Pedro Laurenz

27 records across 12 episodes (24 play here), plus 2 chapters that mention them, in the order the music happened.

Records played, by recording year

19301953

Singer0 of 27 heard

1930

Milonga de mis Amores
Héctor Farrel
One of 1937's biggest songs, written by Laurenz; this earlier vocal version differs from his better-known 1944 instrumental remake.
Enamorado
Héctor Farrel
A ranchera (an invented folk-style rhythm in three, based on the mazurka) — an unusual choice, with the milonga, for Laurenz's first-ever recordings.
Only in the episode
Abandono
Composed by Laurenz's bandoneonist friend Pedro Maffia with lyrics by Homero Manzi; Michael points to the dynamic swell in the opening phrase.
Arrabal
A modest seller at the time but, to musicians, a revolution; some mark this recording as the true start of the 1940s Golden Decade.
Arrabal
Laurenz's first recordings, chosen as a masterpiece full of marcato-to-syncopation shifts, already road-tested live for two years before being recorded.

Vieja amiga
Juan Carlos Casas
Laurenz's own 1937 composition, a hit as sheet music, here on his single 1938 disc.
Milonga compadre
Juan Carlos Casas
The other side of the disc: very advanced but still danceable.

ChapterA De Caro without the lawyer's recommendation
Without this man there's no Pugliese, no Troilo, no Laurenz.

Mascarita
Juan Carlos Casas
Chosen alongside No Me Extraña as one of only eight Laurenz tracks recorded all year.
No Me Extraña
Juan Carlos Casas
Prompted Lavocah's claim that Laurenz's 1940 work is more exciting than Troilo's at the same point.

Orgullo criollo
A well-known, inventive, rhythmically rich Laurenz instrumental, chosen to show how he made De Caro's complexity more danceable.
Quédate tranquilo
Martín Podestá
A rarely-played track Stenvoll had just rediscovered, only available in poor sound quality, recorded near the end of December.

Firulete
Juan Carlos Casas
First of a Laurenz pair; Dag's title is badly garbled on the recording.
Only in the episode
Al verla pasar
Mercedes Podestá
Second Laurenz track; Dag notes this singer surnamed Podestá is unrelated to Alberto Podestá.
Es mejor perdonar
First of a closing three-track Laurenz run in the afterparty.
Flores del alma
Billed by Dag as one of the greatest waltz arrangements ever recorded; closes the Laurenz run despite his having said a different third title.

Maldonado
One of Laurenz's two great milongas of the year; the other, Rosa de San Telmo, was saved for later.
Nunca tuvo novio
Alberto Podestá
Chosen to show how a listener can identify Laurenz's phrasing by its characteristic volume waves within each phrase.

Mendocina
Carlos Bermúdez & Jorge Linares
Dag opens with one of the new duet singers Laurenz took on after Podestá left early in 1944.
Muchachos, mi último tango
Alberto Podestá
Podestá's last recording with Laurenz, made the same month he left for Di Sarli.
Only in the episode
Me están sobrando las penas
Carlos Bermúdez
A Laurenz title with Bermúdez singing, filling out the orchestra's 1944 recordings.
Naranjo en flor
Jorge Linares
Played because Lavocah rates Laurenz's version of this song even more beautiful than Troilo's, which introduced it.
El criollito oriental
Alberto Podestá
A Laurenz-Podestá milonga, picked over a better-known 1937 vocal version to play something different.

Mala Junta
Co-composed with Julio De Caro while Laurenz played in De Caro's band; De Caro added a few notes and took first billing.
Amurado
Co-written with Pedro Maffia; picked to let listeners hear the two composers' different musical personalities in the verse and chorus.

Amurado
Laurenz's own co-composition (with Pedro Maffia) slowed right down from the famous, more energetic 1940 vocal version, giving it a more mature '50s feel.

La cumparsita
Closing track by tradition; Laurenz has only two recordings of it (the first in 1926). A modest, introverted bandoneón in the Troilo style.

Tango By Year is Dag Stenvoll and Michael Lavocah's, published here with their permission. The audio plays from SoundCloud.