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Tangopedia

Year

Tango in 1946

Our catalogue holds 285 recordings from 1946. The orchestras recorded most that year were Alfredo De Angelis (26 recordings), Juan D'Arienzo (25 recordings), and Ricardo Tanturi (24 recordings).

72 facts · 60 sources · every fact links its source

Our catalogue holds 285 recordings from 1946. The orchestras recorded most that year were Alfredo De Angelis (26 recordings), Juan D'Arienzo (25 recordings), and Ricardo Tanturi (24 recordings).[1][2][3]

That year

Libertad Lamarque: Leaves Argentina on 2 January for a tour beginning in Cuba and settles in Mexico.[4]

Enrique Francini: Francini-Pontier makes its first recording, Margot, for Víctor.[5]

Carlos Almada: Replaces Horacio Quintana with Lucio Demare; tours abroad, including Cuba.[6]

Guillermo Rico: Last recordings of his first Canaro period, including En la noche de tus ojos.[7]

Article r1 · batch articles-2026-10-28 · every sentence cites a published fact

Recorded in12

Alfredo De Angelis — recorded in Tango in 1946 (26 recordings)1946[1]

Juan D'Arienzo — recorded in Tango in 1946 (25 recordings)1946[1]

Ricardo Tanturi — recorded in Tango in 1946 (24 recordings)1946[1]

Francisco Canaro — recorded in Tango in 1946 (23 recordings)1946[1]

Aníbal Troilo — recorded in Tango in 1946 (21 recordings)1946[1]

Rodolfo Biagi — recorded in Tango in 1946 (18 recordings)1946[1]

Carlos Di Sarli — recorded in Tango in 1946 (17 recordings)1946[1]

Osvaldo Pugliese — recorded in Tango in 1946 (15 recordings)1946[1]

Orquesta Francini-Pontier — recorded in Tango in 1946 (14 recordings)1946[1]

Osmar Maderna — recorded in Tango in 1946 (13 recordings)1946[1]

Domingo Federico — recorded in Tango in 1946 (12 recordings)1946[1]

Enrique Alessio — recorded in Tango in 1946 (11 recordings)1946[1]

What happened60

Libertad Lamarque Leaves Argentina on 2 January for a tour beginning in Cuba and settles in Mexico.[2]

Enrique Francini Francini-Pontier makes its first recording, Margot, for Víctor.[3]

Carlos Almada Replaces Horacio Quintana with Lucio Demare; tours abroad, including Cuba.[4]

Guillermo Rico Last recordings of his first Canaro period, including En la noche de tus ojos.[5]

Alfredo De Angelis His orchestra opens the Glostora Tango Club on Radio El Mundo, a daily programme that runs for 22 years.[6]

Carlos Dante Opens the Glostora Tango Club programme on Radio El Mundo with De Angelis.[7]

Miguel Caló Begins a tour of Bolivia, Peru and Ecuador with singers Roberto Arrieta and Raúl Iriarte.[8]

Daniel Binelli Born in Quilmes, Buenos Aires province.[9]

Carlos Saavedra Joins Rodolfo Biagi's orchestra as Carlos Saavedra; first recording, Mientras duerme la ciudad, for Odeon.[10]

Maria de la Fuente First records for Odeon with Américo Belloto's orchestra, starting with Padre nuestro and En carne propia.[11]

Alberto Arenas Revival of Canción de los barrios with Virginia Luque.[12]

Enrique Lucero Records Te espero en Rodríguez Peña with Francisco Canaro's orchestra for Odeon.[13]

Osvaldo Ribo First recording with Ricardo Tanturi, the vals Amores de estudiante with Roberto Videla, for RCA Victor.[14]

Ángel D'Agostino Last recording session with Ángel Vargas.[15]

Pedro Datila First recording with Osmar Maderna, Una vez, for Victor.[16]

Jorge Casal Debuts with Florindo Sassone's orchestra, then starting on Radio Splendid.[17]

Alberto Dassieu At about 9 or 10 starts watching the dances at a club near his home.[18]

Toto Faraldo Starts dancing tango as a teenager, at a barrio club about six blocks from his family's home in Parque Chacabuco (per his own account; automatic captions, low confidence).[19]

Dante Amicarelli Leaves Eduardo Armani's orchestra to form a duo and orchestra with singer Eduardo Farrell; summer season in Mar del Plata and Radio Belgrano.[20]

