Juan D'Arienzo

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Juan D'Arienzo

Full civil name Juan D'Arienzo
Nickname “El grillo”, “El ñato”, “El Rey del Compás”
Date of birth 1900/12/14 in Buenos Aires, Argentina
Date of death 1976/01/14 in Buenos Aires, Argentina
Role(s)  • Composer
 • Orchestra director
 • Musician
Instrument(s)  • Violin


Juan D’Arienzo (Buenos Aires, December 14th, 1900 – Buenos Aires, January 14th, 1976) was an Argentinian violinist, composer and, above all, leader and orchestra director. He had a long, successful career and is now considered to be one of the most emblematic figures of Argentine tango.

Career

Early days

Juan D'Arienzo was the first child born of Amalia Améndota and Alberto D'Arienzo, both Italians who had come to Buenos Aires as part of the massive migratory waves that, during the late 19th and early 20th Centuries, arrived at the port of Buenos Aires. Don Alberto’s hopes that his son would devote himself to the study of Law were soon to be defeated, as a young Juan showed a strong inclination towards music, encouraged by the family on his mother’s side. So was it that he began his studies at the Conservatorio Mascagni and quite soon got his first paying job playing the violin, as part of an orchestra of children at the Zoological Garden, that played on Sunday afternoons. With the same group they also appeared at the Apolo theatre [1]. He would later perform as violinist at the Avenida Theatre, and other locations with different groups, often in the company of his friend Ángel D'Agostino.

For a while, the popularity of jazz pushed D’Arienzo away from tango. Towards the year 1921[2] , like many musicians of his time, D’Arienzo began to work at movie theatres, providing music for silent films. “Select Lavalle” and “Real Cine” were two prominent cinemas where he performed. It was during his times as violinist of a jazz band that, due to the particular sounds he would make with his instrument, he received the nickname “El grillo” (“The Cricket”), which would accompany him still for many years.

The Paramount Orchestra

His entering the “Orquesta Paramount” marked the definitive turn for D'Arienzo towards tango. And towards success. Brought together by the business man in charge of theatre, as was customary back then, throughout the years, the configuration of the cinema Paramount’s orchestra changed as it normally happens; the addition of the remarkable bandoneon player Anselmo Aieta in 1925, however, was key. From then on, the group went on to perform at other venues, such as the movie theatre “Hindú”, and soon changed its name, first to “Los Ases del Tango” (The Aces of Tango), and later on to “Aieta y sus Ases” (Aieta and his Aces). The popularity of the group would only increase.

First steps as orchestra leader

In 1928, D’Arienzo took his first step as director of his own group, alongside the pianist Carlos Howard. The orchestra was integrated by a number of musicians who, according to tango historian and researcher Carlos Puente, had great experience in different styles and were “good readers”, i.e. very well trained in sight-reading, which made them very versatile and also efficient[3]. Ciriaco Ortiz, Nicolás Primiani, Vicente Gorrese, Luis Visca y Luis Cuervo, were some of the ones to integrate the orchestra at this early stage of “Juan D’Arienzo y su Orquesta Típica“.

The D’Arienzo-Visca

It was in 1929 that the D'Arienzo-Visca came to be, co-founded with Luis Visca, pianist in one of the configurations of Aieta y sus Ases. His and D’Arienzo’s was a fortunate combination, as they were both said to have similar temperaments and to share an enormous passion for tango[4]. The direction of the ochestra’s style and performances was showing a preference for nightclubs and cabarets, places where tango began to take shelter. They would perform at the “Hindú” Cinema, Radio Libertad, “Florida”, as well as the “Chantecler”, the most emblematic, high-profile cabaret of the time.

In 1934, due to health problems, perhaps as a consequence of his father’s death, Visca stepped aside, leaving D'Arienzo on his own.

Juan D’Arienzo y su Orquesta Típica

The year 1935 became a landmark: D'Arienzo “cased” the violin to devote himself to directing. The years to come would be filled with success, and the figure of Juan D'Arienzo would reach an almost mythological status.

Among its ranks, Juan D'Arienzo’s orchestra counted a great number of outstanding musicians who, many say, were an important part of the explanation of the group’s prosperity. One way or the other, it is impossible to deny the quality of, just to give an example, Rodolfo Biagi, who played the piano in the orchestra from the end of 1935, until mid 1938. According to Puente, Biagi’s unmistakeable style was developed during his time in D’Arienzo’s orchestra. He was also in charge of arranging, which he did with the assistance of, for example, orchestra members Mancuso, Moro, De la Roca. Juan Polito succeeded him at the piano, and eventually came Fluvio Salamanca’s turn. Alberto Echagüe and Armando Laborde were some of the best known voices to sing with the orchestra. Also, it is known that even Aníbal Troilo would perform with D'Arienzo on occasion, and also Carlos Di Sarli collaborated with him once for a period of 45 days. Many of the members of his orchestra eventually went their own ways, forming their own groups. Their time under the direction of D'Arienzo, however, would normally shine through, and their own styles were quite often considered a continuation of that of D'Arienzo.

