Orquesta Típica Rodolfo Biagi

Manos brujos

The man with the magic hands

Rodolfo Biagi

*14.3.1906 +24.9.1969

Status

master of syncopation and staccato

Number of recordings:

189

To buy

www.tangotunes.com offers everything from 1938 - 1952 in Golden Ear-quality.

Humillación - 1941 - Ortíz

Style

rhythmical, dramatical, sometimes thin, airy

Typical

Syncopation, emphasis on the off beat, staccato, piano fills between musical phrases, simple piano Soli, delicate rhythmic gimmicks

Important singers

Teófilo Ibáñez (1938 - 1939)

Andrés Falgás (1938 - 1940)

Jorge Ortíz (1940 - 1945)

Alberto Lago (1941 - 42)

Hugo Duval (1951 – 1962)

Manos brujas

At the end of 1935, Rodolfo Biagi took over the piano in Juan D'Arienzo's orchestra at the legendary Cabaret Chantecler.

With his extraordinary playing, which earned him the nickname manos brujas - bewitched or enchanted hands - he gave a whole new energy to the orchestra.

The new style electrified the porteños. Buenos Aires and - because of the radio broadcasts - soon all of Argentina fell into a dance frenzy, the Época de Oro was opened. Tango historians speak of the D'Arienzo revolution, which Biagi played a decisive role in shaping.

71 recordings were made with D'Arienzo between 1935 and 1938, only half of them were tangos. The orchestra's energy unfold best in high-energy valses and milongas.

Biagi's fills hop like little imps between the phrases played by the other orchestras. They mostly slip out of the right hand as furiously fast, brightly ringing cascades of notes. But Biagi also rumbles surprisingly and cheekily in the bass registers with his left hand and drives the orchestra forward for a few bars with melodía rítmica or takes a small solo.

In some instrumentals like the milonga La puñalada, which was very, very popular, in tangos like El flete or in valses like En tu corazón, Biagi seems to be all over the place like a cheeky jazzman.

Biagi, as he himself says later in the interview, always wanted to give the tango piano a special role. It should do more than provide rhythm and accompany with chords, it should shine in the orchestra, dominate.

With D'Arienzo, whose combo had previously differed little from his fellow musicians, he lived out his vision.

It is true that Biagi's fills also have something repetitive, pattern-like. But his nervous, lively, vibrating piano playing was in any case the most important building block for the tangomania that D'Arienzo triggered, especially among young people in the city.

El flete - 1936 - Instrumental

Octavio Fernandez y Corina Herrera - Italien - 2010

En tu corazón - 1938 - Echagūe

Roberto Zuccarino & Ines Bogado - Palermo, 2019

The little Biagi

Biagi, born on 14 March 1906 in San Telmo, insisted on becoming a musician as a child, even though his family had no musical background.

The violin remained an intermezzo, but he quickly became so enthusiastic about playing the piano that at the age of 13 he secretly began accompanying silent films in the neighbourhood without his parents' knowledge.

Two years later, in 1921, he was discovered by one of the most important musicians of the Guardia Vieja: Juan Maglio, known as Pacho, who was so popular that at that time people asked for a Pacho if they wanted to buy a shellac.

The small plays with the big ones

From then on, the fifteen-year-old played in the great cabarets of the first generation, in the Café Nacional, the cathedral of tango at the time, in the Café Domínguez, and later in the Cabaret Maipú Pigall together with instrumental geniuses of the early hour such as Elvino Vardaro or Cayetano Puglisi.

And there he met Carlos Gardel, who would have liked to take the young pianist on tour to Spain.

But Biagi felt too young and continued his career with greats of the 1920s like Bautista Guido, only to join forces in the 1930s with one of the brothers from the Canaro empire, the bandoneonist Juan Canaro.

Together they animated the big radio theatre shows of the cinema Cine París, which were even broadcast on the radio station of the same name, and finally went on tour through Brazil in 1935.

After his return, Biagi was initially without an engagement and therefore often spend his time at the Cabaret Chantecler, where his friend Juan D'Arienzo provided the regular orchestra.

Because his pianist Lidio Fasoli was in poor health and notoriously unpunctual, Biagi often filled in at the piano until D'Arienzo finally fired Fasoli and took Biagi on as a permanent member of his orchestra.

The rest is tango history - see above.

The audience loved Biagi. However, when the pianist received a never-ending storm of applause for a piano solo in mid-1938 and dared to stand up to take a bow towards the audience, D'Arienzo kicked him out, so the story goes.

The master did not tolerate a second star next to him.

However, tango experts assume that Biagi, in view of the omnipresent tango boom, had long since flirted with trying his luck with his own combo.

El incendio - 1938 - Instrumental

The early Biagi is still very similar to D'Arienzo, but the singing violin is missing. Here Liz and Yannick Vanhove dance, Rotterdam, 2017

Lejos de ti - 1938 - Ibañez

Typical of those dance-crazed years, Biagi had many valses and milongas in his portfolio: Delia Dragut and Martin Lutsch, Lyon, 2017

The own orchestra

Biagi's reputation was so great after his years with D'Arienzo that only a few months later, on 16 September 1938, he was able to start his career as an orchestra leader in one of the big cabarets, the Marabú, which was to last for over 20 years.