Quinteto Suárez Paz Starts the violin at five.[21]

Pedro Datila Wins a contest whose prize is a month as singer of Pedro Maffia's orchestra.[22]

Héctor de Rosas Wins the male category of a Radio Belgrano contest sponsored by Radiolandia.[23]

Jorge Vidal Debuts at Café La Paz in Barrancas de Belgrano; the owner is stabbed that night.[24]

Armando Guerrico Auditions for Ricardo Tanturi to replace Enrique Campos and declines to imitate him.[25]

Elba Berón Forms Las Hermanas Berón with her sister Rosita; debut on Radio Belgrano.[26]

Virginia Luque Sings Canaro's Si tú me quisieras in the play La canción de los barrios.[27]

Leopoldo Federico Joins Osmar Maderna's orchestra as first bandoneón.[28]

Carlos Waiss Writes Te espero en Rodríguez Peña with Héctor Varela.[29]

Osvaldo Ruggiero Composes the tango Tiempo.[30]

Roberto Di Filippo Bandoneon in Piazzolla's first own orchestra, which debuts at the Café Marzotto.[31]

Los Muchachos De Antes Cao plays in Alberto Castillo's revue company at the Teatro Maipo.[32]

José Rótulo Writes Remolino with De Angelis.[33]

Atilio Stampone Becomes pianist of Astor Piazzolla's orchestra, until it breaks up in 1948.[34]

Enrique Camerano Records La yumba with Pugliese, the first of two versions.[35]

Hugo Diaz Plays in the folk group Chacay Manta.[36]

Raúl Berón Begins recording with the Francini-Pontier orchestra, 16 sides through 1949.[37]

Marvil Writes Se lustra señor with Enrique Alessio and Eduardo Del Piano; Castillo records it, followed by Ángel Vargas in 1947.[38]

Armando Moreno Leaves Rodríguez to co-lead an orchestra with Roberto Garza.[39]

Osmar Maderna Makes his first discs for the Uruguayan label Sondor with singer Orlando Verri, then starts recording for Víctor in May.[40]

Florindo Sassone Returns with a new orchestra, playing cafés and neighbourhood stages.[41]

Vicente Demarco Writes En secreto with Roldán; Troilo records his Bienvenida; turns to journalism.[42]

Alberto Suárez Villanueva His own orchestra debuts at the Café Marzotto.[43]

Juan Sanchez Gorio Plays the whole year at the Confitería Marzotto.[44]

Victor D'Amario Leaves Radio El Mundo for a contract with Radio Splendid.[45]

Tania Sings with Mariano Mores's orchestra and on Radio El Mundo.[46]

Eduardo Adrian Records Sueño de juventud and Silbando with Emilio Pellejero in Uruguay.[47]

Mario Pomar Sings with Francisco Rotundo on Radio Splendid and at the Confitería La Armonía.[48]

Osvaldo Pugliese Composes La yumba, the piece that became the emblem of his sound.[49]

Astor Piazzolla Launches his own orquesta típica and records for Odeón, with singer Aldo Campoamor.[50]

Osmar Maderna Plays on Radio El Mundo.[51]

Roberto Caló Moves to Radio Belgrano with singers Enrique Campos and Carlos Roldán.[52]

Nelly Omar Makes her first records, for Odeon, with Francisco Canaro's support.[53]

Guillermo Coral Leaves Canaro's orchestra.[54]

Tino Garcia Introduced to Ángel D'Agostino by his brother; joins the orchestra.[55]

Osvaldo Pugliese Appears in the film Mis cinco hijos.[49]

Héctor Stamponi Forms his own orquesta típica with a Victor recording contract, heard on Radio Belgrano; it records until 1949.[56]

Angel Vargas Leaves D'Agostino and starts his own orchestra.[57]

Enrique Campos Last performance with Tanturi, at the Club Unión de Caseros, in April.[58]

Raúl Kaplun Leaves Demare in April; in June forms his own orchestra with Horacio Quintana, debuting at Café El Nacional.[59]

Julio Martel The orchestra signs for Radio El Mundo's 'Glostora Tango Club', which makes him famous.[60]

Timeline

  1. 1946

    Recorded in Alfredo De Angelis[1]