For 28 years, the orchestra performed at the Chantecler, which became the orchestra and its director’s favourite stage, as well as a symbol of the dance of tango during the 1940’s. The milonga “La puñalada” and, of course, “La cumparsita” were and still are among the orchestra’s greatest hits. A record that contained both tracks became a success that was unusual for its time, selling almost two million copies.

Style

According to D’Arienzo himself, tango was built on three pillars: “rhythm, effects and nuances.” The great potency of its music, characterized among other elements by the determined and very precise staccatos, its eminently rhythmical style made D’Arienzo’s orchestra a favourite among dancers. It was said that he renewed the feeling for the dance, and, to a further extreme, that he saved tango from its decadence. D’Arienzo himself won the public’s affections and became a true idol. It can still be seen today on priceless videos that have survived, how involved and emotional his directing was, with how much passion he transmitted his energy to his musicians.[5]

The “D’Arienzo Style”, which Horacio Ferrer in El libro del tango describes as having:

A strong rhythm, uniformly accentuating the four beats in each bar, filled with nervous pianistic passages on the empty spaces left by the melody; violin solos, preferably played on the lower register of the instrument, and bandoneon variations, all extremely fast and on the base of a repertoire of instrumental compositions, generally old (…)
Horacio Ferrer[6]


This was quite a novelty in its time, perhaps precisely because he is considered to have returned, in his own way, to the original feeling of the Guardia Vieja, or rather, to have brought the feeling of the old days of the tango to his present. In his own words,

I feel tango like that, the old way, and since it wasn’t me who invented it, I don’t think I have the right to make changes that will make its appearance completely different […] I went to look for it to its own source, and brought it with me by the hand.
Juan D'Arienzo[7]


However, Luis Adolfo Sierra in his book Historia de la orquesta típica presents an interesting argument. He states that the popularity of D’Arienzo and his musical style, together with the fact that most other orchestras of the time began to imitate it, produced in fact “an almost regressive stagnation in the instrumental conceptions of a well-conceived renovating concept.”[8] As much as Sierra afirms D’Arienzo never abandoned the musical essence of tango and clearly values D’Arienzo’s value and contribution to tango in other sections of his book, he firmly suggests that, though not exactly his style, which he defines as “sound-wise aggressive”[9], rather its popularity, acted in detriment of “authenticity of rhythm and harmonic structure (...), blurring an interesting and beautiful sound complex of effects and resources of exquisite musicality”[10], which needed close to ten years to get back to the point where it could continue its evolution.

D’Arienzo as composer

Juan D’Arienzo is the author of 43 works. All of them but five were recorded. In alphabetical order, the recorded pieces are:

The following are compositions he never recorded: Amigo Evaristo; Apache; Borrá y apuntá de nuevo; Brumas; En la boca, no.

With his orchestra, D’Arienzo also performed the works of Carlos Lázzari, Juan Polito, Fluvio Salamanca, Enrique Alessio, Héctor Varela, Eladio Blanco, Ernesto Franco, Jorge Dragone, Cayetano Puglisi, Pablo Hechin, Luis Visca, Rodolfo Biagi, Juancito Díaz, Alberto Echagüe, Aldo Junnissi, Armando Laborde, Victorio Virgilito, Aquiles Aguilar, Clemente Ortiz, Mario Landi, Ciriaco Ortiz, among others (many were members of the orchestra themselves at some point).

It’s a little known fact that D’Arienzo was author to a “shimmy” called “Tu boquita” (Your little mouth), dedicated to his friend Martín Gregorini.

Discography

Note on discography

As much as D’Arienzo is most known to have recorded for the label RCA Victor, given that he was related, on his mother side, to the owners of the record label Electra, it soon became possible for him to make his first recordings, regardless of the fact that his orchestra was young and its success was only beginning to take flight. So was it that D’Arienzo’s orchestra built an initial discography of about 50 recorded songs,[11] in some of which it accompanied the estribillistas Carlos Dante and Francisco Fiorentino, who were also at an early point in their careers.[12] Some recordings also featured the actress and singer Raquel Notar.[13] D'Arienzo with his orchestra has left over 1007. He worked with the record label Electra in 1928, and recorded 42 songs. The rest of the recordings were made through the label RCA Victor, to which D'Arienzo was associated for over 40 years.

Recordings

Recordings with Lidio Fasoli on the piano

There are 10 recordings. Click expand to view all. Sort results with the little arrows.

