In looking back over 2016 I noticed that my comparison of the speed of the Australian singer Josè Carbo to classic tango singers is a little one-sided in effect. So to even the field I have a similar analysis of some songs by a modern Argentinian singer.

Marcelo Álvarez (27 February 1962-), born Córdoba, Argentina, is a lyric tenor singer with an international career in opera. In 2000 he released Marcelo Álvarez Sings Gardel through Sony Classical. Recorded 16-23 August 1999 in Buenos Aires, it is a selection of Carlos Gardel’s tangos, accompanied by Nestor Marconi on bandoneón and Pablo Ziegler on piano among others. Eleven of the thirteen tracks were written by Gardel, and Track 13 is a digitally-mastered duet of Álvarez singing Mi Buenos Aires Querido with a 1934 recording of Carlos Gardel.

Compared to Gardel’s recordings of the same songs from during and just before the ‘Golden Age’, these tracks are on average over a third longer, and even Track 13, where Álvarez sings with Gardel, is 17% longer. Álvarez must be singing at the same tempo as Gardel on that track, so this clarifies that some of the difference is in the arrangement. But that track is one of the closest to Gardel’s length, and listening to other pieces such as Tomo Y Obligo, which is 51% longer,  makes clear that as well the tempo of Álvarez’ singing is overall much slower.

It’s not just Carbo that sings so slowly, it’s all modern operatically trained singers.

After the brief look at Armando Pontier last week, this week focuses on his music in more depth through the orquestas of Francini-Pontier and of Pontier himself.

That’s Tango Capital, Sunday evening from 7:00pm to 8:00pm:

• broadcasting on 2xxfm 98.3 in Canberra
• streaming to the web at http://www.2xxfm.org.au/listen

Image Credit:  http://www.todotango.com/creadores/ficha/51/Armando-Pontier

PLAYLIST:

• Margo, meaning a woman’s name, a tango recorded by Francini-Pontier, on 29 January 1946, with music composed by Armando Pontier, composed in 1945, with lyrics by Homero Expósito, and sung by Alberto Podestá.
• El Milagro, meaning ‘The Miracle’, a tango recorded by Francini-Pontier, on 4 September 1946, with music composed by Armando Pontier, composed in 1946, with lyrics by Homero Expósito, and sung by Alberto Podestá.
• Qué Me Van A Hablar De Amor, meaning ‘What Are You Going To Tell Me About Love’, a tango recorded by Francini-Pontier, on 14 March 1946, with music composed by Héctor Stamponi, composed in 1946, with lyrics by Homero Expósito, and sung by Alberto Podestá.
• Bésame Mi Amor, meaning ‘Kiss Me My Love’, a tango recorded by Armando Pontier, on 22 July 1957, with music composed by Enrique Lomuto, first recorded in 1944, with lyrics by Oscar Rubens, and sung by Oscar Ferrari.
• Caminito, meaning ‘Pathway’, a tango recorded by Armando Pontier, on 5 August 1957, with music composed by Juan De Dios Filiberto, composed in 1926, with lyrics by Gabino Coria Peñaloza, and sung by Oscar Ferrari.
• Venganza, meaning ‘Revenge’, a tango recorded by Armando Pontier, on 25 September 1957, with music composed by Luis Rúbistein, first recorded in 1934, with lyrics by Luis Rúbistein, and sung by Oscar Ferrari.
• Y Dicen Que No Te Quiero, meaning ‘And They Say I Do Not Love You’, a tango recorded by Francini-Pontier, on 12 April 1947, with music composed by José Canet, first recorded in 1947, with lyrics by José Canet, and sung by Raúl Berón.
• La Culpa Es Mia, meaning ‘The Fault Is Mine’, a tango recorded by Francini-Pontier, on 11 June 1947, with music composed by Arturo Gallucci, first recorded in 1947, with lyrics by Victorino Velasquez, and sung by Raúl Berón.
• Uno Y Uno, meaning ‘One And One’, a tango recorded by Francini-Pontier, on 13 August 1947, with music composed by Julio Pollero in 1928, with lyrics by Lorenzo Juan Traverso, and sung by Raúl Berón.
• Cambalache, meaning ‘Mix-up’, a tango recorded by Armando Pontier, on 25 February 1958, with music composed by Enrique Santos Discépolo in 1934, with lyrics by Enrique Santos Discépolo, and sung by Julio Sosa.
• Que Me Importa Tu Pasado, meaning ‘What About Your Past’, a tango recorded by Armando Pontier, on 26 February 1958, with music composed by Manuel Sucher, first recorded in 1955, with lyrics by R Giménez, and sung by Julio Sosa.
• Guapo Y Varón, meaning ‘Handsome And Masculine’, a tango recorded by Armando Pontier, on 16 May 1958, with music composed by Enrique Delfino, first recorded in 1940, with lyrics by Manuel Romero, and sung by Julio Sosa.
• Una Carta Para Italia, meaning ‘A Letter For Italy’, a tango recorded by Francini-Pontier, on 24 March 1948, with music composed by Reinaldo Yiso and Santos Lipesker, first recorded in 1948, with lyrics by Reinaldo Yiso and Santos Lipesker, and sung by Roberto Rufino.
• Cancion Para Un Breve Final, meaning ‘Song For A Final Moment’, a tango recorded by Francini-Pontier, on 4 February 1948, with music composed by Armando Pontier, first recorded in 1948, with lyrics by Homero Expósito, and sung by Roberto Rufino.
• Claveles Blancos, meaning ‘White Carnations’, a tango recorded by Francini-Pontier, on 3 February 1949, with music composed by Armando Pontier, first recorded in 1949, with lyrics by José Maria Contursi, and sung by Roberto Rufino.
• Derecho Viejo, meaning ‘Old Way’, a tango recorded by Armando Pontier, on 7 August 1957, with music composed by Eduardo Arolas, first recorded in 1917.

