Tango in 1922

This article gathers what the available sources record about tango in the year 1922. The material is almost entirely discographic. It consists of a year listing of titles, performers, genres and, in some cases, exact recording dates ^[3]. It is supplemented by single statements from articles on Carlos Gardel and Osvaldo Pugliese ^{[1] [2]} and by a note from a Gardel discography ^[4].

An article on Carlos Gardel states that 1922 was the year in which tangos first exceeded half of the songs recorded, with twelve tangos out of twenty-one songs ^[1]. The 1922 year listing contains a larger number of Gardel entries than this figure, and the two counts are not reconciled in the sources (see the disputed entries) ^{[1] [3]}.

Beyond tango proper, the 1922 listing includes waltzes (vals and vals sentimental), maxixes, a polca and a milonga ^[3]. It also includes Argentine folk and regional forms such as the tonada, zamba, estilo, canción and canción campera, and a pasillo colombiano ^[3].

An article on Gardel describes 1922 as the point at which tangos came to make up more than half of the songs recorded: twelve out of twenty-one ^[1]. In the 1922 listing, most of the Gardel entries credit the guitarists Guillermo Barbieri and José Ricardo as accompanists ^[3].

The listing also contains the vals Tu diagnóstico, credited to Carlos Gardel alone ^[3].

The Gardel discography notes that the verses of Un bailongo were written by Cepeda ^[4]. It also states that Gardel sang the piece in milonga rhythm and recorded it in 1922 ^[4]. The year listing likewise classes Un bailongo as a milonga ^[3].

The listing credits Mis flores negras to Gardel in three separate entries, each with different personnel ^[3]. Because the sources do not explain this, the variation is recorded as disputed below ^[3].

Osvaldo Fresedo's 1922 entries are the only ones in the listing that give exact day dates for some recordings ^[3]. Those dates run from 24 May to 12 November 1922 ^[3].

Several works appear in the 1922 listing under more than one performer, sometimes with slight differences in title ^[3]. El huérfano is listed for both Francisco Canaro and Roberto Firpo ^[3]. A third entry under the same work identifier is garbled and cannot be attributed ^[3].

The tango listed as Madre for Gardel appears as Madre...! for Firpo, under the same work identifier ^[3]. The work listed as El patotero sentimental for Gardel appears as Patotero sentimental in two other entries ^[3]. One of those entries is credited to Ignacio Corsini, and the other to Roberto Firpo with Corsini ^[3].

An article on Osvaldo Pugliese records that his father, Adolfo, helped him take his first steps in music ^[2]. The same article states that in 1922 his father bought him a German Fröster piano ^[2]. According to that source, Pugliese played this piano throughout his career, from his time with Pedro Maffia until his last days ^[2]. The source adds that the piano is now held at La fundación la casa del tango ^[2].