With his new sound, which was seen as the perfect alternative to the superstar D'Arienzo, he immediately conquered a broadcasting slot at Radio Belgrano, the rival of D'Arienzo's house station Radio El mundo.

It was there that he received his nickname manos brujas (Witch's Hands). The advertising manager of Palmolive, Radio Belgrano's sponsor, came up with the apt slogan.

And Odeon, a competitor of D'Arienzo's label RCA Victor, also immediately gave Biagi a recording contract.

In contrast to Troilo or Laurenz, whom Odeon kept cold and practically didn't let into the studio for commercial reasons, Biagi was allowed to make a good dozen recordings a year from 1938 to 1946, and as many as 20 in 1940.

Biagi had gathered outstanding musicians around him, with whom he developed his very own style.

In addition to the bandoneonist Ricardo Pedevilla, these included the violinist Oscar de la Fuente, who often took over the arrangements.

For a while Biagi even had a substitute pianist who stood in for him on Sundays so that he could go to the horse races.

The music

Biagi started in 1938 with a 'sharpened' D'Arienzo style, which he adapted only slightly to fashions for the next 20 years.

Like D'Arienzo, he emphasised all four beats.

As a trademark, the pianist developed an extreme, sometimes almost airy staccato as well as the radical use of syncopation.

In Biagi's case, syncopation means that the orchestra repeatedly emphasises certain beats completely unexpected and outside the usual patterns of emphasis in a very sharp way.

Staccato and syncopation are almost always present, you find them in the first recording, Biagi's composition Gólgata (1938, Ibañez), as well as in the violin-dominated tangos after 1950.

In addition, Biagi's piano fills jump between the phrases in almost every recording. Often they are in dialogue with melodía rítmica of the bandoneons played in tutti.

Typically, piano solos or vocal parts often lie alone above the airy, thin staccatos.

Biagi's fans were and are rarely surprised. He usually delivered familiar fare and limited himself - deliberately? - to a few musical building blocks.

Another typical part of the concept is that, especially in the early years, almost all tangos begin in the same way: The basic chord played in crisp forte by piano or orchestra is followed by a third as a tonal shadow, while the valses are usually preceded by the basic chord arpeggiated into two sixteenths.

And yet - or perhaps precisely because of this - poignant classics of dance culture were created, carried by beautiful, tragic and dramatic melodies, rhythmically sophisticated, built on an always slightly vibrating compás, and extremely inspiring for dancers.

Golgota-1938 - Teófilo Ibañez

Sofia Netertou and Ilias Anastasiou, Athen, 2018

Campo afuera - 1939 - Andrés Falgas

Yanina Quiñones and Neri Piliu - Istanbul, 2016

El rápido - 1939 - Instrumental

Sofia Saborido and Pablo Inza - Dresden - 2018

Biagi on piano

Enchanted, bewitched hands, metaphorically paraphrased the piano playing of this musician who clearly conducted his boys from the keys.

If you listen closely, Biagi seems to limit himself far more in his own orchestra than in the extremely successful years with D'Arienzo.

It is true that Biagi enlivens his arrangements with his short cascades of notes as well as dialogues with the instrumental groups.

However, he seems to fall back on the same patterns again and again, and even his very carefully performed solos seem ponderous, for they usually consist of only one tone line that repeats the theme of the vocal part, often once in a high, then in a low register, underpinned only by the bandoneon compás. This is quite inspiring for dancers, musically it remains repetetive.

And when Biagi imposes his somewhat schematic musical concept on classics like Quejas de Bandoneón (1941) or Sentimiento Gaucho (1942), they ultimately lose their soul, sabotaged by staccatos and syncopations.

Quejas De Bandoneón - 1941 - Instrumental

Great bandoneon playing

But – in my eyes – the magic of the Biagi sound is based far more on the precise, sometimes filigree, sometimes virtuoso work of the bandoneonists than on Biagi's piano playing.

They consistently deliver the short and sharply played beat on almost every beat.

The most intensive rehearsals were necessary to play in tutti the comlpex syncopations and realise the dynamic playfulness in a perfectly synchronised way.

From 1941 on, when Biagi had replaced the majority of his bandoneon players, the arrangements were enriched by shimmering solos and tutti melodies in a beguiling tone. The staccato seemed even more precise and lightly thrown, the syncopations were even more pronounced.

In addition, Biagi now often lets his violins sing as colourit in high registers.

Humillacion - 1941 - Jorge Ortíz

The whole class of the bandoneonists can be found here: The subtly performed melodia rítmica in the instrumental part, the airy staccato and a shimmering bandoneon countermelody from 1:28.

La cumparsita - 1942 - Glosa interpretada por Jorge Ortiz

The late years

Although the band only made it to the recording studio once or twice a year after 1946, Biagi continued to successfully entertain the Porteños with his unmistakable style, which he only slightly adapted to the spirit of the times.

