Francisco Canaro

Led by Francisco Canaro1927–1964[1][5][30][31][35][50][51][60][34][78][93]Single source

First professional engagement, in a trio in the town of Ranchos, Buenos Aires Province.1906[2]Single source

Commits to tango alongside his neighbour Vicente Greco and writes his first tango, La barra fuerte; he plays the cafés of La Boca.1908[2]Single source

Meets Carlos Gardel at the Rodríguez Peña dance hall, the start of a lasting friendship.1913[2]Single source

Writes the music for the sainete Nobleza de arrabal, premiered at the Teatro Variedades.1919[2]Single source

Leads a 32-piece orchestra at the carnival balls of the Teatro Opera.1921[3]Single source

Introduces a refrain singer to his orchestra, starting with Roberto Díaz.1924[3]Single source

Takes his orchestra to Paris with his brothers, Agustín Irusta, Roberto Fugazot and Lucio Demare.1925[3]Single source

Tours the United States.1926[2]Single source

Stages the musical comedy La muchachada del centro, written with Ivo Pelay, at the Nacional theatre.1932[2]Single source

SADAIC, the composers' society he campaigned for, is founded; its headquarters stand on land he bought.1935[3]Single source

Becomes a naturalized Argentine citizen.1940[4]Single source

Publishes his memoirs to mark fifty years in popular music.1956[3]Single source

Tours Japan near the end of his career.1962[2]Single source

Dies in Buenos Aires.Dec 14, 1964[2]Single source

Canaro spent all of 1926 in Paris (with a side trip to the United States he disliked), so the roughly 232 sides recorded under his name that year in Buenos Aires were made by a stand-in band, not by him in person.[96]Single source

In 1927 alone, Canaro recorded over 350 tracks by himself, an extraordinary rate of production.[97]Single source

Canaro was still in Paris at this time; his orchestra's 1926 recordings were actually directed by Minotto, and even into early 1927 it may still have been Minotto rather than Canaro himself.[97]Single source

1929 is argued to be Canaro's creative peak, helped by singer/muse Ada Falcón and strong musicians, at a time when he was less purely focused on commercial success than he later became.[98]Single source

DJs generally avoid Canaro's post-1938 recordings; his versions of songs that later became hits for Troilo are considered much worse than those other versions.[99]Single source

Canaro recorded 84 sides in 1935, by far the most of any orchestra, out of roughly 250 tango recordings made that year overall.[100]Single source

Canaro's 1935-38 period with singer Roberto Maida is one of his best, and also his last great period; his output collapses after 1938 as he fails to keep up creatively with the new wave.[100]Single source

Canaro's beat is always 'cuadrado' (square) -- fixed in tempo, undecorated -- which is why he needed a honeyed voice like Maida's on top to make a relaxing sound.[100]Single source

Canaro recording D'Arienzo's own hit La Puñalada as a straight tango, soon after D'Arienzo's milonga version appeared, shows Canaro was out of touch and unable to modernise further.[101]Single source

Canaro recorded around 300 tracks in 1929, more than were recorded industry-wide in 1935, and would record six to eight takes in a single studio session.[102]Single source

Canaro's 1932 output collapsed to about 100 tangos and waltzes plus one milonga, down from roughly 300 recordings the previous year.[103]Single source

Canaro's stage show La Muchachada del Centro, written with Ivo Pelay, opened in June 1932 near the Obelisk and ran for 900 performances; Te Quiero, sung in the show by Ernesto Famá, became his breakout hit even though the studio recording was sung by Ada Falcón.[103]Single source

Canaro's arrangements typically alternate call and response between just two voices, bandoneón and violin, like a two-person conversation, unlike other orchestras that pass the melody around the whole band.[103]Single source

Canaro records about 50 tangos, waltzes and milongas in 1936 alone, roughly double the output of any other band.[104]Single source

The arranger for Canaro's 1946-48 Nelly Omar sides isn't known for certain, though Michael suspects Mariano Mores, whose later solo-orchestra style these charts resemble in toned-down form.[105]Single source

Canaro's long stay in Paris from the mid-1920s set the pattern for how tango would be understood outside Argentina ever since; Fresedo's mid-1930s sound follows the same more 'European', less milonguero mould, which the D'Arienzo revolution later reverses.[106]Single source

