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
Osvaldo Pugliese · Transition
1946 → 1949 · 50 recordings · 1,350 filmed Dances · 27 per recording · 64% sung
414Filmed Dances
Start · 1946
- 1946Composes La yumba, the piece that became the emblem of his sound.Osvaldo Pugliese
End · 1949
- 1949In 1949 Pugliese got permission to play carnival dances after the ban eased, and the pressure of the state crackdown shows in some tracks, though not in Malandraca.no public source yet
Recordings · most in a year: 32
Filmed Dances · most in a year: 937
From 456 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.
- Early years24 of 42 · 2 unknown · voice 45.8% of running time, measured on 2557%
- Transition32 of 50 · voice 54.6% of running time, measured on 3664%
- Mature style40 of 64 · voice 55.7% of running time, measured on 2563%
- Maciel shines106 of 162 · 35 unknown · voice share not yet measured65%
- Late years60 of 138 · 28 unknown · voice share not yet measured43%
The periods (5)
| Period | Dates | Recordings | Filmed Dances | Per recording | Sung | Mean length | Cited |
|---|---|---|---|---|---|---|---|
| 1943-07-15 → 1945 | 42 | 1,665 | 40 | 57% | 2:50 | 2 | |
| 1946 → 1949 | 50 | 1,350 | 27 | 64% | 2:50 | 2 | |
| 1950 → 1954-07-15 | 64 | 2,083 | 33 | 63% | 3:05 | 2 | |
| 1954-07-16 → 1967-11-01 | 162 | 4,514 | 28 | 65% | 3:11 | 2 | |
| 1967-11-02 → 1995-07-25 | 138 | 1,696 | 12 | 43% | 3:04 | 2 |
Singers and line-up, 1946–49
Singers
Alberto Moránperiod note, not yet cited
Roberto Chanelperiod note, not yet cited
Line-up
- Aniceto Rossidouble basscello1945–1950todotango.com
- Enrique Cameranoviolin1939–1958todotango.com
- Julio Carrasco1945–1950todotango.com
- Osvaldo Ruggierobandoneon1939–1968en.wikipedia.org
- Oscar Castagnaro1943–1951en.wikipedia.org
- Oscar Herreroviolin1943–1978en.wikipedia.org
- Esteban Gilardi1945–1950todotango.com
Jorge Caldarabandoneon1945–1950todotango.com- Oscar Castagniaro1945–1950todotango.com
Emilio Balcarceviolinbandoneon1948–1950todotango.com
piano for 1946–49 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.