Preface

The aim of this website is to provide public access to a discography of Francisco Canaro with the most reliable data available.

If you do find an error or omission please inform me using the contact form. All kind of information that serves to complete missing data or to clarify remaining issues is highly appreciated. Thank you very much in advance for your help!

At the moment, data on the discographical work of Canaro are scattered over multiple discographies. The most outstanding ones are the "Estudio de la discografía de Francisco Canaro" by S. Nicolás Lefcovich (2nd edition, n.d. but not before 1993), the "Discografía de Francisco Canaro" by an unknown author (n.d.) and a discography published in the journal "Los Grandes del Tango" № 3 (November 1990). Other important sources are the discographies of some of Canaro's singers by Roberto Gutiérrez Miglio, mostly published in his book "El tango y sus intérpretes" (Ed. Corregidor, vol. I [1992], vol. II [1994], vol. III [1997], vol. IV [1999]), and the discography of Azucena Maizani by Fabio Daniel Cernuda. To compile this discography I also used images of original records, registers, catalogs and advertising of record companies, scores, lists of Canaro records or recordings published on the Internet, the databases of several companies collecting royalties (SADAIC, AGADU, ASCAP, SACEM, SGAE) or accessible through the ISWC Network and the Catalog of Copyright Entries. An indispensable source in order to distinguish between instrumental and sung versions and to identify the singers was the Colección Canaro (Canaro Collection). All these data were aggregated, compared and, if necessary, corrected.

The striking concordance between the discographies consulted (the three Canaro discographies in particular) makes one think that they derive from identical or very similar sources. It must be stressed that even such a far-reaching identity does not ensure the correctness of data as it turned out that the discographies do also contain a considerable amount of common errors. Nevertheless, I had to use them because if I had restricted myself to data corroborated by original records this discography would have necessarily remained very incomplete.

This discography contains a total of 3789 3800* recorded works which is 56 67* more than the 3733 works of Lefcovich’s Canaro discography (the chronological enumeration of that discography ends with 3734 but 3032 is skipped). 117 128* recorded works missing in Lefcovich's Canaro discography were added and 61 works contained in that discography although the respective recordings do not belong to Canaro or probably do not exist were eliminated (not taking into account missing or probably non-existing takes ["tomas"]).

Above all, I want to thank five persons without whose help this work would not have been possible: Aníbal Sotullo (for establishing the Colección Canaro), Carlos Puente (for sacrificing hours of his time manually correcting my first trials and giving me so many important suggestions), Enrique Norberto Binda (for communicating me the total of Canaro’s acoustic recordings, particularly the numerous recordings of José Bohr with the Jazz-Band and the Trio Canaro that were missing), Fabio Daniel Cernuda (for answering me so many questions about Canaro’s first electric recordings) and Federico García Blaya from Todo Tango (for providing me with so much valuable discographical material). I am also grateful to Agilmar Machado, Alessandro Beltrame, Amado Lafuente, Bernhard Gehberger, Boris Puga, Carlos Picchio, Carlos Ríos, César La Buonora, Cristian Medina Valenzuela, Daniel Borelli, Edouard Pécourt, Eduardo Sibilin, Elena de San Telmo, Enrique Marotti, Georg Schwarz, Héctor Mario Lobato, Horacio E. Asborno, Horacio Federico Bramoso, Horacio Bollero Chiarella, Horacio López, Johan ("El Flaco"), Joost Brunsting, Jorge Gutman, Jorge Américo Rotella, José Alfredo Liébana, Luis Valenzuela, Martín Javier Gorosito, Norchi Albo, Dr. Pablo Taboada, Renato Domingo Menare Rowe, Ricardo García Blaya, Royce Chau, Rubén Castaldi Marinoni, Sergio Gabriel Bustos, Susana Rodrigues Tuegols, Thomas Jordan, Tine Herreman, Tobias Conradi and several other persons who were so helpful in communicating me discographical data on Canaro whose names I cannot remember.

This discography is dedicated to Carlos Alberto Verduri, Jorge Angella and others who remained unknown whose work forms the basis of any discographical work that followed.

Vienna, February 2010
Christoph Lanner

 

* Since publication of the discography in February 2010 the following mayor changes have occurred:

  • In March 2010 Fabio Daniel Cernuda published a discography of Anita Palmero and in December 2010 the second part of his discography of Azucena Maizani. Both contain among others three recordings with accompaniment by Francisco Canaro before unknown.
  • The original version of this discography contained an unreleased recording of the tango SENTIMIENTO GAUCHO with vocal refrain ("estribillo") by Ada Falcón and Angel Ramos, according to Gutiérrez Miglio's discography of Ada Falcón (published in "El tango y sus intérpretes", vol. I) made on 30/09/1930. In February 2011 it has been clarified through a post by Fabio Daniel Cernuda in the Todo Tango "Mesa del Café" that there were two recordings with vocal refrain ("estribillo") by Ada Falcón and Angel Ramos, both of them made on 15/10/1930 (matrices № 6170 y 6170/1). As the discography did already contain these matrices the surplus recording of 30/09/1930 was eliminated.
  • The original version of this discography contained two recordings of the tangos EL CHAMUYO (matrix № 001) and EL DESALOJO (matrix № 002) released on a demo record of the ATLANTA label. In March 2011 it turned out that on the label of this record the Quinteto Criollo "Tano Genaro" is figuring. These recordings were therefore eliminated, too.
  • In March/April 2011 five recordings made in December 1930 with the Chilean singer Julio Silva Salinas were added.
  • In July 2011 an unreleased recording of the tango TIEMPOS VIEJOS with vocal refrain ("estribillo") by Roberto Maida was added, most probably made in the first half of the year 1937.
  • In January 2013 the existence of the unreleased recording of the tango LA PAYASA by Tita Merello made on 02/07/1955 has been verified.
  • In June 2013 a recording of the tango DERECHO VIEJO made in 1918 and released on a record of the ARTIGAS (UY) label was added.
  • In April 2014 two matrices containing recordings of the march PATRIA HERMANA made in July 1939 in Brazil were added, one of them released on a ODEON (BR) record.