The Cabeceo

We've caught your eye across the milonga. Like any good tango, this starts with consent — nothing optional runs until you say so.Cookies only with your yes. What we store.

Skip to content

Eras · 1910–1917

Guardia Vieja II: 1910–1917

From roughly 1910 to 1917 the bandoneón became the defining instrument of tango, Vicente Greco’s ensemble produced the first recordings labeled Orquesta Típica Criolla, and the music conquered Parisian salons and cabarets.[1][2][3] Juan Maglio “Pacho” and others expanded the recorded repertoire while the genre moved from arrabal trios toward more formalized groups.[4]

The second phase of the Guardia Vieja, spanning the Centennial year of 1910 to about 1917, marked the consolidation of tango as a recorded and exportable genre and the definitive arrival of the bandoneón. The German-origin instrument, present in the Río de la Plata since the 1870s or earlier, faced initial resistance because of its unconventional appearance; musicians such as Vicente Loduca recalled in 1913 that few dared to carry it in public.[1][5] Key advocates included violinist Carlos Posadas, who transcribed pieces for the instrument, the intuitive “Pardo” Sebastián Ramos Mejía, and Antonio Chiappe.[1] By the early 1910s the bandoneón displaced the flute in many ensembles and shifted the sound from staccato, jumping 2/4 rhythms toward a slower, more legato character. Vicente Greco, a bandoneonist, is credited with the first recordings of an ensemble explicitly called Orquesta Típica Criolla. Matrix numbers 55.400–55.420 (including “Rosendo” by Genaro Vázquez and “Polilla” by Rosendo Mendizábal) for Columbia’s Argentine branch fall below the matrices advertised by Casa Tagini on 23 July 1910, indicating that the sessions occurred in late 1909 or early 1910 rather than the 1911/12 date given in Francisco Canaro’s memoirs.[2][6] The lineup typically featured Greco and a second bandoneón, violins (including Canaro on some takes), flute, and guitar; Greco later replaced the guitar with piano. These discs established the term “orquesta típica” and demonstrated that a bandoneón-led group could sustain commercial recording. Juan Maglio “Pacho” followed in 1912 with a large series for Columbia (dozens of tangos) using bandoneón, Stroh violin, flute, and guitar; his success made “un Pacho” synonymous with a tango record in some shops.[4][7] The same years saw tango’s first sustained European success. Sheet music such as “La morocha” had traveled earlier on the frigate Sarmiento; Villoldo and the Gobbis recorded in Paris around 1907–1908; by 1911–1913 Argentine musicians and dancers (Enrique Saborido, Celestino Ferrer, Vicente Loduca, Casimiro Aín and others) performed in Montmartre cabarets such as the Princesse on rue Fontaine.[3][8] Parisian society adopted a more upright, less intimate version of the dance, yet the craze legitimized the music and prompted Argentine elites to reassess it. Locally, the repertoire continued to grow. Eduardo Arolas, Genaro Espósito, and others recorded; Roberto Firpo began shaping the sextet instrumentation (two bandoneons, two violins, piano, double bass) that would become standard.[4][9] Early narrative songs appeared, but the decisive shift to tango-canción arrived only with “Mi noche triste” in 1917. The period thus bridges the arrabal trio and organito era with the arranged, bandoneón-centered orchestras of the following decade. By 1917 the commercial recording industry, the European vogue, and the bandoneón’s dominance had transformed tango from a localized dance music into an international popular form ready for the innovations of the Guardia Nueva.

The bandoneón’s acceptance

Although present since the 1870s, the bandoneón met resistance until shortly before 1910.[1][5] Teachers such as Carlos Posadas adapted repertoire and instructed players; early soloists included Maglio, Espósito, Loduca, and Arolas. Once integrated, it replaced the flute’s agile staccato with a sustained, expressive tone that redefined the genre’s character.[1]

First orquesta típica recordings

Vicente Greco’s Columbia sessions (matrices 55.400–55.420) constitute the earliest documented recordings of an ensemble billed as Orquesta Típica Criolla, dated by matrix evidence to late 1909 or early 1910.[2][6] Juan Maglio “Pacho” followed with a prolific 1912 series that popularized the bandoneón-led quartet format and made recorded tango commercially viable.[4][7]

Tango in Paris

By 1911–1913 Argentine musicians and dancers performed regularly in Parisian cabarets and salons; figures such as Saborido, Ferrer, Loduca, and dancer Casimiro Aín helped establish the craze that later influenced local Argentine acceptance.[3][8] French military bands had already issued tango discs around 1908, and the dance’s European success proved decisive for its social elevation.

