Henry Vars (born Henryk Warszawski; December 29, 1902 September 1, 1977) was a Polish-American composer, arranger and conductor whose compositions spanned popular, jazz and classical genres. He is regarded as the most important musical theatre, pop and film music composer of the interwar Poland.
Known in Poland as Henryk Wars, he is widely considered a pioneer of Polish jazz with his first composition "New York Times" (1927) being regarded as the very first jazz song in the history of Polish music. His other jazz and pop songs from the period include "Mià Âoà Âàci wszystko wybaczy" (1933), "Umówià Âem siàz niàna dziewiàtà", "Sex appeal" (both from 1937), "Ach, jak przyjemnie" and "Juà ¼ nie zapomnisz mnie" (both from 1939).
In the United States, Henry Vars is best remembered for scoring westerns Seven Men From Now (1956) and Escort West (1959), with an adventure film Flipper (1963) being his most famous work. His other American works include a Margaret Whiting song "Over and Over and Over", Mel Tormé's "I Owe A Kiss To A Girl In Iowa" (both from 1950), Brenda Lee's "Speak to Me Pretty" (1961) and Doris Day's Walk With Him (1962). Wars also composed a symphony, now available on the Internet, as is his Piano Concerto of 1950.
Henryk Wars was born to Jozef Izrael and Sara Warszawski into an assimilated Polish-Jewish musical family in the Russian partition of Poland. His older sister, Józefina, became a soloist at the Warsaw Opera and La Scala, while his younger sister, Paulina, trained as a pianist, sadly dying in the Treblinka Camp later on. Beginning in 1906, the family spent part of Wars's early childhood in France, due to his Father's work, where he studied at an Art Nouveau school, before returning to Poland in 1914, where he lived in a tenement house at 14 Waliców Street.
Wars attended the Mazovian Voivodeship Gymnasium, where he passed his secondary school leaving examination in 1920. That same year, he fought in the PolishâÂÂSoviet War, taking part in the defense of Warsaw, for which he was awarded the Cross of Valour (Poland).
After the war, Wars initially pursued law at Warsaw University, while simultaneously studying painting at the Academy of Fine Arts. His career direction changed after a school concert at which he conducted an orchestra and was noticed by the prominent Warsaw composer Emil MÃ Âynarski. Impressed by the young musician, MÃ Âynarski granted Wars a personal scholarship to study at the Warsaw Music Conservatory following a private audition. Wars studied composition under Professor Roman Statkowski and Emil MÃ Âynarski, graduating in 1925.
An account from his conservatory years relates that during one class, Wars brought a gramophone record playing jazz, which so displeased Statkowski that he expelled Wars from the class. According to a personal anecdote, Wars first discovered jazz while browsing the Syrena-Record store in Warsaw, where he encountered imported American jazz recordings. Captivated by the syncopation, he asked the cashier, Mrs. Lucia, to pack ten discs, which he then studied obsessively. When he returned home with the records, his mother expelled him from the house for purchasing jazz music.
After graduating in 1925, Wars briefly returned to military service, completing officers' training at Wlodzimierz, before dedicating himself entirely to music. He became a long-time music director for Syrena Rekord. In 1927, he composed the song "New York Times" ("I do nothing all day but read the New York Times"), which was performed at the Karuzela (Merry-Go-Round) Theatre by Tadeusz Olsza and recorded by Henryk Gold's Orchestra for Syrena Rekord. Although the song was a commercial and popular failure, it succeeded in bringing Wars's name to the attention of major figures in Polish entertainment, including Andrzej WÃ Âast.
Wars's first major success came in 1928 with "Zataà Âczmy tango" ("Let's Dance a Tango"), written for Stanisà Âawa Nowicka and Eugeniusz Bodo. Around this time, he was hired as a pianist at the Morskie Oko Theatre and joined Henryk Gold's band.