Title Singer Record date Genre Label Disco No Matrix No Side Disc type
R000001 Penas de amor Instrumental 12 August 1935 Vals RCA Victor 37812 BAVE 86930 A
R000003 Tinta verde Instrumental 12 August 1935 Tango RCA Victor 37812 BAVE 86931 B
R000417 Desde el alma Instrumental 2 July 1935 Vals RCA Victor 37785 BAVE 86874-1 A
R000418 Hotel Victoria Instrumental 2 July 1935 Tango RCA Victor 37785 BAVE 86875 B
R000419 Re Fa Si Instrumental 3 October 1935 Vals RCA Victor 37825 BAVE 86948 A
R000420 Francia Instrumental 3 October 1935 Vals RCA Victor 37825 BAVE 86949-1 B
R000421 De pura cepa Instrumental 18 November 1935 Milonga RCA Victor 37844 BAVE 93022 B
R000422 Sábado inglés Instrumental 19 November 1935 Tango RCA Victor 37844 BAVE 93023 A
R000423 Joaquina Instrumental 12 December 1935 Tango RCA Victor 37849 BAVE 93040-1 A
R000424 Pabellón de las rosas Instrumental 12 December 1935 Vals Victor 37849 BAVE 93041-1 B



Recordings with Rodolfo Biagi on the piano

There are 64 recordings. Click expand to view all. Sort results with the little arrows.

Title Singer Record date Genre Label Disco No Matrix No Side Disc type
R000425 Tu olvido Walter Cabral 8 May 1936 Vals RCA Victor 37916 BAVE 93174 A
R000426 Lorenzo Instrumental 8 May 1936 Tango RCA Victor 37916 BAVE 93175 B
R000427 El flete Instrumental 3 April 1936 Tango RCA Victor 37901 BAVE 93139-1 A
R000428 Un placer Walter Cabral 3 April 1936 Vals RCA Victor 37901 BAVE 93138-1 B
R000429 Retintín Instrumental 31 January 1936 Tango RCA Victor 37883 BAVE 93092 A
R000430 Sueño florido Instrumental 31 January 1936 Vals RCA Victor 37883 BAVE 93093 B
R000431 La guitarrita Instrumental 14 January 1936 Tango RCA Victor 37870 BAVE 93074-1 A
R000432 Silueta porteña Walter Cabral 14 January 1936 Milonga RCA Victor 37870 BAVE 93075-1 B
R000433 9 de julio Instrumental 31 December 1935 Tango RCA Victor 37860 BAVE 93057 A
R000434 Orillas del Plata Instrumental 31 December 1935 Vals RCA Victor 37860 BAVE 93056 B
R000435 Rawson Instrumental 3 September 1936 Tango RCA Victor 37991 BAVE 83579-1 A
R000436 Corazón de artista Instrumental 27 November 1936 Vals RCA Victor 38050 BAVE 93413 B
R000437 La viruta Instrumental 30 December 1936 Tango RCA Victor 38072 BAVE 93448 A
R000438 Visión celeste Instrumental 30 December 1936 Vals RCA Victor 38072 BAVE 93449 B
R000439 Comme il faut Instrumental 27 October 1936 Tango RCA Victor 38032 BAVE 93382 A
R000440 Una lágrima Instrumental 27 October 1936 Vals RCA Victor 38032 BAVE 93383 B
R000441 El irresistible Instrumental 5 August 1936 Tango RCA Victor 37969 BAVE 93256 A
R000442 Inolvidable Instrumental 5 August 1936 Vals RCA Victor 37969 BAVE 93257 B
R000443 Irene Walter Cabral 9 June 1936 Vals RCA Victor 37937 BAVE 93194-1 A
R000444 Ataniche Instrumental 27 November 1936 Tango RCA Victor 38050 BAVE 93412 A
R000445 Don Esteban Instrumental 3 July 1936 Tango RCA Victor 37955 BAVE 93238 A
R000446 Don Juan Instrumental 29 September 1936 Tango RCA Victor 38009 BAVE 93348 A
R000447 Lágrimas y sonrisas Instrumental 29 September 1936 Vals RCA Victor 38009 BAVE 93349-1 B
R000448 No llores, madre Instrumental 3 July 1936 Vals RCA Victor 37955 BAVE 93239 B
R000449 La payanca Instrumental 9 June 1936 Tango RCA Victor 37937 BAVE 93195 B
