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”.

Historical sources underline the close relations between Italian-speaking and Greek-speaking music. The conversations that developed with specific places, such as the Ionian Islands, the Dodecanese and Patras, as well as their results, are enough to highlight the strong ties between the two ethno-cultural groups. Furthermore, relationships were forged in places where the two ethnicities lived together, such as, for example, in the case of cosmopolitan Smyrna (Izmir) in the Ottoman Empire, or that of New York, where Italians and Greeks immigrated. When researching the historical material, it seems that one particular city in the Italian peninsula developed special relations with the large urban centers where Greek-speaking musicians played a leading role: it was Naples, with its famous Canzone Napoletana.  "Tragouda thalassa" belongs to a corpus of songs from which the Greek protagonists borrowed music and/or lyrics from pre-existing Neapolitan-speaking songs. In many cases, the appropriations concern not only Neapolitan-speaking songs but the Italian language as a whole, since, often, the original Neapolitan-speaking songs were translated into Italian, from which the loan arose. These songs arrived at 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 plays a key role in its transformation. The appropriation by Greek musicians 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, are the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms but also in the harmonies. Greek musicians adapt what they hear to their own condition, based on their own capabilities. After all, the mandolins, the guitars, the marches, polyphonic song and the bel canto singing style are characteristics that reveal the influences of the Canzone Napoletana on the Greek-speaking urban popular song. It should also be noted that, in various cases, often due to the great international success of the songs, the network that is finally formed is extremely complex and does not only concern Greek-Italian relations.

It is an adaptation with Greek lyrics of the Neapolitan song "'O mare canta" composed by Gaetano Lama and lyrics by Bovio Libero.

The musical score of the song was included in the publication "Piedigrotta 1919" which was released in Naples, in August 1919, by the "La canzonetta" publishing house (issue 8, August 31, 1919) by F. Feola, and by the same publishing house in 1919 as a separate musical score.

Piedigrotta", which is written on the headline of the publication, refers to one of the most famous and oldest religious festivals that took place in Naples. During the festival, a music competition took place, which, in the 19th century, turned into a dynamic festival. This festival took the form of a commercial mechanism which played a key role in shaping and promoting Neapolitan song.

The song has been recorded countless times in Italian historical discography. For example:

- Mario Pasqualillo, Naples, September 20, 1919 (Phonotype 2147) 
- Giuseppe Godono, Naples, March 24, 1920 (Phonotype 2286 - 00936-X)
- Vittorio Somma, New York, March 7, 1921 (Victor B 24978-1 - Vi 72970) 
- Pasquale Abete, New York, around April 1921 (OKeh 7930-B - 9027) 
- Michele Scialpi, New York, around June 1921 (Columbia USA 87312 – E7249)
- Luisa Tetrazzini, London, September 13, 1922 (HMV Bb 1824). 

According to the information collected so far, this recording is the only recording of the song in Greek historical discography.

The label of the record reads "Chanson Napolitaine" and "Serenata" ("Serenade").

Research and text by: Leonardos Kounadis and Nikos Ordoulidis