Which years of each orchestra do dancers choose?
Of 48 applied periods on 14 orchestras, Juan D'Arienzo’s Faster with Polito (1938–39) draws the most filmed Dances per recording: 131. The next is Ricardo Tanturi’s With Castillo, at 47.
From 5,273 recordings in the 47 applied periods with counts, on 14 orchestras
Juan D'Arienzo · Faster with Polito
1938-07-08 → 1939-12-22 · 40 recordings · 5,251 filmed Dances · 131 per recording · 58% sung
557Filmed Dances
Start · 1938-07-08
- 1938Biagi's last recording with the orchestra, Champagne tango; Juan Polito takes over the piano that July.Orquesta Típica Juan D'Arienzo
End · 1939-12-22
- 1939The 22 December 1939 session was the last of the Polito band: the whole band, singer included, resigned only in February 1940, over two months later, but the titles Por qué razón and Trago amargo read like a premonition.no public source yet
Recordings · most in a year: 52
Filmed Dances · most in a year: 3,465
From 1,001 catalogue recordings, 10 of them in no applied period · gold: applied periods; outlined: selected
How much of each period is sung
Share of recordings with a credited singer; voice share of running time where Parts are measured.
- Sexteto39 of 41 · 2 unknown · voice share not yet measured95%
- With Biagi9 of 64 · 2 unknown · voice 4.9% of running time, measured on 4614%
- Faster with Polito23 of 40 · voice 19.7% of running time, measured on 3258%
- Slowing down80 of 108 · voice 40.7% of running time, measured on 9074%
- The king is back81 of 122 · 3 unknown · voice 42.9% of running time, measured on 9966%
- Salamanca in the 50s105 of 152 · 4 unknown · voice 46.6% of running time, measured on 10469%
- Late years325 of 464 · 13 unknown · voice 39.5% of running time, measured on 2870%
The periods (7)
| Period | Dates | Recordings | Filmed Dances | Per recording | Sung | Mean length | Cited |
|---|---|---|---|---|---|---|---|
| 1928 → 1929 | 41 | 18 | 0.4 | 95% | 2:53 | 2 | |
| 1935-12-31 → 1938-06-22 | 64 | 2,807 | 44 | 14% | 2:35 | 2 | |
| 1938-07-08 → 1939-12-22 | 40 | 5,251 | 131 | 58% | 2:30 | 2 | |
| 1940-04-12 → 1944 | 108 | 4,793 | 44 | 74% | 2:39 | 2 | |
| 1944 → 1949 | 122 | 1,819 | 15 | 66% | 2:42 | 2 | |
| 1950 → 1957-03-13 | 152 | 2,297 | 15 | 69% | 2:45 | 2 | |
| 1957-03-14 → 1976-01-14 | 464 | 3,733 | 8 | 70% | 2:53 | 2 |
Singers and line-up, 1938–39
Singers
Alberto Echagüeperiod note, not yet cited
Line-up
Juan Politoperiod note, not yet cited- Alfredo Mazzeo1934–1939todotango.com
- Domingo Mancuso1934–1939todotango.com
- Domingo Moro1934–1939todotango.com
- Haroldo Ferrero1934–1939todotango.com
- José Della Rocca1934–1939todotango.com
- Juan Jose Visciglio1934–1939todotango.com
- Lidio Fasoli1934–1939todotango.com
Rodolfo Biagipiano1934–1939todotango.com- Rodolfo Duclós1934–1939todotango.com
bandoneons, violins, double bass for 1938–39 not yet citedhelp fill it
How to read this
- Each row is one orchestra; each band is one applied period, from its first day to its last, on a shared 1915–2000 axis.
- Colour is filmed Dances per catalogued recording in that period: the darker the band, the more often dancers choose a record from it. The number inside is that value.
- Choose a band to open the orchestra in depth below. Hatched gold marks days two periods share; each recording counts in one of them and the two are never summed.
What it shows
Juan D'Arienzo holds 3 of the 5 highest periods. The 5 highest: Juan D'Arienzo’s Faster with Polito (131); Ricardo Tanturi’s With Castillo (47); Juan D'Arienzo’s Slowing down (44); Juan D'Arienzo’s With Biagi (44); Pedro Laurenz’s With Podestá (44). All of them fall between 1935 and 1944.
Orchestras whose own highest period comes in 1950 or later, 1 of 13: Carlos Di Sarli’s Calm and grand (40). Across the 47 periods with counts, 3,457 of 5,273 recordings (66%) have a credited singer; for 546, we don’t know yet.
Method and coverage
- 48 applied periods on 14 orchestras; 47 carry recording counts.
- Boundaries: 48 applied periods cite at least one boundary, 0 cite none; 98 boundary citations in all.
- Membership is the stored assignment of each recording to one period of its orchestra. Where two periods share days, each recording still counts in only one, and the two are never summed.
- Filmed Dances are recording-level matches of filmed Performances to catalogue recordings. Sung means a singer is credited; voice share is measured from Parts where they are held.