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Explore · Orchestras

Visualization · 48 periods · 14 orchestras

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.

under 1010–2525–5050 and overfilmed Dances per recordingno counts yetoverlap, printed in both, never summedno boundary cited
Juan D'Arienzo7 periods
Carlos Di Sarli6 periods
Aníbal Troilo6 periods
Osvaldo Pugliese5 periods
Miguel Caló2 periods
Ricardo Tanturi1 period
Ángel D'Agostino1 period
Pedro Laurenz3 periods
Rodolfo Biagi3 periods
Osvaldo Fresedo3 periods
Alfredo De Angelis1 period
Francisco Canaro4 periods
Francisco Lomuto3 periods
Julio De Caro3 periods

From 5,273 recordings in the 47 applied periods with counts, on 14 orchestras

One orchestra in depth

Carlos Di Sarli · The return

1951-05-09 → 1954-04-21 · 84 recordings · 1,145 filmed Dances · 14 per recording · 44% sung

Open the orchestra

Most danced

Una fija

instrumental · tango · 1954-04-21

308Filmed Dances

Start · 1951-05-09

End · 1954-04-21

  • 1954Di Sarli left Music Hall, where he had spent three years after promises of worldwide exposure that never materialised (and trouble with distribution, since few people had players for the new vinyl records), and went back to Victor in 1954. El choclo was recorded twice in 1954, first for Music Hall, then six months later for Victor; Lavocah says the Victor version is the smooth one everyone knows.no public source yet
Recordings and filmed Dances per year, the applied periods behind

Recordings · most in a year: 37

Filmed Dances · most in a year: 1,132

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)

PeriodDatesRecordingsFilmed DancesPer recordingSungMean lengthCited
1928-11-26 → 193150156342%2:482
1939-12-11 → 1942471,1582547%2:342
1942 → 1949-031142,7082471%2:492
1951-05-09 → 1954-04-21841,1451444%2:512
1954-04-22 → 1958-08-28793,1053971%3:053
1958-08-29 → 1960-01-12187013972%2:592

Singers and line-up, 1951–54

Singers

piano, bandoneons, double bass for 1951–54 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.