Following on from last week’s look at the life of Roberto Rufino, this week will explore his music as it unfolded over a quarter of a century with several orquestas – Di Sarli, Francini-Pontier, Caló and Troilo.

That’s Tango Capital, Sunday evening from 7:pm to 8:00pm:

• broadcasting on 2xxfm 98.3 in Canberra
• streaming to the web at http://www.2xxfm.org.au/listen

 

Image: A very young Roberto Rufino, probably taken during his association with Carlos Di Sarli and so before he turned 21. 

Image Credit: http://www.todotango.com/creadores/ficha/172/Roberto-Rufino

PLAYLIST:

• Griseta , meaning ‘Grey’, a tango recorded by Carlos Di Sarli, on 21 June 1941, with music composed by Enrique Delfino, composed in 1924, with lyrics by José González Castillo, and sung by Roberto Rufino.
• En Un Beso La Vida , meaning ‘Life in a Kiss’, a tango recorded by Carlos Di Sarli, on 30 September 1940, with music composed by Carlos Di Sarli, composed in 1940, with lyrics by Héctor Marcó, and sung by Roberto Rufino.
• El Cielo En Tus Ojos, meaning ‘The Sky Of Your Eyes’, a tango recorded by Carlos Di Sarli, on 3 October 1941, with music composed by Francisco Pracánico, first recorded in 1941, with lyrics by Francisco Bohigas, and sung by Roberto Rufino.
• Nunca Tuvo Novio, meaning ‘Never Had a Boyfriend’, a tango recorded by Francini-Pontier, on 24 September 1947, with music composed by Agustin Bardi, composed in 1924, with lyrics by Enrique Cadícamo, and sung by Roberto Rufino.
• Los Despojos, meaning ‘The Spoils’, a tango recorded by Francini-Pontier, on 11 June 1947, with music composed by José Dames, first recorded in 1947, with lyrics by Horacio, and sung by Sanguinetti.
• Dejame No Quiero Verte Más, meaning ‘Leave Me, I Do Not Want To See You Any More’, a tango recorded by Francini-Pontier, on 2 April 1947, with music composed by Mariano Mores, Francisco Canaro, Ivo Pelay, composed in 1936, with lyrics by Mariano Mores, Francisco Canaro, Ivo Pelay, and sung by Roberto Rufino.
• Alma Mia, meaning ‘My Soul’, a vals recorded by Carlos Di Sarli, on 15 February 1940, with music composed by Diego Centeno, composed in 1940, with lyrics by Héctor Marcó, and sung by Roberto Rufino.
• Rosamel, meaning ‘a woman’s name’, a vals recorded by Carlos Di Sarli, on 11 December 1940, with music composed by Carlos Di Sarli, first recorded in 1930, with lyrics by Héctor Marcó, and sung by Roberto Rufino.
• Cortando Camino, meaning ‘literally, ‘Cutting Road’, but metaphorically perhaps closer to ‘Life of Pain”, a vals recorded by Carlos Di Sarli, on 6 March 1941, with music composed by Fausto Frontera, composed in 1941, with lyrics by Enrique Cadícamo, and sung by Roberto Rufino.
• La Casa Vacia, meaning ‘The Empty House’, a tango recorded by Miguel Caló, on 20 July 1949, with music composed by Arturo Gallucci, first recorded in 1949, with lyrics by Julio Jorge Nelson and Reinaldo Yiso, and sung by .
• Mi Flor De Noche, meaning ‘My Flower of the Night’, a tango recorded by Miguel Caló, on 29 December 1949, with music composed by Silvio Marinucci and Vicente Demarco, first recorded in 1949, with lyrics by Lito Bayardo, and sung by Roberto Rufino.
• Yuyo Verde, meaning ‘Green Herbs’, a tango recorded by Miguel Caló, on 20 September 1966, with music composed by Domingo Federico, composed in 1944, with lyrics by Homero Expósito, and sung by Roberto Rufino.
• Desencuentro, meaning ‘Mix-up’, a tango recorded by Anibal Troilo, on 5 June 1963, with music composed by Anibal Troilo, first recorded in 1962, with lyrics by Cátulo Castillo, and sung by Roberto Rufino.
• Frente Al Mar, meaning ‘Seafront’, a tango recorded by Anibal Troilo, on 23 April 1963, with music composed by Mariano Mores, Francisco Canaro, Ivo Pelay, first recorded in 1962, with lyrics by Rodolfo M Taboada, and sung by Roberto Rufino.
• La Mulateada, meaning ‘Mulatto Woman’, a milonga recorded by Carlos Di Sarli, on 20 November 1941, with music composed by Julio Eduardo Del Puerto, first recorded in 1941, with lyrics by Carlos Pesce, and sung by Roberto Rufino.
• Pena Mulata, meaning ‘Pain of a Mulatto Woman’, a milonga recorded by Carlos Di Sarli, on 18 February 1941, with music composed by Sebastián Piana in 1941, with lyrics by Homero Manzi, and sung by Roberto Rufino.
• Zorzal, meaning ‘Thrush’, a milonga recorded by Carlos Di Sarli, on 3 December 1941, with music composed by Dorita Zárate in 1940, with lyrics by Dorita Zárate and sung by Roberto Rufino.