Researcher Carlos Puente confirmed via Canaro's own pianist, Mariano Mores, that the ten Nelly Omar recordings use the same arranger as the rest of Canaro's output — they only sound more sophisticated because Nelly Omar's presence let Canaro loosen his usual commercial restraint.[107]Single source

Canaro made about 180 recordings in 1931 while Di Sarli made perhaps ten; the sweetness is mixed with playful tangos for dancing.[108]Single source

In the afterparty Lavocah defends Canaro's 1931: it is a very strong year for tango, even if Canaro's songs are mostly not for dancing.[108]Single source

Canaro's symphonic series of 1929 coincides with the arrival of Ada Falcón, his muse and partner in a tempestuous relationship of about nine years; the music alternates soft and hard, starting soft, and after the Depression it starts hard.[109]Single source

Lavocah and Stenvoll agree that everything Canaro recorded after 1938 is mostly rubbish; Canaro died in 1964.[110]Single source

Canaro's music hardens between 1932 and 1933 and the tender Canaro of the 20s is going, as the Serie Sinfónica ends; Pinta brava is one of its last tracks.[111]Single source

Canaro's music hardens in 1939 with Famá: he has his finger on the pulse of the hardening times, and the fit makes the music make more sense to Lavocah though it isn't his favourite.[112]Single source

Canaro, a poor violinist dependent on his band to arrange, had Luis Riccardi as pianist-arranger for years; in 1939 the young Mariano Mores arrives as a second pianist for the stage shows, Riccardi retires on his doctor's advice, and Mores takes over the arranging and adds the decorations that transform the sound.[112]Single source

Stenvoll normally avoids Canaro after 1938, but both agree there is always good music even in categories they do not usually enjoy. Carlos Roldán had a reputation as especially good at milonga and was drafted to sing them.[113]Single source

Canaro recorded about 280 sides in 1928, around a quarter of the year's output, and had displaced his great rival Firpo from the biggest venues; his bandoneonist is Minotto. About 50 of his records were released in Europe by Parlophone in the OT series, which set European tango style.[114]Single source

For lovers of the intimate sound, the good Canaro ends with Maida: Falcón, Charlo and Maida gave a sensitive feeling, and the singers after were more extrovert.[115]Single source

Buried in the SADAIC (Sociedad Argentina de Autores y Compositores) pantheon, which Wikipedia lists as his burial place.[120]Single source

Spent adolescence in the conventillo Dos Mundos, Sarandí 1358, San Cristóbal; born in San José de Mayo, Uruguay.[120]Single source

Known as «Pirincho»[120]Single source

Agustin Irusta — sang with Francisco Canaro1927[6][7][8][9][11][10]Supported · 6

Roberto Fugazot — sang with Francisco Canaro1927[10][11]Supported · 2

Luis Scalon — sang with Francisco Canaro1927, 1928[10][22]Supported · 2

Charlo — sang with Francisco Canaro1928–1935[12][14][15][16][17][18][19][20][21][23][24][25][26][27][30][32][33][35][36][37][38][39][41][43][47][48][49][62][71]Supported · 29

Ada Falcón — sang with Francisco Canaro1929–1938[33][35][40][61][63][69][78]Single source

Francisco Fiorentino — sang with Francisco CanaroAug 7, 1929[33]Single source

Luis Díaz — sang with Francisco CanaroJul 11, 1930, Sep 13, 1930[35]Single source

Ernesto Famá — sang with Francisco Canaro1930–1940[35][51][59][60][63][64][65][66][69]Supported · 2

Mirna Mores — sang with Francisco CanaroOct 28, 1940[51]Single source

Ángel Ramos — sang with Francisco CanaroFeb 9, 1933, Apr 28, 1933[66]Single source

Carlos Gardel — sang with Francisco CanaroMar 27, 1933[31]Single source

Carlos Galan — sang with Francisco Canaro1934[69]Single source

Francisco Canaro — sang with Francisco CanaroFeb 17, 1934[69]Single source

Roberto Maida — sang with Francisco Canaro1934–1938[70][71][72][73][74][75][76][78]Supported · 2

Roberto Maida — sang with Francisco CanaroAug 19, 1937[77]Single source

Eduardo Adrian — sang with Francisco CanaroApr 24, 1942[79]Single source

Carlos Roldán — sang with Francisco CanaroNov 18, 1942, Sep 15, 1947[79][87]Single source