From 1929, Henryk Wars played with Leon Boruà Âski in revues as a regular duo called "Jazz for Two Pianos." During this time, he organized a reveller-style choir, the Jazz Singers, for the Morskie Oko Film Festival and recorded two albums with them on Syrena Record. This ensemble was the precursor to the later professional vocal group, the Wars Choir, which operated from 1930 until the end of 1933. Under Wars's direction and with his regular accompaniment, the Choir performed in revue theaters and recorded exclusive albums for Syrena Record. After the Choir ceased operations, Wars led a similar vocal ensemble called the Weseli Chà Âopcy z Columbii (Merry Boys from Columbia), which performed at venues such as the Hollywood Cinema and recorded albums for Columbia Records.
During the 1930s, Wars composed songs for a series of musical comedies in Poland, and his significance in the country is comparable to that of Irving Berlin in America. Between 1930 and 1939, he scored approximately 50âÂÂ53 films, including Pieà Âniarz Warszawy, Manewry Mià Âosne, Romeo i Julcia, Antek Policmajster, and Wà ÂóczÃÂgi. His melodies from this period, along with those of Jerzy Petersburski and Zygmunt Wiehler, remain popular in Poland, with many songs closely associated with pre-war Lwów. Recent recordings include Ach, à Âpij kochanie (Ah, Sleep My Darling) by Grzegorz Turnau and others, as well as numerous performances of Tylko we Lwowie. In 2002, his song Umówià Âem siàz niàna dziewiàtà(I Have a Date with Her at Nine) appeared in Roman Polaà Âski's film The Pianist.
Wars composed his first film score for Na Sybir in 1930, after gaining fame as a conductor and performer at various Warsaw cabarets and theaters, including Morskie Oko, Hollywood, and Wielka Rewia. On June 18, 1930, a revue entitled Dancing Every Day was staged at the Morskie Oko Theatre, for which Wars created the main theme and arranged all the songs. A major milestone in his career was the establishment of cooperation with the Sfinks-Libkow Film studio, for which he composed the music for one of the first Polish sound films, "Na Sybir", in 1930. The film's sound was coordinated under his direction at the UFA studio in Berlin, and the premiere took place on October 31, 1930, at the Royal Castle in Warsaw, in the presence of President Ignacy Moà Âcicki. At Wars's request, the president supported the purchase of film sound equipment for Poland, which was later installed in the Syrena Record studio.
He also composed scores for the films Paweà  i Gaweà Â, Szpieg w masce (A Masked Spy), PiÃÂtro wyà ¼ej (Neighbors), and Zapomniana melodia (A Forgotten Melody). Wars was a pioneer of swing music in Poland, as his orchestrations were the first to use the word "Swing" in the country. The peak of his film composition career came in 1937, when he composed music and songs for thirteen films. Over time, film music became so important to Wars that he resigned from his position as musical director at Syrena Record, although he reversed this decision in 1939 and, along with Iwo Wesby, is documented conducting for Syrena-Rekord.
In pre-war Poland, swing never achieved wide popularity, largely because of the conservative musical tastes of Polish audiences and the cautious artistic policies of the country's major record labels. At Syrena-Electro, artistic decisions were dominated by Wars, who, despite having embraced jazz in his youth, and was a pioneer of swing, prioritized commercially reliable genres such as the tango, waltz, and moderate foxtrots. Wars's belief was that music like tangos and waltzes would be more suitable for the Polish middle classes, something that the other big 2 jazzband leaders in Poland, Henryk Gold, the leader of the Columbia Records Orchestra, and Jerzy Gert, the director of the "Odeon" company, also followed. Franciszek ZwiÃÂ zek, a Polish Jazz-Band, recalls in his memoirs that Wars always restricted the recordings of Jazz, perhaps in hopes to safeguard his own position in Polish Music. Eddie Rosner, the famous trumpet player and later the leader of the State Jazz Orchestra of the USSR was only permitted to record 3-4 slides for Syrena-Rekord, despite his popularity across the world, including being the friend of Louis Armstrong and recording for French Columbia in Paris, selling over 300,000 records.
Wars also conducted for the Odeon recording company at 13 Plocka Ulica, Warsaw, from 1929 to 1931, and for Homocord, Parlophon, and Columbia Records, all represented by the pressing factory at the same address. He occasionally wrote lyrics for film songs under the pseudonym "Fraska." Wars had a very good singing voice and frequently joined singers in his recordings. He was hired as a conductor by the Hollywood, Cyganeria, and Cyrulik Warszawski theaters.
