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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 addition to the present recording, six other covers of the tune have been released:
– “Chasapiko (Politiko)”, Unknown performers, New York, 1919 (Constantinople 463-1 – 4009-B)
– “Chasapiko”, Giannis Kyriakatis (clarinet), Athens, 1928 (Odeon Go 581-2 – GA-1368)
– “Chasapikos”, Trio Alexandris, Zervas and Agrios, New York, October 16, 1928 (Okeh W-500032 – 82531)
– “Chasapiko Politiko”, Popular Orchestra with harmonica, Athens, 1930 (Parlophone 101136 – B-21555-ΙΙ)
– “Chasapiko Politiko”, V. Androutsopoulos (Psareos) [violin], K. Vourloumis (banjo), Unknown (piano), USA, 1949 (Oliver OL-101 – 5A)
– “Politikos chasapikos”, Jerry Vlesmas (clarinet), Tony Stevens, H. Cosmetos, USA, 1955 (Ariston 249-B)
The tune, however, can also be found in the Netherlands discography. The Dutch composer Derek Laren (Elsa Antonia de Groot, Amsterdam, December 19, 1919 – May 29, 1994), was inspired by this tune and wrote the 1′ 22″ “Hassapicos”. The instrumental was recorded in 1963 in London by the London Studio Orchestra conducted by Hugh Granville. Included, along with the instrumental "Danse Saharienne" by British composer H.M. Farar, on a 78 rpm record (DW-2760-A – D.W. 2760 A) by the library music publisher and label Music De Wolfe (see here).
This recording is one of the recordings made by the English record company The Gramophone Co Ltd in Athens, between May 11 and June 14, 1931, with sound engineer Arthur Douglas Lawrence.
Research and text: Leonardos Kounadis and 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 addition to the present recording, six other covers of the tune have been released:
– “Chasapiko (Politiko)”, Unknown performers, New York, 1919 (Constantinople 463-1 – 4009-B)
– “Chasapiko”, Giannis Kyriakatis (clarinet), Athens, 1928 (Odeon Go 581-2 – GA-1368)
– “Chasapikos”, Trio Alexandris, Zervas and Agrios, New York, October 16, 1928 (Okeh W-500032 – 82531)
– “Chasapiko Politiko”, Popular Orchestra with harmonica, Athens, 1930 (Parlophone 101136 – B-21555-ΙΙ)
– “Chasapiko Politiko”, V. Androutsopoulos (Psareos) [violin], K. Vourloumis (banjo), Unknown (piano), USA, 1949 (Oliver OL-101 – 5A)
– “Politikos chasapikos”, Jerry Vlesmas (clarinet), Tony Stevens, H. Cosmetos, USA, 1955 (Ariston 249-B)
The tune, however, can also be found in the Netherlands discography. The Dutch composer Derek Laren (Elsa Antonia de Groot, Amsterdam, December 19, 1919 – May 29, 1994), was inspired by this tune and wrote the 1′ 22″ “Hassapicos”. The instrumental was recorded in 1963 in London by the London Studio Orchestra conducted by Hugh Granville. Included, along with the instrumental "Danse Saharienne" by British composer H.M. Farar, on a 78 rpm record (DW-2760-A – D.W. 2760 A) by the library music publisher and label Music De Wolfe (see here).
This recording is one of the recordings made by the English record company The Gramophone Co Ltd in Athens, between May 11 and June 14, 1931, with sound engineer Arthur Douglas Lawrence.
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
