Tango in 1975

The year 1975 is documented in the dossier mainly through the death of Aníbal Troilo, the musical responses to it, changes in orchestras and ensembles, film and stage work by tango figures, and the political violence that pushed at least one tango singer into exile ^[1][2][3][8].

A recording listing also dates a substantial number of tango, vals, milonga and candombe recordings to 1975, by orchestras and ensembles including those of Fulvio Salamanca, Juan D'Arienzo, Florindo Sassone, Armando Pontier, Héctor Varela, Osvaldo Requena, Domingo Federico and Los muchachos de antes ^[7].

Sources disagree on the date of Troilo's death: one gives 19 May 1975, while another gives 18 March 1975 ^[1][2]. Both versions are recorded below.

Aníbal Troilo, known as Pichuco, was a bandoneonist, composer and orchestra leader born in Buenos Aires on 11 July 1914 ^[1]. With his orchestra, whose members changed considerably over time, he worked almost without interruption in live performances and on recordings until the year of his death, 1975 ^[1].

The date of his death is disputed between sources. One source states that he died in Buenos Aires on 19 May 1975, at 0:10 in the Hospital Italiano, from a stroke followed by successive cardiac arrests ^[1]. Another source gives the date as 18 March 1975 ^[2]. A third source states only that Troilo had died in 1975 ^[4].

Troilo's death had later consequences: according to one source, the producer Segovia had originally hoped to use Troilo's orchestra for the musical Tango Argentino, but Troilo had died in 1975 ^[4]. A biography of Raúl Garello states that Garello stayed as arranger and bandoneon player in an orchestra until its leader's death in 1975 ^[5].

Astor Piazzolla responded to Troilo's death with new music ^[2][3]. One source notes that, just as Troilo had composed "Responso" as a tribute to Homero Manzi after Manzi's death, Piazzolla wrote his own "responso" in homage to Troilo; according to María Azzi and Simón Collier, the idea came from his manager Pagani ^[2]. Another source describes the "Suite troileana" as composed in 1975 when Piazzolla was shocked by the news of Troilo's death ^[3].

The same Piazzolla article states that a new ensemble had two versions, one formed in 1975 in Argentina and another formed in 1977 in Europe ^[2]. It also recounts that at one point during 1975 Daniel received a call from Aerolíneas Argentinas about a ticket in his name to travel to Italy, and decided to take his synthesizer so as not to abandon his musical studies; according to Daniel, his father did not yet know the instrument ^[2].

Juan D'Arienzo was an exclusive artist of the RCA Victor label for forty years, from 1935 to 1975 ^[6]. A recording listing dates four D'Arienzo recordings to 30 January 1975 ^[7].

In the Sexteto Mayor, the pianist Armando Cupo was replaced in 1975 by Juan Mazzadi, and the double bassist Omar Murtagh by Enrique "Kicho" Díaz ^[9].

Between 1975 and 1977 the Cuarteto Cedrón recorded songs by Pablo Neruda and Bertolt Brecht, performed by Paco Ibáñez ^[13].

A biography of Luis Stazo states that in 1975 he conducted and arranged all the numbers of an album; the source excerpt is truncated and does not name the album or its producer ^[14].

In 1975 Mariano Mores staged the show Yo canto a mi Argentina with the lunfardo poet Héctor Gagliardi, the actor Tito Lusiardo, and Nito and Claudia ^[10]. A 1975 compilation, Tango en Caño 14, issued on RCA Camden, included four tracks sung by Roberto Goyeneche ^[11].

The 1975 film Solamente ella, directed by Lucas Demare, is listed among the credits of the dancer Juan Carlos Copes ^[12]. Susana Rinaldi had a leading role in the same film, and she also appeared in Enrique Carreras's Las procesadas, in which she played an atypical role set in a prison; both films were from 1975 and were her last film appearances until 1993, when she played herself in Funes, un gran amor ^[8].

Rinaldi's marriage ended in divorce in 1975, only five years after the wedding ^[8]. She referred to a mentor as a "padre" and a "ser humano por excelencia" and lamented his death in October 1975, some months after that of Troilo, who had been the artistic godfather of her first husband, Osvaldo Piro ^[8].

In May 1975 alone, 29 crimes were attributed to the Triple A, while Isabel Perón, who had assumed office after the death of her husband, former president Juan Domingo Perón, in 1974, projected an image of helplessness ^[8].

Susana Rinaldi received a threat from the Triple A during Isabel Perón's government in 1975 and went into exile ^[8]. The source gives two accounts of the route: one passage says she had to go into exile unexpectedly in France, where she lived for many years and built a wide recording career across Europe; another says that, threatened by parapolice groups, she left without warning for Spain and, lacking work opportunities there, settled in France in 1975 ^[8]. The same source states that, together with Libertad Lamarque, she became one of the Argentine artists with the greatest international reach ^[8].

A recording listing dates the following tracks to 1975; it gives recording years only and does not establish when the works were composed or first performed ^[7].

Two further 1975 entries, El caburé (tango nuevo) and Tal vez será su voz (tango), appear in the listing without an identifiable performer ^[7].