The Canaros, a large emigrant family with Italian roots, lived in Buenos Aires in extreme poverty and confinement in the milieu of the notorious conventillos.
The dwellings of the poor people were usually located in the south of the city and were usually grouped around courtyards. Here they lived, worked, cooked and celebrated. The porteños made music and danced to the music of their homeland, the styles mixed, and the first tangos were created at the end of the 19th century.
It is not surprising that the family was also afflicted by a severe outbreak of smallpox in this confinement, from which one of the sisters tragically died. Canaro stresses in his autobiography that he did not have a childhood. These hard years explain the tenacity, endurance and resilience that made Canaro an emperor.
The Canaros had three girls. Of the total of seven brothers, besides Francisco, also Mario, Juan, Rafael and Humberto ended up as tango musicians.
Francisco, like his brothers, worked hard from a young age, for example as a newspaper boy or house painter, but also in a tin can factory.
He is said to have built his first instrument, a violin, from one of these, with which he entertained those around him and earned his first pesos. In view of the static problems and the sound of such an instrument, this story should probably be classified as an anecdote.
Transportable instruments such as the flute, guitar, violin, mandolin and simple forms of the bandoneon like the concertina began to be heard after 1900 in the arrabales, i.e. the suburbs, of the rapidly growing city. Canaro learned to play the guitar from an Italian shoeshine boy.
As an occasional musician, he had his first gigs in the neighbourhood, later switching to the violin, which had always fascinated him. His first tango was supposedly El Llorrón.
He formed a trio and went from village to village, from ballroom to brothel. It was a tough school, as the musicians were often paid according to the number of dancers they lured onto the dance floor. Liaisons, quarrels with the local top dogs and even shootouts were part of those first wild years shortly after 1900.
In the heart of tango
In La Boca, the port and entertainment district in the south of the city, Canaro and his trio won their first engagement in 1908 at the prestigious Café Royal. In this neighbourhood, the predominantly Italian immigrants mixed with locals who came from the countryside and sought their fortune in the developing big city.
Here we find the cultural melting pot in which the new music tango was born.
In his autobiography, published in 1956, Canaro describes this time, and many things are reminiscent of the Wild West.
The trio played squeezed onto a tiny balcony. Brawls and shootings were still the order of the day and night in La Boca, so that the owners of the "bars" protected the little musicians from below with sheet metal against bullets.
In any case, the immigrant's son had arrived in the heart of tango and from then on had a decisive influence on the pulse of the new music.
The musical heroes of the time, commonly called the Guardia Vieja, were for example Ángel Villoldo or Roberto Firpo, with whom Canaro shared the way home late at night in the Tranvía, and Vincente Greco, in whose sextet Canaro played in 1910 after his trio disbanded. Tango had gained popularity in 1910, allowing the scene to move from La Boca to the centre of the city, where it attracted the attention of music producers. When Greco and Canaro made the first recordings with their "tango" orchestra in 1910, they called themselves Orquesta Típica Criolla to distinguish themselves from other genres, from which the name for a tango orchestraderived, which is still common today:
Orquesta Tipica
In 1914, Canaro had established himself in a way that he performed with his own combo at the famous medical ball Baile del internado in the exclusive Palais de Glace, for which he composed the classic El Internado the next year.
For the 1917 and 1918 carnival seasons, he put together a 15-piece all-star orchestra with Roberto Firpo; the lack of amplification demanded large combos. The repertoire is said to have included over 200 pieces!
The two top dogs of the years were Canaro and Firpo. In 1918, Canaro did succeed in standing up to his musical rival Firpo by hijacking several of his performance venues, so that by the end of 1918 four orchestras, some led by the brothers, were playing under his name in Buenos Aires, which is one of the reasons for his nickname El Kaiser. On the other hand, after Canaro started recording with the Odeon label in 1921, he had to pay a few cents to Firpo for every shellac sold, because Firpo had an exclusive Orquesta Típica contract with Odeon.
After the tango had conquered Paris in 1913, the higher society in Buenos Aires also danced in close embrace. Francisco seized his chance in 1920 and for a few months was the hot orchestra among the aristocracy. In the mid-twenties, De Caro and Fresedo filled this role much better than the working-class kid Canaro.