This week the focus is on the singer Roberto Rufino, and after checking out the Mendoza Tango Quartet we finish up with the final part of the interview with bandoneonista Nestor Vaz.

That’s Tango Capital, 7:00pm to 8:00pm:

• broadcasting on 2xxfm 98.3 in Canberra
• streaming to the web at http://www.2xxfm.org.au/listen

Image: a ‘one-off” configuration of Mendoza Tango Quartet (from Brisbane) playing the Saturday night milonga at Buenos Aires In The Southern Highlands (BASH 2016). Mendoza Tango Quartet are: Stephen Cutriss (bandoneón), Chloe Ann Williamson (double bass), Rebecca Karlen (violin) and John Reeves (piano). Here Liz Young and Daniel Rojas-Gonzales (from Tango Paradiso and Orquesta La Luna) are on violin and piano respectively.

PLAYLIST:

• Yo Soy De San Telmo, meaning ‘I am from San Telmo’, a milonga recorded by Carlos Di Sarli, on 7 October 1943, with music composed by Arturo Gallucci, with lyrics by Victorino Velasquez, and sung by Roberto Rufino.
• Corazón, meaning ‘Heart’, a tango recorded by Carlos Di Sarli, on 11 December 1939, with music composed by Carlos Di Sarli in 1939, with lyrics by Héctor Marcó, and sung by Roberto Rufino.
• Calla, meaning ‘Hush’, a tango recorded by Carlos Di Sarli, on 19 December 1956, with music composed by Roberto Rufino in 1955, with lyrics by Manuel Barros, and sung by Roberto Florio.
• Verdemar, meaning ‘Seagreen’, a tango recorded by Carlos Di Sarli, on 7 October 1943, with music composed by Carlos Di Sarli in 1943, with lyrics by José María Contursi, and sung by Roberto Rufino.
• Milonguero Viejo, meaning ‘Old Man of Tango’, a tango recorded by Carlos Di Sarli, on 11 July 1944, with music composed by Carlos Di Sarli in 1926, with lyrics by Enrique Carrera Sotelo.
• Les Feuilles Tombées, from the Suite Montrealaise, meaning ‘The Fallen Leaves’, a concierto recorded by Nestor Vaz Quinteto in 2015, with music composed by Nestor Vaz in 1999-2000.
• Bacana, from the Serie Ramblas, meaning ‘Cool’, a concierto recorded by Nestor Vaz Quinteto in 2015, with music composed by Nestor Vaz in 2013.
• Un Día Llegará, meaning ‘A Day Will Come’, a vals recorded by Carlos Di Sarli, on 5 March 1943, with music composed by Carlos Di Sarli, with lyrics by Homero Manzi, and sung by Roberto Rufino.

