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Tag Name: milonga


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Canaro Milongas

Song Orchestra Cantor/Singer Year Type
         
These songs can be arrange in several different orders to make a grea tanda. I would normally play the first 3 or the last 3.
Negrito Francisco Canaro Carlos Galán 1934 Milonga
Largas Las Penas Francisco Canaro Roberto Maida 1937 Milonga
Milonga Del 900 Francisco Canaro Ernesto Fama 1933 Milonga
Milonga Sentimental Francisco Canaro Ernesto Fama 1933 Milonga
Tangón (Nueva Danza) Francisco Canaro Roberto Maida 1935 Milonga
         
Largas las Penas Francisco Canaro Roberto Maida 1937 Milonga
Milonga Criolla Francisco Canaro Roberto Maida 1936 Milonga
Milonga de Antaño Francisco Canaro   1937 Milonga
Silueta Porteña Francisco Canaro  Roberto Maida 1936 Milonga
         
Milonga de Mis Amores Francisco Canaro   1937 Milonga
La Milonga de Mis Tiempos Francisco Canaro   1938 Milonga
Milongón Francisco Canaro   1938 Milonga
Milonga Brava Francisco Canaro  Roberto Maida 1938 Milonga
         
 
La Milonga De Buenos Aires Francisco Canaro Ernesto Famå 1939 Milonga
Reliquias Porteñas Francisco Canaro   1938 Milonga
No Hay Tierra Como La Mi´a Francisco Canaro Ernesto Famå 1939 Milonga
Milonga Brava Francisco Canaro Roberto Maida 1938 Milonga
         
Despue´s De Quererla Tanto Francisco Canaro Ernesto Famå 1940 Milonga
Historia Sentimental Francisco Canaro   1938 Milonga
Mi Buenos Aires Francisco Canaro   1938 Milonga
Milonga Brava Francisco Canaro Roberto Maida 1938 Milonga
         
La Milonga de Mis Perros Francisco Canaro Carlos Roldán 1942 Milonga
Cuando Un Viejo Se Enamora Francisco Canaro Carlos Roldán 1942 Milonga
Soy Un Porteño Francisco Canaro Carlos Roldán 1942 Milonga
Reliquias Porteñas Francisco Canaro   1938 Milonga
         
Caran Can Fú Francisco Canaro     Milonga
Milongueando Francisco Canaro Ernesto Fama 1939 Milonga
El Llorón Francisco Canaro Ernesto Fama 1941 Milonga
La Naranja Nació Verde Francisco Canaro Carlos Roldán
y Héctor Castel
1944 Milonga
La Clara de La Luna Quinteto Pirincho   1959 Milonga
         
 El Torito Quinteto Pirincho    1950 Milonga
 La Trampera Quinteto Pirincho    1955 Milonga
 Arrabalera Quinteto Pirincho    1955 Milonga
 Corralera Quinteto Pirincho    1956 Milonga
         
 Se Dice De Mí Quinteto Pirincho    1954 Milonga
 Corralera Quinteto Pirincho    1956 Milonga
 Orillera Quinteto Pirincho    1960 Milonga
 Milonga del Tiempo Heroico Quinteto Pirincho    1957 Milonga
         
Candombe Milongas
 
Candombe Francisco Canaro Alberto Arenas 1943 Milonga
Candombe Criollo Francisco Canaro Carlos Roldan 1942 Milonga
Azabache Miguel Calo Raul Berón 1943 Milonga
         
Candombe Francisco Canaro Alberto Arenas 1943 Carlos Roldan
La Negrita Candombe
(Rumbita Candombe)
Francisco Canaro Carlos Roldan 1943 Carlos Roldan
Estampa del 800 Francisco Canaro  Carlos Roldan 1943 Carlos Roldan

 

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Canaro Milongas

Here is my collection of milonga tandas by Francisco Canaro.