Canaro, who cultivated many love affairs since his youth, which did not end even after his marriage to the Frenchwoman Martha Gesaume in 1925, was ultimately rooted in the machismo of the 19th century. Unlike Troilo, who shared life and love amicably with his Zita, his wife was to confine herself to her realm. In any case, both travelled to Paris in 1925 for a honeymoon and as a business trip, paving the way for the chapter Canaro en Paris.
In a legendary tour, he thrilled Paris in 1925. His combo played in the best clubs in front of the city's aristocracy, and his brothers Juan, but above all Rafael Canaro, formed the European mainstay of the Canaro empire until 1939. Canaro returned to BA in February 1928.
Canaro shapes the image of tango argentino in Europe
Because performances by foreign musicians were forbidden in France at the time, Canaro dressed the members of his orchestra as gauchos, added folklore to the performance and their show was now considered vaudeville. The Canaros thus established this folkloric costume - to the chagrin of many later musicians who had little desire for ponchos and ridiculous hats.
The popular songs were pressed onto shellac by Odeón France and decisively shaped the European idea of tango argentino, which explains, among other things, the musical banality and backwardness of most European tangos. Europe did not really participate in the musically rapid development of tango after 1932.
Canaro in New York
Canaro not only travelled back to BA again and again during these years, but in autumn 1926 he also tried his luck in New York. Even if he did not fail, his music could not keep up with the emerging energy of jazz, and the Argentines also did not succeed in overcoming the language and cultural barrier. Somehow Canaro's fate was similar to that of Fresedo with the Orquesta típica select a couple of years before.
Canaro spent the turn of the year 1927/28 together with Gardel in Madrid and then travelled home via Paris.
Canaro on tour
D'Arienzo was a real porteño for whom even the summer sessions in Montevideo were a big trip, he was reluctant to travel. Canaro, on the other hand, we always find on tour. This was partly due to the fact that the radio stations and vaudevilles traditionally employed other orchestras in the summer - as a change of pace - and Canaro, the workhorse, then ploughed his way through the provinces.
1937
Lavocah gives nice details about the 1937 tour through the provinces of Argentina: The band played on 41 days in 40 different places, mainly in theatres and cinemas, in concert and not for dancing. Because there were no coaches for such events, the band raced over bumpy roads in a total of four cars, which they drove themselves, so that a total of three basses were broken on the way.
1939
they toured Chile and two times
Brasilia.
1954 and 1961 Japan
The tango-enthousiastic Japanese begged not only D'Arienzo, who had even been personally invited by the Japanese emperor, but also Canaro again and again to carry the music from the Río de La Plata to the land of the Tenno.
In 1954, Canaro therefore sent an octet under the direction of his brother Juan across the Pacific to Japan. It was accompanied by a dance couple and a folk singer. At the end of 1962 Canaro himself went to Japan, where the Crown Prince and later Emperor, a great tango fan, received him personally.
After Canaro returned to Buenos Aires in 1927, he quickly dominated almost all areas of the tango entertainment industry again through hard work and extreme busyness: he promoted talent, he employed and accompanied a variety of singers, including Ada Falcón, Libertad Lamarque, sometimes even the icon Carlos Gardel and - most important voice for Canaro around 1930, Charlo.
Charlo
Charlo, a young singer from the provinces, like Gardel, did not perform for dancers but, as an estrebillista, enhanced over 600 Canaro and 100 Lomuto recordings with his 30-second vocal. His name often did not appear to avoid further claims by the singer, just in contrast to the tango canciones recordings, where the orchestra tended to accompany the singer who sang the whole text of a tango.
Canaro's clear, restrained, adaptable style was perfectly suited to accompanying the big voices. The tango hype was now at a peak. Once or twice a week, Canaro found himself in the recording studio with his musicians. In 1927, almost 1,700 tangos were recorded on the ODEON label, which dominated the tango market at the time, 277 of which were Canaro's.
While Canaro played quite subtly and sweetly until 1931, the recordings from 1932 onwards tended towards more directness and rhythm, but they were also intended for dancers, while at the same time - with Charlo or Ada Falcón - he recorded more expressive tango canciónes.
Tango comedies, vaudevilles and very much more
Tango suffered from the Great Depression since 1929 and the spread of radio. To keep tango popular Canaro, in collaboration with the lyricist Ivo Palay, composed tango revues and comedies from 1932 on and elaborately staged them with a large cast. With over 900 performances in some cases, they were real box office successes (e.g. La Muchachada del Centro).
