Aníbal Troilo

Pichuco

Bandoneonist, Leader and Composer

(1914 July 11 - 1975 May 19)

Place of Birth: Buenos Aires Argentina

Notes: Aníbal Troilo

Era

1. 1938. Orlando Goñi on piano, David Díaz violin, Troilo bando, Kicho Díaz bass. 3 bando + 3 violin

2. 1941-43. From Malena (1942-01-08), the arrangement was handled by Héctor Artola. 5 bando + 4 violin

   2b: A cello was incorporated in 1942 Dec. (from Buenos Aires).

3. 1943-47. José Basso replaced Goñi. Astor Piazzolla’s arrangements started to be recorded, beginning with Inspiración (1943-05-03). 5 bando + 4 violin

   3b: A violist was added in 1947.

4. 1947-54. Carlos Figari replaced Basso. Piazzolla became the main arranger in 1950. 5 bando + 4 violin

5. 1954-57. Osvaldo Manzi replaced Figari, Piazzolla left for Paris. 5 bando + 4 violin

6. 1957-62. Osvaldo Berlingieri replaced Manzi. Kicho left in 1959. 5 bando + 4 violin

   6b: 4 bando in 1962.

7. 1963-68. Ernesto Baffa became the 1st bando. 5 bando + 4-6 violin

8. 1969-71. José Colángelo replaced Berlingieri. 5 bando + 6 violin

Date

• T.K. period (50-56) provides only years. The dates are from various researchers, plus reasonable surmise based on matrix numbers and various sources (El Marne, Responso).

• The exact dates of the first stereo recording session are unknown, possibly in early/middle April 1963. According to Michael Lacocah’s Tango Masters: Anibal Troilo, the sessions occupied 14 hours of studio time over four days in Columbia’s studio with stereo equipment in Buenos Aires. The date Apr.25 was indicated for these twelve instrumental tracks in some discographies, which might actually be the day when they were mastered.

• For various reasons, Troilo re-recorded works he considered important within short period, including:

  • The two versions of Malena, were both recorded in 1942. The first was on Jan.8 session paired with C.T.V.; the second version, also the widely circulated one was probably laid out in the Apr.16 session, according to Pichuco’s musicians, upon their return from the trip to Montevideo (provided by collector Boris Puga) along with Mi Castigo, Papa Baltasar, and Pa’ Que Bailen Los Muchachos.

  • The 1952 versions of Inspiración, Responso, and La Cumparsita (previously recorded in 1951) are remades on tape masters.

  • Two versions of Mi Viejo Reloj (1963/65), the second one is stereo and has a piano intro.

  • Two versions of Milonguero Triste, one on 1965 Jan.4, and the second on Jan.19 in stereo.

Genre

• Malón de ausencia (1958, malambo) not included.

Singer

• Often praised as the best orquesta for collaborating with all styles of singers, Troilo is slightly inclined to the Canyengue style (Fiorentino, Ruiz, Rivero, Goyeneche); his T.K. era (with Berón and Casal) was the most lyrical period in his career.

• Non-Orquesta Típica recordings are not included (Troilo-Grela, Troilo Cuarteto, etc.).

• Ranko Fujisawa and Aída Luz (1953 accompaniment, sin Troilo) recordings not included.

• Roberto Goyeneche's 1968 recording session (accompaniment, arr./dir. Armando Pontier) not included.

• Recordando a Homero Manzi (1972) not included.

Masters

• A short microgroove master (45?) era in 1949 for Troilo might exist, since at that time Víctor was planning to introduce some of his popular tango artists to the US domestic market via the new EP format (which exactly happened in 1950 for D’Arienzo, Tanturi, Sassone, etc.), but Troilo left Víctor for T.K. by the end of 1949.

  The sound of the 1949 Troilo on 78rpms is different: maybe the metal part was a sub-generation from microgroove masters, not a direct cut (with this said, the possibility of a parallel system exists).

• As a consequence of joining the record company T.K., Troilo stepped back to 78rpm masters in 1950/51.

• Mono/Stereo. Theoretically, all recordings from 1963 onwards have access to stereo, but it could finally be subject to strategic and cost concerns (three “Tango for Export” albums are stereo).

  • Instrumentals are more prone to be recorded in stereo (could this be a variable even when having vocals in the same session, e.g. the 1966 session?).

  • Goyeneche's 1968(not listed)/71 sessions are in stereo.

  • 1969/70 instrumentals are ambiguous.

Pitch

• Pichuco conservatively kept the original 435hz pitch in the studio until 1943; this was evidenced by:

  • Starting from March 1943 to mid-year, the piano was constantly about 20 cents higher than the bandoneón, a situation that rarely appears in pre-1943 recordings.

  • All instruments are tuned equally as the new pianist José Basso entered the studio on Sep.30, 1943. This highly suggests an acceptance process of the new pitch standard for the bandoneóns.

  • Fiorentino’s voice (and instruments): when pre-1943 tracks are tuned to 435hz, it sounds more consistent with the 1943/44 tracks (at 440hz).

  • Furthermore, an interview by Horacio Ferrer in 1974 includes a section when Pichuco reminisced about his early years with Víctor:

    • “…fíjese en las tonalidades naturales del bandoneón y compárelas con las del instrumento en mis primeros discos: ¡pero si nunca toqué ni quise tocar así de rápido! Mis grabaciones de la época de Goñi está reproducidas medio tono más arriba, porque en la Victor, al matrizar, digo yo, me las apuraban: el tango rápido era lo que se vendía. Animado y con dinámica sí; apurado ¡jamás! Ah, y el matiz...”

    This passionate testimony is so informative that it confirms Troilo never intended to be faster on records. It can be further assumed that the orquesta was playing at the original speed in the studio, and on the other end of the microphone, while the orquesta playing, the wax was cut lower than 78rpm in the control room.

    Given that Troilo’s pre-1943 tracks, notably those in 1941 (“mis primeros discos”), land at 445hz or thereabouts when played on a standard 78rpm turntable, a keen observer can notice this 445-435hz (40 cents) difference is in accord with Troilo’s testimony (“medio tono más arriba”). Therefore, the wax cutting speed could be thus calculated at 76-77rpm - which is not novel conduct for Víctor at all.

• When Troilo returned to Víctor in the 1960s, the new piano concert pitch of 442hz had already been adopted by the studio for years.

Speed

• It can be reasonably assumed that Troilo’s orquesta played at its fastest tempo during 1938-1940, and then the tempo gradually slowed down. A small bump-up in speed is observed in the late-50s when moved to Odeón.

• Since 1950, rubato has been extensively used for artistic expression, evident on the vocal tracks in his final stage in T.K., with Osvaldo Manzi on piano.