And picking up on the Canyengue theme established last week, this week’s edition is devoted to a range of canyengue music from Canaro, Lomuto, Firpo, and Orquesta Típica Victor, as well as modern productions from La Tubatango and Cuarteto Guardia Vieja. That’s Tango Capital, 7:00pm to 8:00pm

• broadcasting on 2xxfm 98.3 in Canberra
• streaming to the web at http://www.2xxfm.org.au/listen

Image:  Myk Dowling leads a demonstration dance for the canyengue workshop at Buenos Aires In The Southern Highlands (BASH 2016) last weekend.

 

 

PLAYLIST:

• No Hay Que Hacerse Mala Sangre, meaning ‘There’s No Need For Bad Blood’, a canyengue recorded by Francisco Canaro, on 20 March 1935, with music composed by Francisco Canaro, with lyrics by Ivo Pelay, and sung by Roberto Maida.
• Alma de Bandoneón, meaning ‘Soul Of The Bandoneón’, a canyengue recorded by Francisco Canaro, on 20 March 1935, with music composed by Enrique Santos Discépolo in 1935, with lyrics by Enrique Santos Discépolo & Luis César Amadori, and sung by Roberto Maida.
• Noches de Buenos Aires, meaning ‘Nights Of Buenos Aires’, a canyengue recorded by Francisco Canaro, on 23 April 1935, with music composed by Alberto Soifer in 1935, with lyrics by Manuel Romero, and sung by Roberto Maida.
• Oi, Malevo, meaning ‘Hey, Ruffian’, a canyengue recorded by Roberto Firpo, on 12 December 1929, with music composed by Juan José Buscaglia.
• Falsa Alegria, meaning ‘False Joy’, a canyengue recorded by Roberto Firpo, on 8 May 1929.
• Organito Del Suburbio, meaning ‘Suburban Organ-player’, a canyengue recorded by Roberto Firpo, on 26 June 1929, with music composed by Antonio Bonavena, with lyrics by Roberto Fermin Torres, and sung by Teófilo Ibáñez.
• El Pardo Cejas, meaning ‘Brown Eyebrows’, a canyengue recorded by La Tubatango in 2006, with music composed by Prudencio Aragón and lyrics by Antonio Polito.
• El Flete, meaning ‘The Racehorse’, a canyengue recorded by La Tubatango in 2006, with music composed by Vicente Greco in 1916, with lyrics by Gerónimo Gradito.
• La Morocha, meaning ‘The Brunette’, a canyengue recorded by La Tubatango in 2006, with music composed by Enrique Saborido in 1905, with lyrics by Ángel Villoldo.
• Filo Misho, a canyengue recorded by Orquesta Típica Victor, on 8 May 1930.
• Recuerdo, meaning ‘A Memory’, a canyengue recorded by Orquesta Típica Victor, on 23 April 1930, with music composed by Osvaldo Pugliese in 1924, with lyrics by Eduardo Moreno, and sung by Roberto Diaz.
• El Chamuyo, meaning ‘The Chattering’, a canyengue recorded by Orquesta Típica Victor in 1930.
• 9 de Julio, meaning ‘9th of July’ (a national day of independence), a canyengue recorded by Cuarteto Guardia Vieja in 2005, with music composed by José Luis Padula, with lyrics by Lito Bayardo.
• Re Fa Si, a canyengue recorded by Cuarteto Guardia Vieja in 2005, with music composed by Enrique Delfino.
• Jueves, meaning ‘Thursday’, a canyengue recorded by Cuarteto Guardia Vieja in 2005, with music composed by Rafael Rossi & Udelino Toranzo.
• Intimas, meaning ‘Intimate’, a canyengue recorded by Francisco Lomuto, on 11 August 1944, with music composed by Alfonso Lacueva, with lyrics by Ricardo Luis Brignolo, and sung by Carlos Galarce.
• Desagravio, meaning ‘Grief’, a canyengue recorded by Francisco Lomuto, on 13 December 1944, with music composed by Francisco Lomuto, with lyrics by Homero Manzi & José María Contursi, and sung by Alberto Rivera.
• Mano a Mano, meaning ‘Hand By Hand’, a canyengue recorded by Francisco Lomuto, on 11 August 1944, with music composed by Carlos Gardel & José Razzano in 1923, with lyrics by Celedonio Flores, and sung by Alberto Rivera.

