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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”.
The inextricable relation between music and performing arts is more than vital. The cinema (as well as the theater too) traffics music on its own terms and plays a key role in diffusing it to places that are often far away. It also builds a special network that communicates with discography. Some of the songs written for the cinema are often the tip of the spear as regards the popularity of the films. One such case is this recording.
It includes an adaptation with Greek lyrics of the song "Zwei Herzen im Dreivierteltakt", with music by Austrian composer and conductor Robert Stolz (Graz, Austro-Hungarian Empire, August 25, 1880 - Berlin, June 27, 1975) and lyrics by director, screenwriter and lyricist Walter Reisch (Vienna, Austro-Hungarian Empire, May 23, 1903 - Los Angeles, March 28, 1983) and Armin Robinson (Vienna, February 23, 1900 - Bad Ischl, September 12, 1985). The Greek lyrics were written by Xenofon G. Asteriadis. The song is taken from the German film of the same name "Zwei Herzen im Dreiviertel-Takt", directed by Géza von Bolváry. The film, which began its screenings in German cinemas on March 13, 1930, was shown in Greece under the title "Dyo kardies s' ena vals" ("Two hearts in a waltz").
The song was a great success, which is reflected in historical discography with recordings in various languages and regions of the world, either in song or instrumental form. For example:
– "Zwei Herzen im Dreivierteltakt", Tanz-Orchester Dajos Béla – Leo Frank (Monosson), Berlin, April 16, 1930 (Odeon Be 8954 – O-11254 a).
– "Käy söntä kaksi valssihin", Kurt Londén, Helsinki, May 30, 1930 (Gramophone BE2513 – X-3477, Victor V-4097).
– "Ca 2 inimi intr-un vals", Manuel Stroici – Orchestra Dajos Béla, Berlin, 1930 (Odeon Jo 3258 – A 199544 b).
– "Dwa serca w takcie raz, dwa, trzy", Mieczysław Fogg – Orkiestry "Odeon", Warsaw, 1930 (Odeon Wo 797 – O. 236143 b.). It was included in the revue "Zjazd Centrośmiechu" presented at the Qui Pro Quo theatre in Warsaw.
– "Två hjärtan i en Wienervals", De 6 Polyphonians, Stockholm, 1931 (Polyphon 2818 BR – S 41452 – X.S 41541).
– "Two hearts", Richard Crooks, New York, April 23, 1931 Victor BRC-53056 – 1509 Β).
– "Dos corazones en tiempo de vals", Margarita Cueto – José Moriche, New York, May 29, 1931 (Victor BRC-69668 – 30484).
– "Two hearts in waltz-time", London piano-accordeon band, London, 1934 (Regal Zonophone AR 2863-1 – MA13307 – G22239).
The popularity of the film and of its songs was also exploited in the musical theater. On September 30, 1933, the three-act operetta of the same name "Zwei Herzen im Dreivierteltakt", set to music by Robert Stolz and libretto by Paul Knepler, Ignaz Michael Welleminsky and Robert Gilbert, premiered at the Stadttheater in Zürich.
In Greek historical discography, the song was also recorded by Michalis Thomakos ("Dyo kardies s' ena vals", Athens, 1930, Columbia G 134 – DG 96 and reissue Columbia USA 294342 – 56275-F) and by Lysandros Ioannidis - Dajos Béla Orchestra ("Dyo kardies s' ena vals", Berlin, 1931, Odeon GZA 2526 – (Go 3005) – ZA 190843 b).
The Greek commercial score of the song, with lyrics by Xenofon G. Asteriadis, was published in Athens in 1930 by the Stefanos Gaitanos publishing house (see here).
We note that in the Greek-language historical discography, one more song from the film is recorded, "Auch du wirst mich einmal betrügen" which was released under the title "Ki esy tha xechaseis mia mera" (see here).
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”.
The inextricable relation between music and performing arts is more than vital. The cinema (as well as the theater too) traffics music on its own terms and plays a key role in diffusing it to places that are often far away. It also builds a special network that communicates with discography. Some of the songs written for the cinema are often the tip of the spear as regards the popularity of the films. One such case is this recording.
It includes an adaptation with Greek lyrics of the song "Zwei Herzen im Dreivierteltakt", with music by Austrian composer and conductor Robert Stolz (Graz, Austro-Hungarian Empire, August 25, 1880 - Berlin, June 27, 1975) and lyrics by director, screenwriter and lyricist Walter Reisch (Vienna, Austro-Hungarian Empire, May 23, 1903 - Los Angeles, March 28, 1983) and Armin Robinson (Vienna, February 23, 1900 - Bad Ischl, September 12, 1985). The Greek lyrics were written by Xenofon G. Asteriadis. The song is taken from the German film of the same name "Zwei Herzen im Dreiviertel-Takt", directed by Géza von Bolváry. The film, which began its screenings in German cinemas on March 13, 1930, was shown in Greece under the title "Dyo kardies s' ena vals" ("Two hearts in a waltz").
The song was a great success, which is reflected in historical discography with recordings in various languages and regions of the world, either in song or instrumental form. For example:
– "Zwei Herzen im Dreivierteltakt", Tanz-Orchester Dajos Béla – Leo Frank (Monosson), Berlin, April 16, 1930 (Odeon Be 8954 – O-11254 a).
– "Käy söntä kaksi valssihin", Kurt Londén, Helsinki, May 30, 1930 (Gramophone BE2513 – X-3477, Victor V-4097).
– "Ca 2 inimi intr-un vals", Manuel Stroici – Orchestra Dajos Béla, Berlin, 1930 (Odeon Jo 3258 – A 199544 b).
– "Dwa serca w takcie raz, dwa, trzy", Mieczysław Fogg – Orkiestry "Odeon", Warsaw, 1930 (Odeon Wo 797 – O. 236143 b.). It was included in the revue "Zjazd Centrośmiechu" presented at the Qui Pro Quo theatre in Warsaw.
– "Två hjärtan i en Wienervals", De 6 Polyphonians, Stockholm, 1931 (Polyphon 2818 BR – S 41452 – X.S 41541).
– "Two hearts", Richard Crooks, New York, April 23, 1931 Victor BRC-53056 – 1509 Β).
– "Dos corazones en tiempo de vals", Margarita Cueto – José Moriche, New York, May 29, 1931 (Victor BRC-69668 – 30484).
– "Two hearts in waltz-time", London piano-accordeon band, London, 1934 (Regal Zonophone AR 2863-1 – MA13307 – G22239).
The popularity of the film and of its songs was also exploited in the musical theater. On September 30, 1933, the three-act operetta of the same name "Zwei Herzen im Dreivierteltakt", set to music by Robert Stolz and libretto by Paul Knepler, Ignaz Michael Welleminsky and Robert Gilbert, premiered at the Stadttheater in Zürich.
In Greek historical discography, the song was also recorded by Michalis Thomakos ("Dyo kardies s' ena vals", Athens, 1930, Columbia G 134 – DG 96 and reissue Columbia USA 294342 – 56275-F) and by Lysandros Ioannidis - Dajos Béla Orchestra ("Dyo kardies s' ena vals", Berlin, 1931, Odeon GZA 2526 – (Go 3005) – ZA 190843 b).
The Greek commercial score of the song, with lyrics by Xenofon G. Asteriadis, was published in Athens in 1930 by the Stefanos Gaitanos publishing house (see here).
We note that in the Greek-language historical discography, one more song from the film is recorded, "Auch du wirst mich einmal betrügen" which was released under the title "Ki esy tha xechaseis mia mera" (see here).
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
