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Tango in 1925

In 1925 Francisco Canaro sailed for Paris, the Gardel–Razzano duo separated after Razzano's larynx injury, and Carlos Gardel undertook a 1925/1926 tour of Spain [2][3][6][7]. A discography listing records a large body of 1925 recordings by Carlos Gardel, Osvaldo Fresedo, Julio De Caro, Francisco Canaro and others [5].

The sources for this article describe 1925 mainly through the careers of individual performers and through a recording list for the year [1][2][3][5]. The best-documented events are Francisco Canaro's departure for Paris, the end of the singing partnership between Carlos Gardel and José Razzano, and Gardel's tour of Spain in 1925/1926 [2][3][6][7].

Other biographical sources mention smaller events of the year. One source states that Aníbal Troilo, known as Pichuco, made his earliest documented public appearance in 1925, at age 11, in a bar next to the Mercado de Abasto, the central fruit and vegetable market of Buenos Aires [1]. Another records that the family of Mariano Mores moved to Tres Arroyos in 1925 [4]. A biography of Gerardo Matos Rodríguez says that an earlier success awoke the composer's dormant abilities and that he returned in 1925 with another hit, but the excerpt is cut off and does not name the work [8].

Most of the material for the year is a discography listing of 1925 recordings, each with a title, genre, performers and a work identifier [5]. Many entries give only the year, while others give an exact recording date [5]. The dates below are recording dates from that listing. They are not composition or premiere dates [5].

History

According to one biography, at the start of 1925 Amadeo Garesio, who ran a booking agency for performers and later owned the Chantecler cabaret, encouraged Francisco Canaro to perform in Paris [3]. The same source says tango was widely known in Paris at the time, and that the orchestra of Manuel Pizarro and a group led by Genaro Espósito and Eduardo Blanco were performing there with success [3]. An English-language biography also states that Canaro travelled to Paris in 1925, when tango was the new fashion there [7].

Canaro left with his wife on 10 March 1925 aboard the steamer Alsina [3]. His musicians followed later on the Lutetia [3].

The year also ended the partnership of Carlos Gardel and José Razzano. One source states that in September 1925, after 12 years of singing together, the duo split because of a larynx injury suffered by Razzano, who then took on business duties [2]. A biography of Razzano adds that the pair had travelled to Uruguay, Brazil, Chile and Spain, and that by 1925 Razzano, his vocal cords seriously damaged, gave up singing [6]. The two accounts agree on the year and the cause, though only the first gives a month [2][6].

Gardel then toured Spain in 1925/1926 with the same theatrical company as on a tour two years earlier [2]. This time the tour included Barcelona, which the source describes as a city that would form a special bond with Gardel [2]. His engagement there was extended from an initial ten days to two months [2]. On the same tour Gardel appeared with moderate success in Madrid, in Vitoria in the Basque Country, and in Zamora in Castile and León [2].

Carlos Gardel's recordings

The listing contains many 1925 recordings by Carlos Gardel, most with the guitarists Guillermo Barbieri and José Ricardo [5]. Tangos recorded in this format include:

  • Acuarelita de arrabal [5]
  • Adiós para siempre [5]
  • Amigazo [5]
  • Ave cantora [5]
  • Callecita de mi barrio [5]
  • Caminito del taller [5]
  • Caricias [5]
  • Cicatrices [5]
  • Corto de genio [5]
  • El Once (A divertirse) [5]
  • Fea [5]
  • Galleguita [5]
  • Guaminí [5]
  • Idilio campero [5]
  • Langosta [5]
  • Mala [5]
  • Mano mora [5]
  • Mi guitarra [5]
  • Muchachita de Montmartre [5]
  • Organito de la tarde [5]
  • Oro y seda [5]
  • Pa' que te acordes [5]
  • Pobre muñequita | muñequita de trapo [5]
  • Por el camino [5]
  • Por el llano [5]
  • Por ella [5]
  • Por una verdad (Todas son mentiras) [5]
  • Por última vez [5]
  • Puentecito [5]
  • Quejas del alma [5]
  • Sentimiento gaucho [5]
  • Silbando [5]
  • Sonsa [5]
  • Soñando [5]
  • Tango porteño [5]
  • Trago amargo [5]
  • Trapito [5]
  • Viejo rincón [5]