In 1934, Wars worked as a musician in Great Britain for an extended period. His songs, such as Zrób to Tak and O, Alaska!, became hits in Italy and England. Zrób to Tak being an instrumental hit known as "Pretty Face," and O, Alaska! recorded by Alberto Semprini's Orchestra, the premier orchestra in Italy. After returning to Poland, he was commissioned by Polish Radio to record Stille's jazz piano recital on tape, which was broadcast on Berlin Radio on January 3, 1935. In the fall of 1935, he conducted performances of J. Berstl's operetta SzczÃÂsty pech (Lucky Bad Luck) at the Summer Theater. His considerable conducting abilities, not only in light music, are further evidenced by the fact that in 1938âÂÂ39, he conducted symphonic concerts organized under the auspices of the Symphonic Music Association.
Until the outbreak of World War II, Henryk Wars lived and composed at 23 Aleje Jerozolimskie Street. Rehearsals for artists performing his works were held there; the living room housed two Steinway grand pianos â a white one and a black one. He actively participated in the work of the Association of Stage Authors and Composers and frequently served on its board (he served as its secretary from 1936). The salary of Wars could be estimated as to being around 9,000-10,000 zloty a year, which made him a member of the Polish upper-middle to upper class.
Shortly before the outbreak of World War II, Henryk Wars was drafted into the Polish Army and served in the defense of Poland in 1939. He was taken prisoner of war by the German army but managed to escape from a transport train at a rest stop. In 1940, he organized the big band Tea-Jazz in Soviet-occupied Lwów. Tea-Jazz was a term coined by Leonid Utesov, from Odessa, to refer to his theatricalized jazz performances.
Wars's family faced grave danger during this period. His wife, Carola, and their children, including Robert (born 1934) and Danuta, were forced into the Warsaw Ghetto. Through Wars's connections in the USSR, he obtained Soviet passports that enabled his family to escape. Robert later recounted that a Nazi guard inspected the passports but let them pass to the Aryan side of Warsaw, joking, "See you soon in Moscow." From 1940, Wars was the target of attacks by far-right Polish political groups under control of the Nazi government due to his Jewish background, which led to the banning of his records in Nazi-occupied Poland.
During this period, Wars also composed music for many Soviet films, including ÃÂõÃÂÃÂð, reportedly Franklin Roosevelt's favorite film, ÃÂþÃÂÃÂúþù ÃÂÃÂÃÂÃÂõñ, and èòõùú óþÃÂþòøÃÂÃÂàú ñþÃÂ. He composed his first symphony at this time.
Although the Tea-Jazz orchestra began in Lwów, it soon toured extensively across the Soviet Union, from Odessa to Moscow and beyond. Hnatiuk notes that the first tour to Odessa occurred in 1940, just as mass deportations of Poles began in Lwów. It is difficult to determine whether the timing was entirely coincidental or whether some friendly Soviet colleagues tipped them off. Singers from the Theater of the Opera, actors from all three dramatic theaters, and performers from the satirical Teatr Miniatiur appear on the list of 644 refugees whom the local Soviet theater administration reclaimed from the NKVD, thus saving them from deportation. In contrast, the names of the jazz orchestra members of Wars, do not appear on this list. Henryk Wars became a friend of the soviet composer Aram Khachaturian.
Tea-Jazz records became very popular in the USSR. Priced at seven roubles, they included Russian versions of pre-war Polish songs such as Zapomnienie (Oblivion) and Nic o Tobie Nie Wiem (I Hardly Know Anything about You). Many of the songs from pre-war repertoires were translated by Feliks Konarski, who had been born in Kyiv. Wars's 1939 hit from the film Wà ÂóczÃÂgi, Tylko we Lwowie, was translated into Russian as ÃÂôõü òðàòþ ÃÂÃÂòþòõ! (Lviv Awaits You) and was performed as the finale of every show. This number was released on a record under the Soviet Gramplastrest recording company, featuring an intricately designed label. Tea-Jazz also recorded Yiddish songs; Wars, along with the pre-war singer Albert Harris, recorded Bei Mir Bist Du Schön in Yiddish. Many other Tea-Jazz recordings may have existed, but most are lost, as swing records were largely abandoned after 1945.
