Tango in 1936

The second half of the decade sees D’Arienzo getting into his stride and Canaro, Lomuto and others continuing to record popular and danceable repertoire.

Canaro (Maida) 1936

Francisco Canaro

The opening bars of both Mi noche triste and Envidia suggest that Canaro has gone about as far as he can with the softer tones of Roberto Maida – and this is long before the actual entry of the singer. However, the introductions are not representative of the pace of either song, and the whole tanda ticks along quite nicely, as though quite indifferent to the new innovations from D’Arienzo. Canaro was hugely successful, commercially, and presumably saw no reason to change his winning formula – at least not yet.

  • Como las flores (12-May-1936)
  • Mi noche triste (14-Jul-1936)
  • Envidia (26-Aug-1936)
  • Siempre unidos (6-Oct-1936)

D’Arienzo (Instrumental) 1936

Juan D'Arienzo
Juan D’Arienzo

Pianist, Rodolfo Biagi joined the D’Arienzo orchestra at the very end of 1935, and the series of recordings that followed, until his departure in June 1938, is among D’Arienzo’s most popular. There is hardly a bad song among them and they are great for dancing.

  • Don Esteban (3-Jul-1936)
  • Ataniche (27-Nov-1936)
  • El irresistible (5-Aug-1936)
  • Comme il faut (27-Oct-1936)

D’Arienzo (Instrumental) 1936 (Vals)

Two notable features of D’Arienzo’s recordings in this period are that they are nearly all instrumental and that his output included a high proportion of valses (11 in 1936 along with 12 tangos and 1 milonga). These fast-paced arrangements all feature constant rhythmic and melodic interplay between the bandoneon section and the violins. For once, Biagi’s piano is in the background.

  • Amor y celos (3-Sep-1936)
  • Inolvidable (5-Aug-1936)
  • Lágrimas y sonrisas (29-Sep-1936)

Lomuto (Omar) 1936-37

Francisco Lomuto

Lomuto’s orchestra was perhaps at its best in the mid 30s, helped along by the recruitment of baritone, Jorge Omar, in 1935. Here he sings four great songs, including the lesser-known Monotonía, which might be said to be Lomuto’s nod to the soft and more contemplative style of Canaro/Maida at this time.

  • Mano a mano (3-Oct-1936)
  • Nostalgias (28-Oct-1936)
  • Monotonía (3-Dec-1936)
  • Las cuarenta (30-Jul-1937)

Click here for ‘Tango in 1935’.

Click here for ‘Tango in 1937’.