Perhaps one reason for the mixed and not so delicate quality of the music of this orchestra is that the musicians were not so much trimmed to deliver the perfect interpretation, but to always sound appropriate in many situations, whether accompanying singers, as a dance orchestra, as a concert orchestra on the numerous tours to Chile, Uruguay or Brazil, or as the orchestra of the tango revues. Canaro was a hard worker, his large orchestra had to play at many occasions.
Starting with La Muchachada del Centro (The Gang from the Centre, 1932) with more than 900 performances until the last show Tangolandia (1957), Canaro enriched the scene with shows for decades. Many of his compositions as well as his hits were written for these shows.
La patria del tango (1936)
The busy Canaro had actually intended this show to promote tango in Spain, but the Spanish Civil War stoped his plans. Instead, with over 600 performances the show became a long-running hit in BA.
Buenos de ayer a hoy (1943)
with lyrics by house lyricist Ivo Pelay already plays with the nostalgia around the folk music of the Porteños and thrilled with gutter hits like Soñar y nada más or Se dice de mi with Tita Morello.
Dos Corazones (1944)
After successful performances in BA, the show made a guest appearance in Montevideo for three months with three performances daily. Exhausted, Canaro then fell ill for a long time.
El Tango en París (1945)
Canaro hired Alberto Guida for the musical show El Tango en París, in which Guida impersonated the character Alberto Arenas with the huge hit Adiós Pampa Mía (tango campero), thus earning his stage name Alberto Arenas. He accompanied Canaro well into his fifties, but from the point of view of today's dancers, left little worth noting.
Failure as a movie producer
He also wanted to conquer the cinemas with his own production company. Although the first attempt was a great success, the other projects did not go down well with the public and proved to be a flop, especially financially, so that Canaro went bankrupt in 1938. Only through extreme thrift, hard work in the form of numerous tours and productions did he manage to pay off his debts. The Argentine proverb rich like Canaro had developed a crack.
SADAIC
The businessman Canaro also stood up for the rights of artists, albeit not unselfishly. After decades of preparatory work, he succeeded in founding SADIAC in 1941, the Argentinian association to protect the rights of musicians.
Fun fact: When a first precursor law was passed by Congress in 1933, many of the musicians involved threw a gigantic party at the Teatro Colón with, among others, 70 bandoneons, 80 violins and 20 singers. Euphony was probably missing ....
In 1936, Canaro finally succeeded in uniting the two competing artists' representations to form SADAIC, which he then presided over for many years. His brawny, assertive character certainly helped to balance the many interests.
The innovator
Always on the lookout for something new, Francisco enriched the musical world in the 1920s and 1930s. He established the bass as an instrument of the Orquesta Típica (1916), from 1920 he commissioned an arranger and contributed to overcoming the simplicity of the Guardia Vieja.
With the Seria Sinfónica, together with Fresedo and De Caro, he initiated the trend towards more elaborate, somewhat daring, partly experimental, in any case arranged music.
At the end of the 1920s, he enriched the tangos, which had been played instrumentally until then, with the addition of the estribillista (chorus singer), and later he was the first to use a female singer as well as a vocal duet.
In 1933, he surprised the dancers with a milonga played by a real tango orchestra, the Milonga sentimental (1933), which is still famous today, and thus founded a whole new genre.
Clarinet tones and the sound of the cornetino, a small trumpet, created the clear, bright and cheerful sound typical of Canaro; the use of the organ in the 1940s, when Mariano Mores arranged most of the pieces, is much less convincing, some of them sounding like fairground music.
Canaro stayes behind
because: D'Arienzo takes off
In 1937, D'Arienzo finally took off with his rhythmic, lively up-beat interpretations with a whole new energy. An example of this is the tango composition La Puñalada, which D'Arienzo's pianist Biagi transforms into a driving milonga and made it the hit of the season, while Canaro's interpretation of the same title as a tango remains pale.
and: Troilo and Laurenz become complex
At the same time, the orchestras of Troilo, Laurenz and Pugliese set out for the complexity of the Forties. Laurenz's recording of Arrabal (1937) is emblematic of this.
