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: 129. 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 · Odeon years
1957 → 1959 · 23 recordings · 267 filmed Dances · 12 per recording · 74% sung
A short contract with Odeon, 1957 to 1959: concert pieces more than dance music.
93Filmed Dances
shares 1957–1957 with TK years. Each recording is counted in one period only, so the counts are never summed.
Start · 1957
- 1957Troilo's career divides into three: traditional dance music to the end of the 40s; a transition in the early 50s as he embraces Piazzolla, still danceable; and a concert era from about 1957-59 on Odeon when most people no longer danced, after he left poor-quality Teca in 1956.no public source yet
End · 1959
- 1959Last recordings for Odeon, 4 June 1959.no public source yet
Recordings · most in a year: 32
Filmed Dances · most in a year: 1,718
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 | 2,625 | 30 | 81% | 2:50 | 2 | |
| 1944-04 → 1949 | 100 | 1,566 | 16 | 86% | 3:03 | 2 | |
| 1950 → 1957 | 86 | 220 | 3 | 56% | 3:09 | 2 | |
| 1957 → 1959 | 23 | 267 | 12 | 74% | 3:13 | 2 | |
| 1961 → 1975 | 163 | 1,746 | 11 | 56% | 3:05 | 2 |
Singers and line-up, 1957–59
Line-up
- David Díazviolin1959todotango.com
- Domingo Mattio1959todotango.com
Roberto Grelaguitar1958todotango.com
Osvaldo Manzipiano1954–1957todotango.com- Rafael del Bagno1958todotango.com
- Alcides Rossidouble bass1959todotango.com
- Ernesto Baffa1959todotango.com
- José Bragato1959todotango.com
Osvaldo Berlingieri1959todotango.com
bandoneons for 1957–59 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 (129); 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 (43). 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.