Tango in 1926

Osvaldo Fresedo — 4 recordings1926[1]

Francisco Canaro — 69 recordings1926[1]

Francisco Lomuto — 5 recordings1926[1]

Típica Victor — 44 recordings1926[1]

Julio De Caro — 16 recordings1926[1]

Roberto Firpo — 14 recordings1926[1]

Eduardo Bianco - Bachicha — 1 recordings1926[1]

Canaro en París (Francisco Canaro) — 1926[64]

Roberto Goyeneche: Born in Buenos Aires and raised in Saavedra.[2]

Julio Sosa: Born in Las Piedras, Canelones, Uruguay.[3]

Alberto Morán arrives in Argentina with his family and settles in Buenos Aires.[4]

Rosita Quiroga makes Argentina's first electrical recordings for Victor, beginning with La musa mistonga.[5]

Raúl Ledesma: Born in Junín.[6]

Raúl de los Hoyos: Tita Merello introduces Del barrio de las latas in En el Maipo no hace frío.[7]

Atilio Stampone: Born in San Cristóbal, Buenos Aires.[8]

Ernesto de la Cruz premieres El ciruja at El Nacional on 12 August, sung by Pablo Gómez.[9]

Ramón Collazo: The Troupe Ateniense debuts in Buenos Aires at the Teatro de la Ópera; he writes Pato.[10]

Virulazo: Born in Haedo, Buenos Aires Province.[11]

Adolfo Rivas: Born in Pehuajó.[12]

Roberto Fugazot introduces Viejo ciego at the Teatro Nuevo in Patadas y serenatas en el barrio de las latas.[13]

Pedro Maffia leaves De Caro and debuts his own sextet, with Elvino Vardaro and Osvaldo Pugliese, at the Café Colón on Avenida de Mayo.[14]

José Garcia forms a youth orchestra from the pupils of his own conservatory in Lanús.[15]

Miguel Caló plays in the bandoneon section of Osvaldo Fresedo's orchestra.[16]

Enrique Rodríguez debuts in Joaquín Mora's sextet; soon after plays briefly in Edgardo Donato's orchestra.[17]

Rodolfo Sciammarella: Ignacio Corsini introduces his first tango, No te engañes corazón, in La vida comienza mañana at the Teatro Apolo.[18]

Armando Tagini debuts as a singer with Anselmo Aieta's orchestra in January; sings on radio until 1932.[19]

César Vedani writes his first song, Vieja escuela de mi barrio, with Rodolfo Nasso.[20]

Alberto Mastra crosses to Buenos Aires and tours the Argentine interior.[21]

Juan Polito joins Juan Maglio's orchestra at Bar Domínguez, staying nearly three years.[22]

Raúl Kaplun joins the jazz band of the new Astral cinema on Corrientes, then Miguel Caló's sextet there.[23]

Libertad Lamarque joins the Teatro Nacional company and debuts on Radio Prieto.[24]

Sofía Bozán: Singing debut with the Muiño-Alippi company, premiering Canillita.[25]

Agustin Irusta records for Victor in a duo with Roberto Fugazot, with Humberto Correa on guitar.[26][34]

Mercedes Simone debuts at Los Dos Chinos in Bahía Blanca with her husband's guitar, then tours provincial towns.[27]

Homero Manzi: Viejo ciego, with music by Sebastián Piana and Cátulo Castillo, wins a prize in the contest of the magazine El Alma que Canta.[28]

Enrique Cadícamo publishes his first book of poems, Canciones grises.[29]

Ivo Pelay: His play Judío opens.[30]

Antonio Polito writes Chola with Enrique Maroni, recorded by Gardel.[31]

Luis Visca joins the D'Arienzo-Visca-Mazzeo orchestra.[32]

Gabriel Clausi: Season at the Teatro Astral with Francisco Pracánico's orchestra.[33]

Carlos Di Sarli plays the opening of the Fénix theatre in Flores as pianist with Osvaldo Fresedo's orchestra.[35]

Lucio Demare goes to Paris, called by Francisco Canaro, and plays with the Canaro orchestra at the Les Ambassadeurs cabaret.[36]

Adolfo Carabelli: Victor hires him as artistic director to form an orchestra for both jazz and tango; he also directs the studio-only Orquesta Típica Victor.[37]

Miguel Bucino writes his first tango, Pa' que bronquen.[38]

Jesús Fernández Blanco writes El abrojito with Luis Bernstein and the words of the Boca Juniors march.[39]

Enrique Dizeo: Pan comido, with Ismael Gómez, is introduced at the café El Nacional.[40]

Antonio Sureda: Ignacio Corsini records his vals A su memoria, lyric by Homero Manzi.[41]

Benjamín Tagle Lara: Magaldi introduces Trapo viejo in Pascual Contursi's sainete Maldito cabaret.[42]

Eduardo Escaris Méndez: Rosita Quiroga introduces En la vía.[43]

Roberto Díaz records with Francisco Canaro in February; Canaro calls him his first refrain singer.[44]