From 1950 into the sixties, singer Hugo Duval dominated the performances and recordings in a schmaltzy style typical of the time. In the early 1950s, Biagi also provided the first orchestra to perform on Argentina's newly awakening television. Proof of Biagi's enduring popularity, but perhaps also for his tendency towards the popular, were his regular appearances on the extremely popular radio programme Glostora Tango Club, where Biagi filled in for Alfredo De Angelis' orchestra during the latter's summer breaks.

Todo es Amor - 1958 - Instrumental

Sophia Paul and Julio Cesar Calderon - Berlin - 2019

ALGUIEN - 1956 - Hugo Duval

Rodrigo Fonti Y Yamila

Biagi for dancers

Instrumentals

In his instrumentals Biagi sharpens his trademarks most clearly.

The syncopated staccato compás, mostly scrubbed by the bandoneons, is only partially overlaid by a tutti melody from the bandoneons or violins.

The somewhat monotone is broken up by

- Biagi's often stencil-like fills, that stand, on the other hand, often in a convincingly dialogue with the band

- by his piano solos, often consisting only of single notes

- by variaciones in the last section.

Re-Fa-Si

Fabian Peralta and Josefina Bermudez Avila - Lodz - 2014

Bélgica - 1942 - Instrumental

Clarisa Aragon and Jonathan Saavedra - Montpellier - 2020

El Recodo - 1952 - Instrumental

Javier Rodriguez and Noelia Barsi - Lodz - 2013

El incendio and Unión cívica (1938) sound even more like D'Arienzo, even if the nervousness is missing.

In Didi (1941) Biagi communicates sensitively with the orchestra, the staccatos in Re-fa-si (1940) are sharp as throwing knives.

Bélgica (1942) pays homage to syncopation not only as an emphasis but also as a surprising omission, a blank space.

El rápido (1939), on the other hand, takes us on a train journey full of surprises; it rattles, clatters, accelerates and brakes, the orchestra is in a really good mood.

In the 1950s, Biagi sounds brighter, fuller, smoother, but neither El Recodo (1952) nor El internado (1953) contain any new ideas.

Vocal tangos with a tendency for tragedy

Biagi made only 189 recordings, and musical patterns repeat, but almost everything is inspiring for dancers!

Teófilo Ibáñez and Andrés Falgás

Although the first recordings, Gólgota (1938) and the lively Alma de Bohemio (1938), with the singer Teófilo Ibáñez, already set the mood for Biagi's penchant for drama, Ibáñez phrases quite boldly and fresh.

The tangos of his successor Andrés Falgás, with his characteristically dark voice, are also fresh because of the higher tempo that was common around 1940.

(Cielo, Griseta, Son Cosas de Bandoneón, Cicatrices, Deja el mundo como está)

Son Cosas del Bandoneón - Rodolfo Biagi - Andrés Falgás - 1939

Nada - 1944 - Amor

Fabian Peralta & Lorena Ermocida - Amsterdam - 2012

Subsequently, however, a certain tragedy is inherent in many tango arrangements.

In some tangos with texts that deal with losses during the war, such as La Novena (1939, Teófilo Ibáñez), Misa de once (1940, Jorge Ortiz) or Señor ... Señor (1943, Ortiz), Biagi lets his piano sound like church bells.

The heaviness, the tragical mood ist further emphasised by long, soulfully fading final passages.

Carrillón de la merced (1941, Ortiz), which sings of the homage of a pilgrimage, also contains the ringing of bells, but also musically translates the pacing of a pilgrimage very beautifully.

Numerous tangos deal with pain and hatred caused by the loss of love largely without any irony. (Humillacíon, Te odio, Yo tengo un puñal, Prisionero, Triste Comedia, Mis amores de ayer, Sangre de mi sangre).

Quiero verte una vez mas

Rodrigo Fonti Y Yamila - Sevilla - 2014

Café De Los Angelitos - 1945 - Alberto Amor

Carillón de La Merced

Valeria Cuenca et Fernando Nahmijas - Prayssac (F), 2016

The impression of heaviness is reinforced by the choice and use of the singers:
Jorge Ortiz, for example, in Biagi's orchestra, far more than with Miguel Caló, tends towards the tearfully dramatic. He often phrases in long, rather legato lines.

Among his greatest hits are Yuyo verde, Indiferencia, Quiero verte una vez más or the more romantic Copas Amigos y Besos or Magdala.

A similar energy unfolds in a tanda with singer Alberto Amor, consisting of the tangos Nada, Marol, Arlette and the wonderful Café de los Angelitos.

And Hugo Duval, star of the 50s, also ultimately follows the tragically tinged, often touching and beguiling kitsch pattern.

Sangre de mi sangre

Sayaka Higuchi and Joscha Engel - Berlin - 2018

On the other hand, Carlos Saavedras (Esta noche me emborracho, 1946) or the more pithy Carlos Acuña (Lonjazos, Barrio reo, Tu voz, Uno) strike a finer, sweeter note. They sing elegantly and far less larmoyantly than their predecessors.

Lonjazos - 1943 - Carlos Acuña

Valses

By 1950, every seventh recording was a vals, well over 20 were made in total.