It’s BASH weekend, and picking up on the Canyengue workshop being presented there, the theme for the next two weeks is … Canyengue. This week, a look at the dance and its evolution, followed by the second part of the interview with Nestor Vaz. That’s Tango Capital, 7:00pm to 8:00pm this Sunday

• broadcasting on 2xxfm 98.3 in Canberra
• streaming to the web at http://www.2xxfm.org.au/listen

Image: Ann Smith with Pablo (translating) and Nestor Vaz, immediately after Nestor’s first recital in Australia, with Emily-Rose Sarkova at the Great Hall of Australian National University.

PLAYLIST:

• Cambalache, meaning ‘Exchange, Mix-up, Mess’, a canyengue recorded by Francisco Canaro, on 20 March 1935, with music composed by Enrique Santos Discépolo in 1934, with lyrics by Enrique Santos Discépolo, and sung by Roberto Maida.
• Pato, meaning ‘Duck’, a canyengue recorded by Orquesta Típica Victor, on 20 July 1926, with music composed by Ramón Collazo, with lyrics by Ramón Collazo.
• Pampa, meaning ‘a reference to the treeless plains of Argentina’, a canyengue recorded by Francisco Canaro, on 24 March 1938, with music composed by Francisco Pracánico.
• Mano a Mano, meaning ‘Hand by Hand’, a canyengue recorded by Francisco Lomuto, on 11 August 1944, with music composed by Carlos Gardel & José Razzano in 1923, with lyrics by Celedonio Flores, and sung by Albero Rivera.
• Derecho Viejo, meaning ‘Old Law’, a canyengue recorded by Guardia Vieja in 2005, with music composed by Eduardo Arolas in 1917?.
• Hotel Victoria, meaning ‘Hotel Victoria’, a canyengue recorded by La Tubatango in 2006, with music composed by Feliciano Latasa in 1906, with lyrics by Carlos Pesce.
• Comme Il Faut, meaning ‘Properly (in French)’, a tango recorded by Fernández Fierro in 2001, with music composed by Eduardo Arolas, with lyrics by Gabriele Clausi.
• Qué Miran, meaning ‘What They See’, a concierto recorded by Fernández Fierro in 2014, with music composed by Y. Venturin & Laborde.
• Cafe Hans en Grietje – Serie Amsterdam, meaning ‘Café Hansel & Gretel’, a concierto recorded by Nestor Vaz Quinteto in 2015, with music composed by Nestor Vaz.
• Las Cuarenta, meaning ‘The Fourties’, a canyengue recorded by Francisco Lomuto, on 30 July 1937, with music composed by Roberto Grela in 1936, with lyrics by Francisco Gorrindo, and sung by Jorge Omar.

2xxfm has been experiencing a series of equipment failures and technical issues, unfortunately due to a variety of causes, including service failures from external providers such as Telstra. Practical steps are being taken to resolve the issues completely, including re-negotiating a new service agreement for streaming with a new provider, complete replacement of obsolete software, replacement of supporting infrastructure such as servers.You will understand that this takes time to do properly and that there can be interim issues as new systems are integrated with existing ones.

On top of all that, last weekend the broadcast signal from Black Mountain Tower was lost for a day and a half, a problem that is complicated by the requirement for access to the Tower for resolution. A strategy for resolving issues with the broadcast signal chain to Black Mountain Tower is still being pursued.

For now, for those listeners who missed the broadcast signal, or the internet stream, the complete episode for Sunday 20 November is available for a limited time for download from Patreon.com/tangocapital

And again, I am sorry for these interruptions. They will, I believe, resolve over coming weeks, and I will be making podcasts freely available so you don’t miss out too much.

Thank you for your patience, and I look forward to catching up with you this coming Sunday 27 November in the Tango Capital.

