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 the song "Mi rotas giati".

This recording (reissued on 28.09.1931 in the USA from the German Odeon record GZA 2531 - (Go 3015) - ЗА 190848 a) includes an adaptation of the song "Frag' nicht, warum ich gehe" set to 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 Paul Menestrel (Giannis Chidiroglou).

The song comes from the German film "Das lied ist aus" (watch the film here), directed by Géza von Bolváry, produced by Super Film GmbH, with Willy Forst and Liane Haid in the leading roles. The film, which was also shot in a French-language version under the title "Petit officier... Adieu!" with the addition of French actor André Baugé, premiered in Berlin on October 7, 1930. In Greece, it was shown under the title "Mi rotas giati" (Don't ask why).

Both the film and the songs included in the soundtrack were 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. Three songs from the German film can be found in Greek-speaking discography. These are "Adieu, mein kleiner Gardeoffizier" (see "Antio mikre mou"), "Frag' nicht, warum ich gehe" (the song on this recording) and "Ja, wenn das Wörtchen „wenn“ nicht wär’" (see "Mi rotas giati – Ntountou - Ntountou").

The song "Frag' nicht, warum ich gehe" was first recorded by Marcel Wittrisch, who participated in the film as the singer, and Lewis Ruth's orchestra in Berlin on September 11, 1930 ("Das lied ist aus (Frag' nicht, warum ich gehe)", Gramophone CD9014-2 - AF-488, AN-595, Electrola EH-609, Victor V-56064, V-6179). Many recordings followed in various languages (French, English, Dutch, Polish, Italian, Hungarian). For example:

– "Frag' nicht, warum ich gehe", Ilja Livschakoff Orchestra –Leo Monosson, Berlin, 1930 (Polydor 3031 BR II – C 40230 – 23564)
– "Das lied ist aus (Frag nicht, warum)", Luigi Bernauer – Fred Bird Rhythmicans, Berlin, 1930 (Homocord H-83044 – 4-3816-II)
– "Das lied ist aus (Tout est fini)", Richard Tauber – Odeon-Künstler-Orchester, Berlin, January 5, 1931 (Odeon France Be 9320 – 188.082)
– "Elszállt a dal", Szedő Miklós – Dol Dauber zenekara, Vienna, January 9, 1931 (His Master's Voice 0L 26-1 – AM 3357 / 70-1833) 
– "Tout est fini...", J. J. Sterkens [Jozef Steuren], Berlin, 1931 (Parlophon 81158 – B. 17112-ΙI)
– "Skończona pieśń", Tadeusz Faliszewski, Warsaw, 1931 (Syrena-Electro 22026 – 3683). It was included in the revue "Sympatja Warszawy".
– "Don't ask me why", Victor Orchestra conducted by Nathaniel Shilkret, New York, December 22, 1931 (Victor LBRC-70993 – L-16004, 22962)
– "La canzone è finita", Mario Latilla – Orchestre Feruzzi, Milan, 1932 (Odeon Mo 3723 – O 12014)
– "Don't ask me why", Tony Martin, Los Angeles, July 11, 1941 (Decca DLA-2429 – 4394, F. 8286)

In Greek historical discography, in addition to the present recording, the song was released in three more covers:

– "Mi rotas giati", Lysandros Ioannidis, Berlin, 1931 (Odeon GZA 2531 - Go 3015 - ZA 190848 a and reissue Columbia USA 294323 – G-56302-F)
– "Mi rotas giati", Petros Epitropakis, Athens, 1931 (His Master's Voice OW-123 – AO 2001)
– "Mi rotas giati", Tetos Dimitriadis, Athens, May 19, 1931 (Victor 2W169 – V-58100)

Indicative of the popularity of the song, but also of the promotional methods of the record labels and the relations of the parent companies with their subsidiaries was the release of the instrumental version of the song by the Columbia Tanz Orchester (Berlin, 1931, Columbia WR 92) and by Columbia Greece with two catalog numbers: D.G. 101 and D.G. 103.

The Greek commercial musical score of the song was published in Athens, in 1930, by the Stefanos Gaitanos publishing house (see here).

Research and text: Leonardos Kounadis and Nikos Ordoulidis