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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 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”.
In 1938 "Persephone", a song still performed today in entertainment venues, was recorded (this record is a reissue in Turkey of the record DG 6377). The song appears to be composed by Panagiotis Tountas and sung by Stratos Pagioumtzis. On June 1, 1961, the song is recorded again, as "Xanarchizo ta palia mou" (45 rpm disc, Philips PH 572 – ΑΑ 332 035-2 – F 332 035 PF). Once again it is performed by Pagioumtzis, who also appears on the label as the composer. However, in the 3rd volume of his work Lefkoma ellinikis diskografias 45 strofon, Vassilis Chatziantoniou cites the name of Stratos Kamenidis as the composer, and he also mentions Giorgos Zampetas as the one that played the bouzouki in the recording. One could consider this second implementation as the sequel of the first (see the Lyrics section), as the lyrics of "Xanarchizo ta palia mou" seem to follow the original story.
In 1972 the song was recorded by Prodromos Tsaousakis under the title "Stou Tzelepi", with minor differences in the lyrics compared to the first performance. This time, the song appears as a composition by Prodromos Tsaoussakis, who sings with Nitsa Zannou (Margophone PAS 09-A – PAS 09, 45 rpm disc).
The musical tune, however, is older. Specifically, it appears in the Romanian discography, probably by lăutari (Gypsy professional musicians), at least since 1905, when it was recorded in Bucharest under the title "La Cioplan la crucea inalta" by Padureanu and the Alexandru Măţă Orchestra (Gramophone 516r – 3-12594). But also a bit later, in October 1908 again in Bucharest ("La Ciolpan la crucea inaltă", Gramophone 5422r – 6-12624) by Agop. These two recordings have not been found. Around November 1916 L. Aurescu recorded in New York "Foe werde, foe lata" (Columbia 44770 – E3296). According to Electrocord company, Probably in 1936 Fănică Luca's orchestra re-recorded it: "La Ciolpan la crucea 'naltă" (JB 122). However, Alan Kelly's database matches the same matrix number with another recording, titled "La Ciolpan la crucea 'naltă, Cântec popular", which was made by Sylvian Florin in June 27 1936, in Bucharest. In 1940 it was recorded in Bucharest under the title "La Ciolpan la crucea-naltă" (Odeon 227 436) by Rodica Bujor and Vasile Julea's orchestra.
The musical score of the song under the title "Foaie verde, foaie lată..." was published in 1910, in Bucharest, by Zane Dimitrescu.
Moreover, the tune has also entered the repertoire of the of Ashkenazi Jews. Some of the more interesting performances follow:
– On August 5, 1908 the violinist Josef Solinski (probably a pseudonym of Oscar Zehngut) records in Warsaw "Orientalishe Motive I.Teil" (Favorite 5102o – 1-24056) and "Orientalische Motive, ΙΙ. Teil" (Favorite 5101o – 1- 24057) in which the tune in question is included.
– On February 6, 1909, violinist Oscar (Shayele) Zehngut records the same potpourri, occupying both sides of the record, in Vienna or Berlin, entitled "Orientalishe Motive", for Zonophone (Zonophone 536ab και 537ab – X-107926/7 and reissue Victor 63828). In the recording entitled "Orientalishe Motive, 2 Teil" the motive performed is the one that concerns us.
– On April 4, 1913 A. Elinkrig's Yidishe orchestra records in New York "מחותּנים צום טיש" (Mekhutonim tsum tish) for Columbia (Columbia 38758 – E 1394).
– In December 1919 or January 1920, Max Leibowitz, on violin, accompanied by a cymbal (Silver's Symbal), recorded in New York "אריענטאלישע מעלאדיען" (Orientalishe Melodien), which occupies both sides of the record. Our tune can be heard on the side titled "(אריענטאלישע מעלאדיען (2 טע טהייל" (Orientalishe Melodien, Part 2) (Emerson 4474-1 – 1343X).
– On April 30, 1915, Wassili Melnikoff and Michael Dimitri recorded "דוינע ראָמאַנס" (Doina Romance) in New York (Victor B15974-1 – 67262).
– In May 1920 Abe Schwartz, on the violin, with his daughter Sylvia Schwartz, on the piano, recorded (Columbia 86286 – E4825) in New York "אָריענטאַל האָרע" (Oriental hora), in which the tune in question is merged with the tune of "Karotsieris". The recording was also released under the title "Foaie verde, foaie lata hora" (Columbia 86286 – 31018-F). What is remarkable here is the "Oriental" tune is performed based on what in Yiddish/klezmer tradition is often called "joc", concerning the rhythmic constructions. To a much lesser extent, a similar feeling is also found in the previous performance-recording, that of 1919-1920 made by Max Leibowitz. A year later, in May 1921, they would re-record the two tunes in New York under the title "אָריענטאַלישע האָרע" (Orιentalishe hore) for Emerson (Emerson 41776-2 – 13172).
