of original compositions which complement the systematic arrangements of popular pieces, mainly of European origin, “dressed” with Greek lyrics.
It should be noted that 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. One such case is the song "Spaniolikes kithares" (Spanish guitars).
This is an adaptation with Greek lyrics of the Italian song “Chitarre di Spagna”, set to music by Mario Schisa (Montevideo, May 1, 1906 - Rome, July 11, 1980) with lyrics by Enrico Frati (Prato, Tuscany, 1889 - Milan, 1971).
The Italian musical score was published in 1928 by the music publishing house (Casa Editrice Musicale) Abramo Allione, Milano - Torino.
It was probably first recorded by Daniele Serra, in Milan, on 29 February 1928, for Gramophone (BF 1555-1 - 7-252616 R4543). About a month later, on March 21 1928, it was recorded at Hayes, London, by Bert Firman’s Dance Band (Gramophone Bb 13087-1 - 7-250195 R4983). On the same year was recorded in Milan by Orchestra Tzigana Fonodisco (Il Fonodisco Italiano 1336 - 1530) and by Miscel (Michele Cimato) for Columbia (B 1585 - D 5703).
It was also released on piano roll by the Italian company F.I.R.S.T (Fabbrica Italiana Rulli Sonori Traforati) under catalog number 294 (see here).
In its Greek-language version, the song falls into the trend of exoticism. In exotic representations, Spain is described as a permanent spring and blooming landscape, often nocturnal, in which cities that are symbols of "Spanishness", such as Granada, Valencia and Seville, are usually placed. The popularity of Gioacchino Rossini's opera The Barber of Seville probably played a role in its extensive use in exotic performances.
The Spanish are represented as a pre-modern and semi-exotic people motivated by honor, and an archaic way of life, different from the materialism and progress of the Western world. Their life is characterized by an unconventional freedom dominated by passion and nostalgia. The musical instruments in Spain, mostly guitars and castanets, are not played to accompany a feast, as is the case in the East, but to express amorous passion.
More specifically, in this song, Spain is covered by the marginally metaphysical starlit nocturnal atmosphere (In Spain's scented night, the streets are lit by stars’ light and the moon has turned the earth pale silver), and the songs are characterized by fiery passion.
In the rich Greek-speaking discography of tangos during the interwar period, which includes works by almost all the composers of the elafro (light music), one can distinguish the following two manifestations:
a. The "cosmopolitan" tango, which, thematically, mainly describes love stories and rarely touches on social issues such as drugs and poverty. As an expression of a global and cosmopolitan trend, which is growing alongside discography networks, it adds a touch of modern.
b. The "exotic" tango which, in abstract terms and with a multitude of cosmetic adjectives, recalls idealized Argentina, but also the equally idealized environment of Spain and the Gypsies, as in the case of this song.
These are of course not two completely differentiated trends, but they are characterized by fluidity and often converge. In these circumstances, tango is chosen both because it is the expression of a modern musical cosmopolitanism, popular and commercially successful, and because it contains characteristics capable of structuring an exotic atmosphere. Another orchestration option is used in the same terms, that of the exotic yet cosmopolitan Hawaiian (lap steel) guitar.
The Greek musical score with lyrics by Z. Loras was published in Athens, in 1929, by the Zacharias Makris’ "Mousiki" publishing house, as well as by "Gaitanos".
Another cover of the song by Michalis Thomakos (Odeon GO1572 – GA1497), recorded around 1930 in Athens, can be found in the Greek-speaking historical discography.
Research and text: George Evangelou, 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”.
