Tango Argentino > Tango Hall of Fame

Discussion in 'Tango Argentino' started by UKDancer, Mar 6, 2013.

  1. Yogur griego

    Yogur griego Member

    What about Mas Grande Que Nunca? (D'Arienzo). That's a very powerful tune.
     
  2. Yogur griego

    Yogur griego Member

    ''I do not understand what your eyes have done to me, eyes that, when looking at me, kill me of love.''

    Lyrics + Google Translate is often enough to understand what the lyrics are about. It's never too late to learn Spanish! You'll see that you will enjoy your dancing on a whole different level if you understand the lyrics while dancing. I already understood Spanish before starting with the dance, but listening to tangos every day keeps it fresh, and it might help you to advance easily (automatic practice!)

    I usually do not like female voices so I invite you to listen to another version: youtube dot com/watch?v=-fvW0fwKoh8
     
  3. bordertangoman

    bordertangoman Well-Known Member

  4. UKDancer

    UKDancer Well-Known Member

  5. rain_dog

    rain_dog Active Member

    Classy.
     
  6. tangomonkey

    tangomonkey Active Member

    Well, I just listened to some tracks (as many as I could tolerate...) of Ada Falcon and Canaro. They are truly dreadful, IMHO. Much Canaro is junk - again, IMHO. He recorded some 10,000 or so and was bound to record some dogs.

    But there is much magical Canaro! The very first dance I had where I was lost in the music and my partner - she was spectacularly amazing!!! - was to Canaro's Todo Te Nombra. Rather than list my favourite "Top Ten" - which is an ever changing list - I'll list some other Canaro to which I've had memorable dances. There are many tangos I love listening to, but which - so far! - I haven't had a truly exceptional experience in the dance (my fault...). Sorry for not following the format, UKDancer.

    These are some Canaro (tangos) which stay in mind because of the time and place I danced them, and the lady's who partnered with me. Other than the first one, in no order...

    Todo Te Nombra
    Ciego
    Mano a Mano
    Nada Mas
    Yo No Se Porque Te Quiero
    Casas Viejas
    Poema
    Invierno
    El Adios
    Tiempos Viejos
     
  7. AndaBien

    AndaBien Well-Known Member

    Very nice tune. I could always dance to that.
     
  8. tangomonkey

    tangomonkey Active Member

    My view: if there's a singer we should know what the lyrics are all about. Certainly, we can have great dances by reacting to the music and the singer without knowing what the sub-text is all about. There is no real need to know it - just dance to the music as we hear it. But knowing the lyrics and how the singer and the orquestra interpret them is an added benefit. Not essential to the dance, but something which can add to it.

    Google is OK in a pinch, if nothing better can be found. If Derrick Del Pilar has translated it, read it!

    Female tango singers are very few. At least until recently. Varela is marvelous, but her voice is so deep many people at first hearing think she's a man. She makes a great baritone! I'm impressed with her musicality and the crispness of her singing. Generally I'm not a lover of many tango singers because they can't count. They are seldom on the beat and wander all over the place. To some that's emotional expression; to me, often, it's lack of musicianship. But when I dance to vocal tangos it doesn't matter, other things take over.
     
  9. UKDancer

    UKDancer Well-Known Member

    You might have gathered from my earlier remark that I'm not a fan of Ada Falcon either. There is almost nothing available commercially, anyway, that isn't obviously tango cancion, unsuitable for dancing. I'm not complaining.

    As for Canaro, generally, he is one of those musicians who were obviously very important to the development of tango music, but whose music-making fails to make a strong appeal to me. Personally, I can't get excited about early De Caro, either (but I love the later stuff, once Pugliese had shown him how to play his own music!), and I detest the horrible noise that Firpo's sextet made, year after year (his orchestra was wonderful, though).

    Someone was asking me, recently, whether I had discovered the Canaro/Charlo recordings, and I had, but just can't get on with them. For me, his period as an important innovator was already over before the electrical recording era, and his interest is limited to a relatively small output of instrumental recordings in, roughly, the five years after 1927 (when he briefly played with a very strong, clear rhythm), and the vocals with Fama in the period up to the Maida years. The Maida effect (very like that of Maure with D'Arienzo) of the softening of an otherwise rhythmic orchestra didn't last (I reckon that it was a direction that neither Canaro nor D'Arienzo really wanted to go). But while D'Arienzo still had lots to say, Canaro was a spent force by, say, 1942. As a DJ, I don't think that I can ignore his 1940s output completely, but I only play one 40s instrumental tanda, and single vocal tandas with Fama, Roldan and Adrian. I play nothing of his after 1944 (really, 1942, if you exclude the Roldan tanda). Considering the huge number of recordings he was producing at the time (and for many years afterwards) that isn't a lot.

    I'd go much further than you, though, and suggest that his repertoire doesn't contain a few duds, but is mostly dud. The good stuff is great, though. He made a lot of money, so I am clearly out of line with his popular rating, but then while Gardel made lots of money too, I am very grateful he recorded no dance music.
     
  10. UKDancer

    UKDancer Well-Known Member

    I'd agree, but for one thing: the lyric isn't a sub-text - it's the text. ;)
     
  11. Jillian

    Jillian New Member

    I'm a newbie, here, but not new to TA. My favourites T/V/M -

    La Yumba - Pugliese
    Malandraca - Pugliese
    A Evaristo Carriego - Pugliese
    Donde Estas - Di Sarli

    Desde el Alma - Pugliese (late stereo version 19??)