  2. 1946

    Recorded in Juan D'Arienzo[1]

  3. 1946

    Recorded in Ricardo Tanturi[1]

  4. 1946

    Recorded in Francisco Canaro[1]

  5. 1946

    Recorded in Aníbal Troilo[1]

  6. 1946

    Recorded in Rodolfo Biagi[1]

  7. 1946

    Recorded in Carlos Di Sarli[1]

  8. 1946

    Recorded in Osvaldo Pugliese[1]

  9. 1946

    Recorded in Orquesta Francini-Pontier[1]

  10. 1946

    Recorded in Osmar Maderna[1]

  11. 1946

    Recorded in Domingo Federico[1]

  12. 1946

    Recorded in Enrique Alessio[1]

  13. 1946

    Alberto Dassieu: At about 9 or 10 starts watching the dances at a club near his home.[18]

  14. 1946

    Toto Faraldo: Starts dancing tango as a teenager, at a barrio club about six blocks from his family's home in Parque Chacabuco (per his own account; automatic captions, low confidence).[19]

  15. 1946

    Dante Amicarelli: Leaves Eduardo Armani's orchestra to form a duo and orchestra with singer Eduardo Farrell; summer season in Mar del Plata and Radio Belgrano.[20]

  16. 1946

    Quinteto Suárez Paz: Starts the violin at five.[21]

  17. 1946

    Pedro Datila: Wins a contest whose prize is a month as singer of Pedro Maffia's orchestra.[22]

  18. 1946

    Héctor de Rosas: Wins the male category of a Radio Belgrano contest sponsored by Radiolandia.[23]

  19. 1946

    Jorge Vidal: Debuts at Café La Paz in Barrancas de Belgrano; the owner is stabbed that night.[24]

  20. 1946

    Armando Guerrico: Auditions for Ricardo Tanturi to replace Enrique Campos and declines to imitate him.[25]

  21. 1946

    Elba Berón: Forms Las Hermanas Berón with her sister Rosita; debut on Radio Belgrano.[26]

  22. 1946

    Virginia Luque: Sings Canaro's Si tú me quisieras in the play La canción de los barrios.[27]

  23. 1946

    Leopoldo Federico: Joins Osmar Maderna's orchestra as first bandoneón.[28]

  24. 1946

    Carlos Waiss: Writes Te espero en Rodríguez Peña with Héctor Varela.[29]

  25. 1946

    Osvaldo Ruggiero: Composes the tango Tiempo.[30]

  26. 1946

    Roberto Di Filippo: Bandoneon in Piazzolla's first own orchestra, which debuts at the Café Marzotto.[31]

  27. 1946

    Los Muchachos De Antes: Cao plays in Alberto Castillo's revue company at the Teatro Maipo.[32]

  28. 1946

    José Rótulo: Writes Remolino with De Angelis.[33]

  29. 1946

    Atilio Stampone: Becomes pianist of Astor Piazzolla's orchestra, until it breaks up in 1948.[34]

  30. 1946

    Enrique Camerano: Records La yumba with Pugliese, the first of two versions.[35]

  31. 1946

    Hugo Diaz: Plays in the folk group Chacay Manta.[36]

  32. 1946

    Raúl Berón: Begins recording with the Francini-Pontier orchestra, 16 sides through 1949.[37]

  33. 1946

    Marvil: Writes Se lustra señor with Enrique Alessio and Eduardo Del Piano; Castillo records it, followed by Ángel Vargas in 1947.[38]

  34. 1946

    Armando Moreno: Leaves Rodríguez to co-lead an orchestra with Roberto Garza.[39]

  35. 1946

    Osmar Maderna: Makes his first discs for the Uruguayan label Sondor with singer Orlando Verri, then starts recording for Víctor in May.[40]

  36. 1946

    Florindo Sassone: Returns with a new orchestra, playing cafés and neighbourhood stages.[41]

  37. 1946

    Vicente Demarco: Writes En secreto with Roldán; Troilo records his Bienvenida; turns to journalism.[42]

  38. 1946

    Alberto Suárez Villanueva: His own orchestra debuts at the Café Marzotto.[43]

  39. 1946

    Juan Sanchez Gorio: Plays the whole year at the Confitería Marzotto.[44]

  40. 1946

    Victor D'Amario: Leaves Radio El Mundo for a contract with Radio Splendid.[45]