Tango is one of the main musical elements of the national identity of modern Argentina. It is born in the marginalized environment of the port of Buenos Aires, but soon conquers Europe and the USA, where it is carried by traveling Argentine musicians and dancers during the first decade of the 20th century. Its acceptance by the upper and middle classes was due to its transformation from a multicultural musical expression of the underworld to a dance-music one for whites, as well as to its thematic cleansing of its overtly sensual origins. Primarily marginal types and their provocative liminality are replaced by quaint figures who are possessed by unquenchable, but stylized love passions. This is how a “tamed” musical genre emerges that recalls a more romantic Argentina. Tango takes Parisian cabarets by storm, and its initially targeted popularity soon develops into widespread appeal. Record companies, composers and orchestras manage it as an integral part of their business. At the end of the 1920s and the beginning of the 1930s, Greece succumbs too to this “tangomania”. During the interwar period, tango has a central place in the repertoire of elafro (light music) and enriches discography’s catalogs with hundreds of original compositions which complement the systematic arrangements of popular pieces, mainly of European origin, “dressed” with Greek lyrics.
It should be noted that 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. One such case is the song "Spaniolikes kithares" (Spanish guitars).
This is an adaptation with Greek lyrics of the Italian song “Chitarre di Spagna”, set to music by Mario Schisa (Montevideo, May 1, 1906 - Rome, July 11, 1980) with lyrics by Enrico Frati (Prato, Tuscany, 1889 - Milan, 1971).
The Italian musical score was published in 1928 by the music publishing house (Casa Editrice Musicale) Abramo Allione, Milano - Torino.
It was probably first recorded by Daniele Serra, in Milan, on 29 February 1928, for Gramophone (BF 1555-1 - 7-252616 R4543). About a month later, on March 21 1928, it was recorded at Hayes, London, by Bert Firman’s Dance Band (Gramophone Bb 13087-1 - 7-250195 R4983). On the same year was recorded in Milan by Orchestra Tzigana Fonodisco (Il Fonodisco Italiano 1336 - 1530) and by Miscel (Michele Cimato) for Columbia (B 1585 - D 5703).
It was also released on piano roll by the Italian company F.I.R.S.T (Fabbrica Italiana Rulli Sonori Traforati) under catalog number 294 (see here).
In its Greek-language version, the song falls into the trend of exoticism. In exotic representations, Spain is described as a permanent spring and blooming landscape, often nocturnal, in which cities that are symbols of "Spanishness", such as Granada, Valencia and Seville, are usually placed. The popularity of Gioacchino Rossini's opera The Barber of Seville probably played a role in its extensive use in exotic performances.
The Spanish are represented as a pre-modern and semi-exotic people motivated by honor, and an archaic way of life, different from the materialism and progress of the Western world. Their life is characterized by an unconventional freedom dominated by passion and nostalgia. The musical instruments in Spain, mostly guitars and castanets, are not played to accompany a feast, as is the case in the East, but to express amorous passion.
More specifically, in this song, Spain is covered by the marginally metaphysical starlit nocturnal atmosphere (In Spain's scented night, the streets are lit by stars’ light and the moon has turned the earth pale silver), and the songs are characterized by fiery passion.
In the rich Greek-speaking discography of tangos during the interwar period, which includes works by almost all the composers of the elafro (light music), one can distinguish the following two manifestations:
a. The "cosmopolitan" tango, which, thematically, mainly describes love stories and rarely touches on social issues such as drugs and poverty. As an expression of a global and cosmopolitan trend, which is growing alongside discography networks, it adds a touch of modern.
b. The "exotic" tango which, in abstract terms and with a multitude of cosmetic adjectives, recalls idealized Argentina, but also the equally idealized environment of Spain and the Gypsies, as in the case of this song.
These are of course not two completely differentiated trends, but they are characterized by fluidity and often converge. In these circumstances, tango is chosen both because it is the expression of a modern musical cosmopolitanism, popular and commercially successful, and because it contains characteristics capable of structuring an exotic atmosphere. Another orchestration option is used in the same terms, that of the exotic yet cosmopolitan Hawaiian (lap steel) guitar.
The Greek musical score with lyrics by Z. Loras was published in Athens, in 1929, by the Zacharias Makris’ "Mousiki" publishing house, as well as by "Gaitanos".
Another cover of the song by Michalis Thomakos (Odeon GO1572 – GA1497), recorded around 1930 in Athens, can be found in the Greek-speaking historical discography.
Research and text: George Evangelou, Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