Staccato and syncopation seem less obtrusive within the framework of three-four time. The orchestra shines with liveliness, rhythmically cheeky phrases, luxuriant melody lines of the violins and bandoneons and precise, driving beats.

No wonder Biagi's Valses are so popular at festival performances.

The first recordings from 1938 to 1941 with Ibañez and Falgás offer high tempo and are standard for every DJ: Lejos de Ti, Loca de Amor, Viejo Portón (Téofilo Ibáñez 1938); Déjame amarte aunque sea un día, Dichas que viví, El último adiós (Andrés Falgás (1939).

Dichas que viví - 1939 - Falgás

Vanesa Villalba and Facundo Pinero – Warsaw 2018

Cuatro palabras - 1941 - Jorge Ortíz

Lucila Cionci and Joe Corbata – Bregenz 2019

Lejos de ti

Delia Dragut and Martin Lutsch – Lyon - 2017

Lágrimas y sonrisas (1941), on the other hand, is full of romanticism, wistfulness and lives from the great variation in sound texture. Amor y vals (1942) and Aroma de amor (1946), on the other hand, are more sedate with a slight tendency towards kitsch and swaying.

Lágrimas y sonrisas - 1941 - Instrumental

Juan Pablo Ramirez and Daniel Arroyo – Berlin – 2020

Adoración - 1951 - Carlos Heredia y Hugo Duval

Maria Ines Bogado and Sebastian Jimenez - Belgrad - 2016

Milonga

Biagi's milongas are fast-paced, cheekily arranged and full of surpris. These rhythmic gems challenge and inspire dancers.

The classics are Campo afuera (1939, Ibáñez) Picante (1941 - Instr), Flor de monserrat (1945, Amor) and Por la huella (1948, Carlos Saavedra).

Flor de Monserrat - 1945 - Alberto Amor

Rebekka Weckesser and German Landeira – Berlin 2022

Campo afuera - 1939 - Falgas

Stephanie Fesneau and Fausto Carpino - Rumänien, 2019

Picante - 1941 - Instrumental

In 80 Tangos arround the world - episode 23 - Bélgica - Rodolfo Biagi

If you were to lazy to read, it is interesting. If you did read, there's nothing new ...

Around 1970, Hugo Duval recorded his Biagi_Hits once again with the Trio Yumba or Conjunto Don Rodolfo. They are in good sound and full of emotion.

