Ever since antiquity, music transcription has been the intrinsic way of visual representation of sound, sometimes in detail and sometimes in the form of a guide. Throughout time, the visual capture of music has been the only way to store and preserve it over time, but also the exclusive means of reproducing it. In any case, visual transfer should be considered as an auxiliary tool, since oral dissemination and storage in the memory of artists have been the most timeless techniques for the diffusion of music through time and space. During Europe's so-called "classical" musical period, with its most powerful centers of production, such as today's Austria, Germany, France and Italy, and especially in its path towards Romanticism, music transcription, that is, the musical score, was considered by some composers as the very embodiment of their work.

Understandably, in the modern capitalist world, music transcription, as the primary tool for the substantialization of music, brought under its purview repertoires that were not connected, were not disseminated, and did not function on the basis of their transcription. This offered to the music product sales centers an additional tool to expand their action network: non-scholar musics acquired a convenient way of circulating them, enhancing their popularity, even in places very far from those of their original creation. At the end of the 19th century, however, the phenomenon of sound recording and reproduction rearranged relationships and disrupted the status quo of publishing houses, claiming a share of the market, offering a product that was extremely complete and immediate. The publishing houses tried to react with legal measures, but it became impossible to stop the dynamics of the new phenomenon: the prevalence of commercial discography was now a fact, for most of the 20th century.

As far as non-scholar music is concerned, commercial printed musical scores were publications of the musical texts of songs or instrumental pieces (for the publishing activity in Greece see Lerch-Kalavrytinos, 2003: 4-5). For the needs of musical scores, the songs were arranged mainly (but not only) for piano or for piano and voice, generally without complex performance requirements. Multi-instrumental or technically demanding orchestrations were systematically avoided. The lyrics were printed below the notes of the melodic development of the singing parts and, sometimes, their translations into other languages. For the most part, the musical scores were two or four pages long, and came with a themed front and back cover.

This sixteen-page musical score for voice and piano includes excerpts from the three-act Austrian operetta "Ein Walzertraum" (Dreamy waltz), set to music by Oscar Straus and German libretto by Leopold Jacobson and Felix Dörmann.

The title of the operetta (in Greek and German), the composer, the publisher as well as "Ola ta vals kai ta kyriotera meri tis Operettas" (All the waltzes and the main parts of the Operetta) are written on the black and white front cover. Also, "Rich. Fretsas" is written on the black and white back cover, which includes the continuation of the musical text.

This is a musical score with a system of two staffs for piano and song. The song's melody is written on the staff for the right hand of the piano, possibly for reasons of economy, as the musical score is already extensive.

Songs from the operetta "Ein Walzertraum" are also found in Greek-speaking discography, characteristically outlining the dialectical, multi-layered relationship between the various "national" repertoires, the subject of the ongoing research "Cosmopolitanism in Greek Historical Discography".

For more about the operetta and the recordings of its songs in the Greek repertoire, see here.

Research and text: Leonardos Kounadis and Nikos Ordoulidis