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 46.
From 5,273 recordings in the 47 applied periods with counts, on 14 orchestras
Aníbal Troilo · The young Pichuco
1937 → 1941-03-03 · 2 recordings · 22 filmed Dances · 11 per recording · 0% sung
22Filmed Dances
Start · 1937
- 1937Debuts his own orchestra at the Marabú, with Orlando Goñi on piano and Francisco Fiorentino singing.Aníbal TroiloFrancisco Fiorentino
End · 1941-03-03
- 19411941 is the year Troilo finally signs his record deal with Victor, after being stuck for three years in a dead-end contract with a label that would not record him.no public source yet
Recordings · most in a year: 32
Filmed Dances · most in a year: 1,724
From 462 catalogue recordings, 0 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.
- The young Pichuco0 of 2 · voice 0.0% of running time, measured on 10%
- Energetic71 of 88 · 9 unknown · voice 37.5% of running time, measured on 7581%
- Sentimental86 of 100 · 7 unknown · voice 49.9% of running time, measured on 8586%
- TK years48 of 86 · 38 unknown · voice share not yet measured56%
- Odeon years17 of 23 · 1 unknown · voice share not yet measured74%
- Late years91 of 163 · 15 unknown · voice share not yet measured56%
The periods (6)
| Period | Dates | Recordings | Filmed Dances | Per recording | Sung | Mean length | Cited |
|---|---|---|---|---|---|---|---|
| 1937 → 1941-03-03 | 2 | 22 | 11 | 0% | 2:53 | 2 | |
| 1941-03-04 → 1944-03 | 88 | 2,641 | 30 | 81% | 2:50 | 2 | |
| 1944-04 → 1949 | 100 | 1,569 | 16 | 86% | 3:03 | 2 | |
| 1950 → 1957 | 86 | 222 | 3 | 56% | 3:09 | 2 | |
| 1957 → 1959 | 23 | 269 | 12 | 74% | 3:13 | 2 | |
| 1961 → 1975 | 163 | 1,773 | 11 | 56% | 3:05 | 2 |
Singers and line-up, 1937–41
Singers
Francisco Fiorentinoperiod note, not yet cited
Amadeo Mandarinoperiod note, not yet cited
Line-up
- Juan Miguel Rodríguez1937–1942todotango.com
- Orlando Goñipiano1937–1942todotango.com
- David Díazviolin1938–1942todotango.com
- Hugo Baralisviolin1938–1942todotango.com
Astor Piazzolla1939–1944tangovoice.wordpress.com
bandoneons, double bass for 1937–41 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 (46); Juan D'Arienzo’s Slowing down (44); Pedro Laurenz’s With Podestá (44); Juan D'Arienzo’s With Biagi (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 (39). 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.