Tango in 1976

This article collects what the available sources record about tango in 1976. The material covers political context, a death, albums and stage works, an award, artists working abroad, and a dated list of recordings ^{[5] [8] [9] [10]}.

Sources describe 1976 as the year a military government took power in Argentina ^{[9] [12]}. A group calling itself the Alianza Anticomunista Argentina (Triple A) had begun a cycle of violence and revenge under Isabel Perón's government, and that cycle deepened under Videla's de facto government from 1976 ^[9]. Biographies of Astor Piazzolla and Susana Rinaldi place parts of their careers in relation to this regime ^{[2] [11] [12]}.

In tango itself, Juan D'Arienzo, the orchestra leader known as "El rey del compás", died in Buenos Aires on 14 January 1976 ^[5]. A discography lists recordings made during the year by orchestras led by Osvaldo Pugliese, Alfredo De Angelis, Osvaldo Requena and Atilio Stampone, by the Orquesta Típica Porteña, and by pianist Ariel Ramírez ^[10].

Videla's de facto government took power in 1976 ^[9]. Under Isabel Perón, the group calling itself the Alianza Anticomunista Argentina (Triple A) had started a cycle of violence and revenge, and that cycle deepened under the new government ^[9].

The military regarded rock and folk music as subversive ^[6]. In a speech in 1976, Admiral Emilio Massera denounced musicians and fans as potential subversives ^[6]. The source makes this statement about rock and folk music; it does not mention tango ^[6].

Piazzolla's position toward the 1976 dictatorship caused tension with Gubitsch, whom a biography of Piazzolla calls the most politicized member of the group ^[2]. Another Piazzolla biography says that, under the military dictatorship established in 1976, he later composed and recorded with an orchestra a series of pieces alluding to the World Soccer Championship, then held in Argentina ^[11]. That source states that the regime made political use of the tournament ^[11].

Susana Rinaldi's biography also refers to the new military dictatorship of 1976 when describing her move to Paris ^[12].

Juan D'Arienzo was born in Buenos Aires on 14 December 1900 and died there on 14 January 1976 ^[5]. His biography describes him as an Argentine tango musician and orchestra leader known as "El rey del compás" ^[5]. He is buried in the Cementerio de la Chacarita in Buenos Aires ^[5].

Piazzolla released the album Lumière in 1976 ^[2]. In Argentina it was issued as Suite troileana ^[2]. His biography describes it as similar in character to his earlier Italian albums ^[2]. His first Octeto played through the summer of 1976 at a venue called La Botonera in Mar del Plata ^[2]. The same biography lists two films with the year 1976: Armaguedón by Alain Jessua and Cadaveri eccelenti by Francesco Rosi ^[2]. The dossier does not say what Piazzolla contributed to these films ^[2].

Aníbal Troilo's biography lists an item titled El canto cuenta su historia with the year 1976 ^[1]. Edmundo Rivero's biography lists "A todo Rivero", made with the orchestra of Osvaldo Tarantino, dated 1976 ^[3].

A biography of Horacio Salgán states that in 1976 he presented the Oratorio Carlos Gardel, a 42-minute work with lyrics by the poet Horacio Ferrer ^[4]. This date comes from a single source and is not independently confirmed in the dossier ^[4]. The same biography lists a live concert at the Buenos Aires Sheraton Hotel with Ubaldo de Lío, issued by CABAL and dated 1976 ^[4].

Roberto Goyeneche's biography lists a 1976 recording with the Orquesta Típica Porteña of Raúl Garello on the RCA label ^[7].

The Sexteto Mayor received the Premio Gardel de Oro from CAPIF in 1976 ^[8].

According to her biography, Susana Rinaldi made her début in Paris in 1976, after the new military dictatorship had been established in Argentina ^[12]. She settled in Paris permanently in 1989 ^[12]. A second source says Jean-Louis Barrault presented her at the Théâtre National Populaire in Paris in 1976 ^[9]. Both accounts are single-source reports and give no exact date ^{[9] [12]}.

