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”.

This recording is an instrumental medley that occupies both sides of the Odeon record. This side of the record features three melodies, two of which are found in the collection "Trente mélodies populaires de Grèce et d'Orient" by Louis-Albert Bourgault-Ducoudray. The collection, which was published in 1876 in Paris by Henry Lemoine et Cie., includes transcriptions of thirty Greek songs collected by the French composer in Smyrna and Athens during his research trip to Greece and Asia Minor in 1875. The harmonization and piano accompaniment of the melodies were done by the composer himself. (see in detail the extremely interesting text by Giorgos Kokkonis, 2017d: 13-47). These song were included in the play "O agapitikos tis voskopoulas" (The shepherdess’ lover). The play, one of the most popular theatrical works by Dimitrios Koromilas (1850–1898), appears to have been first performed in December 1891 at the "Verdis" theater in Constantinople by the touring Athenian troupe "Menandros", managed by the Tavoularis family (see Neologos newspaper, December 19, 1891, page 2 and Grigoriou, 2009: 16). The first publication of the play took place in 1900 in Constantinople, by N. G. Kefalidis’ printing house. The songs included on this side of the record and, respectively, the acts of the play and the heroes who sing them are the following:

– from 0′ 01″ to 1′ 50″ song “Bate koritsia sto choro” (see here and here), Act Three, Scene Twelve. The entire troupe sings it while dancing. It is repeated in Act Five, in the last scene of the play, along with song number 20 (see below).
– from 1′ 02″ to 1′ 52″ song number 17 [incipit: Anathema ton pou 'vale]. It was not identified as a song in the play. It was probably incorporated into an instrumental form.
– from 1′ 52″ to 2′ 32″ song number 20 [incipit: Ta matakia sou ta mavra], Act Five, in the last scene. The entire troupe sings it along with the song “Bate koritsia sto choro” (see above).

A musical score of the songs and musical tunes featured in the play, arranged for piano by Ange Pulher, was published in Constantinople in the early 20th century by the S. Christidis publishing house. It was titled "I voskopoula".

Based on the data, the play and its great success skyrocketed the popularity of the song "Mia voskopoula agapisa" ("I loved a shepherdess"). The song was part of the play and is still active even nowadays, mainly in the dimotiko (folk) repertoire. On the other side of the record, O agapitikos tis voskopoulas I, at 02.35″, one can hear an instrumental version of the mentioned tune and read about the song.

Τhe first cinematic adaptation of the play took place in 1932. In the opening titles one can read: "Music by – D. Lavragkas". In the film adaptation (watch the movie here, information and synopsis here), in addition to the musical themes composed by Lavragkas, songs from Bourgault-Ducoudray's collection that were also heard in the theatrical performances, as well as folk songs, such as "O aetos", scholar creations, such as "O Gerodimos", and folk-like compositions, such as "Tsopanopoulo",  are included. Below is a detailed list of the songs in the order they appear in the film:

– Opening titles: song no. 30 from Bourgault-Ducoudray's collection entitled "To filima", also known as "Mia voskopoula agapisa", is featured in instrumental form. It is repeated as the main musical theme in various scenes of the film, including as a song from 4′ 08″ to 4′ 33″, and in the final scene.
– from 2′ 18″ to 3′ 08″: song no. 19 [incipit: Otan mou eipen eche 'geian] from Bourgault-Ducoudray’s collection.
– from 18′ 04″ to 18′ 57″: song no. 11 [incipit: Pente chronia perpatousa] from Bourgault-Ducoudray's collection. It is sung by Kroustallo, played by Nina Afentaki.
– from 27′ 07″ to 28′ 06″: song "Bate koritsia sto choro" (see examples here and here).
– from 30′ 18″ to 31′ 00″: song "O aetos" (see for example here).
– from 31′ 48″ to 32′ 50″: song no. 23 [incipit: Potame, tzanem, potame mou] from Bourgault-Ducoudray's collection. It is sung by Barba-Chronis, played by Michalis Vlachopoulos.
– from 32′ 55″ to 36′ 11″: song "Bate koritsia sto choro" (see examples here and here) is repeated.
– from 41′ 30″ to 45′ 08″: song "O Gerodimos" (see here). It is sung by Barba-Chronis, played by Michalis Vlachopoulos.
– from 47′ 11″ to 49′ 25″: song "Tsopanopoulo" (see for example here). It is sung by Liakos, played by Manos Katrakis.
– from 54′ 45″ to 55′ 06″: song no. 19 from Bourgault-Ducoudray’s collection is repeated. It is sung by Stathaina in the scene where it is revealed that she is Maro, Mitros’ beloved. The role is portrayed by Sofia Damoglou, also known as Sofia Dorival.