In late 1941, Wars and his musicians joined the Polish II Corps of General Anders as part of the Polska Parada cabaret, performing across Persia, Iraq, Egypt, and Palestine. Henry Vars performed in front of Reza Pahlavi and King Farouk of Egypt. The family traveled across the Caspian Sea on a rusty Soviet freighter to Persia, and his young son Robert sometimes played drums on stage with the orchestra. Wars's ensemble was highly acclaimed among Allied forces and won first prize in an artistic competition among Allied military ensembles. In Italy, they were involved in performances connected to the Red Poppies on Monte Cassino in 1944.
After the war, Wars briefly remained in Italy, composing music for Polish and Italian films, including Wielka Droga (Great Way, 1946), and recording for the Italian company La voce del Padrone. He served in the army as a second lieutenant and was awarded the Silver Cross of Merit and the Military Medal. He also received the Order of Cavaliere de Croce d'Italia personally from the last Italian king, Victor Emmanuel, making him a member of the Italian nobility. He also received an award from President Truman, later on. He toured and performed concerts across Italy, France, and England, but the rise of communism in Poland and new opportunities abroad prompted him to emigrate to the United States in 1947.
Upon arrival in New York, Wars, who changed his name to Henry Vars, faced financial and professional struggles. He even considered abandoning music to become a clerk, as he was not receiving any opportunities. He was forced to do odd jobs, including working as a janitor, taxi driver, and running errands, while relying on the income of his wife, Elizabeth, a fashion designer. Vars's first wife, Carola, may have separated from him during the period of 1939âÂÂ1950. In 1950, he was reunited with his son Robert, who had been in Tel-Aviv and urgently required surgery, which he received from a top UCLA medical specialist.
Robert recalls, "My father was a grey-haired European, matured from years of struggle, and could not fit in with the loud personalities of 1950s Hollywood. His wife Elizabeth worked for income as a fashion designer, while he sought film opportunities." At the time most of the film production was being done in Europe rather than ,Hollywood because costs were so much lower there. In 1950, with sponsorship from Ira Gershwin, and Artur Rubenstein, Vars joined ASCAP, marking the start of his official American career. He got his first break via the Columbia Recording company. The family settled in Los Angeles, and Vars began writing film scores professionally. He became a close friend of John Wayne, and his songs were performed by well-known artists such as Margaret Whiting, Bing Crosby, Doris Day, Brenda Lee, and Dinah Shore.
Vars composed the score and title song for the Flipper movie and television series, as well as for Daktari. His work spanned multiple genres, including Westerns, crime films, mysteries, horror, children's films, and television. Early U.S. credits include Chained for Life (1951), followed by Seven Men From Now (1956), Man in the Vault, Escort West, Freckles, and the 1956 Western Gun the Man Down. He also contributed uncredited cues to other productions. Vars's son Robert became a successful lawyer, and Vars was highly respected in his family and professional circles.
In 1967, Vars visited Europe and returned to Warsaw, where he performed concerts in the Palace of Culture and Science with the famous Polish singer Anna German. His visit was widely covered in the news, including a newsreel in Polska Kronika Filmowa. He also visited his sister in France and traveled to London. At one point, he considered relocating to Warsaw, following his colleague and 1930s composer friend Jerzy Petersburski, but ultimately remained in Los Angeles. Vars's final credited film work was Fool's Parade (1971), starring James Stewart. In his later years, he enjoyed visual art, sketching, and attending cultural events, including Polish church events at the Cathedral of Jasna Gora in Los Angeles. He maintained a vibrant personality and strong family relationships. Wars was an accomplished caricaturist; among his collection are caricatures of H. S. Truman, Lyndon Johnson, Mao Tse Tung, Jackie Kennedy, Charles de Gaulle, Pandit Nehru, Abdel Gamel Nasser, and many others.
Regarding his composition style, Vars noted that the actor Eugeniusz Bodo could sit at the piano and quickly inspire him with tunes. Vars was also known for spending long hours improvising at the piano.
