Propulsado por The Argentine Talking Machine Buenos Aires
DISCOGRAFIA DE CARLOS GARDEL
Por invitación de Max Glücksmann, la monumental obra de Carlos Gardel fue grabada casi en su con el sello discográfico Nacional-Odeón en Buenos Aires, París y Barcelona. El trabajo llevado a cabo por la firma discográfica de Glücksmann incluye los siguientes temas gardelianos, cuyo registro tuvo lugar entre 1917 y 1935.
1. A la luz del candil Tango
2. A media luz Tango
3. A media noche Tango
4. Abuelito Tango
5. Acquaforte Tango
6. Acuarelita del arrabal Tango
7. Adiós muchachos Tango
8. Adiós para siempre Tango
9. Adiós que me voy llorando Canción
10. Adiós, ¡que te vaya bien! Zamba
11. Al mundo le falta un tornillo Tango
12. Al pie de la Santa Cruz Tango
13. Alicia Vals
14. Alma de loca Tango
15. Alma en pena Tango
16. Alma porteña Tango
17. Almagro Tango
18. Allá en la ribera Tango
19. Ámame mucho Tonada
20. Amanecer Cifra
21. Amante corazón Vals
22. Amargura (El floridense) Estilo
23. Amargura Tango canción
24. Amigazo Canción
25. Amigazo Tango
26. Amor (Gran buda) Shimmy
27. Amor pagano Vals
28. Amor perdido Tango
29. Amor tropical (Sol tropical) Rumba
30. Amores de estudiante Vals
31. Amurado Tango
32. Anclao en París Tango
33. Angustias (Llorá corazón) Tango vals
34. Anoche a las dos Tango
35. Ansias de amor Tango
36. Añorando Tango
37. Añoranzas Vals
38. Apure, delantero buey Canción criolla
39. Aquel cuartito de la pensión Tango
40. Aquel muchacho triste Tango
41. Aquel tapado de armiño Tango
42. Aquella cantina de la ribera Tango
43. Aquella noche Tango
44. Aquella palomita Tango
45. Aquellas cartas Tango
46. Aquellas farras Tango
47. Araca, corazón Tango
48. Araca la cana Tango
49. Araca París Tango
50. Argentina Tango
51. Aromas Tango
52. Aromas del Cairo Vals
53. Arrabal amargo Tango
54. Arrabalero Tango
55. As de cartón Tango
56. Así canto yo Tango
57. Asomáte a la ventana Serenata
58. Atardecer Estilo
59. Aunque me cueste la vida Zamba
60. Aurora Vals
61. Ausencia Vals
62. Ave cantora Tango
63. Ave sin rumbo Tango
64. Ay, ay, ay Canción
65. Ay, Elena Vals
66. Bailarín compadrito Tango
67. Bajo Belgrano Tango
68. Bandoneón arrabalero Tango
69. Barajando Tango
70. Barrio reo Tango
71. Barrio viejo Tango
72. Besáme en la boca Tango
73. Beso ingrato Tango
74. Besos que matan Tango
75. Brisas de la tarde Canción
76. Buenos Aires Tango
77. Buey manso Tango
78. Bulincito de mi vida Tango
79. Cabecita negra Tango
80. Cachadora Tango
81. Caferata Tango
82. Calandria Tango
83. Calavera viejo Tango
84. Callecita de mi barrio Tango
85. Callejera Tango
86. Calor de hogar Tango
87. Camarada Tango
88. Caminito Tango
89. Caminito del taller Tango
90. Caminito soleado Zamba canción
91. Campanita Canción
92. Canchero Tango
93. Canción de cuna Tango
94. Cantar eterno Canción
95. Canto a la selva Canción
96. Cañaveral Zamba
97. Caprichosa Fado
98. Cara rota Tango
99. Caricias Tango
100. Cariñito Tango
101. Cariñito mío Tango
102. Carnaval Tango
103. Carne de cabaret Tango
104. Cartas viejas Tango
105. Cartitas perfumadas Tango
106. Cascabelito Tango
107. Celeste y blanco Tango
108. Chacarerita del norte Chacarera
109. Chacarerita doble Chacarera
110. Che, Bartolo Tango
111. Che, Mariano Tango
112. Che papusa, oí Tango
113. Cheating muchachita Tango
114. China hereje Estilo
115. Chinita Tango
116. Chinita linda Tonada
117. Chola Tango
118. Chorra Tango
119. Cicatrices Tango
120. Cielito mío Tango
121. Circe Shimmy
122. Clarita Tango
123. Clavel del aire Tango
124. Claveles mendocinos Zamba