It is important to note that in this case Yiddish musicians identified this tune with the Orient, although as it seems they were aware of its Romanian origins. Thus, apart from the modal entity called "hitzaz" (hicaz), we understand here that the so-called "Gypsy scale" also produces the known exotic notions (see the virtual room "Exoticism in Greek-speaking repertoires").
Regarding contemporary covers, we note the recording "La Ciolpani La Crucea-Nalta" made in 2003 by the Czech band Gothart (CD "Rakija'n'Roll", Black Point BP 0146-2) as well as the recording "La ciolpani" performed by the Roma musician and former MEP for the Romanian Social Democrats (Partidul Social Democrat) in 2023 in Bucharest (CD "Meditații Lăutărești").
The present-day region of Romania, and especially the historical part of Wallachia, developed strong ties with the Greek-speaking world, at least since the time when the Ottoman Sultan in Constantinople (Istanbul) appointed Greek-speaking Orthodox Phanariotes as its governors. After all, it is no coincidence that the male populations from the Greek-speaking lands, mainly from the region of Epirus, migrated to the region of Romania. The results of these connections are visible even in today’s active repertoires, such as, for example, in the region of Zagori. In the urban popular actualizations, as those appeared in Greek discography, the cases that demonstrate the relationships that developed between the dances of the doina, the hora and the sirba with their Greek counterparts, that is, the skaros, the hasapiko and the serviko, are noteworthy (see in detail the extremely interesting text by Giorgos Kokkonis, 2017b: 133-161). These vast entities are found en masse, even in the “shifts” part of the à la greca manedes, that is, in their last part. Besides, there are plenty sources that name the then famous violinist Giovanikas, who was born in the island of Mytilene and lived for several years in the town of Galatsi in Romania, as the musician who established the legendary “Minore” in Smyrna [Izmir]. In addition, encounters between the Greek-speaking Orthodox and the Eastern Ashkenazi Jews were also witnessed in the Romanian territories. The products of these inter-influences are also visible in historical discography. We should not forget the geographical position of Romania, since it is a key hub of the routes that start from the Baltic and reach the Mediterranean, but also from the center of Europe to the Russian Empire. In such context, repertoires are deterritorialized and mixed with others, which take on supralocal characteristics. Musicians are often on the move within multicultural empires, serving diverse repertoires and coming from heterogeneous ethno-cultural groups. In such context, repertoires are deterritorialized and mixed with others, which take on supralocal characteristics. Musicians are often on the move within multicultural empires, serving diverse repertoires and coming from heterogeneous ethno-cultural groups.
Research and text: Leonardos Kounadis & 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 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”.
In 1938 "Persephone", a song still performed today in entertainment venues, was recorded (this record is a reissue in Turkey of the record DG 6377). The song appears to be composed by Panagiotis Tountas and sung by Stratos Pagioumtzis. On June 1, 1961, the song is recorded again, as "Xanarchizo ta palia mou" (45 rpm disc, Philips PH 572 – ΑΑ 332 035-2 – F 332 035 PF). Once again it is performed by Pagioumtzis, who also appears on the label as the composer. However, in the 3rd volume of his work Lefkoma ellinikis diskografias 45 strofon, Vassilis Chatziantoniou cites the name of Stratos Kamenidis as the composer, and he also mentions Giorgos Zampetas as the one that played the bouzouki in the recording. One could consider this second implementation as the sequel of the first (see the Lyrics section), as the lyrics of "Xanarchizo ta palia mou" seem to follow the original story.
In 1972 the song was recorded by Prodromos Tsaousakis under the title "Stou Tzelepi", with minor differences in the lyrics compared to the first performance. This time, the song appears as a composition by Prodromos Tsaoussakis, who sings with Nitsa Zannou (Margophone PAS 09-A – PAS 09, 45 rpm disc).
The musical tune, however, is older. Specifically, it appears in the Romanian discography, probably by lăutari (Gypsy professional musicians), at least since 1905, when it was recorded in Bucharest under the title "La Cioplan la crucea inalta" by Padureanu and the Alexandru Măţă Orchestra (Gramophone 516r – 3-12594). But also a bit later, in October 1908 again in Bucharest ("La Ciolpan la crucea inaltă", Gramophone 5422r – 6-12624) by Agop. These two recordings have not been found. Around November 1916 L. Aurescu recorded in New York "Foe werde, foe lata" (Columbia 44770 – E3296). According to Electrocord company, Probably in 1936 Fănică Luca's orchestra re-recorded it: "La Ciolpan la crucea 'naltă" (JB 122). However, Alan Kelly's database matches the same matrix number with another recording, titled "La Ciolpan la crucea 'naltă, Cântec popular", which was made by Sylvian Florin in June 27 1936, in Bucharest. In 1940 it was recorded in Bucharest under the title "La Ciolpan la crucea-naltă" (Odeon 227 436) by Rodica Bujor and Vasile Julea's orchestra.
The musical score of the song under the title "Foaie verde, foaie lată..." was published in 1910, in Bucharest, by Zane Dimitrescu.