This week is focused completely on the music of Roberto Firpo, with a range of tangos, milongas and valses from 1935 to 1956. That’s the Tango Capital, Sunday at 7:00pm:

•  on 2xxfm 98.3 in Canberra
• streaming live to the internet from http://www.2xxfm.org.au/listen

Image credit: https://tango.info/RoberFirpo

PLAYLIST:

• Gran Muneca, a tango recorded by Roberto Firpo’s Cuarteto, on 8 January 1941, with music composed by Alfredo Bevilacqua, with lyrics by Antonio Polito.
• El Bisturi, a tango recorded by Roberto Firpo’s Cuarteto, on 16 June 1941, with music composed by Roberto Firpo.
• El Tapial, a tango recorded by Roberto Firpo’s Cuarteto, on 8 January 1941, with music composed by Alberto López Buchardo.
• La Puñalada, meaning ‘The Stab’, a milonga recorded by Roberto Firpo , with music composed by Pintin Castellanos in 1933, with lyrics by Celedonio Flores.
• Me Gusta Bailar, meaning ‘The Dance Pleases Me/I Like To Dance’, a milonga recorded by Roberto Firpo , on 21-26 January 1946, with music composed by Pintin Castellanos, with lyrics by Pintin Castellanos.
• Organito De Suburbio, meaning ‘Suburban Organgrinder’, a milonga recorded by Roberto Firpo , on 7 August 1951, with music composed by Juan Carlos Caviello, with lyrics by Héctor César Zapalorti.
• Cuidado Con Los Cincuenta, meaning ‘Take Care Of The Fifty’, a tango recorded by Roberto Firpo’s Cuarteto, on 24 July 1956, with music composed by Ángel Villoldo in 1907, with lyrics by Carlos Pesce & Antonio Polito.
• Curda Completa, meaning ‘Completely Drunk’, a tango recorded by Roberto Firpo’s Cuarteto, on 2 May 1956, with music composed by Roberto Firpo.
• El Pensiamiento, meaning ‘The Thinking’, a tango recorded by Roberto Firpo’s Cuarteto, on 22 August 1956, with music composed by José Martinez in 1936, with lyrics by Francisco García Jiménez.
• Fantasma, meaning ‘Ghost’, a tango recorded by Roberto Firpo’s Orquesta, on 28 December 1939, with music composed by José Mario Maurano, with lyrics by Roberto De Prisco, and sung by Alberto Diale.
• Cosas Olvidadas, meaning ‘Forgotten Things’, a tango recorded by Roberto Firpo’s Orquesta, on 28 September 1940, with music composed by Antonio Rodio, with lyrics by José Maria Contursi, and sung by Alberto Diale.
• Escribeme, meaning ‘Write To Me’, a tango recorded by Roberto Firpo’s Orquesta, on 21 July 1942, with music composed by Giovanni Raimondo, with lyrics by Enrico Frati, and sung by Alberto Diale.
• Desde El Alma, meaning ‘From The Soul’, a vals recorded by Roberto Firpo’s Cuarteto, on 21 May 1947, with music composed by Rosito Melo, with lyrics by Victor Piuma Vélez & Homero Manzi.
• Angustias Del Corazon, meaning ‘Anguishes Of The Heart’, a vals recorded by Roberto Firpo’s Cuarteto, on 2 January 1942, with music composed by Roberto Firpo.
• Noche Calurosa, meaning ‘Warm Night’, a vals recorded by Roberto Firpo’s Cuarteto, on 11 September 1944, with music composed by Roberto Firpo.
• A Media Luz, meaning ‘At Half Light’, a tango recorded by Roberto Firpo’s Orquesta, on 19 October 1934, with music composed by Edgar Donato in 1925, with lyrics by Carlos César Lenzi, and sung by Carlos Varela.
• La Bordadora, meaning ‘The Embroiderer’, a tango recorded by Roberto Firpo’s Orquesta, on 22 March 1935, with music composed by Roberto Firpo, with lyrics by Venancio Clauso, and sung by Carlos Varela.
• Quejas, meaning ‘Complaints’, a tango recorded by Roberto Firpo’s Orquesta, on 13 May 1935, with music composed by José Cacopardo, with lyrics by Francisco García Jiménez, and sung by Carlos Varela.

Shortly after the broadcast on Sunday 13 November I found a couple of references that note 13 September as the date of Juan Baüer’s death, thus contradicting my references that suggested 13 November. Another point to check next time I am in BsAs.

Image: Sexteto Juan Baüer at radio CX26 (Radio Uruguay).

Image Credit:  Museo y Centro de documentación AGADU.

Image from: https://www.pinterest.com/pin/462393086720777079/