Discography

Quelle:La Milonga di Alvin

Datum	Titel	Genre	Sänger	Komponist	Texter
22.08.27	CRUZ DIABLO	Tango	Instrumental	Rodolfo Biagi	Luis Mario (María Luisa Carnelli)
22.08.27	EL CARRETÓN	Estilo	Instrumental	José Servidio
15.08.38	EL INCENDIO	Tango	Instrumental	Arturo De Bassi
19.08.38	GÓLGOTA	Tango	Teófilo Ibáñez	Rodolfo Biagi	Francisco Gorrindo
16.10.38	UNIÓN CÍVICA	Tango	Instrumental	Domingo Santa Cruz
16.10.38	VIEJO PORTÓN	Vals	Instrumental	Héctor Palacios	Máximo Orsi
15.11.38	EL TRECE	Tango	Instrumental	Albérico Spátola	Ángel Villoldo
15.11.38	LOCA DE AMOR (LA LOCA DE AMOR)	Vals	Teófilo Ibáñez	Pablo José Vázquez	Ricardo Podestá
02.12.38	LEJOS DE TI	Vals	Teófilo Ibáñez	Mauricio Saiovich	Manuel Meaños
02.12.38	UNA PENA	Tango	Teófilo Ibáñez	Adolfo Rosquellas	Arturo Albert
24.03.39	ALMA DE BOHEMIO	Tango	Teófilo Ibáñez	Roberto Firpo	Juan Andrés Caruso
24.03.39	LA MALA (LA MALEVA)	Tango	Instrumental	Antonio Buglione	Mario Pardo
27.04.39	CAMPO AFUERA	Milonga	Teófilo Ibáñez	Rodolfo Biagi	Homero Manzi
27.04.39	LA NOVENA	Tango	Teófilo Ibáñez	Miguel Bonano	Alfredo Bigeschi
13.07.39	DICHAS QUE VIVÍ	Vals	Andrés Falgás	José Lupi	Luis Lupi
13.07.39	PURA CLASE	Tango	Instrumental	Adolfo Rosquellas
18.09.39	EL RÁPIDO	Tango	Instrumental	Roberto Firpo
18.09.39	CIELO!	Tango	Andrés Falgás	Andrés Falgás	Mario Landi
22.09.39	SON COSAS DEL BANDONEÓN	Tango	Andrés Falgás	Enrique Rodríguez	Enrique Cadícamo
22.09.39	DÉJAME AMARTE AUNQUE SEA UN DÍA	Vals	Andrés Falgás	Ernestina Lecuona	Venancio Clauso
26.10.39	QUEJA INDIANA	Tango	Andrés Falgás	Juan Rodríguez	Juan Velich
26.10.39	GRISETA	Tango	Andrés Falgás	Enrique Delfino	José González Castillo
14.03.40	DEJA EL MUNDO COMO ESTÁ	Tango	Andrés Falgás	Rodolfo Biagi	Rodolfo Sciammarella
14.03.40	LA CHACARERA	Tango	Andrés Falgás	Juan Maglio	Juan Andrés Caruso
27.03.40	EL ÚLTIMO ADIÓS	Vals	Andrés Falgás	Juan Santini	Nicolás Trimani
27.03.40	CICATRICES	Tango	Andrés Falgás	Adolfo Avilés	Enrique Maroni
12.04.40	A MÍ NO ME INTERESA	Tango	Andrés Falgás	Marcos Larrosa	Alfredo Defilpo
12.04.40	EL ESTRIBO	Tango	Instrumental	Vicente Greco
19.06.40	TODO TE NOMBRA	Tango	Jorge Ortíz	Francisco Canaro	Ivo Pelay
19.06.40	EL YAGUARÓN	Tango	Instrumental	Cipriano Nava
16.07.40	QUIERO VERTE UNA VEZ MÁS	Tango	Jorge Ortíz	Mario Canaro	José María Contursi
16.07.40	GUAPO Y VARÓN	Tango	Jorge Ortíz	Enrique Delfino	Manuel Romero
28.06.40	PINTA ORILLERA	Tango	Jorge Ortíz	Antonio Arcieri	David Farina Ortiz
28.06.40	CANTANDO SE VAN LAS PENAS	Milonga	Jorge Ortíz	Roberto Luratti	Roberto Luratti
04.10.40	CALLECITA DE MI BARRIO	Tango	Jorge Ortíz	Alberto Laporte	Enrique Maroni
04.10.40	POR UN BESO DE AMOR	Vals	Jorge Ortíz	Umberto Bertini	D. Vasi
15.10.40	MARCAS	Tango	Jorge Ortíz	Héctor Artola	Carlos Bahr
15.10.40	MISA DE ONCE	Tango	Jorge Ortíz	Juan José Guichandut	Armando Tagini
17.12.40	LA MARCA DE FUEGO	Tango	Instrumental	Juan Maglio	Antonio Viergol
17.12.40	NO LE DIGAS QUE LA QUIERO	Tango	Jorge Ortíz	Enrique Delfino	Alberto Vacarezza
26.12.40	YO TAMBIÉN	Tango	Jorge Ortíz	Luis Visca	Luis Rubistein
26.12.40	RE FA SI	Tango	Instrumental	Enrique Delfino
14.01.41	PÁJARO CIEGO	Tango	Jorge Ortíz	Antonio Bonavena	Lito Bayardo
14.01.41	EL ENTRERRIANO	Tango	Instrumental	Rosendo Mendizábal
15.03.41	SERÁ LO MEJOR	Tango	Jorge Ortíz	Alfredo David	Alfredo David
15.03.41	HUMILLACIÓN	Tango	Jorge Ortíz	Rodolfo Biagi	Carlos Bahr
26.03.41	LÁGRIMAS Y SONRISAS	Vals	Instrumental	Pascual De Gullo
26.03.41	ZARAZA	Tango	Jorge Ortíz	Benjamín Tagle Lara	Benjamín Tagle Lara
