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At the beginning of the 20th century, 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”.
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.
This song is an adaptation with Greek lyrics of the Argentinian tango-chanson "Lo han visto con otra", set to music and lyrics by the Argentinian composer Horacio Pettorossi.
It was recorded several times in Argentinian historical discography. For example:
- Carlos Gardel, Paris, November 4 1928 (Odeon KI-1975-2 - 18262)
- Eduardo Bianco, Paris, 1928 (Odeon Ki 1499-2 - SO 8279)
- Teresa Asprella & Orquestre Argentin Bianco-Bachicha, Paris, 1928 (Odeon Ki 1499x - 165.240)
- Mario Alonso & Francisco Canaro y su orquesta típica, Buenos Aires, May 14, 1952 (Odeon e 18393 - 55481 Α)
Recordings of the song can also be found in the Italian repertoire:
- Daniele Serra, Milan, September 12, 1929 (Gramophone BM1076 - 252324)
- Orchestra Del Mestre, Milan, 1929-1930 (Fonotecnica Electro Record Α. 2211)
The song can also be found in Brazilian discography:
- Antônio Gomez-Milonguita, Brazil, 1931 (Parlophon 13368-a)
With the data collected so far, the song was recorded by Antonis Delendas (this recording) and Mina Kyriakou in Greek historical discography.
The Greek musical score, with Greek lyrics by Jean Tsamados, was published in Athens by the Konstantinidis-Starr publishing house under the title "Tango! Ton eidan me alli".
Research and text: Leonardos Kounadis, George Evangelou and Nikos Ordoulidis
At the beginning of the 20th century, 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”.
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.
This song is an adaptation with Greek lyrics of the Argentinian tango-chanson "Lo han visto con otra", set to music and lyrics by the Argentinian composer Horacio Pettorossi.
It was recorded several times in Argentinian historical discography. For example:
- Carlos Gardel, Paris, November 4 1928 (Odeon KI-1975-2 - 18262)
- Eduardo Bianco, Paris, 1928 (Odeon Ki 1499-2 - SO 8279)
- Teresa Asprella & Orquestre Argentin Bianco-Bachicha, Paris, 1928 (Odeon Ki 1499x - 165.240)
- Mario Alonso & Francisco Canaro y su orquesta típica, Buenos Aires, May 14, 1952 (Odeon e 18393 - 55481 Α)
Recordings of the song can also be found in the Italian repertoire:
- Daniele Serra, Milan, September 12, 1929 (Gramophone BM1076 - 252324)
- Orchestra Del Mestre, Milan, 1929-1930 (Fonotecnica Electro Record Α. 2211)
The song can also be found in Brazilian discography:
- Antônio Gomez-Milonguita, Brazil, 1931 (Parlophon 13368-a)
With the data collected so far, the song was recorded by Antonis Delendas (this recording) and Mina Kyriakou in Greek historical discography.
The Greek musical score, with Greek lyrics by Jean Tsamados, was published in Athens by the Konstantinidis-Starr publishing house under the title "Tango! Ton eidan me alli".
Research and text: Leonardos Kounadis, George Evangelou and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