125. Co-co-ro-có Canción zamba
126. Cobardía Tango
127. Colorao, colorao Tango
128. Como abrazado a un rencor Tango
129. Como agoniza la flor Canción
130. Como la mosca Tango
131. Como las margaritas Estilo
132. Como los nardos en flor Tango
133. Como quiere la madre a sus hijos Vals
134. Como se canta en Nápoles Canción
135. Como todas Vals
136. Compadrón Tango
137. Compañero Tango
138. Con los ojos del alma Gato
139. Confesión Tango
140. Congojas Tango
141. Contramarca Tango
142. Contrastes Vals
143. Copen la banca Tango
144. Copetín, vos sos mi hermano Tango
145. Coquetita Tango
146. Corazón de arrabal Tango
147. Corazón de papel Tango
148. Corazoncito Tango
149. Córdoba Tango
150. Cordobesita Zamba
151. Corrientes Tango
152. Corto de genio Tango
153. Cotorrita de la suerte Tango
154. Criollita de mis ensueños Zamba
155. Criollita decí que sí Cifra
156. Cruz de palo Tango
157. Cualquier cosa Tango
158. Cuando llora la milonga Tango
159. Cuando tú no estás Canción
160. ¿Cuándo volverás? Tango
161. Cuesta abajo Tango
162. Culpas ajenas Tango
163. Dandy Tango
164. De flor en flor Tango
165. De mi tierra Fado
166. De puro guapo Tango
167. De salto y carta Tango
168. De tardecita Tango
169. De todo te olvidás Tango
170. De vuelta al bulín Tango
171. Dejá (Ya) Vals
172. Dejá el conventillo Tango
173. Del barrio de las latas Tango
174. Del infierno adelante Gato
175. Delirio gaucho Vals
176. Desdén Tango
177. Desdichas Tango
178. Desengaño Tango
179. Desilusión Tango
180. Desolación Tango
181. Destino Tango
182. Dicen… que dicen Tango
183. Dicha pasada Tango
184. Dolor Tango
185. Dónde estará Tonada
186. Dos cosas te pido Tonada
187. Dos en uno Tango
188. Duelo criollo Tango
189. Ebrio Tango
190. Echando ala Tango
191. Echaste buena Tango
192. Echá otra caña, pulpero Estilo
193. El alma de la calle Tango
194. El alma que siente Tango
195. El anillo Zamba
196. El arroyito Tango
197. El barbijo Tango
198. El besito Tango
199. El brujo Tango
200. El bulín de la calle Ayacucho Tango
201. El cardo azul Estilo
202. El carrerito Tango
203. El carretero Canción campera
204. El cimarrón del estribo Canción argentina
205. El ciruja Tango
206. El consentido Tango
207. El corazón me robaste Zamba
208. El curdela Tango
209. El día que me quieras Tango
210. El huérfano Tango
211. El lazo Estilo
212. El mal que me hiciste Tango
213. El moro Canción
214. El moro Tango
215. El olivo Tango
216. El once (A divertirse) Tango
217. El paisano Contrera Estilo
218. El pangaré Canción
219. El pañuelito Tango
220. El patotero sentimental Tango
221. El pibe Tango
222. El picaflor Tonada
223. El pinche Tango
224. El poncho del amor Tango
225. El que atrasó el reloj Tango
226. El quinielero Tango
227. El ramito Tango
228. El rey del cabaret Tango
229. El rosal Canción
230. El sapo y la comadreja Tonada
231. El señuelo Estilo
232. El sol del 25 Gato patriótico
233. El sueño Estilo
234. El tabernero Tango
235. El taita del arrabal Tango
236. El tango de la muerte Tango
237. El tatuaje Tango
238. El templo de Venus Shimmy
239. El tirador plateado Estilo
240. El triunfo (La tropilla) Canción
241. El triunfo Danza
242. El trovero (Yo te imploro) Vals
243. El vagabundo Bambuco
244. El zaino colorado Estilo
245. En la tranquera Ranchera
246. En un pueblito español Vals
247. En vano, en vano Vals
248. Enfundá la mandolina Tango
249. Entrá nomás Tango
250. Entre colores Estilo
251. Eres cruel Estilo
252. Es tanto lo que te quiero Tonada
253. Esas no volverán Canción
254. Esclavas blancas Tango
