Pedro Maffia (1899-1967) played in the orchestras of Roberto Firpo, Francisco Lomuto, Juan Carlos Cobián and Julio De Caro. Perhaps his most important legacy, however, was as a composer of some of the greatest tangos of all time. This tanda features four of those masterpieces (‘Amurado’ was co-written by Maffia and Laurenz).
In case you haven’t already seen it in my YouTube channel, where it appeared several weeks ago, I’ve uploaded the full version of El señor del tango, a documentary about Carlos Di Sarli.
A while ago, my friend Alia—a superb dancer and DJ—left me the following message on Facebook: “Have you already composed a tanda with this beautiful tango?” The message included a link to Francisco Pracánico’s “Los muñequitos”, as recorded by Di Sarli’s orchestra. I found her question intriguing, since no less than two other friends of mine had recently written me about that same tango. Given the apparent interest in this overlooked gem, I thought I should take Alia’s implicit suggestion and build a tanda around it. But to have fun, I invited her to create a tanda as well, so that we could afterwards compare what each of us had come up with. She agreed, and a few hours later, we were ready to disclose our respective creations. What a surprise awaited us! Upon sharing the list of tangos with each other, we found out that we had chosen exactly the same songs! (The probability that something like this would happen by chance is extremely small. Even restricting the options to Di Sarli/Rufino recordings, the odds are in the order of 1 in 5,000!)
What follows is the list of songs arranged in the order that I believe suits them best (the original exercise involved listing the tangos in no particular order).
Almost every dancer is familiar with Alfredo De Angelis’ version of ‘Pobre flor’, but few know that the vals was also recorded by Juan Maglio in 1932. A year before, Pacho recorded another vals, sung by Carlos Viván, the lyrics of which include the line “Pobre flor que ayer lucía…” The two valses thus seem to be made for each other, and may be combined with the instrumental ‘Princesa’, also from 1931, as I do in this tanda.
With thanks to Ton and those who commented on his post at the Facebook group ‘Today’s tango’, for inspiration.
Another moving Di Sarli tanda from the 1940s, although in a more subtle, intimate way than the one previously featured on this blog. ‘Cuando el amor muere’ is the only recording that Carlos Acuña made with Di Sarli’s orchestra, and is as such rarely played at milongas by DJs who adhere strictly–and, one may say, blindly–to traditional rules of tanda composition. I find this unfortunate and unwarranted, especially in a tango of such haunting beauty, given the similarities in both mood and sound to other Di Sarli/Rufino recordings with which it can be combined, as I do in this tanda.
Dedicated to A.R.
Pedro Laurenz was not only a first-class composer and conductor, but an extraordinary bandoneón player who influenced an entire generation of musicians. His impressive technical skills are, I believe, best displayed when he executes his own brilliantly crafted variaciones for that instrument. For this post I have excerpted my favorite 10 variations from the original tangos in which they appear. Click on the individual titles below or, if you can withstand five minutes of breathtaking intensity, play the video to listen to them all in one go.
My discography of Orquesta Típica Victor is now finished. (For context on this project, see here.)
In addition to the fields displayed below (title, genre, recording date, vocalist(s) and record number) you may find information about record labels, matrix numbers, orchestra conductors, and more, by scrolling to the right using the horizontal bar at the end of the table. Alternatively, you may access the entire spreadsheet on Google Drive here.
I have also created a spreadsheet with a list of tracks often incorrectly attributed to Orquesta Típica Victor, or attributed without sufficient evidence. You will find this spreadsheet here.
The main sources used to create this discography are listed at the end of this post. I would like to thank Johan and Héctor Mario Lobato for valuable feedback.
If you spot any inaccuracies or discover missing information, please leave a comment or send me a message.
The star of this dramatic mixed tanda is vocalist Alfredo Del Río. As Abel Palermo notes in his biographical sketch, Del Río’s “great vocal facility, his special sense for interpretation, and his discipline and responsibility about taking care of his voice made him become a great professional.” The quality of the two Laurenz numbers–rarely heard at milongas–is not very good, but I’m not aware of any better transfers.
Update: I had assumed that combining Gobbi and Laurenz in the same tanda was uncommon, but in this recent interview renowned DJ Félix Picherna notes that he used to mix these two orchestras when DJing in Europe.