Vars died on September 1, 1977, in his home in Beverly Hills, reportedly listening to music by his beloved teacher Karol Szymanowski. You, your talents, and your music will live forever in the lives you touched, was the inscription on his gravestone. Vars had two children: one an attorney, the aforementioned Robert Vars, the other, Danuta, an housewife, and four grandchildren. One grandchild was a medical student at Stanford University. After the war, he composed symphonic works, including a one-movement piano concerto, a symphony, and Urban Sketches, which were rediscovered in the 1990s. In 2017, Polish Radio and the National Centre for Culture released an album collecting these works, performed by the Polish Radio Orchestra and pianist Piotr Orzechowski.
In the early 1930s, Vars met Maurice Ravel and George Gershwin in Paris. His orchestral triptych, City Sketches (High-Rise; Downtown Blues; Freeway Scherzo), is stylistically reminiscent of Gershwin's An American in Paris and incorporates jazzy elements similar to those in Ravel's later works.
A ja ciÃÂ kochaÃÂ nie przestanÃÂ (words by Andrzej WÃ Âast, 1933)
A jednak czegoà  mi brak (words by Jerzy Jurandot, 1936)
A mnie w to graj (words by Jerzy Jurandot, movie Bolek i Lolek, sung by Adolf Dymsza)
A u mnie siup, a u mnie cyk (words by Emanuel Schlechter, 1936, sung by Adolf Dymsza)
A. B. C. mià Âoà Âci / Abecadà Âo mià Âoà Âci / ABC mià Âoà Âci (words by Marian Hemar, 1935)
Ach, jak oni siÃÂ kochajÃÂ / Dama kier i walet pik (words by Andrzej WÃ Âast, 1932)
Ach, jak przyjemnie (words by Ludwik Starski, movie Zapomniana melodia, 1938, sung by Adam Aston, later by Irena Santor)
Ach, jedà º na Wschód / Jedà º na Wschód (words by Andrzej Wà Âast, 1935)
Adios! / à »egnaj (words by Andrzej Wà Âast, pasodoble, 1933)
Alaska / Oh! Alaska (words by Bolesà Âaw Rajfeld, foxtrot, 1934)
Angelita (words by Andrzej WÃ Âast, tango andaluzyjskie, 1929)
Betty Boop (words by Andrzej WÃ Âast, foxtrot, 1933)
BÃÂdzie lepiej / Jutro bÃÂdzie lepiej (words by Emanuel Schlechter, movie BÃÂdzie lepiej, 1936)
Biaà Âa Lady / Srebrny ptak (words by Andrzej Wà Âast, boston hawajski, 1930)
Biedny à »yd / Zimny draà  (words by Edward Rozenberg, parodia, 1934)
Carmencita (words by Andrzej WÃ Âast, tango, 1930)
Co bez mià Âoà Âci wart jest à Âwiat? / CÃ³à ¼ bez mià Âoà Âci wart jest à Âwiat / Mahomet bez brody (words by Konrad Tom, Emanuel Schlechter, foxtrot, 1935)
Co ja zrobiÃÂ, à ¼e mi siàpodobasz? (words by Jerzy Jurandot, movie Papa siÃ à ¼eni, 1936, sung by Zbigniew Rakowiecki and Lidia Wysocka)
Co, jak, gdzie / Co, jak i gdzie (words by Jerzy Walden, 1936)
Codziennie dancing (words by Andrzej WÃ Âast, slowfox, 1930)
Conchita (Wars â Jerry) (words by Jerzy Ryba, rumba, 1932)
Czarny Jim / Czarny Jim baweà Ânàzbiera (words by Andrzej Wà Âast, foxtrot, 1939)
Czekaà Âem tyle dni (words by Jerzy Ryba, slow tango-fox, 1938)
