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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 recording is an adaptation with Greek lyrics of the Argentinian tango "Caminito", set to music by Juan de Dios Filiberto (Oscar Juan de Dios Filiberti, Buenos Aires, March 8, 1885 - Buenos Aires, November 11, 1964) and Spanish lyrics by Gabino Coria Peñaloza (La Paz, Mendoza Argentina, February 19, 1881 - Chilecito, Argentina, October 31, 1975).
The musical score of the song was published in Buenos Aires by the Pirovano publications, and it was also published in Paris by Julio Garzon, with French lyrics by Liogar.
The song was recorded several times in historical discography (see here). For example:
- Carlos Gardel - Guitarras de Barbieri y Ricardo, Buenos Aires, 1927 (Odeon 1109 - 18129)
- Alba - Horacio Pettorossi E La Sua Orchestra Argentina, Milan, 1930 (Odeon Mo 2856 - O 10200 / A 168235 a)
- "Trista Mi-e Cantarea", Nello Manzatti [Ion (Nelu) A. Mânzatu], Bucharest, 1930-1931 (Columbia HR20 54048 - DV 73)
- "Romans hiszpański", Chór Dana, Poland, 1932 (Syrena-Electro 22846 - 3863)
- "Carmilito", Carmen Costa, Rio de Janeiro, August 5, 1942 (Victor Brazil S-052590-2 - 80-0004)
- Bruno Palesi - Nino Gatti e il suo Complesso de la "Hagy Vecchia Milano", Milan, 1946 (La Voce del Padrone OBA. 5826 - AV 748)
- Albertinho Fortuna, Eduardo Patané e sua orquesta típica, Brazil, August 1956 (Continental C-3893 - 17356-A)
- "Тропинка", Alexandra Kovalenco, Leningrad, 1958 (Artel "Plastmass" 1811 -1811)
- Antonio Cerviño y su Orquesta, Uruguay, 1960 (Antar Telefunken F 0014 - P 6058-B)
In 1931, British Pathé filmed the performance of the song by Geraldo's Gauchos Orchestra at the Savoy hotel in London.
In Greek historical discography, the song, under the title "Monopati", was also recorded by Petros Epitropakis (HMV 0W 244-1 - AO 2006, Athens, May 28, 1931) and Kostas Kontopoulos - Nikos Moschonas (Parlophon 101084 - B-21539, Athens, October-November 1930).
The Greek musical score, with lyrics by Pοl Menestrel and under the title "Monopati", was published in Athens by the Gaitanos publishing house.
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 recording is an adaptation with Greek lyrics of the Argentinian tango "Caminito", set to music by Juan de Dios Filiberto (Oscar Juan de Dios Filiberti, Buenos Aires, March 8, 1885 - Buenos Aires, November 11, 1964) and Spanish lyrics by Gabino Coria Peñaloza (La Paz, Mendoza Argentina, February 19, 1881 - Chilecito, Argentina, October 31, 1975).
The musical score of the song was published in Buenos Aires by the Pirovano publications, and it was also published in Paris by Julio Garzon, with French lyrics by Liogar.
The song was recorded several times in historical discography (see here). For example:
- Carlos Gardel - Guitarras de Barbieri y Ricardo, Buenos Aires, 1927 (Odeon 1109 - 18129)
- Alba - Horacio Pettorossi E La Sua Orchestra Argentina, Milan, 1930 (Odeon Mo 2856 - O 10200 / A 168235 a)
- "Trista Mi-e Cantarea", Nello Manzatti [Ion (Nelu) A. Mânzatu], Bucharest, 1930-1931 (Columbia HR20 54048 - DV 73)
- "Romans hiszpański", Chór Dana, Poland, 1932 (Syrena-Electro 22846 - 3863)
- "Carmilito", Carmen Costa, Rio de Janeiro, August 5, 1942 (Victor Brazil S-052590-2 - 80-0004)
- Bruno Palesi - Nino Gatti e il suo Complesso de la "Hagy Vecchia Milano", Milan, 1946 (La Voce del Padrone OBA. 5826 - AV 748)
- Albertinho Fortuna, Eduardo Patané e sua orquesta típica, Brazil, August 1956 (Continental C-3893 - 17356-A)
- "Тропинка", Alexandra Kovalenco, Leningrad, 1958 (Artel "Plastmass" 1811 -1811)
- Antonio Cerviño y su Orquesta, Uruguay, 1960 (Antar Telefunken F 0014 - P 6058-B)
In 1931, British Pathé filmed the performance of the song by Geraldo's Gauchos Orchestra at the Savoy hotel in London.
In Greek historical discography, the song, under the title "Monopati", was also recorded by Petros Epitropakis (HMV 0W 244-1 - AO 2006, Athens, May 28, 1931) and Kostas Kontopoulos - Nikos Moschonas (Parlophon 101084 - B-21539, Athens, October-November 1930).
The Greek musical score, with lyrics by Pοl Menestrel and under the title "Monopati", was published in Athens by the Gaitanos publishing house.
Research and text: Leonardos Kounadis, George Evangelou and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