Canaro adapts to some extent, but does not reach the subtle quality of the stars of those years. His sales are still great so. His tangos are catchy, nice, varied and thus meet the taste of many. One should not overlook the fact that family tango-pop star De Angelis was also consistently one of the most successful orchestras in the forties.
Canaro's great joy in experimenting and playing can be heard very beautifully in Canaro's compositionQué es lo que tiene la Bahiania (1939), an originally Brazilian song that he adapted.
Cornetino, clarinet and bandoneon sounds characterise the first, quiet bars, a cheerfully phrased beat lures the dancer into the varied arrangement of the main part, in which instrumentation and rhythm change constantly. As icing on the cake, choral interjections are poured on top. The performance is fresh and varied, but the phrasing lacks subtlety.
In 1937, Canaro created a quintet as a further musical mainstay, which was first called Don Pancho, later Pirincho.
As a musician, Francisco Canaro was always close to the Guardia Vieja, i.e. the rhythmically and harmonically somewhat simpler style of playing of the 1920s.
Canaro's role model was Roberto Firpo with his traditional quartet. Firpo had founded it as an answer to D'Arienzo's great successes. The repertoire and playing style are based on the Guardia Vieja, but the Quinteto's recordings are captivating for their freshness, cheerfulness and good humour.
Especially the milongas and valses can spice up a DJ playlist with liveliness. In the end, however, these recordings are quite conventionally recorded. The quinteto, which also had Minotto di Citto at its centre, only met in the recording studio, not on stage.
Pirincho, by the way, is Canaro's nickname - that's the name of a cuckoo that lives on the Río de la Plata. At Canaro's birth, the midwife had said that the child looked like a pirincho because of a protruding tuft of hair on its head.
When enthusiasm for tango continued to wane in the 1950s, Canaro stayed in business, especially with his Quinteto Pirincho.
A trip to Japan, which was extremely enthusiastic about tango, in 1961 was a final triumph. Canaro even performed in the first colour TV programme there.
In 1939, Canaro was on tour in Chile to work off his film debts, in between rushing back to BA for a few days to bury his dearly beloved mother, only to return to the band straight away.
In the same year, Canaro's emblematic velvet voice Maida went solo. With the new singers Francisco Amor and returnee Ernesto Famá, Canaro also increasingly adapted to the up-beat of the years around 1940.
Private Life
A lot can be learned about Canaro's early years, both on Todotango and above all in Lavocah's biography. News from the later years, as with many other tango greats, is more sparse, because nothing was written down during his lifetime and the tango fell into a slumber in the seventies and eighties and people had other worries during the dictatorship.
Canaro, the brawny emperor, was a workhorse, a climber from labour, a true porteño who asserted himself everywhere. His wife was probably above all a partner who was quite functional for social life and the household, but Canaro had repeated love affairs, probably most importantly with Ada Falcón.
Child and cone
In 1944, when Canaro was 56, a 17-year-old chorus girl contacted him and they fell in love. Irma Gay, the young woman's name, gave Canaro, who had been childless until then, two daughters, who were accepted as heirs by Canaro's wife Martha Gesaume after Canaro's death.
Canaro is accused of false attributing of compositions to himself, be it older, forgotten melodies that he recycled, or compositions with his brothers in which Canaro had only been partially involved, which then later operated under Francisco Canaro's name. But this can be neglected in view of the really large number, including many big hits.
Canaro composed classical instrumentals for the genre such as La Tablada, El Pollito, Punto bravo.
The most important lyric partner was Ivo Pelay. With him, Canaro mainly wrote the successful tango shows and revues, also called sainetes, from which many hits emerged.
This collaboration resulted in La muchachada del centro, Te quiero in 1932, Yo no sé por qué te quiero in 1934, No hay que hacerse mala sangre and Tangón in 1935.
In 1939 Canaro composed the sensitive tango Por vos ... yo me rompo todo or the samba adaptation Que es lo que tiene la Bahiana.
He also composed Corazón de Oro, the love hymn Yo no sé qué me han hecho tus ojos, addressed to Ada Falcón as well as Soñar y nada más and Bajo el cielo azul or the ingenious milonga Se dice de mí, the latter all with lyrics by Ivo Pelay.
With him, Canaro also wrote the deadly boring super hit of 1946, Adiós Pampa mía.