26.03.41	ROMÁNTICO BULINCITO	Tango	Jorge Ortíz	Augusto Gentile	Enrique Dizeo
26.03.41	LA MARCHA NUPCIAL	Tango	Jorge Ortíz	Venancio Clauso	Armando Tagini
29.07.41	CUATRO PALABRAS	Vals	Jorge Ortíz	Miguel Bucino
29.07.41	YA LO VES	Tango	Jorge Ortíz	Juan D'arienzo	Luis Rubistein
26.09.41	AHORA NO ME CONOCÉS	Tango	Jorge Ortíz	Armando Baliotti	Carlos Giampetruzzi
26.09.41	CARILLÓN DE LA MERCED	Tango	Jorge Ortíz	Enrique Santos Discepolo	Enrique Santos Discepolo
07.10.41	QUEJAS DE BANDONEÓN	Tango	Instrumental	Juan De Dios Filiberto
07.10.41	PÁJARO HERIDO	Vals	Instrumental	Armando Raffo	Esteban Perna
21.10.41	PICANTE	Milonga	Instrumental	José Luis Padula
21.10.41	DIDI	Tango	Instrumental	Roberto Firpo
03.12.41	NO PUEDE SER	Tango	Alberto Lago	Juan Carlos Howard	Julio Jorge Nelson
03.12.41	MARCHETA (MARQUITA)	Vals	Instrumental	Víctor Schertzinger
16.01.42	ARREBATO	Tango	Alberto Lago	Oscar Valpreda	Gerónimo Sureda
20.01.42	BÉLGICA	Tango	Instrumental	Enrique Delfino
02.02.42	TE ODIO	Tango	Alberto Lago	Francisco Pracánico	Celedonio Flores
02.02.42	SENTIMIENTO GAUCHO	Tango	Instrumental	Rafael Canaro	Juan Andrés Caruso
15.04.42	CALLA CORAZÓN	Tango	Jorge Ortíz	Enrique Delfino
15.04.42	LA CUMPARSITA (SI SUPIERAS)	Tango	Jorge Ortíz	Gerardo H. Matos Rodríguez	Pascual Contursi Y Enrique Pedro Maroni
22.05.42	AMOR Y VALS	Vals	Alberto Lago	Rodolfo Biagi	Carlos Bahr
22.05.42	METIDO (ENAMORADO)	Tango	Alberto Lago	Príncipe Cubano	Príncipe Cubano
28.05.42	CATORCE PRIMAVERAS	Tango	Jorge Ortíz	Eduardo Pataro Conte	Julio Navarrine
28.05.42	OYENDO TU VOZ	Tango	Jorge Ortíz	Marcos Larrosa	Julio Jorge Nelson
10.09.42	INDIFERENCIA	Tango	Jorge Ortíz	Rodolfo Biagi	Juan Carlos Thorry
19.09.42	LA CUMPARSITA	Tango	Instrumental	Gerardo Matos Rodríguez	Gerardo Matos Rodríguez
29.10.42	SI DE MÍ TE HAS OLVIDADO	Tango	Jorge Ortíz	Osvaldo Fresedo	José María Contursi
15.01.43	SEÑOR SEÑOR	Tango	Jorge Ortíz	Ángel Juan Welles	Venancio Clauso
15.01.43	PUEBLITO DE PROVINCIA	Tango	Jorge Ortíz	Héctor Stamponi	Homero Expósito
03.03.43	POR ALGO SERÁ	Tango	Alberto Amor	Carlos Rivero	Carlos Rivero
03.03.43	ARLETTE	Tango	Alberto Amor	Antonio Bonavena	Horacio Sanguinetti
03.03.43	YO TENGO UN PUÑAL	Tango	Carlos Acuña	Luis Moresco	José Terragno
03.03.43	A LA LUZ DEL CANDIL	Tango	Carlos Acuña	Carlos Vicente Geroni Flores	Julio Navarrine
29.04.43	BARRIO REO	Tango	Carlos Acuña	Roberto Fugazot	Alfredo Navarrine
29.04.43	CANCIÓN DE RANGO (PA' QUE SE CALLEN)	Tango	Carlos Acuña	Raúl Kaplún	José María Suñé
08.07.43	TRES HORAS	Tango	Alberto Amor	Héctor Varela	Idelberto Nery
08.07.43	SOY DEL 90	Milonga	Carlos Acuña	Tito Ribero	Carlos Waiss
24.08.43	PRISIONERO	Vals	Alberto Amor	Julio Carresone	Carlos Bahr
24.08.43	ADIÓS, TE VAS	Tango	Carlos Acuña	Egidio Pittaluga	Cátulo Castillo
07.12.43	LONJAZOS	Tango	Carlos Acuña	Andrés Domenech	Jesús Fernández Blanco
07.12.43	SI LA LLEGARAN A VER	Tango	Alberto Amor	Juan D'arienzo	Enrique Cadícamo
11.04.44	UNO	Tango	Carlos Acuña	Mariano Mores	Enrique Santos Discépolo
11.04.44	SUEÑO DE JUVENTUD	Vals	Carlos Acuña	Enrique Santos Discépolo	Enrique Santos Discépolo
11.04.44	LISÓN	Tango	Alberto Amor	José Ranieri	Julián Centeya
09.05.44	NADA	Tango	Alberto Amor	José Dames	Horacio Sanguinetti
09.05.44	TU VOZ	Tango	Carlos Acuña	Juan Migliore	Ricardo Duggan
30.05.44	SOSIEGO EN LA NOCHE	Tango	Carlos Acuña	Roberto Garza	Carlos Bahr
11.08.44	COMO EL HORNERO	Tango	Alberto Amor	Manuel Sucher	José Rótulo