With Barbieri and Ricardo, Gardel also recorded non-tango pieces in 1925, according to the listing [5]. These include:

  • Circe (shimmy) [5]
  • Reyes del aire (shimmy) [5]
  • Cordobesita (zamba) [5]
  • Volveme el cariño (zamba) [5]
  • Mis espuelas (estilo) [5]
  • Salve, patria (estilo) [5]

Several recordings feature Gardel together with José Razzano, accompanied by Barbieri and Ricardo [5]. They are all in folk or other non-tango forms:

  • Cañaveral (zamba) [5]
  • Del infierno adelante (gato) [5]
  • El picaflor (tonada) [5]
  • El triunfo (danza) [5]
  • La choyana (chacarera) [5]
  • Llora corazón (vals) [5]
  • Mi ambición (vals) [5]

At the end of the year the listing dates a series of recordings by Gardel with José Ricardo alone [5]. Mi querer, with Barbieri and Ricardo, is dated 26 December 1925 [5]. Recordings with Ricardo alone dated 26 or 27 December 1925 include:

  • Echaste buena (26 December) [5]
  • Amor (Gran buda), a shimmy (27 December) [5]
  • El bulín de la calle Ayacucho (27 December) [5]
  • Leguisamo solo (27 December) [5]
  • Maldita visión (27 December) [5]
  • Oiga... amigo! (27 December) [5]
  • Pobre chica (27 December) [5]
  • Pompas de jabón (27 December) [5]
  • Raza noble (27 December) [5]
  • Yo te bendigo (27 December) [5]

Other 1925 entries credit Gardel without listing accompanists [5]. These are Fea, La cumparsita | Si supieras, Pobre chica, Viejo rincón and Yo te bendigo, plus Para quererte nací and Tus violetas, whose genre is not given [5].

Orchestral recordings

Osvaldo Fresedo is credited with many 1925 recordings in the listing [5]. Those with an exact date are:

  • Oro y seda (5 February 1925) [5]
  • Muchachita de Montmartre (25 August 1925) [5]
  • Callecita de mi barrio (22 September 1925) [5]
  • Viejo rincón (6 October 1925) [5]

Fresedo recordings with only a year given are listed as follows [5]:

The listing also credits Fresedo with recordings featuring singers [5]. These are Oro y seda and Pobre chica (15 July 1925) with Ada Falcón, and Fea and Perdón viejita with Carlos Gardel [5].

The 1925 Julio De Caro entries mostly carry exact dates [5]. They are:

  • Buen amigo (12 May 1925) [5]
  • El monito (23 July 1925) [5]
  • Atilio Pelossi (1 September 1925) [5]
  • Sobre el pucho (2 September 1925) [5]
  • Muchacho (21 September 1925) [5]
  • Beba (13 October 1925) [5]
  • El abrojito (13 October 1925) [5]
  • Corazoncito de oro (22 October 1925) [5]
  • Mocosita (5 November 1925) [5]
  • Horas tristes (1 December 1925) [5]
  • Alma de bohemio (16 December 1925) [5]
  • Chacabuco (30 December 1925) [5]
  • Pura maña (year only) [5]
  • Volverás (year only) [5]

Francisco Canaro's 1925 entries include both instrumentals and recordings with the singer Azucena Maizani [5]. The Maizani recordings are Acuarelita del arrabal (July 1925), Silbando (July 1925), Fósforerita, Organito de la tarde and Por ella [5]. Canaro's instrumental tangos from the year include:

  • Acuarelita del arrabal [5]
  • Adiós para siempre [5]
  • El milonguero [5]
  • Hasta la vuelta [5]
  • Langosta [5]
  • Muchachita de Montmartre [5]
  • No te quiero más [5]
  • Organito de la tarde [5]
  • Silbando [5]
  • Trapito [5]
  • Una limosnita [5]
  • Viejo rincón [5]

Canaro also recorded the paso doble Flor de España, the fox trot Mi querido Agustín and the maxixa No puedo más in 1925 [5]. Roberto Firpo is listed with the tango Langosta, the fox trot Mi querido Agustín and the paso doble Serrana (Hijos de bueu) [5]. Francisco Lomuto is listed with La cumparsita and Muchacho [5].