The same passage of the second source says Rinaldi refused royalties for her work and gave them to Cabral, who thanked her for the gesture ^[9]. The dossier does not identify the work or give a date for this ^[9]. The source also mentions a 1976 dedication addressed to Rinaldi, which includes the lines "paredes de palabras con glicinas y vos detrás, inalcanzable siempre" ^[9]. The dossier does not name the author ^[9].

A discography lists the following 1976 recordings. The dates are recording dates; the listing gives a full day for some sessions and only the year for others ^[10].

Osvaldo Pugliese recorded these sides ^[10]: - 'Callao II' (tango), instrumental, 14 May 1976 ^[10] - 'Uno' (tango), with Abel Córdoba, 14 May 1976 ^[10] - 'Para Eduardo Arolas' (tango), instrumental, 4 June 1976 ^[10] - 'Tiempos viejos' (tango), with Abel Córdoba, 13 October 1976 ^[10] - 'Sur' (tango), with Abel Córdoba, 14 October 1976 ^[10]

The Orquesta Típica Porteña recorded these sides with Roberto Goyeneche ^[10]: - 'Niebla del Riachuelo' (tango), 2 July 1976 ^[10] - 'Tristezas de la calle Corrientes' (tango), 2 July 1976 ^[10] - 'Así es ninón' (tango), 7 July 1976 ^[10] - 'Che, papusa, oí' (tango), 7 July 1976 ^[10] - 'Discepolín' (tango), 7 July 1976 ^[10] - 'Otra vez María' (vals), 14 July 1976 ^[10] - 'Total pa' qué sirvo' (genre not given), 14 July 1976 ^[10] - 'Homero al sur' (tango), 15 July 1976 ^[10]

The listing credits two other 1976 recordings to Raúl Miguel Garello, and one Goyeneche recording to Atilio Stampone ^[10]. Goyeneche's biography calls the Típica Porteña Garello's orchestra, so the different credits may refer to related line-ups ^{[7] [10]}: - 'Quedémonos aquí' (tango), Garello with Rosanna Falasca, 15 April 1976 ^[10] - 'El gordo triste' (tango), Garello with Roberto Goyeneche, 1976 ^[10] - 'Cada vez que me recuerdes' (tango), Atilio Stampone with Roberto Goyeneche, 1976 ^[10]

Alfredo De Angelis recorded these sides in September 1976 ^[10]: - 'Cornetín' (tango), 17 September 1976 ^[10] - 'Lunes' (tango), with Isabel de Angelis, 17 September 1976 ^[10] - 'Canaro en París' (tango), 24 September 1976 ^[10] - 'Por una cabeza' (tango), with Carlos Aguirre, 24 September 1976 ^[10]

Osvaldo Requena recorded these tangos with Alberto Castillo; only the year 1976 is given ^[10]: - 'Adiós, pampa mía' ^[10] - 'Cucusita' ^[10] - 'Mano blanca' ^[10] - 'Moneda de cobre' ^[10] - 'Muñeca brava' ^[10] - 'Volver' ^[10]

Ariel Ramírez recorded these valses; only the year 1976 is given ^[10]: - 'A su memoria' ^[10] - 'Amor y celos' ^[10] - 'Ilusión de mi vida' ^[10] - 'La pulpera de Santa Lucía' ^[10] - 'Nelly' ^[10] - 'Palomita blanca' ^[10] - 'Uruguaya' ^[10]

The listing has incomplete performer or genre data for the following entries ^[10]: - 'La bicicleta blanca' (genre not given), José Ángel Trelles, 1976 ^[10] - 'Nostalgias' (tango), performer not identified, 19 April 1976 ^[10] - 'La flor de la canela' (vals), performer not identified, 14 September 1976 ^[10] - 'El firulete' (milonga), performer not identified, 21 September 1976 ^[10] - 'Re fa si - レ・ファ・シ' (tango), 7 December 1976; the performer field holds a date and a duration instead of a name ^[10]