Czekam / Piosenka dla lotnika (words by Feliks Konarski, tango slowfox, 1932)
Czemu ciÃÂ nie mogÃÂ zapomnieÃÂ? / Czemu (words by Henryk Wars, foxtrot, 1932)
Czy pani taà Âczy rumbÃÂ? (words by Andrzej Wà Âast, rumba, 1931)
Czy przyjdziesz znów (words by Andrzej Wà Âast, blues, 1930)
Czy to warto byÃÂ upartÃÂ ? / Czy warto byÃÂ upartÃÂ / Czy to warto? (words by Konrad Tom, slowfox, 1935)
Czy tutaj mieszka panna Agnieszka (words by Emanuel Schlechter, tango, 1937)
Dajcie mi à ¼yà(words by Ludwik Starski, foxtrot, 1933)
Dla ciebie chcàbyàbiaà Âa / Dla ciebie chcàbyàbiaà Âà/ Ja chcàbyàbiaà Âa (words by Konrad Tom, Emanuel Schlechter, jig foxtrot, 1934)
Dlaczego nie chcesz spaà/ Ach, à Âpij kochanie / Koà Âysanka (words by Ludwik Starski, slowfox, movie Paweà  i Gaweà  from 1938, sung by Eugeniusz Bodo and Adolf Dymsza)
Dobranoc, oczka zmruà ¼ / Koà Âysanka Toà Âka (words by Emanuel Schlechter, movie Wà ÂóczÃÂgi from 1939, sung by Szczepko and Toà Âko)
Don Pedro / Don Pedro tango gra (words by Andrzej WÃ Âast, tango komiczne, 1933)
Droga do Warszawy (words by Feliks Konarski, marsz, 1942)
Dwa pocaà Âunki (words by Jerzy Walden, slowfox, 1936)
Dziewica z kolonii Staszica / Moja dziewica z kolonji Staszica (words by Julian Tuwim, foxtrot, 1927)
Dzisiaj ta, jutro tamta / Dzisiaj ta i jutro ta / Pierwsze szczÃÂÃ Âcie (words by Emanuel Schlechter, foxtrot, 1937)
Dzià  bÃÂdziesz mojà(words by Aleksander Jellin, tango, 1933)
Ewelina (words by Jerzy Jurandot, movie Papa siÃ à ¼eni, 1936, sung by Mira Zimià Âska)
Florek, gdzie twój humorek? / Co z tobàFlorek, gdzie twój humorek? (words by Jerzy Jurandot, foxtrot, 1937)
Frontem do morza! (words by Andrzej WÃ Âast, marsz, 1933)
Gdy szczÃÂà Âcie podaje ci dà Âoà  / Gdy mià Âoà Âàpodaje ci dà Âoà  (words by Emanuel Schlechter, slowfox, 1934)
Gdyby szczÃÂà Âcie przyszà Âo dzià  (words by Marian Hemar, walc, 1935)
Gdzie najlepiej (words by Aleksander à Âwitaj, tango, 1946)
Habanita (words by Jerzy Jurandot, rumba, 1937)
Hio, hio! (words by Andrzej WÃ Âast, slowfox, 1939)
Hip â hip â hurra! / Na czeà Âàmà Âodoà Âci / Hip, hip, hura! (words by Ludwik Starski, fox marsz, 1939)
Ho! Ho! (words by Konrad Tom, foxtrot, 1933)
Hokus-pokus (words by Jerzy Jurandot, slowfox, 1936)
Hop, siup (words by Emanuel Schlechter, 1937)
Idà º, nie wracaj / Idà ºâ¦ Nie wracaj! (words by Andrzej Wà Âast, tango dramatyczne, 1932)
inc: Ten krawat w grochy / Zà Âociste wà Âoski (words by Konrad Tom, slowfox, 1933)
incipit: I zbudujÃÂ ci domeczek (words unknown, kujawiak, 1937)
Ja mam dryg, ja mam szyk (?) / Jak byÃ à ¼onà, jak byàmatronà⦠(words by Konrad Tom, foxtrot, 1934)
Jak kochaÃÂ, to namiÃÂtnie / Jeà Âli kochaÃÂ, to namiÃÂtnie (words by Jan Brzechwa, tango, 1931)
Jak pani siÃÂ ten pan podoba (words by Andrzej WÃ Âast, foxtrot, sung by Krystyna Paczewska)
Jak trudno jest zapomnieÃÂ (words by Jerzy Jurandot, tango slowfox, 1935)
Jak za dawnych lat / PowróÃÂmy jak za dawnych lat (words by Jerzy Jurandot, tango, sung by Stefan Witas, 1935)
