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totaltango -
pure passion
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orchestras : canaro
| | | Canaro
| | Francisco Canaro had a classic rags-to-riches story. He taught himself to play the violin on an instrument he had made for himself out of an oil tin and a stick, and became one of the most successful tango musicians of all time, leading his own orchestra for over fifty years up to his death in 1964. He was one of the creators of the tango fantasía style (tangos written as concert pieces rather than to be danced to) while at the same time recording with his Quinteto Pirincho fine dedicated dance music.
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| | | Quinteto Pirincho: Tangos del Tiempo Viejo
Canaro formed Quinteto Pirincho specifically to record music for dancers. These delightful recordings from the 1950s are inspired by the cheerful style of the early Tango.El Choclo (1959), El Entrerriano (1959), La Morocha (1959), Don Juan (1959), Desde El Ama (Vals 1952), Rodriguez Pena (1959), La Cumparsita (1955), Felicia (1952), Hotel Victoria (1952), Orillera (1960), Canaro En Paris (1956), El Internado (1952), El Alacran (1959), La Cara De La Luna (1959), Vibraciones Del Alma (1956), Una Noche De Garufa (1953), El Esquinazo (1951), Alma De Bohemio (1959), El Marne (1959), El Torito (1950)
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| | | La Melodía de Nuestro Adios
These recordings were made between 1932 and 1938, and mostly represent the slow, measured, yet surprisingly sinuous style of the early thirties. The early milonga recordings are surprisingly slow, as are the valses, although the later recordings start to pick up the tempo. Vocals Agustín Irusta (3), Ernesto Famá (5), and Roberto Maida (2).Order for delivery from the UK
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| | | Nobleza de Arrabal
More lively dance music from Quinteto Pirincho, recorded between 1937 and 1941.Viento en Popa, El Choclo, La Cavlada, Don Esteban, Rodriguez Pena, Champagne Tango, Alma en Pena, Loca, El Garon, Sufra, La Viruta, Duello Criollo, El Ciruja, Cuando Llora la Milonga, Quejas de Bandoneon, Nobleza de Arrabal, La Galarcita, El Otario, Reina de Saba, La Cara de la Luna
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| | | Tangos Inolvidables del 40
In the Golden Age, like everyone else, Canaro picked up the tempo, keeping that strong clear rhythm loved by dancers. These recordings are from 1940 to 1948. Vocals Ernesto Famá (2), Alberto Arenas (3), Eduardo Adrián (2), Carlos Roldán (3) and Nelly Omar (2).Toda Mi Vida (Fama), En Esta Tarde Gris (Amor), Gricel (Adrian), Sombras Nada Mas (Adrian), Sonar y Nada Mas (V Roldan-Adrian), Duello Criollo Coral), Maria (Arenas), Cancion Desesperada (Omar), Como Dos Extranos, Por Las Calles de la Vida (Roldan), Sentimiento Gaucho (Omar), Charlemos (Fama), Copa de Ajenjo (Amor), Mas Solo Que Nunca (Roldan), Muchacha (V Adrian), Tedio (Arenas), Esta Noche (Fama), La Ultima Copa (Arenas), Yira Yira (Arenas), Nobleza de Arrabal (Arenas)
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| | | Nelly Omar con Canaro / Fiorentino con orquesta dirigida por Piazzolla
The ten Nelly Omar tracks on this cd are all with Canaro. Nelly Omar, sometimes called "Gardel in skirts", is considered by many people to be the finest woman Tango singer ever. These tracks also show Canaro at his best. The rest are by Fiorentino (see Piazzolla).
Rosa De Otono (V Omar), Vejo Ciego (Fiorentino), Nobleza de Arrabal (Omar), Volvio Una Noche (Fiorentino), Sentimiento Gaucho (Omar), Soy Una Fiera (M Fiorentino), Cancion Desesperada (Omar), Otros Tiempos y Otros Hombres (Fiorentino), Adios Pampa Mia (Omar), En Carne Propia (Fiorentino), Gardel-Razano (M Omar), Cotorrita de la Suerte (Fiorentino), Dejame... No Quiero Verte Mas (Omar), Nos Encontramos al Pasar (Fiorentino), Desde el Alma (V Omar), De Vuelta al Bulin (Fiorentino), Sus Ojos se Cerraron (Omar), Corrientes y Esmeralda (Fiorentino), La Cancion de Buenos Aires (Omar)
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orchestras : canaro
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