Song Orchestra Cantor/Singer Year Type
         
Largas Las Penas Francisco Canaro Roberto Maida 1937 Milonga
Milonga del 900 Francisco Canaro Ernesto Famá 1933 Milonga
Milonga Sentimental Francisco Canaro Ernesto Famá 1933 Milonga
Tangón (Nueva Danza) Francisco Canaro Roberto Maida 1935 Milonga
         
Listen to this tanda        
Largas Las Penas Francisco Canaro Roberto Maida 1937 Milonga
Milonga Criolla Francisco Canaro Roberto Maida 1936 Milonga
Silueta Porteña Francisco Canaro Roberto Maida 1936 Milonga
         
Milonga de Mis Amores Francisco Canaro   1937 Milonga
La Milonga de Mis Tiempos Francisco Canaro   1938 Milonga
Milongón Francisco Canaro   1938 Milonga
Milonga Brava Francisco Canaro Roberto Maida 1938 Milonga
         
Listen to this tanda        
La Milonga de Buenos Aires Francisco Canaro Ernesto Famá 1939 Milonga
Reliquias Porteñas Francisco Canaro   1938 Milonga
No Hay Tierra Como La Mía Francisco Canaro Ernesto Famá 1939 Milonga
Milonga Brava Francisco Canaro Roberto Maida 1938 Milonga
         
Después de Querela Tanto Francisco Canaro Ernesto Famá 1940 Milonga
Historia Sentimental Francisco Canaro   1938 Milonga
Mi Buenos Aires Francisco Canaro   1938 Milonga
Milonga Brava Francisco Canaro Roberto Maida 1938 Milonga
         
La Milonga de Mis Perros Francisco Canaro Carlos Roldán 1942 Milonga
Cuando Un Viejo Se Enamora Francisco Canaro Carlos Roldán 1942 Milonga
Soy Un Porteño Francisco Canaro Carlos Roldán 1942 Milonga
Reliquias Porteñas Francisco Canaro   1938 Milonga
         
Caran Can Fú Francisco Canaro   1939 Milonga
Milongueando Francisco Canaro Ernesto Famá 1941 Milonga
El Llorón Francisco Canaro Ernesto Famá 1944 Milonga
La Naranja Nació Verde Francisco Canaro Carlos Roldán
y Héctor Castel
1959 Milonga
         
El Torito Quinteto Pirincho   1950 Milonga
La Trampera Quinteto Pirincho   1955 Milonga
Arrabalera Quinteto Pirincho   1955 Milonga
Corralera Quinteto Pirincho   1956 Milonga
         
Se Dice de Mí Quinteto Pirincho   1954 Milonga
Corralera Quinteto Pirincho   1956 Milonga
Orillera Quinteto Pirincho   1960 Milonga
Milonga del Tiempo Heroico Quinteto Pirincho   1957 Milonga

 

Alternative Tanda 1: Milonga

This tanda is not so much alternative as it is not traditional. These are some modern milongas which are lots of fun to dance to. I have always loved Al Galope but always found it difficult to fit into a tanda. This version of Milonga Sentimental is just so beautiful. In fact every song on Patio de Tango is wonderful especially their versions of Malena and Palomita Blanca. The star of the set is the wonderful Morena by Estaban Morgado.

 

Milonga Tandas

Here is my collection of milonga tandas, with two exceptions. Francisco Canaro recorded so many great milongas that I have them all listed here. I have also created collections of candombe milongas and mixed orchestra milonga tandas and Alternative Milongas.

Song Orchestra Cantor/Singer Year Type
         
Rodolfo Biagi Milonga Tanda Collection I
I usually use the first 3 from this tanda collection.
Campo Afuera Rodolfo Biagi Teofilo Ibanez 1943 Milonga
Picante Rodolfo Biagi   1945 Milonga
Flor de Montserrat Rodolfo Biagi Alberto Amor 1942 Milonga
         
Miguel Caló Tanda
Milonga Antigua Miguel Caló Raúl Berón 1942 Milonga
Milonga Que Peina Canas Miguel Caló Raúl Berón 1942 Milonga
Bien Criolla y Bien Porteña Miguel Caló Luis Tolosa y Raúl Iriarte 1945 Milonga
Azabache Miguel Caló Raúl Berón 1942 Milonga
         
Angel d'Agostino & Angel Vargas Tandas
 
Listen to this tanda        
El Porteñito Angel d'Agostino Angel Vargas 1943 Milonga
Asi Me Gusta A Mi Angel d'Agostino Angel Vargas 1942 Milonga
Entre Copa y Copa Angel d'Agostino Angel Vargas 1942 Milonga
Zapatitos de Raso Edelmiro d'Amario Angel Vargas 1956 Milonga
         
Compadreando Angel d'Agostino Angel Vargas 1941 Milonga
Señores, Yo Soy Del Centro Angel d'Agostino Angel Vargas 1945 Milonga
Entre Copa y Copa Angel d'Agostino Angel Vargas 1942 Milonga
Asi Me Gusta a Mi Angel d'Agostino Angel Vargas 1942 Milonga
         