Alberto Arenas — sang with Francisco CanaroJan 15, 1948, Sep 10, 1948, Nov 4, 1952[81][88]Single source

Guillermo Rico — sang with Francisco CanaroNov 15, 1944[83]Single source

Mario Alonso — sang with Francisco Canaro1949–1954[84][85][86][88]Single source

Tita Merello — sang with Francisco CanaroJul 23, 1954[85]Single source

Juan Carlos Rolon — sang with Francisco CanaroAug 19, 1957[89]Single source

Marcelo Paz — sang with Francisco CanaroMar 17, 1958[90]Single source

Ernesto Herrera — sang with Francisco CanaroDec 21, 1961[91]Single source

Francisco Amor — sang with Francisco CanaroNov 6, 1964[92]Single source

Isabel de Grana — sang with Francisco CanaroNov 6, 1964[92]Single source

Argentino Ledesma — sang with Francisco CanaroNov 26, 1969[94]Single source

Emocion · Francisco Canaro · 1928 — recorded by Francisco Canaro1928, Oct 10, 1928[13][29]Supported · 2

Yo soy así · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[15]Single source

No me abandones · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[16]Single source

Saludó y se fue · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[19]Single source

En un boliche · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[23]Single source

Regalo de bodas · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[26]Single source

Mina · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[28]Single source

Bells of Hawaii · Francisco Canaro · 1929 — recorded by Francisco CanaroAug 11, 1929, Nov 9, 1929[33][34]Supported · 2

El vals del amor · Francisco Canaro · 1929 — recorded by Francisco CanaroOct 28, 1929, Nov 13, 1929[33]Single source

Poema de amor · Francisco Canaro · 1929 — recorded by Francisco CanaroNov 18, 1929[33]Single source

Así es la vida · Francisco Canaro · 1929 — recorded by Francisco CanaroApr 30, 1929[33]Single source

Azulidad · Francisco Canaro · 1929 — recorded by Francisco CanaroMay 29, 1929[33]Single source

Noches de carnaval · Francisco Canaro · 1929 — recorded by Francisco CanaroOct 9, 1929[33]Single source

Malandrina · Francisco Canaro · 1929 — recorded by Francisco CanaroOct 2, 1929[33]Single source

Beso su mano mi dama · Francisco Canaro · 1929 — recorded by Francisco CanaroAug 21, 1929[33]Single source

Del viejo barrio porteño · Francisco Canaro · 1929 — recorded by Francisco Canaro1928–1929, Apr 20, 1929[33]Single source

Suspiros · Francisco Canaro · 1929 — recorded by Francisco CanaroMay 3, 1929[33]Single source

Porque eres mala · Francisco Canaro · 1929 — recorded by Francisco CanaroAug 7, 1929[33]Single source

Qué sapa señor · Francisco Canaro · 1931 — recorded by Francisco Canaro1931, Aug 12, 1931, Aug 26, 1931[39][40]Supported · 2

Amor de payaso · Francisco Canaro · 1931 — recorded by Francisco Canaro1931, Jun 3, 1931, Jul 2, 1931[41][42]Supported · 2

Jamás te olvidaré · Francisco Canaro · 1931 — recorded by Francisco Canaro1931, Oct 23, 1931[43][44]Supported · 2

Criollazo · Francisco Canaro · 1931 — recorded by Francisco Canaro1931, Aug 26, 1931[45][46]Supported · 2

Después de quererla tanto · Francisco Canaro · 1940 — recorded by Francisco CanaroMay 16, 1940[51]Single source

Tormenta en el alma · Francisco Canaro · 1940 — recorded by Francisco CanaroOct 28, 1940[51]Single source

Puerto Nuevo · Francisco Lomuto · 1929 — recorded by Francisco CanaroDec 11, 1929[34]Single source

La brisa · Francisco Canaro · 1929 — recorded by Francisco CanaroJun 19, 1929[34]Single source

Parque Patricios · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[12]Single source

El flete · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[52]Single source

El alacrán · Francisco Canaro · 1927 — recorded by Francisco Canaro1928[53]Single source