Arrabalera, recorded in 1950 with the Quinteto Pirincho, was claimed by Canaro after the actual composer died without leaving any rights. At least we hear Canaro's voice on this recording!
Arrabalero (1950-Quinteto Pirincho)
Paulina Mejía and Juan David Vargas - Berlin - 2019
Here you find a list of Canaro' tandas by Clint Rauscher
Tradition: 1927 - 1934
This musical phase is carried by Charlo and the singer Ada Falcón, the beautiful "divine" diva with the big green eyes, to whom Canaro was intensely devoted. Lavocah sees her as the muse of these years, which were particularly creative in his eyes.
Until 1933, Canaro was clearly one of the driving forces of musical development. But admittedly: I admire Michael Lavocah who, for his fascinating Canaro book, has listened through thousands of tangos of the early phase and scanned them for musical finesses.
I get tired of the basic rhythm, which pushes along, varies little and is oriented towards the traditional. Even the sometimes touching violin solos, Charlo's lovely singing and the chirping of Minotto's banoneon only ever distract from this for a moment.
With around 300 recordings a year, it is not surprising that much of it - especially in comparison to the Época de Oro - seems simple. Exceptions to this are, of course, some pieces of the Seria Sinfónica; the musicians prepared the recording of Chiqué for two months.
Interpretations with Galán, some of which are available in very fine restorations at www.tangotunes.com, are already a bit more mature, but even that still pushes along ponderously. If you want to go deeper, Lavocah shows the way!
Mimosa (1929) shines with a nice arrangement with Hawaiian guitar.
In Margaritas (1929) Canaro's bandoneon player Àngel Ramos forms the vocal duo partner for Charlo.
Mentir and La Última Copa (1931) live on Charlo's fine phrasing, he is rightly the second Gardel.
La muchachada del Centro (1932) is chosen by dancing couples, it bores me too.
In Dos Amores, Pero aquel muchacho, Secreto or Puerto Nuevo, Ernesto Famá succeeded in 1932/1933, laying his melody lines over the ponderous beat.
In 1934, Cuesta Abojo, De puerta en puerta, Quién más, quién menos with the singer Galán or Yo no sé por qué te quiero (Famá) sound more harmless, more romantic, a touch more mature.
9 de julio
Horacio Godoy and Cecilia Berra - Berlin - 2018
This is a funny tango - listen to the end.!
Yo no sé por qué te quiero
Virginia Pandolfi y Jonatan Aguero - Los Angeles - 2015
1934-37: Calmly romantic harmless tangos with the gentle baritone of Roberto Maida, who unfolds a lovely counterpoint to the predictable Canaro beat.
1935: De puro guapo, Dónde, Nena - and - Poema
1936: Amor, Envidia, Como
las Flores oder Yo también soñé, that became a hit arround the world.
1937: Invierno, Nada más, Condena,
Cara Sucia, Las Cuarenta, Recuerdos
de París
A little more snappy and more substantial are these tangos from
1938: El Adiós, Mano a Mano, Muchachito del Campo, Olvídame,
Poema
Graciela and Osvaldo - 2017
Invierno
Fabian Peralta & Lorena Ermocida Tango Invierno en
Sunderland Club Abril 2011
El Adiós
Ivan Terrazas y Sara Grdan - Belgrad - 2017
Instrumentale
La melodía de nuestro adiós (1938) reveals its European origins. The composer is Minotto Di Cicco's brotherFioravanti Di Cicco, who composed the beautiful melodies for Le melodie die notre adieu as a pianist in Rafael Canaro's band in Paris.
Alberto Amor and returnee Ernesto Famá - In the shadow of the D'Arienzo Revolution
Maida left Canaro in 1938 and started a solo career, with limited success.
Alberto Amor actually came from the Foklore. He now joined the Canaro empire.
In the context of orchestra performances as well as recordings, he was initially responsible for the Otros ritmos. He had to join his cronies on stage in folklore costume. We know his voice mainly from the successful valses of those years.
Tangos by Ernesto Famá:
1939: No me pregunten por qué
1940: No Me Pidas La Exclusiva, En
Un Beso La Vida, Deja El Mundo
Como Está, A Quien Le Puede
Importar
1941: Falsa Ilusión, Charlemos
Tan solo tú(1941) Mira Mores is Mariano Mores wife, from her got his stage name.