Moreover, the tune has also entered the repertoire of the of Ashkenazi Jews. Some of the more interesting performances follow:
– On August 5, 1908 the violinist Josef Solinski (probably a pseudonym of Oscar Zehngut) records in Warsaw "Orientalishe Motive I.Teil" (Favorite 5102o – 1-24056) and "Orientalische Motive, ΙΙ. Teil" (Favorite 5101o – 1- 24057) in which the tune in question is included.
– On February 6, 1909, violinist Oscar (Shayele) Zehngut records the same potpourri, occupying both sides of the record, in Vienna or Berlin, entitled "Orientalishe Motive", for Zonophone (Zonophone 536ab και 537ab – X-107926/7 and reissue Victor 63828). In the recording entitled "Orientalishe Motive, 2 Teil" the motive performed is the one that concerns us.
– On April 4, 1913 A. Elinkrig's Yidishe orchestra records in New York "מחותּנים צום טיש" (Mekhutonim tsum tish) for Columbia (Columbia 38758 – E 1394).
– In December 1919 or January 1920, Max Leibowitz, on violin, accompanied by a cymbal (Silver's Symbal), recorded in New York "אריענטאלישע מעלאדיען" (Orientalishe Melodien), which occupies both sides of the record. Our tune can be heard on the side titled "(אריענטאלישע מעלאדיען (2 טע טהייל" (Orientalishe Melodien, Part 2) (Emerson 4474-1 – 1343X).
– On April 30, 1915, Wassili Melnikoff and Michael Dimitri recorded "דוינע ראָמאַנס" (Doina Romance) in New York (Victor B15974-1 – 67262).
– In May 1920 Abe Schwartz, on the violin, with his daughter Sylvia Schwartz, on the piano, recorded (Columbia 86286 – E4825) in New York "אָריענטאַל האָרע" (Oriental hora), in which the tune in question is merged with the tune of "Karotsieris". The recording was also released under the title "Foaie verde, foaie lata hora" (Columbia 86286 – 31018-F). What is remarkable here is the "Oriental" tune is performed based on what in Yiddish/klezmer tradition is often called "joc", concerning the rhythmic constructions. To a much lesser extent, a similar feeling is also found in the previous performance-recording, that of 1919-1920 made by Max Leibowitz. A year later, in May 1921, they would re-record the two tunes in New York under the title "אָריענטאַלישע האָרע" (Orιentalishe hore) for Emerson (Emerson 41776-2 – 13172).
It is important to note that in this case Yiddish musicians identified this tune with the Orient, although as it seems they were aware of its Romanian origins. Thus, apart from the modal entity called "hitzaz" (hicaz), we understand here that the so-called "Gypsy scale" also produces the known exotic notions (see the virtual room "Exoticism in Greek-speaking repertoires").
Regarding contemporary covers, we note the recording "La Ciolpani La Crucea-Nalta" made in 2003 by the Czech band Gothart (CD "Rakija'n'Roll", Black Point BP 0146-2) as well as the recording "La ciolpani" performed by the Roma musician and former MEP for the Romanian Social Democrats (Partidul Social Democrat) in 2023 in Bucharest (CD "Meditații Lăutărești").
The present-day region of Romania, and especially the historical part of Wallachia, developed strong ties with the Greek-speaking world, at least since the time when the Ottoman Sultan in Constantinople (Istanbul) appointed Greek-speaking Orthodox Phanariotes as its governors. After all, it is no coincidence that the male populations from the Greek-speaking lands, mainly from the region of Epirus, migrated to the region of Romania. The results of these connections are visible even in today’s active repertoires, such as, for example, in the region of Zagori. In the urban popular actualizations, as those appeared in Greek discography, the cases that demonstrate the relationships that developed between the dances of the doina, the hora and the sirba with their Greek counterparts, that is, the skaros, the hasapiko and the serviko, are noteworthy (see in detail the extremely interesting text by Giorgos Kokkonis, 2017b: 133-161). These vast entities are found en masse, even in the “shifts” part of the à la greca manedes, that is, in their last part. Besides, there are plenty sources that name the then famous violinist Giovanikas, who was born in the island of Mytilene and lived for several years in the town of Galatsi in Romania, as the musician who established the legendary “Minore” in Smyrna [Izmir]. In addition, encounters between the Greek-speaking Orthodox and the Eastern Ashkenazi Jews were also witnessed in the Romanian territories. The products of these inter-influences are also visible in historical discography. We should not forget the geographical position of Romania, since it is a key hub of the routes that start from the Baltic and reach the Mediterranean, but also from the center of Europe to the Russian Empire. In such context, repertoires are deterritorialized and mixed with others, which take on supralocal characteristics. Musicians are often on the move within multicultural empires, serving diverse repertoires and coming from heterogeneous ethno-cultural groups. In such context, repertoires are deterritorialized and mixed with others, which take on supralocal characteristics. Musicians are often on the move within multicultural empires, serving diverse repertoires and coming from heterogeneous ethno-cultural groups.
Research and text: Leonardos Kounadis & Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