255. Esta noche me emborracho Tango
256. Esta vida es puro grupo Tango
257. Estampilla Tango
258. Estudiante Tango estilo
259. Falsas promesas Tango
260. Farabute Tango
261. Farolito de papel Tango
262. Farolito viejo Tango
263. Fayuto Tango
264. Fea Tango
265. Federación Tango
266. Fierro chifle Tango
267. Fiesta criolla Tango
268. Flor campera Tango
269. Flor de cardo Tango
270. Flor de fango Tango
271. Flor de valle Tango
272. Folie Canción
273. Fondín de Pedro Mendoza Tango
274. Francesita Tango
275. Francia Tango
276. Gacho gris Tango
277. Gajito de cedrón Chacarera
278. Galleguita Tango
279. Garabatos de mujer Tango
280. Gimiendo Tango
281. Giuseppe, el zapatero Tango
282. Glorias Tango
283. Golondrinas Tango
284. Gorriones Tango
285. Gotas de veneno Tango
286. Griseta Tango
287. Guaminí Tango
288. Guitarra mía Canción criolla
289. Hacéte tonadillera Tango
290. ¡Hágame el favor! Tango
291. Haragán Tango
292. Hasta besarla llegué Estilo
293. Hasta que ardan los candiles Ranchera
294. Hay una virgen Canción
295. Heroico Paysandú Canción
296. Hola señorita Shimmy
297. Hollín Tango
298. Honolulú Shimmy
299. Hopa… hopa… hopa Canción
300. Idilio campero Tango
301. Il píccolo navío Tango
302. Incurable Tango
303. Insomnio Canción
304. Intimas Tango
305. Isla de flores Tango
306. Ivette Tango
307. Je te dirai Fox-trot canción
308. Jirón de Pampa Tango
309. Juguete de placer Tango
310. Jujeña Tonada
311. Juventud Tango
312. Knock out de amor Tango
313. La borrachera del tango Tango
314. La brisa Tango
315. La cabeza del italiano Tango
316. La calesita está triste Tango
317. La canción de Buenos Aires Tango
318. La canción del ukelele Fox-trot
319. La cartita Tango
320. La casita está triste Tango
321. La catedrática Milonga
322. La cautiva Tango
323. La chacarera Tango
324. La china fiera Canción
325. La choyana Chacarera
326. La cieguita Tango
327. La copa del olvido Tango
328. La cordobesa Zamba
329. La criolla Canción
330. La curdela Tango
331. La cuyanita Tango
332. La cuyanita Zamba
333. La danza de las libélulas Canción
334. La divina dama Vals
335. La enmascarada Tango
336. La entrerriana Vals criollo
337. La garçonnière Tango
338. La gayola Tango
339. La gloria del águila Tango
340. La he visto con otro Tango
341. La hija de la japonesita Fox-trot
342. La huella Canción
343. La madrugada Canción
344. La maleva Tango
345. La mañanita Estilo
346. La mariposa Estilo
347. La mariposa Tango
348. La mascotita Tango
349. La mentirosa Tango
350. La milonga Tango
351. La mina del Ford Tango
352. La muchacha del Arrabal Tango
353. La muchacha del circo Tango
354. La novia ausente Tango
355. La pastelera Ranchera
356. La pastora Canción provinciana
357. La pena del payador Vals
358. La percanta está triste Tango
359. La provinciana Tango
360. La pueblerita Zamba
361. La reina del tango Tango
362. La reja Tango
363. La salteñita Zamba
364. La sulamita Shimmy
365. La tacuarita Zamba
366. La tristeza del bulín Tango
367. La tupungatina Zamba
368. La última copa Tango
369. La última ronda Tango
370. La uruguayita Lucía Tango
371. La violeta Canción
372. La violetera Tango
373. La virgen del perdón Vals
374. La Vuelta de Rocha Tango
375. La yegüecita Cueca
376. Langosta Tango
377. Largue a esa mujica Tango
378. Las campanas Vals
379. Las flores de tu balcón Pasodoble
380. Las madreselvas Zamba
381. Lechuza Tango
382. ¡Leguisamo solo! Tango
383. Lejana tierra mía Canción
384. Linda provincianita Zamba
385. ¡Llegué a ladrón por amarte! Tango
386. Lleváme, carretero Tango