11.08.44	A SUERTE Y VERDAD	Tango	Carlos Acuña	Carlos Parodi	Carlos Wais
15.09.44	SEAMOS AMIGOS	Tango	Alberto Amor	Domingo Rullo	Domingo Rullo
15.09.44	VIENTO MALO	Tango	Alberto Amor	Miguel Nijensohn	José María Suñé
24.01.45	MAGDALA	Tango	Jorge Ortíz	Rodolfo Biagi	Francisco Gorrindo
24.01.45	YUYO VERDE	Tango	Jorge Ortíz	Domingo Federico	Homero Expósito
06.02.45	COPAS AMIGAS Y BESOS	Tango	Jorge Ortíz	Mariano Mores	Enrique Cadícamo
06.02.45	PALOMA	Vals	Alberto Amor	Juan José Guichandut	Horacio Sanguinetti
24.04.45	EQUIPAJE	Tango	Jorge Ortíz	Héctor Artola	Carlos Bahr
25.04.45	TRENZAS	Tango	Jorge Ortíz	Armando Pontier	Homero Expósito
26.05.45	TU MELODÍA	Vals	Jorge Ortíz	Alberto Suárez Villanueva	Oscar Rubens
25.05.45	ME QUEDÉ MIRÁNDOLA	Tango	Alberto Amor	Vicente Spina	Roberto Miró
15.06.45	CAFÉ DE LOS ANGELITOS	Tango	Alberto Amor	José Razzano	José Razzano
15.06.45	CUANDO SE HA QUERIDO MUCHO	Tango	Jorge Ortíz	Federico Leone	Lito Bayardo
06.09.45	SOLEDAD LA DE BARRACAS	Tango	Jorge Ortíz	Roberto Garza	Carlos Bahr
06.09.45	MIS AMORES DE AYER	Tango	Alberto Amor	Oscar Sabino	Horacio Sanguinetti
15.10.45	ANSELMO LAGUNA	Tango	Alberto Amor	Vicente Salerno	Elizardo Martínes Vilas (Marvil)
15.10.45	TUS LABIOS ME DIRÁN	Tango	Alberto Amor	Emilio Brameri	Héctor Negro
30.11.45	POBRE NEGRITO (FLOR DE MONSERRAT)	Milonga	Alberto Amor	Juan Santini	Vicente Planells Del Campo
30.11.45	HOY TE QUIERO MUCHO MÁS	Tango	Alberto Amor	Carlos Lázzari	Horacio Sanguinetti
18.01.46	AROMA DE AMOR	Vals	Alberto Amor	Román Juri	Carlos Wais
18.01.46	PUDO SER UNA VIDA	Tango	Alberto Amor	Elías Randal	Carlos Bahr
31.01.46	ADIÓS PAMPA MÍA	Tango	Alberto Amor	Francisco Canaro Y Mariano Mores	Ivo Pelay
31.01.46	MAROL	Tango	Alberto Amor	Alberto Nery	Federico Silva
17.04.46	CUATRO LÁGRIMAS	Tango	Alberto Amor	Lito Bayardo	Miguel Bucino
17.04.46	LEVANTA TU CORAZÓN	Tango	Alberto Amor	Venancio Clauso	Venancio Clauso
23.05.46	MIENTRAS DUERME LA CIUDAD	Tango	Carlos Saavedra	Alberto Suárez Villanueva	Oscar Rubens
23.05.46	CAMINO DEL TUCUMÁN	Tango	Alberto Amor	José Razzano	José Razzano
18.06.46	GRACIAS	Tango	Carlos Saavedra	Elías Randal	Carlos Bahr
18.06.46	EL IRRESISTIBLE	Tango	Instrumental	Lorenzo Logatti	Carlos Pesce
10.07.46	CON MI PERRO	Milonga	Alberto Amor	Aníbal Troilo	José María Contursi
10.07.46	LUCIENNE	Tango	Alberto Amor	Domingo Rullo	Jorge Fuentes
16.08.46	POR ESO GRITO	Tango	Carlos Saavedra	Edgardo Donato	César Córdoba
16.08.46	LA HUELLA	Tango	Instrumental	Manuel Aníbal Villanueva
22.11.46	SIN PALABRAS	Tango	Carlos Saavedra	Mariano Mores	Enrique Santos Discépolo
22.11.46	CUANDO LLORA LA MILONGA	Tango	Alberto Amor	Juan De Dios Filiberto	Enrique Dizeo
30.12.46	MAÑANA POR LAMAÑANA	Vals	Alberto Amor	Emilio Brameri	Juan García
30.12.46	ESTA NOCHE ME EMBORRACHO	Tango	Carlos Saavedra	Enrique Santos Discépolo	Enrique Santos Discépolo
23.09.47	MARGOT	Tango	Carlos Saavedra	José Ricardo	Celedonio Flores
23.09.47	Y DICEN QUE NO TE QUIERO	Tango	Alberto Amor	José Canet	José Canet
22.07.48	POR LA GÜELLA	Milonga	Carlos Saavedra	Rodolfo Biagi	Homero Manzi
22.07.48	LA VIRUTA	Tango	Instrumental	Vicente Greco
13.04.50	MATALA	Tango	Carlos Heredia	Eduardo Bonessi	Eduardo Bonessi
13.04.50	A LA GRAN MUÑECA	Tango	Instrumental	Jesús Ventura	Enrique Osés
13.09.50	RACING CLUB	Tango	Instrumental	Vicente Greco	Carlos Pesce
13.09.50	SERENATA CAMPERA	Vals	Carlos Heredia y Hugo Duval	Feliciano Brunelli	Lito Bayardo
30.07.51	BAILARINA DE TANGO	Tango	Hugo Duval	Oscar De La Fuente	Horacio Sanguinetti