Jedna, jedyna / Jest jedna, jedyna / Jest tylko jedna (words by Emanuel Schlechter, tango, 1937)
Jest jedna droga (words by Feliks Konarski, slowfox, 1946)
Juà ¼ nie mogàdà Âuà ¼ej kryà(words by Jerzy Jurandot, movie Pani minister taà Âczy from 1937, sung by Tola Mankiewiczówna and Aleksander à »abczyà Âski)
Juà ¼ nie zapomnisz mnie / Zapomniana melodia (words by Ludwik Starski, movie Zapomniana melodia from 1938, sung by Aleksander à »abczyà Âski)
Juà ¼ taki jestem zimny draà  (words by Jerzy Nel and Ludwik Starski, movie Pieà Âniarz Warszawy from 1934, sung by Eugeniusz Bodo)
Kocha, lubi, szanuje (words by Konrad Tom and Emanuel Schlechter, movie Kocha, lubi, szanuje, sung by Mieczysà Âaw Fogg, later by Irena Santor)
Kochaj mnie, a bÃÂdÃÂ twojÃÂ (words by Andrzej WÃ Âast and Emanuel Schlechter, tango, 1930)
Kocham (words by J. Roland, movie Bezimienni bohaterowie, 1931)
Koà Âysanka (?) / à Âpij ma dziecino, oczki zmruà ¼ (words by Jerzy Walden, movie unknown, 1936)
Kryzys (words by Emanuel Schlechter, Konrad Tom, foxtrot, 1933)
Kto usta twe caà Âowaà  (words by Julian Tuwim, walc-boston, 1934)
Kwiat jabà Âoni / Jabà Âoni kwiat (words by Konrad Tom, blues japoà Âski, 1931)
Lim-pam-pom / Lambeth Walk z filmu "KÃ Âamstwo Krystyny" / Lim pam pom / Limpampom (words by Jerzy Jurandot, foxtrot, 1939)
Maleà Âka Jenny (words by J. Roland, movie Gà Âos pustyni, 1932, sung by Mieczysà Âaw Fogg)
Maà Âa ale zuchwaà Âa (words by Emanuel Schlechter, slowfox, 1934)
Maà Âpy / Na baobabie (words by Andrzej Wà Âast, black-bottom, 1927)
Marionetki / Marjonetki (words by Andrzej WÃ Âast, foxtrot, 1933)
Marzenie / Gdy wszystko stracÃÂ, ty zostaniesz mi (words by Andrzej WÃ Âast, tango, 1929)
May Wong (words by Andrzej WÃ Âast, blues, 1929)
Mià Âoà Âàci wszystko wybaczy / Mià Âoà Âàci wszystko przebaczy (words by Julian Tuwim, movie Szpieg w masce, 1933, sung by Hanka Ordonówna)
Mià Âoà Âàto caà Ây à Âwiat (words by Emanuel Schlechter, slowfox, 1935)
Miss Mary (words by Aleksander Jellin, foxtrot, 1932)
Modna piosenka (Wars â Schlechter) (words by Emanuel Schlechter, tango, 1939)
Moja królewna / Bajka / Za siódmàgórà/ Moà ¼e ty bÃÂdziesz màkrólewnà/ Moà ¼e ty jesteà  màkrólewnà(words by Ludwik Starski, tango, 1938)
Moà ¼e dzieà Â, moà ¼e rok (words by Feliks Konarski, foxtrot, 1938)
Mój czarny chà Âopiec (words by Andrzej Wà Âast, slowfox, 1931)
Mój à Âwiat siàzaczÃ à  dzià  / Przychodzi nie wiesz skàd (words by Emanuel Schlechter, tango, 1935)
Mój torerro / Mój torero (words by Andrzej Wà Âast, bolero, 1932)
Mów coà Â! (words by Andrzej Wà Âast, foxtrot, 1931)
Mów, à ¼e myà Âlisz o mnie (words by Emanuel Schlechter, walc, 1935)
My dwa, oba cwaj (words by Emanuel Schlechter, foxtrot, movie BÃÂdzie lepiej, 1936, sung by Szczepko and Toà Âko)
My huzarzy wolne ptaki (words by Jerzy Jurandot, marsz, 1935)
Na czeà Âàmà Âodoà Âci / Hip, hip, hura! (words by Ludwik Starski, movie Sportowiec mimo woli, 1939)