    El Esquinazo - D'Arienzo
    Milonga de Mis Amores - D'Arienzo (the 1970 version)
    El Portenito - D'Agostino
    Yo Soy de San Telmo - Laurenz

    Too much Pugliese, I guess, but I like dramatic music! I love lots of the other suggestions too. Great forum.
     
  12. pygmalion

    pygmalion Well-Known Member

    Hi Jillian. Welcome and thanks for your first post. :)
     
  13. Yogur griego

    Yogur griego Member

    Everyone has his or her own interpretation of the music when dancing to it. Because tango is generally so dependent on emotion and melancholy, I would indeed say that it is not necessarily a requirement to understand what the lyrics are about.

    I am first and foremost focused on the instruments, but for me also when dancing, I feel that the singing is more than just a benefit. The singers and instruments are challenging each other all the time, they are playing with each other. For me, the musical phrases are singing stories to me, anyway.

    That should mean that without knowing Spanish you may understand to a certain extent what a song is trying to express. It's simply the great thing about tango music. However, when I am dancing to sung tango music, I still feel that the lyrics are an essential part of what you are trying to express while dancing. There are so many popular songs at milongas that probably cannot be experienced fully without understanding the lyrics. An example of that is Que Falta Que Me Hacés. What also helps is looking up older versions (Carabelli, OTV) of famous instrumentals, because instrumentals are often not self-explanatory in their meaning.

    I think the lack of understanding of tango culture (apart from just the technique and fancy figures) is one of the reasons why many people in the U.S. and Europe are just dancing something that looks like tango, and not the real deal itself. But, anyway, that's caused more by the lack of knowledge of the music in itself than just the lyrics. So, I think you are doing a great job actually listening to the music while dancing, because some men/leaders have recently confessed to me seeing the music as an optional utility in the background instead of following what the music is asking you to do.
     
  14. Yogur griego

    Yogur griego Member

    It's certainly nice to read various similar opinions on Canaro's music. I am not a big fan of his (apart from some milongas) and only occasionally listen to his music. I like Fama's singing but I just do not like Canaro's style. In my opinion the younger Canaro music (fourties) is even worse, at that point he was just trying to copy innovations by other orchestras.

    However, I have read many times before how Pugliese has shown De Caro how to play his own music, something that sounds impressive but lacks nuance. I would say that De Caro was a bit of a confused musician in a way, but I still see De Caro as the father of the more complex tango songs and I feel that his music is extremely underplayed. Don't get me wrong - I am a great fan of Osvaldo Pugliese and I certainly think that some of his versions of De Caro's tangos are much better than the original ones.

    www tangoandchaos DOT org/chapt_4music/7revolution DOT htm
     
  15. UKDancer

    UKDancer Well-Known Member

    I've updated the 'orchestra popularity' chart, and see that Pugliese is now chasing Di Sarli for top spot. Given the scarcity of Pugliese in most DJ playlists, the strong showing is a bit of a surprise.

    Orchestra Votes
    Di Sarli 11
    Pugliese 10
    D'Arienzo 8
    Canaro 6
    D'Agostino 4
    Donato 4
    Laurenz 4
    Troilo 4
    Biagi 3
    Calo 3
    Tanturi 3
    De Angelis 2
    Demare 2
    Rodriguez 2
     
  16. UKDancer

    UKDancer Well-Known Member

    I agree that it is a crude argument, but Pugliese was certainly a great musician, while De Caro was certainly a great innovator. Personally, I feel that his early music just doesn't make me want to dance. The De Caro/Pugliese debate is well-argued in Michael Lavocah's recent book 'Tango Stories - Musical Secrets':

     
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  17. Yogur griego

    Yogur griego Member

    Another fan here. I wish everyone would read Lavocah's book!
     
    bordertangoman likes this.
  18. bordertangoman

    bordertangoman Well-Known Member


    none of the above ; its igual de bandoneon


    Igual que un bandoneón
    Solloza corazón,
    Igual que un bandoneón
    Estás penando...
    Y tus notas van fraseando
    Recuerdos de su amor.

    Yo le dije: adiós,
    Por eso corazón,
    Por ella se hace
    Más tristón tu acento,
    Que gime desde adentro
    Igual que un bandoneón.

    Era como canción de un tango
    Todo aquel amor de tu vida,
    Y hoy lloras, corazón
    Igual que un bandoneón
    La triste voz, enronquecida.

    Nunca desde el adiós la viste
    Pobre mi corazón viejo y triste,
    Tu pena es el dolor
    Que mueve su gemir
    Igual que un bandoneón.

    translation:

    Like a bandoneon
    Heart weeps,
    Like a bandoneon
    You are grieving ...
    And your notes are phrasing
    Memories of her love.

    I said goodbye,
    Thus heart,
    For it is
    More sad your accent,
    That groans from within
    Like a bandoneon.

    It was like a tango song
    All the love of your life,
    And now you cry, heart
    Like a bandoneon
    The sad voice hoarse.

    Never since the dresses goodbye
    My poor old heart and sad,
    Your pain is pain
    That moves her moan
    Like a bandoneon.
     
  19. UKDancer

    UKDancer Well-Known Member

    Whose: Demare/Quintana, 1945? (That's the only version I know, anyway.)

    You'd have to know the lyric pretty well, to match up one word in the forth verse - it wasn't much to go on ... ;)
     
  20. bordertangoman

    bordertangoman Well-Known Member

    That version is nice but I was thinking Tanturi/Campos

     

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