The Orquesta Típica Victor appears with three dated recordings [5]. These are the tango Sarandí (9 November 1925), the tango Tesorito (30 November 1925) and the zamba Flor de Amambay (15 December 1925) [5].

Smaller groups and other leaders also appear in the 1925 listing [5]. Pedro Laurenz and Pedro Maffia recorded Julián and Sonsa, both dated 3 July 1925 [5]. Manuel Pizarro is listed with De mi barrio, on which he also sang, and with Galleguita with a choir [5]. Vicente Loduca is listed with Cara sucia, and Juan Félix Maglio with the vals Sombras de Buenos Aires [5].

Singers

Apart from Carlos Gardel, the 1925 listing names several other singers [5]. Rosita Quiroga recorded Quejas del suburbio with José María Aguilar and Rosendo Pesoa on 10 February 1925 [5]. With Manuel Buzón she recorded Muchacho on 17 September 1925 and Callecita de mi barrio on 28 September 1925 [5].

Agustín Magaldi recorded La santita with Enrique Maciel and José María Aguilar on 2 June 1925 [5]. He also recorded Sonsa with unidentified guitarists on 3 November 1925 [5].

Ignacio Corsini is listed with several recordings with unidentified guitarists [5]:

  • Adiós, muchachos [5]
  • Alma de bohemio [5]
  • Amurado [5]
  • Caminito [5]

Corsini is also credited with Sentimiento gaucho and Trago amargo in 1925 [5]. Azucena Maizani's recordings were with Francisco Canaro, and Ada Falcón's with Osvaldo Fresedo, as listed above [5].

Repertoire

Several titles were recorded by more than one performer in 1925, according to the listing [5]. Examples include:

  • Sonsa: Gardel, Fresedo, Laurenz and Maffia, and Magaldi [5]
  • Muchacho: Lomuto, De Caro, and Buzón with Quiroga [5]
  • Viejo rincón: Gardel, Canaro and Fresedo [5]
  • Pobre chica: Gardel, Fresedo, and Fresedo with Falcón [5]
  • Organito de la tarde: Canaro, Canaro with Maizani, and Gardel [5]
  • Silbando: Canaro, Canaro with Maizani, and Gardel [5]
  • Trago amargo: Corsini, Gardel and Fresedo [5]
  • Callecita de mi barrio: Gardel, Buzón with Quiroga, and Fresedo [5]
  • Muchachita de Montmartre: Canaro, Gardel and Fresedo [5]
  • Langosta: Canaro, Gardel and Firpo [5]

These are recording dates only, so 1925 should not be read as the year any of these works was composed or first performed [5].

The 1925 recordings were not limited to tango [5]. The listing includes valses, shimmies, zambas, a gato, a tonada, a danza, a chacarera, estilos, pasos dobles, a fox trot and a maxixa [5].

Referencias

Cómo funciona Tangopedia

  1. Aníbal Troilo · es.wikipedia.org“Un año después, en 1925 (cuando contaba con 11 años de edad) Pichuco realizó su primera actuación, en un bar pegado al Mercado de Abasto”
  2. Carlos Gardel · es.wikipedia.org“En septiembre de 1925, luego de 12 años de cantar juntos y debido a una lesión de laringe de Razzano, el dúo decide separarse”
  3. Francisco Canaro · es.wikipedia.orgPágina de la fuente“Comenzaba 1925 cuando el director de una agencia de contratación de artistas Amadeo Garesio”
  4. Mariano Mores · es.wikipedia.org“Su familia se mudó a Tres Arroyos en 1925.”
  5. tango.info · tango.info“Acuarelita de arrabal | T0370000126 | tango | Guillermo Barbieri, José Ricardo | Carlos Gardel | spa | 1925”
  6. www.todotango.com · todotango.com“They traveled to Uruguay, Brazil, Chile and Spain until, reaching 1925, Razzano, with his vocal cords seriously damaged, gave up singing.”
  7. www.todotango.com · todotango.com“In 1925, he traveled to Paris, where tango was the new fashion.”
  8. www.todotango.com · todotango.com“This success awoke the sleeping capabilities of its composer and he reappeared in 1925 with another hit, “”
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