30.07.51	CARICIAS	Tango	Carlos Heredia	Juan Martí	Alfredo Bigeschi
04.10.51	POR TENER UN CORAZÓN	Tango	Hugo Duval	Rodolfo Biagi	Francisco Gorrindo
04.10.51	ADORACIÓN	Vals	Carlos Heredia y Hugo Duval	Ramón Arguello Y Pedro Pidoto	Pedro Pidoto
05.11.52	EL RECODO	Tango	Instrumental	Alejandro Junnissi	Armando Tagini
05.11.52	LA COPA DEL OLVIDO	Tango	Hugo Duval	Enrique Delfino	Alberto Vacarezza
19.05.53	Y VOLVEMOS A QUERERNOS	Tango	Carlos Heredia	Luciano Leocata	Abel Aznar
19.05.53	EL INTERNADO	Tango	Instrumental	Francisco Canaro
12.12.53	MI PECADORA	Tango	Hugo Duval	Oscar De La Fuente	Oscar De La Fuente
12.12.53	ESTÁS LLORANDO	Tango	Hugo Duval	Juan Alfredo Pedernera	Carlos Antonio Russo
29.06.54	CIELITO MÍO	Tango	Instrumental	Osvaldo Fresedo	Emilio Fresedo
29.06.54	SANGRE DE MI SANGRE	Tango	Hugo Duval	Reinaldo Yiso	Juan Manuel Mañueco
29.12.54	Y NO TE VOY A LLORAR	Tango	Hugo Duval	Luciano Leocata	Abel Aznar
29.12.54	NO ME DIGAS QUE NO	Tango	Hugo Duval	Agustín Bergoto	Carlos Antonio Russo
04.11.55	TRISTE COMEDIA	Tango	Hugo Duval	Héctor Stamponi	Oscar Rubens
04.11.55	SANTA MILONGUITA	Tango	Hugo Duval	Enrique Delfino	Enrique Cadícamo
24.03.56	ORGANITO DE LA TARDE	Tango	Instrumental	Cátulo Castillo	José González Castillo
24.03.56	ALGUIEN	Tango	Hugo Duval	Héctor Stamponi	Eugenio Majul
28.08.56	RAMONA (CADÍCAMO)	Vals	Hugo Duval	Mabel Wayne	Enrique Cadícamo
28.08.56	EL CARRERITO	Tango	Hugo Duval	Raúl De Los Hoyos	Alberto Vacarezza
24.05.57	ESPÉRAME EN EL CIELO	Tango	Hugo Duval	Francisco López	Francisco López
24.05.57	SOLAMENTE DIOS Y YO	Tango	Hugo Duval	Manuel Rosas	Juan Magliere
28.12.57	SOÑEMOS	Tango	Hugo Duval	Roberto Caló	Reinaldo Yiso
28.12.57	MI VIDA EN TUS MANOS	Tango	Hugo Duval	Oscar De La Fuente	Oscar De La Fuente
09.09.58	COMO EN UN CUENTO	Vals	Hugo Duval	Rodolfo Biagi	Carlos Bahr
09.09.58	AQUÍ EN LA TIERRA	Tango	Hugo Duval	Enrique Munné	Carlos Bahr
12.11.58	AMOR MÍO	Tango	Hugo Duval	José María Suñé	Carlos Bahr
12.11.58	TODO ES AMOR	Tango	Hugo Duval	Leo Lipesker	Alejandro Romay
06.03.59	EN EL LAGO AZUL	Tango	Hugo Duval	Roberto Rufino	Alejandro Romay
06.03.59	MI ALONDRA	Tango	Hugo Duval	Oscar De La Fuente	Oscar De La Fuente
16.09.59	LA CANCIÓN (FLOR DE MBURUCUYÁ)	Tango	Hugo Duval	Juan De Dios Filiberto	Lito Bayardo
16.09.59	OH MAMA MÍA	Tango	Hugo Duval	Rodolfo Biagi	Carlos Marín
28.07.60	AYÚDAME	Tango	Hugo Duval	Leo Lipesker	Alejandro Romay
28.07.60	TE BURLAS TRISTEZA	Tango	Hugo Duval	Edmundo Baya	Julio César
07.08.61	ANDRAJOS	Tango	Hugo Duval	Enrique Santos Discépolo
07.08.61	VENUS	Tango	Instrumental	Alfredo Bevilacqua
04.10.61	CANCIÓN PARA UN CARIÑO	Tango	Hugo Duval	Luis Maggiolo	Reinaldo Yiso
04.10.61	BAR EXPOSICIÓN	Tango	Instrumental	Luis Teisseire
1962	LA TABLADA	Tango	Instrumental	Francisco Canaro
1962	ARRIBA JARA	Tango	Hugo Duval	Héctor Marcó	Héctor Marcó
1962	MILONGA CON VARIACIÓN	Tango	Instrumental	Francisco Canaro
1962	ESTRELLA	Tango	Hugo Duval	Marcelino Hernández Y Roberto Cassinelli
1962	MARIPOSITA	Tango	Hugo Duval	Anselmo Aieta	Francisco García Jiménez
1962	CANARO	Tango	Instrumental	José Martínez
1962	PALERMO	Tango	Carlos Almagro	Enrique Delfino	Juan Villalba
1962	SI NO ESTUVIERAS TÚ	Tango	Carlos Almagro	Leo Lipesker	Víctor Braña
1962	Y A MÍ QUÉ	Tango	Carlos Almagro	Aníbal Troilo	Cátulo Castillo
1962	AMOR DE VERANO	Tango	Hugo Duval	Luis Stazo	Federico Silva
1962	DUERME MI NIÑA	Tango	Carlos Almagro	Mario Canaro	Víctor Prestipino
1962	CON UN SILBIDO EN LOS LABIOS	Tango	Carlos Almagro	Víctor Braña	Enrique Gaudino