Tango in 1934

It isn’t really fair to say that tango is in the doldrums in 1934, but several artists are relatively inactive, and this is not really a time for innovation or development. Things really do seem to change when D’Arienzo begins recording with his new orchestra in 1935, but meanwhile, these three orchestras sound entirely at ease with themselves.

Canaro (Famá) 1934

Francisco Canaro

Ernesto Famá had two spells recording with Canaro, and the first was to end in August 1934. For the rest of the year, Canaro recorded with Carlos Galán, prior to the arrival of Roberto Maida in 1935. Famá was to return for two further years from 1939 and then retired from public appearances, still a relatively young man.

These songs have very straightforward arrangements. Ya vendrán tiempos mejores is almost a duet: Famá is briefly joined by a second voice – spoken, not sung – and it seems likely that this is Canaro, himself.

  • Diez años (21-Feb-1934)
  • Ya vendrán tiempos mejores (17-Feb-1934)
  • Fin de fiesta (17-Feb-1934)
  • El tigre Millán (30-Apr-1934)

Donato (Maida) 1934

Edgardo Donato

Antonio Maida was the younger brother of Roberto Maida (who joined Canaro’s orchestra in 1935). He sang with Donato for two years, before leaving to pursue a solo career on radio.

Donato’s music is mostly cheerful and upbeat. Si te perdes, chiflame has a chorus who sing and whistle. Quién más, quién menos and Riachuelo are both duets with one of Donato’s violinists, Armando Piovani (also known as Randona). Esto es el colmo has an unusual cello solo, near the start. Donato added another unusual instrument to his orchestra in 1934 too, by adding a piano accordion to his bandoneón section, although its contribution is not obvious here.

  • Si te perdes, chiflame (19-Dec-1934)
  • Quién más, quién menos (28-Nov-1934)
  • Esto es el colmo (9-Jan-1934)
  • Riachuelo (28-Jun-1934)

Fresedo (Ray) 1933-35

Roberto Ray

1934 was an unusually quiet year for Fresedo in the recording studio, producing just four tangos (along with several Rancheras and Fox-Trots), but En la huella del dolor and Canto de amor are both vintage Fresedo. This is perfect music for afternoon dancing, better with champagne than tea.

  • En la huella del dolor (27-Apr-1934)
  • Yo no sé llorar (2-Nov-1933)
  • El once (5-Apr-1935)
  • Canto de amor (18-Jun-1934)

Of the four 1934 tangos, Segui mi camino, is not available on Spotify, but apart from the three with Ray, there is just one instrumental: Tigre viejo. Here it is:

Click here for ‘Tango in 1933’.

Click here for ‘Tango in 1935’.