R000450 Amor y celo Instrumental 3 September 1936 Vals RCA Victor 37991 BAVE 93313 B
R000451 Valsecito de antes Instrumental 31 August 1937 Vals RCA Victor 38261 BAVE 93871 A
R000452 El porteñito Instrumental 31 August 1937 Tango RCA Victor 38261 BAVE 93872 B
R000453 Gallo ciego Instrumental 9 December 1937 Tango RCA Victor 38327 BAVE 93998 A
R000454 El cencerro Instrumental 9 December 1937 Tango RCA Victor 38327 BAVE 93999 B
R000455 Homero Instrumental 27 April 1937 Tango RCA Victor 38159 BAVE 93586 A
R000456 La puñalada Instrumental 27 April 1937 Milonga tangueada RCA Victor 38159 BAVE 93587 B
R000457 El apronte Instrumental 1 April 1937 Tango RCA Victor 38138 BAVE 93548 A
R000458 Mentías Instrumental 1 April 1937 Vals RCA Victor 38138 BAVE 93549 B
R000459 Alma dolorida Instrumental 5 March 1937 Vals RCA Victor 38114 BAVE 93537 B
R000460 El caburé Instrumental 22 September 1937 Tango RCA Victor 38283 BAVE 93907 A
R000461 Milonga, vieja milonga Instrumental 22 September 1937 Milonga RCA Victor 38283 BAVE 93908 B
R000462 Qué noche Instrumental 5 March 1937 Tango RCA Victor 38114 BAVE 93536 A
R000463 La rosarina Instrumental 2 July 1937 Tango RCA Victor 38221 BAVE 93793 A
R000464 Pasión Instrumental 2 July 1937 Vals RCA Victor 38221 BAVE 93794 B
R000465 El baqueano Instrumental 21 January 1937 Tango RCA Victor 38093 BAVE 93485 B
R000466 El cachafaz Instrumental 2 June 1937 Tango RCA Victor 38187 BAVE 93759 A
R000467 Paciencia Enrique Carbel 29 October 1937 Tango RCA Victor 38305 BAVE 93946 A
R000468 Jueves Instrumental 29 October 1937 Tango RCA Victor 38305 BAVE 93947 B
R000469 El choclo Instrumental 26 July 1937 Tango RCA Victor 38242 BAVE 93831 A
R000470 Valsecito criollo Instrumental 26 July 1937 Vals RCA Victor 38242 BAVE 93832 B
R000793 Champagne tango Instrumental 22 June 1938 Tango RCA Victor 38495 BAVE 12364-1 A
R000794 Pensalo bien Alberto Echagüe 22 June 1938 Tango RCA Victor 38495 BAVE 12363-1 B
R000795 La catrera Instrumental 8 June 1938 Tango RCA Victor 38474 BAVE 12299-1 A
R000796 El temblor Alberto Echagüe 8 June 1938 Milonga RCA Victor 38474 BAVE 12336-1 B
R000797 El cisne Instrumental 6 May 1938 Tango RCA Victor 38468 BAVE 12255 A
R000798 Milonga del corazón Alberto Echagüe 6 May 1938 Milonga RCA Victor 38468 BAVE 12254 B
R000799 La mariposa Instrumental 23 March 1938 Tango RCA Victor 38412 BAVE 12144 A
R000800 El triunfo Instrumental 23 March 1938 Tango RCA Victor 38412 BAVE 12145 B
R000801 Indiferencia Alberto Echagüe 4 January 1938 Tango RCA Victor 38372 BAVE 12069 A
R000802 El esquinazo Instrumental 4 January 1938 Milonga RCA Victor 38372 BAVE 12068 B
R000803 La cumparsita Instrumental 14 December 1937 Tango RCA Victor 38326 BAVE 12015-1 A
R000804 El africano Instrumental 14 December 1937 Tango RCA Victor 38326 BAVE 12014-1 B
R000805 La morocha Instrumental 21 December 1937 Tango RCA Victor 38352 BAVE 12042 A
R000806 Melodía porteña Instrumental 21 December 1937 Tango RCA Victor 38352 BAVE 12043 B
R000807 Rodríguez Peña Instrumental 7 January 1938 Tango RCA Victor 38368 BAVE 12072 A
R000808 Unión cívica Instrumental 7 January 1938 Tango RCA Victor 38368 BAVE 12073 B
R000809 El aeroplano Instrumental 12 April 1938 Vals RCA Victor 38440 BAVE 12193 B
R000810 El horizonte Instrumental 12 April 1938 Tango RCA Victor 38440 BAVE 12192 A