It is worth noting that the theatrical play "O agapitikos tis voskopoulas" was adapted for the cinema three more times under the same title. In 1955, it was directed by Ntimis (Dimitris) Dadiras with music by Margaritis Kastellis (see here and watch the film here). That same year, it was directed by Ntinos Dimopoulos with music by Takis Morakis (see here). In 1956, it was directed by Ilias Paraskevas with music by Athanasios Kokkinos (see here and watch the film here).

It is notable that both Kastellis and Kokkinos handled the music for their respective films in a manner similar to Lavragkas, incorporating songs from Bourgault-Ducoudray’s collection featured in the play, as well as folk or folk-like songs. For example, Kastellis, in addition to the melody of the song "Mia voskopoula agapisa", used and adapted melodies no. 11 (sung by Aliki Vougiouklaki in the role of Kroustallo, see here), 13, 23 and 19 from Bourgault-Ducoudray’s collection. The soundtrack is further enriched with the songs "Bate koritsia sto choro", "Arachova" and "Tsompanopoulo".

Regarding the three musical tunes included on this side of the record: the song "Bate koritsia sto choro" appears to have been recorded for the first time in Constantinople in August-September 1906 by Giagkos Psomathianos ("Bate koritsia sto choro", Zonophone 1458 r – X-102816, Gramophone 14-12961, and Victor 67192-B). For more about the song and its recordings, see here.

The second tune, song no. 17 [incipit: Anathema ton pou 'vale] in Bourgault-Ducoudray's collection, has not been identified in any other recording in Greek historical discography. A contemporary recording of this song is included in the CD "Melodies tis anatolis, Tragoudia tis Smyrnis (19os aionas)" [Melodies of the East, Songs of Smyrna (19th century)] ("Anathema ton po' 'vale", The Hellenic Music Archive – FM Records – FM 800, Athens, 1997) which contains 20 of the melodies collected by Bourgault-Ducoudray, with different harmonic - rhythmic accompaniment and orchestration. It is performed by Vasilis Barampoutis.

The same discographical release includes a contemporary rendition of song no. 20 [incipit: Ta matakia sou ta mavra] from Bourgault-Ducoudray's collection, the third tune in this recording, performed by Eirini Derempei ("Ta matakia sou ta mavra", The Hellenic Music Archive – FM Records – FM 800, Athens, 1997).

However, this melody also served as a source of inspiration for the scholar repertoire. Between 1881-1884, the Russian composer Alexander Glazunov [Saint Petersburg, July 29 (August 10) 1865 – Paris, March 21, 1936] completed two works for symphony orchestra based on Greek melodies. These are the "Overture No. 1 on Three Greek Themes, Op. 3" (see here, here and here), which was probably completed in 1881 or 1882 and is dedicated to Bourgault-Ducoudray, and the "Overture No. 2 on Greek Themes, Op. 6", a composition he probably wrote in 1883-1884 and dedicated to the Russian composer Mily Balakirev. The musical themes from which Glazunov draws material for both overtures come from the collection "Trente mélodies populaires de Grèce et d'Orient". In the "Overture No. 1 on Three Greek Themes, Op. 3", the composer arranged melodic phrases from three songs, including the song we are examining. Specifically, in the order of their appearance in the work, these are: the recording number 1 (see here, here και here), the present song, that is, number 20 and recording number 25 (see here and here). The work was recorded on April 6, 1942 in the USA by the Minneapolis Symphony Orchestra under the direction of Dimitris Mitropoulos (Columbia MX-228 and CD "Mitropoulos, Maestro Spiritoso", Documents 220831-303).