Juan d'Arienzo Collections
La Puñalada Juan d’Arienzo   1937 Milonga
De Pura Cepa Juan d’Arienzo   1935 Milonga
El Esquinazo Juan d’Arienzo   1938 Milonga
Milonga Vieja Milonga Juan d’Arienzo   1937 Milonga
         
El Temblor Juan d’Arienzo Alberto Echagüe 1938 Milonga
Estampa de Varon Juan d’Arienzo Alberto Echagüe 1938 Milonga
De Antaño Juan d’Arienzo Alberto Echagüe 1939 Milonga
La Cicatriz Juan d’Arienzo Alberto Echagüe 1939 Milonga
         
Milonga Vieja Milonga Juan d’Arienzo   1937 Milonga
Milonga del Corazón Juan d’Arienzo Alberto Echagüe 1938 Milonga
Milonga del Recuerdo Juan d’Arienzo Alberto Echagüe 1939 Milonga
Milonga Querida Juan d’Arienzo Alberto Echagüe 1938 Milonga
         
Corrales Viejos Juan d’Arienzo   1943 Milonga
La Espuela Juan d’Arienzo   1946 Milonga
Milonga Que Peina Canas Juan d’Arienzo Armando Laborde 1952 Milonga
La Puñalada Juan d’Arienzo   1951 Milonga
         
Carlos di Sarli Collections
La Mulateada Carlos di Sarli Roberto Rufino 1941 Milonga
Pena Mulata Carlos di Sarli Roberto Rufino 1941 Milonga
Zorzal Carlos di Sarli Roberto Rufino 1941 Milonga
Pueblera Carlos di Sarli Jorge Durán 1946 Milonga
         
Entre pitada y pitada Carlos di Sarli Alberto Podestá 1942 Milonga
Cuando un viejo se enamora Carlos di Sarli Roberto Rufino 1942 Milonga
Yo soy de San Telmo Carlos di Sarli Roberto Rufino 1943 Milonga
Maldonado Carlos di Sarli Roberto Rufino 1943 Milonga
         
Edgardo Donato Tandas
Ella Es Así Edgardo Donato Horacio Lagos 1938 Milonga
Sacale Punta Edgardo Donato Horacio Lagos & Randona 1938 Milonga
Porteña Linda Edgardo Donato Horacio Lagos 1940 Milonga
La Milonga Que Faltaba Edgardo Donato Horacio Lagos 1938 Milonga
El Torito Edgardo Donato   1939 Milonga
         
Cara Negra Edgardo Donato Horacio Lagos 1942 Milonga
Cacareando OTV Carlos Lafuente 1933 Milonga
Mi Vieja Linda Emilio Pellejero   1941 Milonga
Papas Calientes Edgardo Donato   1937 Milonga
         
Corrales Viejos Edgardo Donato   1934 Milonga
Papas Calientes Edgardo Donato   1937 Milonga
El Lengue Edgardo Donato   1940 Milonga
Cara Negra Edgardo Donato   1942 Milonga
         
Pedro Laurenz Collections
Listen to this tanda.
Milonga Compadre Pedro Laurenz J.C. Casas 1938 Milonga
La Vida Es Una Milonga Pedro Laurenz Martin Podesta 1941 Milonga
Milonga de Mis Amores Pedro Laurenz   1944 Milonga
         
La Vida Es Una Milonga Pedro Laurenz Martin Podesta 1941 Milonga
Milonga de Mis Amores Pedro Laurenz   1944 Milonga
Maldonado Pedro Laurenz Alberto Podesta 1943 Milonga
         
Milonga de Mis Amores Pedro Laurenz Hector Farrel 1937 Milonga
Milonga Compadre Pedro Laurenz J.C. Casas 1938 Milonga
Yo Soy De San Telmo Pedro Laurenz Alberto Podesta 1943 Milonga
         
Francisco Lomuto
The first song is great, but the last two are very very fast.
Qué Tiempo Aquel Francisco Lomuto Jorge Omar 1938 Milonga
Parque Patricios Francisco Lomuto Fernando Díaz 1941 Milonga
No Hay Tierra Como La Mía Francisco Lomuto Fernando Díaz 1939 Milonga
         
Orchestra Tipica Victor
The first 3 make a very homogeneous tanda. This version of Milonga Sentimental is amazing and has very similar rhythm to Cacareando.
Cara Negra Edgardo Donato Horacio Lagos 1942 Milonga
Cacareando OTV Carlos Lafuente 1933 Milonga
Milonga Sentimental   Mercedes Simone 1932 Milonga
Milonga de Los Fortines OTV Mariano Balcarce 1937 Milonga
La Naranja Nacio Verde Feliciano Brunelli Oscar Valeta 1943 Milonga
         
