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
Carlos Di Sarli · Last sides
1958-08-29 → 1960-01-12 · 18 recordings · 694 filmed Dances · 39 per recording · 72% sung
After leaving RCA Victor in 1958, Di Sarli's last sides for Philips, with Horacio Casares and Jorge Durán.
356Filmed Dances
Start · 1958-08-29
- 1958Records his last 14 sides for Philips, with Horacio Casares and Jorge Durán.Biography of Carlos Di SarliCarlos di Sarli
End · 1960-01-12
- 1960Dies in Olivos.Biography of Carlos Di SarliCarlos di Sarli
Recordings · most in a year: 37
Filmed Dances · most in a year: 1,127
From 392 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.
- Sexteto21 of 50 · 5 unknown · voice share not yet measured42%
- Energetic22 of 47 · 1 unknown · voice 20.7% of running time, measured on 3847%
- Melodic81 of 114 · 7 unknown · voice 39.7% of running time, measured on 10171%
- The return37 of 84 · 2 unknown · voice 25.4% of running time, measured on 7744%
- Calm and grand56 of 79 · 6 unknown · voice 54.2% of running time, measured on 7171%
- Last sides13 of 18 · 5 unknown · voice 43.8% of running time, measured on 1172%
The periods (6)
| Period | Dates | Recordings | Filmed Dances | Per recording | Sung | Mean length | Cited |
|---|---|---|---|---|---|---|---|
| 1928-11-26 → 1931 | 50 | 156 | 3 | 42% | 2:48 | 2 | |
| 1939-12-11 → 1942 | 47 | 1,154 | 25 | 47% | 2:34 | 2 | |
| 1942 → 1949-03 | 114 | 2,691 | 24 | 71% | 2:49 | 2 | |
| 1951-05-09 → 1954-04-21 | 84 | 1,144 | 14 | 44% | 2:51 | 2 | |
| 1954-04-22 → 1958-08-28 | 79 | 3,088 | 39 | 71% | 3:05 | 3 | |
| 1958-08-29 → 1960-01-12 | 18 | 694 | 39 | 72% | 2:59 | 2 |
Singers and line-up, 1958–60
Line-up
Elvino Vardaro1958todotango.com
José Libertellabandoneon1958todotango.com
Julian Plazabandoneonpiano1958todotango.com
violins, double bass for 1958–60 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.