Tangos by Francisco Amor
Un Amor, Melodía Oriental(1940).
No me pregunten por qué
Carlitos Espinoza y Noelia Hurtado - Montpellier 2012
Charlemos
Virginia and Jonathan, San Diego 2016
Canaro in the Golden Forties
Canaro and his pianist Mariano Mores, who was responsible for the arrangements, were only partially able to achieve the subtle fusion of singer and orchestra that was the charm of those years.
The singers Carlos Roldán and Eduardo Adrián are not among the absolute top ranks of tango interpreters, for whom - according to Lavocah - Canaro's somewhat simpler musical concept was not attractive enough.
Roldán and Adrián later made careers as soloists, but never again dropped anchor in an orchestra.
Few tangos convince completely.
Examples are Mi Reflexión, Café de los angelitos, Torrente, Esta noche de luna or Va a cantar un riuseñor with singer Carlos Roldán.
or with Eduardo Adrián:
Cada vez que me recuerdes, Es mejor perdonar,Necesito olvidar, Nido Gaucho, En el viejo café.
Some songs captivate with freshness, inventiveness and cheerfulness, also because of the original instrumentation with Hammond organ, muted trumpet, clarinet or even an oboe.
But it is above all the wafting of the Hammond organ that makes many a recording anoying.
The botched love tragedy Gricel
The fact that Canaro or Mariano Mores, in order to appeal to the taste of the masses, sometimes drifted into kitsch is particularly evident in the tango Gricel.
The orchestra of Aníbal Troilo expresses the whole tragedy of these verses in a subtle and moving way while Canaro arranges this heartbbreaking composition in a bouncy, almost happy way and drowns it in organ sounds.
This is all the more surprising because arranger Mariano Mores composed these wonderful melody lines himself.
Mi Reflexión
Sabrina Masso and Federico Naveira, Rethymno - 2017
Uno
Murat and Michelle in Catani/Sizilien - 2013 -
at least the setting is unique!
Nelly (1911 - 2013) took her first steps as a singer in 1924 on the newly born Argentine radio, was a sought-after voice until 1955, mainly accompanied by guitars.
The dictatorship banned her from the stage until 1972. In 2011, now 100 years old, she still gave a concert in Luna Park. She died of cancer two years later.
The ten recordings, made in the mid-forties, document the rare presence of a woman as Cantora de Orquesta in a dance orchestra.
Nelly, one of the greats, dubbed the Gardel in rock, has a natural, relaxed phrasing, but despite her reputation, it took Canaro's support to convince the record companies to make these recordings.
Lovely tangos are Sentimiento
Gaucho, Nobleza de Arrabal or the lovely valses Rosas de Otoño und Desde el
Alma .
(The intimate numbers with guitarist Roberto Grela are also very musical, especially the Valses Dos
Corazones, Rosas des Abril und
La Pulpera de Santa Lucía.
Desde el Alma (Nelly Omar)
Rosas de Otoño (1947)
Murat and Michelle - Yolatango Austin, 2012 -
dancing in small space
Murat produced asthetic, funny and intelligent movies - watch till the end
Nelly - a portrait - spanish
Tita Morello (1904 - 2002)
Tänzerin, Sängerin und Schauspielerin Tita, one of the
emblamatik female voices of Tango Canción
of the thirties, acted in over 30 movies, more then 20 stage shows and countless
concerts.
At the height of her career as a celebrated and award-winning film star of the early 1950s, she had to flee to Mexico after the military coup against Perón in 1955 and could no longer perform in Argentina.
The recordings with Canaro, including her most famous number, Se dice de mí, secured her existence. From 1958-1985, she was able to continue her film and tango singing career and become a living legend.
Yo soy así (1933)
Tita Merello in the first argentine talking picture
¡Tango!, 1933
Se Dice de Mí (1955)
out of the movie Mercado de Abasto (1955) by Lucas brother of von Lucio...
For over a decade, Canaro has been producing the best and still the most popular and inspiring milongas. So many rhythmic patterns often overlay each other, the trumpeters' splashes often forming the icing on the cake. The only drawback: they are already a bit to often.
Milonga Sentimental
Chicho and Eugenia Parilla - BA - 2004
The first urban milonga ever recorded, Milonga sentimental (1933), is still one of the dancers' favourites, as are many other milongas by Canaro.