References

How Tangopedia works

  1. 1.The Bandoneon in the River Plate, Part II · todotango.com
  2. 2.The first recording of an «Orquesta Típica» · todotango.com
  3. 3.Primer tango en París · lanacion.com.ar
  4. 4.Guardia Vieja (historia del tango) · es.wikipedia.org
  5. 5.Argentine Tango and the bandoneon · escuelatangoba.com
  6. 6.The first recording of an Orquesta Típica · web.archive.org
  7. 7.The orquestas típicas and their recordings 1910-1912 · todotango.com
  8. 8.From La morocha to El Garrón · todotango.com
  9. 9.History of the tango · en.wikipedia.org
  10. 10.Mi noche triste · es.wikipedia.org
Data: recordings, facts and sources
Play 1912, the busiest year

Key orchestras

  1. Francisco Canaro14
  2. Roberto Firpo1
  3. Juan Maglio13

Recordings per orchestra: TangoCloud catalogue

What happened

  1. 1910

    Tino García: Born in Buenos Aires to Spanish parents. source

  2. 1910

    Alberto Arenas: Born Tomás Guida in Buenos Aires. source

  3. 1910

    José Pascual: Born in Tucumán. source

  4. 1910

    Julian Centeya: Born in Borgo Val di Taro, Parma. source

  5. 1910

    Alfredo De Angelis: Born in Adrogué, south of Buenos Aires (Wikipedia gives 1912). source

  6. 1910

    Raúl Kaplun: Born Israel Kaflún in a tenement in Balvanera. source

  7. 1910

    Roberto FIRPO: Composed “El amanecer” (1910). source

  8. 1910

    Juan Andrés Caruso: Returns from Bahía Blanca to Buenos Aires, settles in San Cristóbal and joins Canaro's circle of musicians. source

  9. 1910

    Salvador Merico: Comes to Buenos Aires in the D'Aló orchestra that opens the Parque Japonés. source

  10. 1910

    José Giambuzzi: By his own account, first dances tango around the Mercado del Abasto. source

  11. 1910

    A. Bardi: Plays violin in a trio with Genaro Espósito and José Camarano at Café La Marina, La Boca. source

  12. 1910

    Esposito Genaro: Plays Café La Marina in La Boca in a trio with Agustín Bardi and José Camarano. source

  13. 1910

    Carlos Gardel: Sings at the café O'Rondeman, run by the Traverso brothers at Agüero and Humahuaca in the Abasto. source

  14. 1910

    Vicente Greco: Plays La Infanta at José De Caro's conservatory for the visiting Infanta Isabel. source

  15. 1910

    Tito Roccatagliata: Plays Café Oriental on Entre Ríos with Bazán and Pedro Modesto Ramírez. source

  16. 1910

    Carlos Hernani Macchi: Plays flute in Domingo Santa Cruz's quartet at Café La Morocha. source

  17. 1910

    Juan Maglio: First plays at café La Paloma, on Avenida Santa Fe by the Maldonado stream, then at café Garibotto, Ambos Mundos and La Morocha. source

  18. 1910

    Ernesto Ponzio: Forms a trio with Eduardo Arolas and Leopoldo Thompson. source

  19. 1910

    Augusto Berto: Plays the Café de los Loros with Julio Dutry, José Martínez and Vicente Pecci. source

  20. 1910

    Domingo Santa Cruz: Leads a quartet at Café La Morocha with Juan Santa Cruz and Carlos Hernani Macchi. source

  21. 1910

    Juan Carlos Bazán: Leads his own quartet at the Café Oriental. source

  22. 1910

    Alfredo Bevilacqua: Premieres Independencia with a band on Avenida de Mayo for the centenary. source

  23. 1911

    Jorge Omar: Born Juan Manuel Ormaechea in Buenos Aires; raised in Palermo. source

  24. 1911

    José Tinelli: Born in Buenos Aires. source

  25. 1911

    César Zagnoli: Born in Durazno. source

  26. 1911

    Julio Camilloni: Born. source

  27. 1911

    Edmundo Rivero: Born in Valentín Alsina; the family later settles in Saavedra, where he grows up. source

  28. 1911

    Alberto Vacarezza: Los scruchantes wins Pascual Carcavallo's contest and opens at the Teatro Nacional. source

  29. 1911

    Ivo Pelay: His first play, Mala vida, opens at the Teatro Nacional with Ulises Favaro's company. source

  30. 1911

    Juan Larenza: Born. source

  31. 1911

    Gabriel Clausi: Born in Buenos Aires. source

  32. 1911

    Raúl Hormaza: Born in Montevideo; comes to Buenos Aires at four. source

  33. 1911

    Pepe Aguirre: Born in La Serena. source

  34. 1911

    Nelly Omar: Born Nilda Elvira Vattuone at the La Atrevida ranch near Bonifacio, Guaminí district. source

