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 is a Greek adaptation of the French song "La mariolle" composed by Désiré Berniaux (1869–1960) and lyrics written by Edmond Bouchaud dit Defleuve (1870–1945).

So far, the following recordings have been found in French historical discography:

- Adolphe Bérard, Paris, December 1, 1910 (Gramophone 01760v - 0232105 L152)
- Marcelly [Marcel-Jules Turmel], Paris, ca. 1910 (Pathé 74626-RA - 104 2583)
- Georges Welldy, Paris, probably 1910 (Odeon Po 1123 - A 73363)
- Orchestre Vestris, Paris, March 28, 1912 (Gramophone 17126u - 230196 & R8535)
- Orchestre Symphonique du Gramophone, Paris, February 1919 (Gramophone 3567ah - 230959 & K695)

The French musical score of the song was published in Paris around 1910, by D. Berniaux (75 Passage, Brady, Paris).

According to Panos Mavraganis, the Greek musical score was published under the title "La mariolla" by the Christidis publishing house in Constantinople (Istanbul). In the abovementioned score, A. Krikonis and D. Berniaux are mentioned as the composers and Tymfristos (nickname of D. Papadopoulos) as the lyricist. A musical score of the song with lyrics in Greek and French was published in Constantinople by Internationale.

Research and text: Leonardos Kounadis and Nikos Ordoulidis