The early Polish interwar music, which merged traditional folk motifs with intoxicating modern rhythms, spoke of a more technologically minded, progressive Polish musical scene where arrangements altered day-by-day as musicians skipped between bands, and new compositions could be finalised overnight. But it was the tango which often took centre stage. And this was true for many other countries in the region at that time.

C’est sous le ciel de l’Argentine, où la femme est toujours divine (It is under the sky of Argentina, where the woman is always divine), croons the absorbing refrain of the French “Le Dernier Tango” (“The Last Tango”) – a seemingly commonplace helping of the early 20th century tango-fever which had taken Western Europe by storm. Though written in 1913 by French musicians, it was still unquestionably Argentine. The melody had been pilfered from the 1903 “El Choclo” (“The Corn Cob”) by Argentine composer Angel Villoldo and the French lyrics bore those familiar flashes of delirious desire prevalent in any tango of the period.