  35. 1911

    Juan Tiggi: Born in Buenos Aires. source

  36. 1911

    Víctor Felice: Born in Buenos Aires. source

  37. 1911

    Ángel Cabral: Born; Pinsón gives Villa Luro, Wikipedia Mercedes. source

  38. 1911

    José María Contursi: Born in Lanús, son of Pascual Contursi. source

  39. 1911

    Emilio Barbato: Born. source

  40. 1911

    José Ranieri: Born in Buenos Aires. source

  41. 1911

    Amanda Ledesma: Born in Buenos Aires. source

  42. 1911

    Bachicha: Plays as a duo with Roberto Firpo at Café Centenario ("Taka Taka") on Avenida de Mayo, then at La Castellana. source

  43. 1911

    El Cachafaz: Contracted to dance in the United States, described as the first tango dancer hired there. source

  44. 1911

    Rafael Tuegols: Comes to tango playing with Eduardo Arolas's trio at the café La Buseca in Avellaneda. source

  45. 1911

    Manuel Jovés: Settles in Buenos Aires (1908 according to Todo Tango). source

  46. 1911

    Juan Bautista Deambroggio: Plays as a duo with Roberto Firpo at the Café Centenario. source

  47. 1911

    Juan Guido: At about thirteen joins the large group of his teacher Arturo Severino. source

  48. 1911

    José Razzano: Records ten criollo songs for Victor; meets Carlos Gardel in the Abasto. source

  49. 1911

    Salvador Merico: Returns to Buenos Aires with his wife and settles for good. source

  50. 1911

    Eduardo Arolas: Enrols at José Bombig's conservatory and forms a group with Leopoldo Thompson and Ponzio. source

  51. 1911

    Graciano de Leone: Plays the Bar Argentino in La Boca with Roccatagliata, Macchi and Bardi. source

  52. 1911

    José González Castillo: In Chile, La serenata wins first prize in the Teatro Nacional's contest. source

  53. 1911

    Vicente Greco: Premieres Rodríguez Peña at the Salón Rodríguez Peña. source

  54. 1911

    Vicente Greco: His group is the first tango ensemble hired to open the Armenonville. source

  55. 1911

    Vicente Greco: Begins recording, around this year, for the Tagini firm with his El Estribo musicians. source

  56. 1911

    Arturo de Bassi: Registers La catrera and El caburé. source

  57. 1911

    Enrique Saborido: Teaches tango music and dance to Paris society. source

  58. 1912

    Florindo Sassone: Born Pedro Florindo Sassone in Liniers. source

  59. 1912

    Vicente Demarco: Born in Buenos Aires. source

  60. 1912

    Alfredo Gobbi: Born in Paris while his parents, the duo Los Gobbi, are working in Europe. source

Dated claims

16 published claims dated inside this era, each with its source

  1. 1910-01-01Don Juan · occurred at: 1910

    source

  2. 1910-01-01El choclo · debut recording: 1910

    source

  3. 1910-01-01Roberto Firpo · described as: active 1910–1960

    source

  4. 1910-01-01Don Juan · published at: 1910

    source

  5. 1910-01-01Casa Lepage / Casa Glücksmann · described as: Todo Tango's c.1910 tour of Avenida de Mayo describes Casa Lepage, run by Max Glücksmann, as selling Victor records; address not given, in conflict with the Bolívar 375 of Wikipedia-es.

    source

  6. 1910-01-01Teatro Colón · described as: For the 1910 Carnival the Colón held dances where an orchestra of 50 led by Alfonso Paolantonio played tangos, among other pieces, for the dancers; a La Nación chronicle said they were not numerous.

    source

  7. 1910-01-01Palais de Glace · open from: 1910

    source

  8. 1910-01-01Mariano Balcarce · born on: 1910

    source

  9. 1910-01-01Armenonville · open from: 1910

    source

  10. 1910-02-01Teatro Colón · described as: Bailes de carnaval de 1910 en el Teatro Colón: February 1910 saw the first carnival dances held inside the Teatro Colón, with costume contests, comparsas and adult dances at night; Wikipedia adds that a 50-piece orchestra under Alfonso Paolantonio played.

    source

  11. 1910-02-16Agustín Minotti · born on: 1910-02-16

    source

  12. 1910-02-20Oscar Sabino · born on: 1910-02-20

    source

  13. 1910-05-21Plaza de Mayo · described as: Centenario de 1910: the festivities for the 100th anniversary of the Revolución de Mayo began on 21 May 1910 and peaked on 25 May, with the Infanta Isabel as guest of honour. They took place under a state of siege declared by President Figueroa Alcorta because of anarchist sabotage plans; the square was lit with electric light.

    source

  14. 1910-05-24Teatro Colón · described as: Centenario de 1910: during the centenary celebrations of the Revolución de Mayo, the new Teatro Colón hosted a great opera gala on 24 May 1910 (Rigoletto, with Titta Ruffo).

    source

  15. 1910-05-25Plaza de Mayo, Buenos Aires · described as: Centenary of the May Revolution: Celebrations of the first hundred years of independence.

    source

  16. 1910-06-25Tino García · born on: 1910-06-25

    source

1910s

Counts: TangoCloud catalogue