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. This recording belongs to a corpus of recorded songs in which the Greek protagonists borrowed music and/or lyrics from pre-existing Italian-speaking songs. 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 of these songs 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. 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.

This recording is an adaptation with Greek lyrics of the Italian song "Il valzer di Mimosa", set to music by Ermenegildo Rusconi and lyrics by Bixio Cherubini.

The musical score of the song was published in Milan in 1929 by the C. C. Bixio publishing house.

The following recordings have been identified so far in Italian historical discography of the 1920s:

- Fernando Orlandis, Milan, 1929 (Brunswick 1495 – 58206)
- Jazz Sinfonico Mascheroni - Agnoletti, Milan, 1929 (Columbia B 2568 - D 6046)
- Enzo Fusco, Milan, April 17, 1929 (Fonotipia Pho 6468 – A 168206 – A 2228
- Jazz Band Marchi (Instrumental), Milan, June 12, 1929 (Gramophone ΒΜ 913-4 – 250204 – R14175)
- Gilda Mignonette, New York, November 14, 1929 (Brunswick E31408 – 58198)

With the data collected so far, the present recording is the only recording of the song in Greek historical discography.

The recording was most likely made in Milan, since, according to the extremely interesting report prepared by Edmund Michael Innes from his trip to Greece in April-May 1930 as an envoy of the English record label His Master's Voice in order to collect and record information on the situation of the label in Greece (also) in relation to the other record labels that were active in the industry, the record label Columbia sent almost every two months one of its tenors ([Michalis] Thomakos [Tomako]) to Milan in order to record its latest western hits.

The label of the record reads "Ezitasion" (Hesitation).

Research and text by: Leonardos Kounadis and Nikos Ordoulidis