Recordings with Juan Polito on the piano

There are 20 recordings. Click expand to view all. Sort results with the little arrows.

Title Singer Record date Genre Label Disco No Matrix No Side Disc type
R000811 El internado Instrumental 8 July 1938 Tango RCA Victor 38506 BAVE 12389 B
R000812 Nada más Alberto Echagüe 8 July 1938 Tango RCA Victor 38506 BAVE 12390 A
R000813 Dos guitas Alberto Echagüe 3 March 1939 Tango RCA Victor 38676 BAVE 12692-1 A
R000814 Meta fierro Alberto Echagüe 3 March 1939 Milonga RCA Victor 38676 BAVE 12691-1 B
R000815 Maipo Instrumental 18 April 1939 Tango RCA Victor 38702 BAVE 12751-1 A
R000816 No me lo digas Instrumental 18 April 1939 Tango RCA Victor 38702 BAVE 12752-1 B
R000817 Pico blanco Instrumental 4 January 1939 Tango RCA Victor 1A-0775 12635 A
R000818 Yunta brava Instrumental 4 January 1939 Tango RCA Victor 1A-0775 12536 B
R000819 No mientas Alberto Echagüe 28 December 1938 Tango RCA Victor 38640 BAVE 12627-1 A
R000820 El pollito Instrumental 28 December 1938 Tango RCA Victor 38640 BAVE 12628-1 B
R000821 En tu corazón Alberto Echagüe 30 September 1938 Vals RCA Victor 38569 BAVE 12509-1 A
R000822 Lunes Instrumental 30 September 1938 Tango RCA Victor 38569 BAVE 12510-1 B
R000823 Ansiedad Alberto Echagüe 9 November 1938 Tango RCA Victor 38608 BAVE 12562-1 A
R000824 Milonga querida Alberto Echagüe 9 November 1938 Milonga RCA Victor 1A-0925 BAVE 12561-1 B
R000825 Florida Instrumental 5 August 1938 Tango RCA Victor 38536 BAVE 12425-1 A
R000826 Estampa de varón Alberto Echagüe 5 August 1938 Milonga tangueada RCA Victor 38536 BAVE 12426-1 B
R000827 Lelia Instrumental 26 August 1938 Tango RCA Victor 38544 12447 A
R000828 La bruja Alberto Echagüe 26 August 1938 Tango RCA Victor 38544 12448 B
R000829 De mi flor Instrumental 3 November 1938 Tango RCA Victor 38601 12555 A
R000830 Cabeza de novia Alberto Echagüe 3 November 1938 Vals RCA Victor 38601 12556 B



Recordings from 1940

There are 2 recordings. Click expand to view all. Sort results with the little arrows.

Title Singer Record date Genre Label Disco No Matrix No Side Disc type
R000572 Amarroto Alberto Echagüe 12 September 1951 Tango RCA Victor 68-0188 94367-1 A Shellac
R000791 Claudinette Héctor Mauré 12 August 1942 Tango RCA Victor 39689 69864-1 A Shellac



All recordings

There are 97 recordings. Click expand to view all. Sort results with the little arrows.