It moves along calmly, predictably and yet variedly, invites to a phrasing with traspiés Comparable slowly with 80 bpm areMilonga
Sentimentalor Negrito(1934, Galán), Milonga del 900
(1933, Fama) or Milonga Criolla (1938,
Maida).
A bit faster are the lively classics No hay tierra como la
mía(1939) or Parque
Patricios (1940) with the singer Ernesto Famá.
Similarly, at around 100 bpm, dancers trippel with La Milonga de mis Tiempos (1938, Instr, with strong energy waves), Milonga del Corazón (1938, Maida) or Milongón (1938, Instr.).
Mor upspeed are Milonga brava
(1938, Maida), Reliquias Porteñas
(1938, Inst.) or La Milonga de Buenos Aires
(1939, Fama)
Candombe-Feeling
But Canaro was also recording convincing milongas in the 1940s, but now often in the candombe feeling, which was also fashionable in other orchestras around 1940. His singer Carlos Roldán came from Uruguay, where candombe was and still is much more widespread. (e.g. Carnavalito/Demare or Azabache/Caló).
San Benito de Palermo
(1942), Candombe or Se dice de
mí (1944) are proving this. The latter is, of course, much more coherent in the legand slanting recording with Tita Morello of 1955.
Después de quererla tanto
Eva Icikson and Brenno Marques - Bratislava - 2018
Negrito
Rebecca Rorick Smith and Eric Lindgren - Berlin - 2018
Milonga Criolla
Silas y Valeria - Stgo. de Chile - 2019
Milonga Brava
Roxana Suarez y Sebastian Achaval - Genua - 2009
La Milonga de Buenos Aires
Yanina Quiñones and Neri Piliu - Athen - 2018
Reliquias porteñas
Miguel Angel Zotto & Daiana Guspero - Torino Tango
Festival - 2013
Parque Patricios
unrivalled: ALEJANDRA MANTIÑAN y AONIKEN QUIROGA - Wien
- 2012
No hay tierra com la mía
Celeste Medina and Andres Sautel
No hay tierra com la mía
Carlos Gavito y Marcela Duran Nora's Tangoweek 2001
The waltz king pressed around 150 valses on shellac, ranging from the leisurely to the Viennese waltz to really energetic ones.
Many valses, especially the earlier ones, are actually too slow for the genre; some interpretations have a tendency to sway as at a folk festival.
Slow and leisurely 1929-1934
Sueño de juventud, Con tu mirar,
Siempre te amaré. Florcita criolla,
Llorando mis penas, Ronda del Querer (1934,
Galan),
In 1934, BA experienced a hype about the Viennesse Orquestra of Weissenhaus, which mainly played Viennese waltzes. Canaro as usual wanted to be part of this fashion and recorded Viennesse Valses since 1935, but he oriented himself not on the rather complex Johann Strauss, but on the catchy compositions of the french-alsatian Émile Waldteufel.
Amour et Printemps (1935), Les Patinadores (1935), Très jolie (1938) take things very slowly, but are certainly the perfect choice for Sylvester. (The master of all rhythms, Enrique Rodríguez - implements the principle of the Viennese waltz even more consistently with Siempre fiel (1938)).
And the famous Corazón de Oro, which Canaro recorded 7 times, was also penned by Waldteufel.
Even En un barco velero (1945, Guillermo Rico) still has Viennese waltz phrasing.
Heartbreaking:
Francia Soñar y nada más (1943, Roldán, Andrián) Corazón de Oro
Vibraciones de Alma Desde el Alma (1946, Nelly Omar),
Faster valses arround 1940
Valses like Noche de estrellas, (1940,
Amor), Salud, dinero, amor (1939, Amor),
El día que te fuiste (1940, Amor) oder La
Zandunga (1939, Amor) are full of energie and happiness. Tormenta en el alma (1940 - Enesto
Famá + Mirna Mores) convinces with the lovely duett with the fiancée
of pianist Mariano Mores. Bailando me diste un beso is a nice duett of Alberto Arenas and Marion Alonso.
Soñar y nada más
Marian Dragone and Gaston Torelli - L'Aquila -
2017
Los Patinadores (Vienness of Waldteufel)
Noche de Estrellas
Daniela Pucci & Luis Bianchi in Bury St
Edmunds - 2017.