Anibal Troilo Tandas
         
Listen to this Tanda        
Del Tiempo Guapo Aníbal Troilo Francisco Fiorentino 1941 Milonga
Con Toda La Voz Que Tengo Aníbal Troilo Francisco Fiorentino 1941 Milonga
Ficha de Oro Aníbal Troilo Francisco Fiorentino 1942 Milonga
         
Papá Baltasar Aníbal Troilo Francisco Fiorentino 1942 Milonga
Mano Brava Aníbal Troilo Francisco Fiorentino 1941 Milonga
El Barrio del Tambor Aníbal Troilo Alberto Marino 1943 Milonga
Con Permiso Aníbal Troilo Alberto Marino 1944 Milonga
         
Hector Varela Collection I
Varela is rarely played at milongas. This set is fairly complex. I love it, but only play it late at night when there are only good dancers left that love milonga.
Silueta Portena Héctor Varela Argentino Ledesma 1960s Milonga
Azucar, Pimienta y Sal Héctor Varela Fernando Soler, Jorge Falcon 1960s Milonga
Con Flauta y Guitarra Héctor Varela Jorge Falcon 1960s Milonga

 

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Guardia Vieja I: 1895 to 1910

The first generation of tango musicians are commonly referred to as  "La Guardia Vieja" (The Old Guard). The first Period of "La Guardia Vieja" lasted from approximately 1895 to 1910. These songs are a type of habanera blended with African and European music and are sometimes referred to as "tango-habanera," "tango criollo" or "tango-milonga."

This period saw:

  • Tango being born from local, habanera, African and European influences
  • Formations of musical trios
  • The introduction of the bandoneon
  • A formal structure for Tango emerging
  • Academias y Cabarets and other public dance spaces opening
  • Men learning with other men
  • Tango travelling to Europe
  • The introduction of recorded tango.

The music originated in the "Rioplatenese" or Río de la Plata region of Argentina and Uruguay. Some of the origins of the music would be candombe, vals criollo, habanera, flamenco, polka, milonga (different from the milonga we know today and was a type of "battle" poetry), mazurka and contradanse. In essence, you had European immigrants with their instruments being influenced heavily by Latin American and African music.

It is true that only about 8,000 black argentines existed out of a population of over 400,000 in 1887, but all it took was a few to have a great impact on tango. The best example of this was Leopoldo Ruperto Thompson. Get this, he was a bass player who played with Firpo, Canaro, Arolas, de Caro and Cobián. Many of the first bandoneon players and guitarists were black. Also, some of the earliest composers of tango including Mendizábal and Carlos Posadas, as well as many of the earliest dancers and teachers.

At this time Tango was played by solo guitar or piano, small ensembles (conjuntos) and municipal marching bands. The ensembles were usually trios and would often consist of some combination of flute, clarinet, guitar and/or violin. The guitar would often play the habanera rhythm while the flute, clarinet and/or vilolin played the melody.  Sometimes, these groups would be accompanied by male or female singers. They would play in cafés, beer houses, courtyards of conventillos (poor apartment houses) and also in brothels. The music would also have been played around the city by organitos or organ-grinders who went around the city playing portable player-organs.

Towards the end of this period we also saw the signature instrument of tango, the bandoneon, introduced to the ensembles. The bandoneon was a concertina type of instrument created in Germany for churches that could not afford an expensive organ. It made its way over to Argentina and Uruguay with the huge influx of immigrants.

During this time, tango begins to take on structure. In 1897, Anselmo Rosendo Menizábal composed, "El entrerriano (The Man from Between the Rivers)" which was the first tango structured in three distinct sections. The 1st and 3rd sections had 16 measures and the 2nd measure had thirty-two measures.

In the early 1900s, many academias and cabarets began to open around the city. Academias were places were people could learn the choreography of tango and other dances. Cabarets were public places where people could dance and play tango. Armenonville, at the corner of Avenida Alvear y Table, was one of the first of these places. Other establishments were also opening and promoting tango like Hansens which was a restaurant/café on Avenida Sarmientos. The picture on the left was taken in March of 1905 at a carnival at the Pabellón de las Rosas (Rose Pavillion), a popular dance venue in Buenos Aires.