The melody of the present score is also used by another Russian composer. In 1910, Anatoly Konstantinovich Lyadov (Saint Petersburg, May 12, 1855 – Polynovka, Borovichevsky, Novgorod Oblast, August 28, 1914) completed the orchestral work "Dance of the Amazon, Op. 65", which is based on the musical theme we are examining (see here for the musical score).

Approximately thirty years later, in 1940–1941, the German-Jewish composer Berthold Goldschmidt (Hamburg, January 18, 1903 – London, October 17, 1996) completed the "Greek Suite" for orchestra. The eight-movement suite consists of arrangements of Greek popular melodies which come from the publication "Trente mélodies populaires de Grèce et d'Orient". In the fifth movement, that is, "Alegretto Grazioso" the composer combines the melody of "Voskopoula", which included on the other side of the record (see here), with that of the song we are examining. In addition, in the fourth movement, that is, Allegro marziale, he is based on another song heard in the other side of the record (see here), number 23 of the collection. The following are the movements of the work and the corresponding songs from Bourgault-Ducoudray's collection, which the composer worked on:

– Alla marcia: songs number 27 and 7.
– Andante: number 15 and 21.
– Allegretto. Scherzando: number 4.
– Allegro marziale: number 23.
– Allegretto grazioso: number 30 entitled "To filima" and this song, under number 20.
– Lento: number 9.
– Allegretto: number 28 and 1.
– Allegretto moderato: number 25.

In 1942, the Hungarian composer Mátyás György Seiber (Budapest, May 4, 1905 – Kruger National Park, Johannesburg, South Africa), who had lived and worked in the United Kingdom since 1935, would use the melody in his work "Four Greek folk songs". It is a composition for high voice and string orchestra or string quartet with English lyrics by Peter Carroll. The musical material on which the composer based three of the four songs of the work is found in the collection "Trente mélodies populaires de Grèce et d'Orient", which was probably its source, while two of them are also found in the "Arion" collection. The first song entitled "O, my love, how long" has not yet been identified in a musical score or a recording. The song "Have pity on me" that follows is based on song number 8 (see here), which is included in the "Arion" collection under the title "Ta mavra matia" (see here). "Each time, my love, you say farewell", third in order, is based on song number 19 from Bourgault-Ducoudray's collection (see here). Finally, "O your eyes are dark and beautiful" was based on this song, which is found as "Ta matakia sou ta mavra" in the "Arion" collection (see here).

In 1983, the Dutch composer Henk van Lijnschooten (The Hague, March 27, 1928 – Hendrik-Ido-Ambacht, November 1, 2006) wrote the work "Suite on Greek love songs" for wind orchestra. The four-movement suite is based on melodies from an equal number of Greek songs. More specifically, in the first movement, Vivace ironico, the composer elaborates on the melody of the song "Eicha mian agapi" (see here), in the second, Andante espressivo, he draws musical material from the song "I voskopoula" or "To filima" (see here), in the third, Allegretto Patetico, from this song, and in the fourth, Presto, from the song "Pera stous pera kampous" (see here).

It is worth noting that is a recording titled “Voskopoula” in Greek historical discography, which is may be related to the theatrical play and share the same musical content as this recording. Besides the title, that recording, like this one, occupies both sides of the record. It was made in Constantinople, possibly in 1912, by the Orfeon Orchestra. The two sides of the record, which are titled “Voskopoula I” (Orfeon 214/10420) and “Voskopoula II” (Orfeon 214/10421). However, no audio material has yet been found.

Finally, we note two additional instrumental recordings with unknown content: the recording "Voskopoula", made in Constantinople in 1905 by the La Musique de Gramophone orchestra (Zonophone 487r – X-100022 and Gramophone 15-12554), and the recording "I Voskopoula, Symfonia", made in Athens in 1909 by the Athinaiki Orchistra [Athenian Orchestra] (Gramophone 13429b – 10882).

Research and text: Leonardos Kounadis and Nikos Ordoulidis