Na pierwszy znak / Gdy dasz mi znak (words by Julian Tuwim, movie Szpieg w masce, 1933, sung by Hanka Ordonówna)
New York Times (from 1928, sung by Tadeusz Olsza and Eugeniusz Koszutski)
Nic o Tobie nie wiem (words by Konrad Tom and Emanuel Schlechter, movie Wà ÂóczÃÂgi, 1939, sung by Andrzej Bogucki and Zbyszko Runowiecki)
Nic takiego (words by Marian Hemar, movie ABC mià Âoà Âci, 1935, sung by Kazimierz Krukowski and Adolf Dymsza)
O, Key (words by Konrad Tom and Emanuel Schlechter, movie Czy Lucyna to dziewczyna, 1934, sung by Eugeniusz Bodo and Jadwiga Smosarska)
On nie powróci juà ¼ (words by Andrzej Wà Âast, sung by Chór Dana)
Panie Janie w stylu jazz (words by Ludwik Starski, movie Zapomniana melodia, 1938)
Piosenka o zagubionym sercu (words by A. M. à Âwiniarski, movie Pan minister i dessous, sung by Hanka Ordonówna)
PÃ Âomienne serca (words by Marian Hemar, movie Na Sybir, 1930, sung by Tadeusz Faliszewski)
Reformy pani minister (words by Jerzy Jurandot, movie Pani minister taà Âczy, 1937, sung by Tola Mankiewiczówna)
Serce Batiara (words by Emanuel Schlechter, movie Serce Batiara for 1939 release, all copies lost)
Sexapil (words by Emanuel Schlechter, movie PiÃÂtro wyà ¼ej, 1937, sung by Eugeniusz Bodo)
SzczÃÂà Âcie raz siàuà Âmiecha (words by Julian Tuwim, movie Pan minister i dessous, sung by Hanka Ordonówna)
Tak cudnie mi (words by Jerzy Jurandot, movie Pani minister taà Âczy, 1937, sung by Tola Mankiewiczówna and Aleksander à »abczyà Âski)
Tyle mià Âoà Âci (words by Konrad Tom, movie Jego ekscelencja subiekt, 1933, sung by Eugeniusz Bodo)
Tylko Ty (words by Aleksander Jellyn, 1930sâÂÂ1933)
Tylko we Lwowie (words by Emanuel Schlechter, movie Wà ÂóczÃÂgi, 1939, sung by Szczepko and Toà Âko)
Tylko z Tobài dla Ciebie (words by Ludwik Starski and Jerzy Nel, movie Pieà Âniarz Warszawy, 1934, sung by Eugeniusz Bodo)
Umówià Âem siàz niàna dziewiàtà(words by Emanuel Schlechter, movie PiÃÂtro wyà ¼ej, 1937, sung by Eugeniusz Bodo)
W hawajskànoc (words by Konrad Tom and Emanuel Schlechter, movie Czarna perà Âa, sung by Eugeniusz Bodo, later by Irena Santor)
Zakochany zà Âodziej (words by Emanuel Schlechter and Ludwik Starski, 1937)
Zapomnisz o mnie (words by Andrzej WÃ Âast, sung by Tadeusz Faliszewski)
Zataà Âczmy tango (words by Andrzej Wà Âast)
Zà Âociste wà Âoski (words by Konrad Tom, movie Jego ekscelencja subiekt, 1933, sung by Eugeniusz Bodo)
Zrób to tak (words by Ludwik Starski and Jerzy Nel, movie Pieà Âniarz Warszawy, sung by Eugeniusz Bodo)
à »oà Ânierz polski (words by Julian Tuwim, patriotic song, 1930s)
Zostaà Â, zostaà  tu (words by Emanuel Schlechter, foxtrot, 1936)
Za kaà ¼dym razem (words by Jerzy Jurandot, 1937)
Za mnàpà Âynie à Âwiat / Ten à Âwiat pà Âynie za mnà(words by Ludwik Starski, 1936)
Zimny draà  / Juà ¼ taki jestem zimny draà  (words by Jerzy Nel and Ludwik Starski, movie Pieà Âniarz Warszawy, sung by Eugeniusz Bodo)