This period also saw men dancing with other men. The primary reasons for this was that men greatly outnumbered women and so the women had their pick of the men to dance with. So, the men would get together and practice and learn from one another in order to improve so that the could attract the few women dancers. This was a time when women and men could not associate as easily as today.

Many early pioneers of rioplatense tango travelled to Europe including Angel Villoldo, Alfredo Gobbi, and his wife, Flora Hortensia Rodriguez to record ind France and Germany. Below are some of the earliest recordings of tango. These recordings are from vinyl LPs and 78s. I am working on getting them all recorded and posting as much historical information about them as possible.

Between 1906 and 1910, 850,000 immigrants arrived in Buenos Aires and the population grew to 1,500,000, setting the stage for the next period of tango's growth.

Special thanks to Allan Ditzel for helping with translations. Some of the content below and much more can be found on the Antología del tango rioplatense. Vol. 1 by the Instituto Nacional de Musicología "Carlos Vega."

“La Morocha” (?)
Composer: Enrique Saborido
Performed by: Recording of an orginal Barrel Organ (Organito)

The original sheet music describes the song as "tango criollo." There is some debate about whether or not this or "el choclo" was the first tango to be exported to Europe. Saborido travelled to Paris and was there in 1911 teaching people how to play and dance tango. Of course, this version is an instrumental, but Angel Villoldo did add lyrics to the song.

More on Enrique Saborido: http://www.todotango.com/
More on "La Morocha:" http://www.todotango.com/

"El Sargento Cabral" (1907)
Composer: Manuel O. Campoamor
Performed by: Banda de la Guardia Republicana de Paris

Manuel 0. Campoamor

The pianist and composer Manuel O. Campoamor numbered all his tangos and "El Sargento Cabral", dating from 1898 or 1899 is number 1.

Campoamor was born on November 7, 1877 in Montevideo, Uruguay, but he grew up in Buenos Aires, Argentina. He learned to play the piano by ear and never learned to write music. He composed tangos from 1898 to 1905 and kept playing piano publicly until 1922, but according to his wife he would still play at home every day until his death in 1941 of Lung Cancer. He is quoted as saying, "I didn't compose any more and don't even think of doing it; I neither have the enthusiasm nor the time to devote to that. Today the output is overwhelming and the number of composers is great. The present generation has adopted a different beat for tango, which is warmly welcome by the public; we, those who feel tango in quite a different way, have to withdraw to allow the new trends to express this new sensitivity."

"El Sargento Cabral" was published in 1899 by Gath & Chaves house where Campoamor worked for 25 years, eventually becoming manager.

It was edited by J. A. Medina e Hijo and it as dedicated to the composer Leopoldo Corretjer. According to the author, this work owes its title to a common occurrence in local dance spots of the time. Following a competition someone from the winning side would exclaim, "We have beat the enemy!" in parody of what Sargent Cabral said shortly before his own death in the battle of San Lorenzo.

The recording of Paris' Republican Band belongs to a series of recordings made specifically for the recording house, Gath & Chaves. They sent several pioneers of rioplatense tango to Europe including Angel Villoldo, Alfredo Gobbi, and his wife, Flora Hortensia Rodriguez to record because there was no recording studio in Buenos Aires.

Campoamor also worked as a pianist in the famous house of Maria "La Vasca" which can still be found at the corner of Carlos Calvo Street and Jujuy Street.

For more information on Campoamor visit: http://www.todotango.com/

"Mordeme la oreja izquierda" (Bite my left ear) (1908)
Composer: Eugenio M. de Alarcon
Performed by Banda Española

This edition of the tango dates from 1906 and belongs to the composer himself, who dedicated it "Al amigo Cesar H. Colombo" (To the friend Cesar H. Colombo). It has the odd subtitle "Canto de dos ruiseñores" (A song of two nightingales) and the classification of "tango criollo." A footnote on the cover warns that any sample that does not have the author's signature should be considered a falsification.

Alarcon, director of the national theater orchestra, enjoyed using many italianisms when indicating how to express the music; on this piece one can see words such as "expressivo", "legatissmo", "scelti", "ben ritmato", etc.

For more information: http://www.todotango.com/

"El Club Z" (1908)
Composer: Anselmo Rosendo Mendizabal
Performed by: Orquesta del Teatro Apolo Dir: Enrique Cheli

The "Z Club" was composed of a group of revelers headed by Esteban Banza and J. Guidobono. This was an exclusive group formed by forty individuals with the sole purpose of organizing a monthly dance for its members. This group existed from the end of the nineteenth century to the first decade of the twentieth century. The dances were generally held in the house of Maria La Vasca, and it was rented for the entire night for 3 pesos per hour per person. The Afro-Argentine pianist and composer Mendizabal was the usual musician, both as a soloist as well as when he played with his band, which was composed of two violins, a flute, a piano and two guitars. Mendizabal composed many tangos including "El Club Z" where an instrumental call and response surmounts a habanera accompaniment.