Title Singer Record date Genre Label Disco No Matrix No Side Disc type
R000001 Penas de amor Instrumental 12 August 1935 Vals RCA Victor 37812 BAVE 86930 A Shellac
R000003 Tinta verde Instrumental 12 August 1935 Tango RCA Victor 37812 BAVE 86931 B Shellac
R000417 Desde el alma Instrumental 2 July 1935 Vals RCA Victor 37785 BAVE 86874-1 A Shellac
R000418 Hotel Victoria Instrumental 2 July 1935 Tango RCA Victor 37785 BAVE 86875 B Shellac
R000419 Re Fa Si Instrumental 3 October 1935 Vals RCA Victor 37825 BAVE 86948 A Shellac
R000420 Francia Instrumental 3 October 1935 Vals RCA Victor 37825 BAVE 86949-1 B Shellac
R000421 De pura cepa Instrumental 18 November 1935 Milonga RCA Victor 37844 BAVE 93022 B Shellac
R000422 Sábado inglés Instrumental 19 November 1935 Tango RCA Victor 37844 BAVE 93023 A Shellac
R000423 Joaquina Instrumental 12 December 1935 Tango RCA Victor 37849 BAVE 93040-1 A Shellac
R000424 Pabellón de las rosas Instrumental 12 December 1935 Vals Victor 37849 BAVE 93041-1 B Shellac
R000425 Tu olvido Walter Cabral 8 May 1936 Vals RCA Victor 37916 BAVE 93174 A Shellac
R000426 Lorenzo Instrumental 8 May 1936 Tango RCA Victor 37916 BAVE 93175 B Shellac
R000427 El flete Instrumental 3 April 1936 Tango RCA Victor 37901 BAVE 93139-1 A Shellac
R000428 Un placer Walter Cabral 3 April 1936 Vals RCA Victor 37901 BAVE 93138-1 B Shellac
R000429 Retintín Instrumental 31 January 1936 Tango RCA Victor 37883 BAVE 93092 A Shellac
R000430 Sueño florido Instrumental 31 January 1936 Vals RCA Victor 37883 BAVE 93093 B Shellac
R000431 La guitarrita Instrumental 14 January 1936 Tango RCA Victor 37870 BAVE 93074-1 A Shellac
R000432 Silueta porteña Walter Cabral 14 January 1936 Milonga RCA Victor 37870 BAVE 93075-1 B Shellac
R000433 9 de julio Instrumental 31 December 1935 Tango RCA Victor 37860 BAVE 93057 A Shellac
R000434 Orillas del Plata Instrumental 31 December 1935 Vals RCA Victor 37860 BAVE 93056 B Shellac
R000435 Rawson Instrumental 3 September 1936 Tango RCA Victor 37991 BAVE 83579-1 A Shellac
R000436 Corazón de artista Instrumental 27 November 1936 Vals RCA Victor 38050 BAVE 93413 B Shellac
R000437 La viruta Instrumental 30 December 1936 Tango RCA Victor 38072 BAVE 93448 A Shellac
R000438 Visión celeste Instrumental 30 December 1936 Vals RCA Victor 38072 BAVE 93449 B Shellac
R000439 Comme il faut Instrumental 27 October 1936 Tango RCA Victor 38032 BAVE 93382 A Shellac
R000440 Una lágrima Instrumental 27 October 1936 Vals RCA Victor 38032 BAVE 93383 B Shellac
R000441 El irresistible Instrumental 5 August 1936 Tango RCA Victor 37969 BAVE 93256 A Shellac
R000442 Inolvidable Instrumental 5 August 1936 Vals RCA Victor 37969 BAVE 93257 B Shellac
R000443 Irene Walter Cabral 9 June 1936 Vals RCA Victor 37937 BAVE 93194-1 A Shellac
R000444 Ataniche Instrumental 27 November 1936 Tango RCA Victor 38050 BAVE 93412 A Shellac
R000445 Don Esteban Instrumental 3 July 1936 Tango RCA Victor 37955 BAVE 93238 A Shellac
R000446 Don Juan Instrumental 29 September 1936 Tango RCA Victor 38009 BAVE 93348 A Shellac
R000447 Lágrimas y sonrisas Instrumental 29 September 1936 Vals RCA Victor 38009 BAVE 93349-1 B Shellac
R000448 No llores, madre Instrumental 3 July 1936 Vals RCA Victor 37955 BAVE 93239 B Shellac
R000449 La payanca Instrumental 9 June 1936 Tango RCA Victor 37937 BAVE 93195 B Shellac
R000450 Amor y celo Instrumental 3 September 1936 Vals RCA Victor 37991 BAVE 93313 B Shellac
R000451 Valsecito de antes Instrumental 31 August 1937 Vals RCA Victor 38261 BAVE 93871 A Shellac
R000452 El porteñito Instrumental 31 August 1937 Tango RCA Victor 38261 BAVE 93872 B Shellac
R000453 Gallo ciego Instrumental 9 December 1937 Tango RCA Victor 38327 BAVE 93998 A Shellac
R000454 El cencerro Instrumental 9 December 1937 Tango RCA Victor 38327 BAVE 93999 B Shellac
R000455 Homero Instrumental 27 April 1937 Tango RCA Victor 38159 BAVE 93586 A Shellac
R000456 La puñalada Instrumental 27 April 1937 Milonga tangueada RCA Victor 38159 BAVE 93587 B Shellac
R000457 El apronte Instrumental 1 April 1937 Tango RCA Victor 38138 BAVE 93548 A Shellac
R000458 Mentías Instrumental 1 April 1937 Vals RCA Victor 38138 BAVE 93549 B Shellac
R000459 Alma dolorida Instrumental 5 March 1937 Vals RCA Victor 38114 BAVE 93537 B Shellac
R000460 El caburé Instrumental 22 September 1937 Tango RCA Victor 38283 BAVE 93907 A Shellac
R000461 Milonga, vieja milonga Instrumental 22 September 1937 Milonga RCA Victor 38283 BAVE 93908 B Shellac
R000462 Qué noche Instrumental 5 March 1937 Tango RCA Victor 38114 BAVE 93536 A Shellac
