Max Glücksmann began his career as an employee of the Henri Lepage store which specialized in photography and recordings. Eventually he managed to escalate positions until he finally bought the Lepage business.
He was a recording producer, a film producer, distributor and exhibitor. His greatest contribution to the History of Film took place in 1929 when for the release of THE BROADWAY MELODY, the first talkie to be shown in Argentina, he introduced Spanish language subtitles.
As a film producer he was in charge of several films but by the end of the 1910's he concentrated only in newsreels (which he had introduced in 1899). As a distributor he brought to Argentina important films from the United States (most of Chaplin silents, for instance) but by the end of the 1920's he was relegated because the Hollywood studios were distributing themselves their own films. Yet, in 1931 he renamed his company as Radiolux when he took the distribution of the RKO films (until 1935) and eventually took over independent films from the United States, major European productions, and Argentine films outside the Buenos Aires area.
As an exhibitor, he did have success owning the largest chain of movie theaters not only in Argentina but also in the neighborhood countries except Brazil. The best and most popular of the orchestras played music in his theaters (Tango, Folklore, and Jazz) throughout the silent era. After the sound film revolution his chain eventually shrinked but he retained a few important theaters until the end of his life.
His most important activity was unquestionable his 78 rpm recording productions. He could be more remembered today but in 1932 when EMI was established (although the company was never known by that name until 40 years later) I name I hate and repudiate, which also sound quite repugnant (specially in English), preferring to call it Odeon because of their policy to dismiss their own history and its traditional logo.
In its height the Glücksmann recording company was a powerful institution boasting the most popular musical stars of the day and for a few years (1917 to 1922) it was the only recording company in Argentina, multiplying its activities when it became Disco Nacional-Odeon in 1919 when it began to totally manufacture their records in Buenos Aires.
One of Glücksmann's most important artists was Francisco Canaro whose tango orchestra was at his very best when he was under his wing.
In 1925, Canaro travelled to Paris to introduce tango and then New York where his orchestra performed in the opening of the Paramount Movie Theater in Manhattan. In the states, he got impressed with the Paul Whiteman orchestra, its size and elaborate arrangements, and decided to rebuild his own after it but preserving all of the things that made it familiar.
Back in Buenos Aires he also found that Julio De Caro was introducing a more elaborate tango sound performing in movie theaters (and recording for Victor) and he also absorbed that although Canaro had introduced himself written orchestrations back in 1920.
One thing that prevented this new conception was the transition from the acoustic to the electric recording. Victor changed in April of that year while Glücksmann did it in November. Carlos Gardel was the first of his artist to make electric recordings but since the results were no good, they were scrapped for a brief time and he went back to make a few final acoustic recordings, eventually embracing the new system by the end of the year. The other artists simply changed from one system to the other.
Yet the new electric system at Glucksmann's was no good until February 1927 when the sound quality finally began to improve.
In that context, Glücksmann decided to introduce the 78 rpm but with the size of the future LP. Canaro was the artist to introduce the novelty in a disc that featured his tango "Pájaro azul" and his waltz "Corazón de oro". These recordings were extremely popular and critically success, influencing other artists.
And the following year, Glucksmann reissued the disc in a re-recorded version although there are no differences between the two.
The disc was remastered by Odeon in 1972 and reprinted in CD in 1986. Ufortunately, the technical reconstruction of the CD was totally below standards and "Corazón de oro" lost its introduction. Being in the United States and not Argentina, I don't have access to the 1972 but to a mediocre taping of it.
After years of frustrations, because Odeon doesn't have online a complete version of the waltz for purchase and because I never liked my previous restoration, I was finally able to reconstruct the entire recording based in a parallel (but more conventional) recording that Canaro made at the same time.
This waltz has been popular for years and Canaro would make newer versions throughout the years (his 1951 recording, mostly, is the soundtrack of the 1999 film MUNDO GRUA) but the original is the memorable one.
Here is the sheet music score from Todotango:
http://www.todotango.com/spanish/biblio ... sp?id=2797
Enjoy it: http://www.youtube.com/watch?v=kAHryZIgePI
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