Due to prejudices of the time, Mendizabal signed his tangos with the pseudonym "A. Rosendo". The original score included in this anthology is edited by the author by the musical press Ortelli Hnos. Has the dedication, "A los distinguidos socios del Z Club" (To the distinguished members of the Z Club).

For more information: http://www.todotango.com/english/crea...

“El Pechador” (1909)
Composed by: Angel Gregorio Villoldo
Performed by: Linda Thelma (canto) y Arturo de Siano (piano)

Edited by the house David Poggi e Hijo, it was dedicated by Villoldo “Al celebrado autor nacional don Nemesio Trejo” (to the celebrated national author Mr. Nemesio Trejo), who was the singer and author of comic sketches (1862-1916); it was a popular tango in its time and it was also recorded by Alfredo Gobbi.

Like most, if not all, of Villoldo’s lyrics they are written in the first person and exalt the virtues of the compadrito. Although it may seem inappropriate this title is sung by a woman, the singer Linda Thelma, who has deep roots in Spanish tiples [I have no idea what this is]. She was accompanied on many an occasion by Villoldo himself while recording. Arturo de Siano, a musician who plays with Linda Thelma in this version, was a prominent musician in the theater.

More info on Angel Gregorio Villoldo: http://www.todotango.com/english/creadores/avilloldo.html
More info on Linda Thelma: http://www.todotango.com/english/creadores/lthelma.asp

“El Purrete (The Kid)” (1909)
Composed by: Jose Luis Roncallo
Performed by: Banda de la Policía de Beunos Aires Dir: Mtro. A Rivara

Basically, all bands incorporated tangos into their repertoires during the first two decades of the century. You can hear the habanera being heavily dramatized as the cymbals clash during the song. These types of bands reached their peak during these years as is demonstrated by the elevated number of recordings made. Some of the most well-known ones include: the 1st Infantry Regiment, the 5th Infantry regiment, the Atlanta, and the Buenos Aires Police.

“El Purrete”, edited by Breyer Hnos. and dedicated to “El Senor Eduardo Oliveri” (Mr. Eduardo Oliveri) was the first tango written by this author. His style was methodical and consistent with a musician trained in a conservatory. According to unverified claims, the song dates from 1901 and the score dates from some time after, 1903 to 1904.

 

 

 

“La Bicicleta” (1909)
Composer: Angel Gregorio Villoldo
Performed by: Angel Villoldo (canto y castañuelas)  y Manuel  O. Campoamor (piano)

The primitive form of singable rioplatense tango suffered great influences from Spanish zarzuela tango. This is very clearly detectable in the version of “La bicicleta” by Angel G. Villoldo. It has a piano accompaniment by Manuel O. Campoamor purely for melodic purposes as well as castanets played by Villoldo.

Cycling and pelota vasca were the favorite sports during 1895 and 1910, where one could find extensive bicycle caravans traveling to be exhibited in the forests of Palmero after first riding in the city center.

According to Robert Farris Thompson, "Villoldo's 'La bicicleta' (The Bicycle) of 1909 began, nobly, to mix cultures. From the famus black payador Gabino Ezeiza, Villoldo borrows jump-cuts from singing to speech. He hits certain words, like damas and ramas, with flamencolike trills, Arabized melismas that add savor to rhyme. And while he's singing, Villoldo plays castanets!"

More info on Villoldo: http://www.todotango.com/english/creadores/avilloldo.html
More info on Campoamor: http://www.todotango.com/english/crea...

“El Porteñito” (1909)
Composer: Angel Gregorio Villoldo
Performed by: Andrée Vivianne (canto) y orquesta

More info on Villoldo: http://www.todotango.com/english/creadores/avilloldo.html

“Gran Hotel Victoria” (1910)
Composer: Feliciano Latasa
Performed by: Estudiantina Centenario (trio de bandurrias y  guitarra) Dir: Vicente Abad

For more information: http://www.todotango.com/english/biblioteca/cronicas/leyenda_Hotel_Victoria.asp

"Joaquina" (1911)
Composer: Juan Bergamino
Performed by: Manuel O. Campoamor (solo piano)