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. "Marekiare" 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, does not only concern Greek-Italian relations and contains recordings in various places, languages and aesthetical frameworks. One such case is the recording of the song "Marekiare".

This is a Greek adaptation of the Neapolitan song "Marechiare" composed by Francesco Paolo Tosti and lyrics by Salvatore Di Giacomo.

The musical score of the song was published by the G. Ricordi e C. publishing house in Milan around 1885.

The song was recorded many times in Italian historical discography (for a list of recordings see the database that emerged from Alan Kelly's research and at the DAHR). For example, some of the older recordings are the following:

- Fernando De Lucia, Milan, November 1902 (Gramophone Concert Record 2866b – 52412).
- Victor Maurel, Milan, November 1904 (Fonotopia xPh 65 – 39032 and Symposium 1128)
- Ferruccio Corradetti, Milan, June 1905 (Odeon xM 229 – 37080)
- Cesare Formichi, Milan, 1913 (Columbia USA 41841 – E1810 and La Cigale D9303)
- Titta Ruffo, Milan, September 3, 1912 (Gramophone 465ai – 052383)
- Giuseppe Godono, Naples, 1910s (Phonotype 1021 – 1021)

In addition to the Italian discography, it is also recorded in the historical discography of other countries, such as: 

- France, Trio Heurteur (Disque Ideal Jd65 -7568)
- Brazil, Ernesto de Marco, Rio de Janeiro, probably 1929 (Parlophon 13014-b)
- Germany, Joseph Schmidt, Berlin, September 18, 1930 (Telefunken 15216-2 - A 575)
- Argentina, Oscar Aleman Y su Orquesta de Jazz  Buenos Aires, July 8, 1952 (Odeon e 18471 - 55437 A)
- Russia, "Марекьяре", В. ИВАНОВА, Moscow 1958 (Artel "Gramplastmass 31635 - 31635)

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".

Research and text by: Leonardos Kounadis and Nikos Ordoulidis