  41. 1946

    Tania: Sings with Mariano Mores's orchestra and on Radio El Mundo.[46]

  42. 1946

    Eduardo Adrian: Records Sueño de juventud and Silbando with Emilio Pellejero in Uruguay.[47]

  43. 1946

    Mario Pomar: Sings with Francisco Rotundo on Radio Splendid and at the Confitería La Armonía.[48]

  44. 1946

    Osvaldo Pugliese: Composes La yumba, the piece that became the emblem of his sound.[49]

  45. 1946

    Astor Piazzolla: Launches his own orquesta típica and records for Odeón, with singer Aldo Campoamor.[50]

  46. 1946

    Osmar Maderna: Plays on Radio El Mundo.[51]

  47. 1946

    Roberto Caló: Moves to Radio Belgrano with singers Enrique Campos and Carlos Roldán.[52]

  48. 1946

    Nelly Omar: Makes her first records, for Odeon, with Francisco Canaro's support.[53]

  49. 1946

    Guillermo Coral: Leaves Canaro's orchestra.[54]

  50. 1946

    Tino Garcia: Introduced to Ángel D'Agostino by his brother; joins the orchestra.[55]

  51. 1946

    Osvaldo Pugliese: Appears in the film Mis cinco hijos.[49]

  52. 1946

    Héctor Stamponi: Forms his own orquesta típica with a Victor recording contract, heard on Radio Belgrano; it records until 1949.[56]

  53. 1946

    Angel Vargas: Leaves D'Agostino and starts his own orchestra.[57]

  54. 1946

    Enrique Campos: Last performance with Tanturi, at the Club Unión de Caseros, in April.[58]

  55. 1946

    Raúl Kaplun: Leaves Demare in April; in June forms his own orchestra with Horacio Quintana, debuting at Café El Nacional.[59]

  56. 1946

    Julio Martel: The orchestra signs for Radio El Mundo's 'Glostora Tango Club', which makes him famous.[60]

  57. 1946-01-02

    Libertad Lamarque: Leaves Argentina on 2 January for a tour beginning in Cuba and settles in Mexico.[2]

  58. 1946-01-29

    Enrique Francini: Francini-Pontier makes its first recording, Margot, for Víctor.[3]

  59. 1946-02

    Carlos Almada: Replaces Horacio Quintana with Lucio Demare; tours abroad, including Cuba.[4]

  60. 1946-03-21

    Guillermo Rico: Last recordings of his first Canaro period, including En la noche de tus ojos.[5]

  61. 1946-04-01

    Alfredo De Angelis: His orchestra opens the Glostora Tango Club on Radio El Mundo, a daily programme that runs for 22 years.[6]

  62. 1946-04-01

    Carlos Dante: Opens the Glostora Tango Club programme on Radio El Mundo with De Angelis.[7]

  63. 1946-05-12

    Miguel Caló: Begins a tour of Bolivia, Peru and Ecuador with singers Roberto Arrieta and Raúl Iriarte.[8]

  64. 1946-05-20

    Daniel Binelli: Born in Quilmes, Buenos Aires province.[9]

  65. 1946-05-23

    Carlos Saavedra: Joins Rodolfo Biagi's orchestra as Carlos Saavedra; first recording, Mientras duerme la ciudad, for Odeon.[10]

  66. 1946-06-17

    Maria de la Fuente: First records for Odeon with Américo Belloto's orchestra, starting with Padre nuestro and En carne propia.[11]

  67. 1946-07-05

    Alberto Arenas: Revival of Canción de los barrios with Virginia Luque.[12]

  68. 1946-07-30

    Enrique Lucero: Records Te espero en Rodríguez Peña with Francisco Canaro's orchestra for Odeon.[13]

  69. 1946-08-16

    Osvaldo Ribo: First recording with Ricardo Tanturi, the vals Amores de estudiante with Roberto Videla, for RCA Victor.[14]

  70. 1946-09-10

    Ángel D'Agostino: Last recording session with Ángel Vargas.[15]

  71. 1946-10-31

    Pedro Datila: First recording with Osmar Maderna, Una vez, for Victor.[16]

  72. 1946-11-18

    Jorge Casal: Debuts with Florindo Sassone's orchestra, then starting on Radio Splendid.[17]

Related

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