Retirao · Francisco Canaro · 1927 — recorded by Francisco Canaro1928[53]Single source

Esta noche me emborracho · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[34]Single source

Comadre · Francisco Canaro · 1929 — recorded by Francisco CanaroAug 14, 1929[34]Single source

Chanta cuatro · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[34]Single source

Prisionero · Francisco Canaro · 1929 — recorded by Francisco CanaroSep 11, 1929[34]Single source

Palomita blanca · Francisco Canaro · 1929 — recorded by Francisco CanaroJun 12, 1929, Dec 17, 1929[33]Single source

La última copa · Francisco Canaro · 1931 — recorded by Francisco Canaro1931, May 13, 1931[36][46]Supported · 2

El opio · Francisco Canaro · 1931 — recorded by Francisco Canaro1931[54]Single source

Tiempos viejos · Francisco Canaro · 1931 — recorded by Francisco Canaro1931[38]Single source

Tormenta · Francisco Canaro · 1939 — recorded by Francisco Canaro1939[50]Single source

La reina del tango · Francisco Canaro · 1929 — recorded by Francisco CanaroMar 13, 1929[33]Single source

Cordoba · Francisco Canaro · 1929 — recorded by Francisco CanaroDec 23, 1929[33]Single source

Rie payaso rie · Francisco Canaro · 1929 — recorded by Francisco CanaroOct 28, 1929[33]Single source

Soledad · Francisco Canaro · 1931 — recorded by Francisco Canaro1931[48]Single source

Desde el alma · Francisco Canaro · 1940 — recorded by Francisco CanaroMay 23, 1940[51]Single source

Flor de fango · Francisco Canaro · 1931 — recorded by Francisco Canaro1931[49]Single source

El viejo vals · Francisco Canaro · 1931 — recorded by Francisco Canaro1931[37]Single source

Felicia · Francisco Canaro · 1929 — recorded by Francisco CanaroJun 4, 1929[33]Single source

Alma en pena · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[14]Single source

Estampilla · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[20]Single source

Parque Patricios · Francisco Canaro · 1940 — recorded by Francisco CanaroOct 3, 1940[51]Single source

Cualquier cosa · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[25]Single source

Ramona · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[24]Single source

El tigre · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[22]Single source

Uno y uno · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[21]Single source

Vibraciones del alma · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[55]Single source

Seguime si podés · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[56]Single source

Viejo ciego · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[18]Single source

Culpas ajenas · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[57]Single source

Malevaje · Francisco Canaro · 1928 — recorded by Francisco Canaro1928[17]Single source

Mimosa · Francisco Canaro · 1929 — recorded by Francisco CanaroNov 27, 1929[33]Single source

Luis Riccardi — played in Francisco Canaro1929, 1933[31]Single source

Federico Scorticati — played in Francisco Canaro1929[31]Single source

Ángel Ramos — played in Francisco Canaro1929, 1933[31]Single source

Ciriaco Ortiz — played in Francisco Canaro1929[31]Single source

Cayetano Puglisi — played in Francisco Canaro1929, 1933[31]Single source

Octavio Scaglione — played in Francisco Canaro1929, 1933[31]Single source

Mario Brugni — played in Francisco Canaro1929, 1933[31]Single source

Mauricio Mise — played in Francisco Canaro1929[31]Single source

José Ranieri Virdo — played in Francisco Canaro1929, 1933, Mar 27, 1933[31]Single source

Minotto Di Cicco — played in Francisco Canaro1933[31]Single source

Ernesto Di Cicco — played in Francisco Canaro1933[31]Single source

Played in Radio Splendid1924[116]Single source

Played in Teatro Nacional1932–1941[117]Single source

Played in Teatro Politeama Argentino1937[117]Single source

Played in Teatro Colón1917–1918, 1933[118][119]Supported · 2

Commented on 1933 with Famá: not Canaro’s best year.1933[67]Single source

Performed at Teatro ColónSep 18, 1933[68]Single source

Oscar Sabino — joined Francisco Canaro1942[80]Single source

Its leader was born on 1888-11-26[82]Single source

External id tango_info:FrancCanar[95]Single source

External id musicbrainz:b36b8833-a4b5-4835-af1f-370c5b40e54csource

Its leader died in Buenos Aires[120]Single source