R000463 La rosarina Instrumental 2 July 1937 Tango RCA Victor 38221 BAVE 93793 A Shellac
R000464 Pasión Instrumental 2 July 1937 Vals RCA Victor 38221 BAVE 93794 B Shellac
R000465 El baqueano Instrumental 21 January 1937 Tango RCA Victor 38093 BAVE 93485 B Shellac
R000466 El cachafaz Instrumental 2 June 1937 Tango RCA Victor 38187 BAVE 93759 A Shellac
R000467 Paciencia Enrique Carbel 29 October 1937 Tango RCA Victor 38305 BAVE 93946 A Shellac
R000468 Jueves Instrumental 29 October 1937 Tango RCA Victor 38305 BAVE 93947 B Shellac
R000469 El choclo Instrumental 26 July 1937 Tango RCA Victor 38242 BAVE 93831 A Shellac
R000470 Valsecito criollo Instrumental 26 July 1937 Vals RCA Victor 38242 BAVE 93832 B Shellac
R000572 Amarroto Alberto Echagüe 12 September 1951 Tango RCA Victor 68-0188 94367-1 A Shellac
R000791 Claudinette Héctor Mauré 12 August 1942 Tango RCA Victor 39689 69864-1 A Shellac
R000792 Ay Aurora Alberto Echagüe 14 November 1939 Vals RCA Victor 38887 39072-1 A Shellac
R000793 Champagne tango Instrumental 22 June 1938 Tango RCA Victor 38495 BAVE 12364-1 A Shellac
R000794 Pensalo bien Alberto Echagüe 22 June 1938 Tango RCA Victor 38495 BAVE 12363-1 B Shellac
R000795 La catrera Instrumental 8 June 1938 Tango RCA Victor 38474 BAVE 12299-1 A Shellac
R000796 El temblor Alberto Echagüe 8 June 1938 Milonga RCA Victor 38474 BAVE 12336-1 B Shellac
R000797 El cisne Instrumental 6 May 1938 Tango RCA Victor 38468 BAVE 12255 A Shellac
R000798 Milonga del corazón Alberto Echagüe 6 May 1938 Milonga RCA Victor 38468 BAVE 12254 B Shellac
R000799 La mariposa Instrumental 23 March 1938 Tango RCA Victor 38412 BAVE 12144 A Shellac
R000800 El triunfo Instrumental 23 March 1938 Tango RCA Victor 38412 BAVE 12145 B Shellac
R000801 Indiferencia Alberto Echagüe 4 January 1938 Tango RCA Victor 38372 BAVE 12069 A Shellac
R000802 El esquinazo Instrumental 4 January 1938 Milonga RCA Victor 38372 BAVE 12068 B Shellac
R000803 La cumparsita Instrumental 14 December 1937 Tango RCA Victor 38326 BAVE 12015-1 A Shellac
R000804 El africano Instrumental 14 December 1937 Tango RCA Victor 38326 BAVE 12014-1 B Shellac
R000805 La morocha Instrumental 21 December 1937 Tango RCA Victor 38352 BAVE 12042 A Shellac
R000806 Melodía porteña Instrumental 21 December 1937 Tango RCA Victor 38352 BAVE 12043 B Shellac
R000807 Rodríguez Peña Instrumental 7 January 1938 Tango RCA Victor 38368 BAVE 12072 A Shellac
R000808 Unión cívica Instrumental 7 January 1938 Tango RCA Victor 38368 BAVE 12073 B Shellac
R000809 El aeroplano Instrumental 12 April 1938 Vals RCA Victor 38440 BAVE 12193 B Shellac
R000810 El horizonte Instrumental 12 April 1938 Tango RCA Victor 38440 BAVE 12192 A Shellac
R000811 El internado Instrumental 8 July 1938 Tango RCA Victor 38506 BAVE 12389 B Shellac
R000812 Nada más Alberto Echagüe 8 July 1938 Tango RCA Victor 38506 BAVE 12390 A Shellac
R000813 Dos guitas Alberto Echagüe 3 March 1939 Tango RCA Victor 38676 BAVE 12692-1 A Shellac
R000814 Meta fierro Alberto Echagüe 3 March 1939 Milonga RCA Victor 38676 BAVE 12691-1 B Shellac
R000815 Maipo Instrumental 18 April 1939 Tango RCA Victor 38702 BAVE 12751-1 A Shellac
R000816 No me lo digas Instrumental 18 April 1939 Tango RCA Victor 38702 BAVE 12752-1 B Shellac
R000817 Pico blanco Instrumental 4 January 1939 Tango RCA Victor 1A-0775 12635 A Shellac
R000818 Yunta brava Instrumental 4 January 1939 Tango RCA Victor 1A-0775 12536 B Shellac
R000819 No mientas Alberto Echagüe 28 December 1938 Tango RCA Victor 38640 BAVE 12627-1 A Shellac
R000820 El pollito Instrumental 28 December 1938 Tango RCA Victor 38640 BAVE 12628-1 B Shellac
R000821 En tu corazón Alberto Echagüe 30 September 1938 Vals RCA Victor 38569 BAVE 12509-1 A Shellac
R000822 Lunes Instrumental 30 September 1938 Tango RCA Victor 38569 BAVE 12510-1 B Shellac
R000823 Ansiedad Alberto Echagüe 9 November 1938 Tango RCA Victor 38608 BAVE 12562-1 A Shellac
R000824 Milonga querida Alberto Echagüe 9 November 1938 Milonga RCA Victor 1A-0925 BAVE 12561-1 B Shellac
R000825 Florida Instrumental 5 August 1938 Tango RCA Victor 38536 BAVE 12425-1 A Shellac
R000826 Estampa de varón Alberto Echagüe 5 August 1938 Milonga tangueada RCA Victor 38536 BAVE 12426-1 B Shellac
R000827 Lelia Instrumental 26 August 1938 Tango RCA Victor 38544 12447 A Shellac
R000828 La bruja Alberto Echagüe 26 August 1938 Tango RCA Victor 38544 12448 B Shellac
R000829 De mi flor Instrumental 3 November 1938 Tango RCA Victor 38601 12555 A Shellac
R000830 Cabeza de novia Alberto Echagüe 3 November 1938 Vals RCA Victor 38601 12556 B Shellac




