Acoustic recordings (1915-1926)
ORQUESTA TIPICA CANARO
This quintet made the recordings in Porto Alegre. See Francisco Canaro, Mis Memorias, Ed. Corregidor, 1999, 134 and 135:
"Más tarde, don Alfredo Améndola, principal accionista de los discos "Atlanta", me contrató para ir a Porto Alegre (Brasil) a grabar una remesa de discos, pues en Buenos Aires no había equipo para grabar, ni fábrica. La única casa que a la sazón tenía equipo y fábrica era la de Max Glücksmann, propietario del "Disco Nacional Odeón" para cuyo sello grababa únicamente Roberto Firpo, que usufructuaba ese privilegio en razón de tener contrato de exclusividad.
En virtud de tal contrato con el señor Améndola, nos embarcamos para Porto Alegre en un pequeño vapor de carga, "El Toro", que más tarde fue echado a pique por los alemanes. En ese viaje me acompañaron Pedro Polito, bandoneón, y Leopoldo Thompson, contrabajo; los demás músicos por razones de economía en los gastos, fueron contratados en Porto Alegre; la empresa tenía, al efecto, ajustado un presupuesto limitado.
La fábrica de Porto Alegre era de propiedad de un señor llamado Saverio Leonetti, y se grababa por sistema mecánico y por medio de unas bocinas largas y muy incómodas."
(Later on, don Alfredo Améndola, main shareholder of "Atlanta" Records, contracted me to go to Porto Alegre (Brazil) to make recordings for a shipment of records as in Buenos Aires there was neither recording equipment nor a factory. The only house which at that time had equipment and a factory was that of Max Glücksmann, owner of "Disco Nacional Odeón"; for his label only Roberto Firpo was recording who enjoyed this privilege due to an exclusive contract.
By virtue of such a contract with Mr. Améndola, we boarded a small cargo steamboat to Porto Alegre, "El Toro", which was later sunk by the Germans. On this trip I was accompanied by Pedro Polito, bandoneon, and Leopoldo Thompson, contrabass; in order to limit the expenses, the other musicians were contracted in Porto Alegre; for this purpose the company had provided for a limited budget.
The factory of Porto Alegre belonged to a certain Mr. Saverio Leonetti and the recordings were made using the mechanical system by means of some large and very uncomfortable horns.)
Standing from left to right: N.N. (violin), N.N. (flute), Francisco Canaro (violin), Leopoldo Thompson (guitar); sitting on the left: Pedro Polito (bandoneon). The other persons from left to right: Francisco Schultz (technician), Alfredo Améndola, Savério Leonetti.
(Photo courtesy of Todo Tango)
Because of the large amount of missing matrix numbers the ATLANTA recordings are ordered by catalog number. The discographical sources do only permit an approximate periodization of these recordings. Considering the fact that records № 3015 to 30191 contain four compositions by Francisco Canaro himself and two by José Martínez, member of his orchestra, it seems plausible that these were the first recordings by the Orquesta Típica Canaro made on the occasion mentioned in the quoted passage of his autobiography.2
1 Strange as it may seem, the first two records listed in the following (№ 3013 and 3014) contain matrices with higher numbers and must therefore have been published later than the following records. Because the first edition of the (first) "Álbum musical Santiagueño de piezas criollas para piano coleccionadas por Andrés A. Chazarreta" (Musical Album of Santiago [del Estero] with native pieces collected by Andrés A. Chazarreta) which contains the scores of the chacarera "LA ATAMISQUEÑA" (matrix № 67), the vals "CENTENARIO" (matrix № 70) and the zamba "LA BOLIVIANA" (matrix with an unknown number) was not published before the middle of the year 1916. The work was legally deposited in August 1916.
2 See Francisco Canaro, ibid., 67 and 69: "Al independizarme de Vicente Greco, formé un terceto con José Martínez como pianista y Pedro Polito en el bandoneón. Con este flamante conjunto debuté en el teatro Olimpo... Durante nuestra estada en el teatro Olimpo ya había compuesto "Charamusca", que estrené con mucho éxito; y el amigo José Martínez hizo el tango "Canaro", que me dedicó como testimonio de gran amistad y tuvo mucho suceso a fines del año 1915;..." (After my separation from Vicente Greco I formed a trio with José Martínez as pianist and Pedro Polito on bandoneon. With this brand-new ensemble I debuted in the Olimpo theatre ... During our season in the Olimpo theatre I had already composed "Charamusca" which I premiered very successfully; and my friend José Martínez wrote the tango "Canaro" which he dedicated to me as a testimony of his great friendship and which had a lot of success in the end of the year 1915; ...). The two works were legally deposited in December and August 1915, respectively.