Antonio Buglione: As Julio Pollero's violinist, begins singing as Antonio Reyes at the Folies Bergère cabaret.[45]

Pedro Laurenz becomes first bandoneon of the De Caro sextet after Maffia leaves.[46]

Elvino Vardaro joins Pedro Maffia's new sextet, which debuts at the Café Colón; around the same time begins thirteen years of studio work for Victor.[47]

Manuel Romero writes Tiempos viejos with Francisco Canaro.[48]

Francisco García Jiménez writes Siga el corso with Aieta and Barrio pobre with Vicente Belvedere.[49]

Gerardo Matos Rodríguez: Mocosita, with Víctor Soliño's words, appears and is spread by Rosita Quiroga's record.[50]

Eugenio Cárdenas writes Una lágrima with Nicolás Verona.[51]

José María Rizzuti writes Bésame en la boca with Eduardo Calvo, recorded by Gardel.[52]

Gabino Coria Peñaloza: Caminito wins first prize in the Buenos Aires municipal song contest; Gardel records it.[53]

Francisco Brancatti writes El tatuaje with Iriarte.[54]

Pedro Numa Córdoba writes Comandante Franco with Francisco Canaro.[55]

Agustin Magaldi writes Allá en el bajo with Noda.[56]

Víctor Soliño writes Mocosita with Gerardo Matos Rodríguez.[50]

Julio Navarrine: Oro muerto, with Juan Raggi, wins a prize in a contest at the Teatro 18 de Julio, Montevideo.[57]

Roberto Lino Cayol writes Anoche a las dos and Noches de Colón with Raúl de los Hoyos.[58]

Anselmo Aieta writes Siga el corso, Bajo Belgrano and Tus besos fueron míos.[59]

Julio De Caro — Performed at Uruguay.1926[60]

Osvaldo Fresedo — Performed at Bar Fresedo.1926[62]

Francisco Lomuto — Performed at Mar del Plata.1926[63]

Guardia Nueva — Occurred at Buenos Aires.Jan 1926[61]

Julio De Caro — Led Julio De Caro.1926[60]

Francisco Lomuto — Led Francisco Lomuto.1926[63]

Pedro Laurenz — Played in Julio De Caro.1926[60]

Miguel Caló — Played in Osvaldo Fresedo.1926[62]

Daniel Alvarez — Played in Francisco Lomuto.1926[63]

Ángel Danesi — Played in Francisco Lomuto.1926[63]

Ricardo Brignolo — Played in Francisco Lomuto.1926[63]

Eduardo Armani — Played in Francisco Lomuto.1926[63]

Alberto Castellanos — Played in Francisco Lomuto.1926[63]

Eduardo Bianco — Played in Eduardo Bianco - Bachicha.1926[65]

Osvaldo Pugliese — Played in Pedro Maffia.1926[98]

Qué lindo es estar metido — 1926[66]

Caferata — 1926[67]

Muchacho — 1926[68]

Tiempos viejos — 1926[69]

Siga el corso — 1926[70]

Barrio pobre — 1926[71]

Tus besos fueron míos — 1926[72]

La violetera — 1926[73]

Bajo Belgrano — 1926[74]

No te engañes corazón — 1926[75]

La última copa — 1926[76]

Mocosita — 1926[77]

El poncho del olvido — 1926[78]

Dicha pasada — 1926[79]

El abrojito — 1926[80]

Pan comido — 1926[81]

Aquel cuartito de la pensión — 1926[82]

Meditación — 1926[83]

Mi diosa — 1926[84]

Bésame en la boca — 1926[85]

Soñadora — 1926[86]

El tatuaje — 1926[87]

Comandante Franco — 1926[88]

Viejo coche — 1926[89]

Gorriones — 1926[90]

Por qué no has venido — 1926[91]

Pato — 1926[92]

Allá en el bajo — 1926[93]

Oro muerto — 1926[94]

Mandria — 1926[102]

Te aconsejo que me olvides — 1926[103]

Fábrica Electra, Sarandí 1380 — Facility built in 1926 to manufacture Electra discs as recording moved to microphones, the 'electric era'; the company stopped recording in 1930.1926[95]

Guardia Nueva — Tokyo: Baron Megata returned from Paris, where he had lived from 1920 and learned to dance tango at the cabaret El Garrón; he brought home1926[96]

Diagonal Sur (Avenida Presidente Julio A. Roca) — Demolitions: the ruinous Mercado del Centro was torn down to open the avenue; buildings then rose along it, such as the Legislatura (1926-1931), the Roca1926[97]

Parlophone — In 1926 Parlophone, a sister company of Odeon, released three discs in its premium R (Royalty) series1926[99]

La Lora — From 1926 to 1935 the academy was called Los Hermanos La Lora, at Corrientes 23141926[100]

El Negro Pavura — In 1926 he founded the salon Dancing Bleu at his home on Sucre and Artilleros, where he gave dance courses1926[101]

Caminito — Caminito is premiered in 1926 at the Concurso de Canciones Nativas of the Buenos Aires carnival.1926[104]