Media

Radio

During his career D'Arienzo performed in the following radio stations: Radio Fénix, Radio El Mundo, Radio Belgrano and Radio Splendid.

Considering the place of importance the radio occupied at the time, for an ochestra to play at a popular station could be crucial. In particular, the D’Arienzo’s incorporation to the staff of Radio El Mundo proved a key step on his way to a massive success. The official debut took place on January 1st, 1937, and success was immediate.

Film

It wasn’t uncommon for the time, for famous musicians to make appearances on the big screen. Juan D'Arienzo appeared in the films “Tango” (1933), “Melodías porteñas” (1937), “Yo quiero ser bataclana” (1941), “Otra cosa es con guitarra” (1949), “Alma de bohemia” (1949), and “Al compás de tu mentira” (1950). Occasionally, the performances on film took place alongside other well-known names, such as Tita Merello, Luis Sandrini and Niní Marshall, as well as Juan de Dios Filiberto, Osvaldo Fresedo, Pedro Maffia and Edgardo Donato’s orchestras, among others.

Television

As television began to occupy a bigger place in the culture, several shows appeared, that were dedicated to the tango music, which by the sixties was already feeling the threat of time and change. D’Arienzo and his orchestra participated in the shows “Palais de Glace” (1959), “Aquí Armenonville” (1960), “Show de CAP”(1962), and “Del Pueblo” (1972).

Anecdotes and interesting facts

  • The legend tells that as a young boy, Juan D'Arienzo walked past a store that sold furniture and musical instruments and heard the sound of a piano. He went in and so met a boy his age, also a student of music who would go into the store to practice every time there was a piano for sale. That was the beginning of his friendship with Ángel D’Agostino.
  • At the age of sixteen, D'Arienzo played the violin alongside the pianist Eduardo Bonessi. It’s interesting to note that Bonessi taught singing, and one of his students was Carlos Gardel.
  • The loss of his good friend Carlos Gardel caused great grief to D'Arienzo, who, in turn, vowed never to travel by airplane. He kept his promise, to the extent that when they were invited to play in Japan, almost all of his orchestra traveled: all but him.
  • The start of Echagüe in D’Arienzo’s orchestra wasn’t easy. For some reason, his voice didn’t convince the directors of RCA Victor. For that reason, for the first recording of “Paciencia”, already one of D’Arienzo’s hits, Victor hired the singer Enrique Carbel. Echagüe wouldn’t record it himself until 1951. A similar thing happened at Radio El Mundo, where Echagüe was introduced little by little, until his success with the audience made him also appealing for the radio producers.
  • The story goes that around the year 40, at the peak of success, the musicians decided to ask D’Arienzo for a raise. The director declined the petition presented to him by Juan Polito, chosen ambassador by his fellow musicians. Once, twice, three times did D’Arienzo refuse the request, and so was it that they all left him and formed their own orchestra: the Polito-Echagüe. This caused great unease among the audience, articles were printed in newspapers and magazines stating the end of the D’Arienzo had arrived. However, showing once more what he was capable of, in only 15 days he formed a whole new orchestra, with Héctor Varela on bandoneón, Fulvio Salamanca on piano and Cayetano Puglisi on violin, as his stars. The story is well known: D’Arienzo continued to be a hit.
  • D'Arienzo attributed himself the creation of the slang term plomo (lit. “lead”), to designate a hard-to-stand, impertinent, annoying individual. Whether or not the word with such meaning is of “D'Arienzan” origin, the fact is it became quite popular and, although it might sound old-fashioned, its use persists in the modern version of Spanish spoken in Buenos Aires and other regions of the country. José Gobello, one of the best-known experts in lunfardo, incorporated the term to his dictionary.

References

  1. El libro del tango, Buenos Aires, Galerna, 1977, p.363.
  2. Los grandes del tango, Editorial Tango, Capital Federal. Año 1, N°1. Nov. 1990, p.17.
  3. Interview with Carlos Puente. November 2014, whole interview online on tangotunes.com
  4. Los grandes del tango, p.26.
  5. Link to youtube video?
  6. marcación rítmica dura, acentuando uniformemente los cuatro tiempos de cada compás y mechada con nerviosos rellenos pianísticos en los claros de la melodía; solos de violín preferentemente ejecutados en la tesitura grave del instrumento y variaciones de bandoneón extremadamente rápidos y sobre a base de un repertorio de composiciones instrumentales generalmente antiguas, valses criollos y páginas cantables del momento.” El libro del tango, p. 364.
  7. Yo siento el tango así, a la manera antigua, y como no fui yo quien lo inventó, no me creo con derecho a hacerle cambios que diferencien totalmente su fisonomía. […] Lo fui a buscar a su propia fuente y de la mano lo traje conmigo." En Los grandes del tango, p.31.
  8. Historia de la orquesta típica. Evolución instrumental del tango, Buenos Aires, Corregidor, 1985, p. 138.
  9. Idem. “Sonoramente agresivo“
  10. Idem. “(...) autenticidad rítmica y estructura armónica (...) desdibujando notoriamente todo un interesante y bello complejo sonoro de efectos y recursos de exquisita musicalidad.“
  11. Some sources indicate a more precise figure, such as 42 recordings, according to Los grandes del tango, p. 30.
  12. Interview with Carlos Puente. November 2014, whole interview online on tangotunes.com
  13. Los grandes del tango, p. 24.

Sources

Weblinks