Tango in 1947

The later 40s was a period of change (or of steady decline, if you want to see it that way). Several leading orchestras lost their recording contracts, and the output of those that remained was frequently no longer focused exclusively on the requirements of dancers, as before. However, much of lasting value was yet to come, particularly from Di Sarli, Pugliese, and D’Arienzo.

De Angelis (Dante & Martel) 1946-47 (Vals)

Alfredo De Angelis with Carlos Dante and Julio Martel

The vocal duo of Carlos Dante and Julio Martel remains very popular today and was at its best in vals. The musical arrangements are simple but they are well-performed. The duets form only a very small part of De Angelis’ extensive recorded output and much of the rest has been quietly forgotten.

  • A Magaldi (21-Oct-1947)
  • Pobre flor (Primera ilusión) (7-Jan-1946)
  • Flores del alma (3-Jul-1947)

Di Sarli (Podestá) 1947

Carlos Di Sarli
Carlos Di Sarli

Alberto Podestá returned to perform and record with Di Sarli for the third (and last) time in 1947. Six sides emerged and here are the first four. Podestá is on fine form and these are wonderful examples of Di Sarli’s ‘middle period’; but just two further recordings were to appear in 1948 before Di Sarli withdrew from the public eye completely until 1952.

The only versions of La canción más triste and Por el camino are of very poor quality, so I’ve provided YouTube links for them too.

Francini – Pontier (Berón) 1946-47

Enrique Francini & Armando Pontier

Violinist Enrique Francini and bandoneónist Armando Pontier (former principals in Miguel Caló’s orchestra) formed their own orchestra in 1945, recording for Victor from 1946. They immediately attracted some of the most popular singers of the day: Podestá, Berón and Rufino and offered music in a mainly undemanding and romantic style. It was music-making of its time (but no flash in the pan: the orchestra recorded until the end of the 50s) but a little goes a long way. After the good taste and refinement of Caló’s outfit, listening or dancing to Francini-Pontier is a little like eating too many cheap chocolates.

  • Remolino (17-May-1946)
  • Camouflage (13-Aug-1947)
  • Y dicen que no te quiero (2-Apr-1947)
  • La culpa es mía (11-Jun-1947)

Maderna (Dátila) 1946-47

Osmar Maderna

Pianist, Osmar Maderna had been the first artist to leave Caló’s orchestra in 1945 (initially taking singer, Iriarte, with him, but that didn’t last). His arrangements rather favoured his own piano-playing (listen, for example, to the first minute of Margarita Gauthier); and yet this is music-making with more gravitas than anything that came from new rivals, Francini-Pontier. Little-known singer, Pedro Dátila, does a good job and could almost be mistaken for Alberto Morán (compare his recording of Una vez with Pugliese).

  • Margarita Gauthier (20-Feb-1947)
  • Una vez (31-Oct-1946)
  • Tarde gris (23-Nov-1946)
  • Rebeldía (9-Jan-1947)

Pugliese (Instrumental) 1947

Osvaldo Pugliese
Osvaldo Pugliese

N… N… was one of the instrumentals of the mid-40s that defined Pugliese’s mature style, although he was not its composer. It was written by Pugliese’s principal bandoneónist, Osvaldo Ruggiero, one of the most brilliant virtuosos of that instrument. Pugliese is usually considered a ‘difficult’ or ‘challenging’ orchestra by dancers and this repertoire shows why. While there is clear continuity with the orchestra’s performance style from its early years, things have changed since La yumba.

  • N… N… (28-Apr-1947)
  • El buscapié (1-Dec-1947)
  • Jueves (19-Aug-1947)
  • Entrada prohibida (16-Dec-1947)

Tanturi (Ribó) 1946-47

Ricardo Tanturi
Ricardo Tanturi

Enrique Campós left Tanturi’s orchestra at the beginning of 1946. His replacements were Roberto Videla and Osvaldo Ribó, but both lacked the subtlety of their predecessor. The orchestra’s style continued to move away from its original rhythmic roots and by the time of Remembranza, it is hard to recognise that label, at all. However, the recording is probably the best version of this song. The orchestra was busy in the studio during 1946, less so in 1947 and then in 1948, there were just four sides. After a gap, two more came in 1950 and then the orchestra disbanded for several years. The position of the big orchestras, which had seemed so secure in the mid-40s, was changing.

  • Una lágrima (27-Aug-1946)
  • Sombras (27-Aug-1946)
  • Alma de bohemio (2-Apr-1947)
  • Remembranza (9-May-1947)

Troilo (Ruíz) 1945-47 (Vals)

Aníbal Troilo
Aníbal Troilo

Floreal Ruíz was a fine singer but is almost unheard in milongas today apart from these deservedly popular valses. He left Troilo’s orchestra in early 1948, with the orchestra’s recording numbers telling their own story about changing times: with 21, 14 and then just 8 sides in the years ’46, ’47 and ’48 respectively. Troilo’s time with Victor was coming to an end too. At the end of 1949, he fell out with Victor altogether (leaving several new recordings unreleased), before returning to the studio in 1950 with a new record company, TK, and having taken the orchestra in a new direction, less favoured by dancers.

  • Romance de barrio (19-Aug-1947)
  • Llorarás, llorarás (10-Aug-1945)
  • Flor de lino (29-Apr-1947)


Click here for ‘Tango in 1946’.

Click here for ‘Tango in 1948-49’.