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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”.
One of these fascinating networks concerns French songs, which were appropriated by Greek musicians, among others. The appropriation 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, the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms and in the harmonies. Greek musicians adapt what they heard to their own condition, based on their own capabilities. The French ecumene lends its chansons, which carry a dynamic tradition of songwriting and performance. Paris, Montmartre and the cabarets artistiques influence the music of the world. The atmosphere from the Chat Noir, which had been operating since 1881, also reaches the Greek world. Music venues of this type, the famous “cafés chantants”, appeared in Athens but also in other urban centers of the Greek state. These French songs were exported to 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 also plays a key role in its transformation.
This particular record of the song "Italida" is a re-issue of the record by Concert Record Gramophone (5-13100), which was recorded in Constantinople (Istanbul) on September 19, 1912. In the database that emerged from Alan Kelly's research, apart from Mrs. Melitsianou (solo), who is also mentioned on the label of the record, "Estudiantina Grecque – Melitzianos Choeur" is also written in the performers field. The recording was performed by the sound engineer Charles Scheuplein.
This is a Greek adaptation of the French song "Elle est de l'Italie" (or "Mon Italienne"), set to music by Eugène Gavel (1881–1954) and lyrics by Armand Foucher (1872–1954) and Jean Rodor (1881–1967).
The Greek musical score was published in Athens by the Georgios D. Fexis publishing house under the title "I Italida".
The song was recorded in 1908-1909 for the French record label APGA (A158 - 1998), by Félix Mayol. According to the musical score of the song, which was published in Paris in 1908 by E. Gueprotte, Félix Mayol presented the song at the Café des Ambassadeurs, which was located on Avenue Gabriel 8e in Paris. It was also recorded by Adolphe Bérard in 1908, in Paris, for Odeon (xP 4484 – 97194), by Faivre on Rummel cylinder in the same year and by Paul Dalbret in 1909, in Paris (Odeon Po 539 - A 73157).
According to the catalog (see p. 99) of the Italian piano rolls company F.I.R.S.T (Fabbrica Italiana Rulli Sonori Traforati), which was published in Milan in May 1914, the song was also released on a piano roll under number 3839.
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”.
One of these fascinating networks concerns French songs, which were appropriated by Greek musicians, among others. The appropriation 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, the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms and in the harmonies. Greek musicians adapt what they heard to their own condition, based on their own capabilities. The French ecumene lends its chansons, which carry a dynamic tradition of songwriting and performance. Paris, Montmartre and the cabarets artistiques influence the music of the world. The atmosphere from the Chat Noir, which had been operating since 1881, also reaches the Greek world. Music venues of this type, the famous “cafés chantants”, appeared in Athens but also in other urban centers of the Greek state. These French songs were exported to 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 also plays a key role in its transformation.
This particular record of the song "Italida" is a re-issue of the record by Concert Record Gramophone (5-13100), which was recorded in Constantinople (Istanbul) on September 19, 1912. In the database that emerged from Alan Kelly's research, apart from Mrs. Melitsianou (solo), who is also mentioned on the label of the record, "Estudiantina Grecque – Melitzianos Choeur" is also written in the performers field. The recording was performed by the sound engineer Charles Scheuplein.
This is a Greek adaptation of the French song "Elle est de l'Italie" (or "Mon Italienne"), set to music by Eugène Gavel (1881–1954) and lyrics by Armand Foucher (1872–1954) and Jean Rodor (1881–1967).
The Greek musical score was published in Athens by the Georgios D. Fexis publishing house under the title "I Italida".
The song was recorded in 1908-1909 for the French record label APGA (A158 - 1998), by Félix Mayol. According to the musical score of the song, which was published in Paris in 1908 by E. Gueprotte, Félix Mayol presented the song at the Café des Ambassadeurs, which was located on Avenue Gabriel 8e in Paris. It was also recorded by Adolphe Bérard in 1908, in Paris, for Odeon (xP 4484 – 97194), by Faivre on Rummel cylinder in the same year and by Paul Dalbret in 1909, in Paris (Odeon Po 539 - A 73157).
According to the catalog (see p. 99) of the Italian piano rolls company F.I.R.S.T (Fabbrica Italiana Rulli Sonori Traforati), which was published in Milan in May 1914, the song was also released on a piano roll under number 3839.
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