387. Llora corazón Vals
388. ¡Llorá, hermano! Tango
389. Llora como una mujer Tango
390. Lo han visto con otra Tango
391. Lo que fui Estilo
392. Lo que fuiste Tango
393. Lobo de mar (Mar bravío) Tango
394. Loca Tango
395. Los indios Tango
396. Los ojos de mi moza Jota
397. Los ojazos de mi negra Zamba
398. Los rosales se han secao Zamba
399. Macachín flor de los llanos Tango
400. Machaza mi suerte Zamba
401. Machete Tango
402. Madame c’est vous Canción
403. Madame Ivonne Tango
404. Madre Tango
405. Madre hay una sola Tango
406. Madreselva Tango
407. Mala Tango
408. Mala entraña Tango
409. Mala suerte Vals
410. Maldita visión Tango
411. Malevaje Tango
412. Malevito Tango
413. Mamita Tango
414. Maniquí Tango
415. Mano a mano Tango
416. Mano cruel Tango
417. Mano mora Tango
418. Manos brujas Fox-trot
419. Manuelita Vals
420. Mañanita de campo Ranchera
421. Mañanita de sol Canción
422. Maragata Tonada
423. Margaritas Tango
424. Margot Tango
425. Marioneta Tango
426. Maryflor Vals
427. Mascotita de marfil Vals
428. Matála Tango
429. Me dá pena confesarlo Tango
430. Me enamoré una sola vez Ranchera
431. Medallita de la suerte (Mi alhaja) Tango
432. Medallita de los pobres (Virgencita) Tango
433. Medianoche Tango
434. Meditando Tango
435. Melodía de arrabal Tango
436. Mentías Tango
437. Mentira Tango
438. Mentiras (Por una verdad) Tango
439. Mentiras Tonada salteña
440. Mentiras criollas Tango
441. Mi ambición Vals
442. Mi bien querido Fado
443. Mi Buenos Aires querido Tango
444. Mi caballo y mi mujer Cueca
445. Mi china Fado
446. Mi diosa Tango
447. Mi estrella Vals
448. Mi guitarra Tango
449. Mi madre Canción
450. Mi manta pampa Zamba
451. Mi mocosita Tango
452. Mi noche triste Tango
453. Mi palomita Tonada
454. Mi pañuelo bordao Tonada
455. Mi primer goal Tango
456. Mi querer Tango
457. Mi ranchito Canción
458. Mi refugio Tango
459. Mi suegra no me quiere Gato
460. Mi tierra Zamba
461. Mía Tango
462. Micifuz Tango
463. Midinette porteña Tango
464. Milonga del 900 Milonga
465. Milonga fina Tango
466. Milonga sentimental Milonga
467. Milongo Milonga
468. Milongón Milonga
469. Milonguera Tango
470. Milonguita Tango
471. Mirála cómo se va Tonada
472. Mis espuelas Estilo
473. Mis flores negras Pasillo colombiano
474. Mis perros Bambuco colombiano
475. Misa de once Tango
476. Misterio Canción
477. Misterio Tango
478. Muchachita de Montmartre Tango
479. Muchachos, me caso Tango
480. Muchachos, silencio Tango
481. Muñeca Tango
482. Muñeca brava Tango
483. Muñeca de carne Tango
484. Muñequita Tango
485. Muñequita de lujo Tango
486. Murmullos Tango
487. Naipe marcado Tango
488. Nelly Vals
489. Nena Tango
490. Nerón Shimmy
491. Nido de amor Tango
492. No le digas que la quiero Tango
493. No llore viejita Tango
494. No llores más Tango
495. No me tires con la tapa de la olla Tango
496. No te engañes, corazón Tango
497. No te quiero más Tango
498. Noche de reyes Tango
499. Noche fría Tango
500. Noches de Atenas Vals
501. Noches de Colón Tango
502. Noches de Montmartre Tango
503. Normiña Tango
504. Noviecita mía Tango
505. Nubes de humo (Fúme compadre) Tango
506. Nunca más Tango
507. Ofrenda gaucha Estilo
508. Ofrenda maleva Tango
509. Oh, París Fox-trot
510. Oh, penas mías Tango
511. Oiga amigo Tango
512. Ojos maulas Tango
513. Organito de la tarde Tango
514. Oro muerto Tango
515. Oro y seda Tango
516. Otario que andás penando Tango
517. Padre nuestro Tango
518. Padrino pelao Tango
519. Páginas de amor Tango
520. Pajarito Tango
521. P’al cambalache Tango
522. Palermo Tango
523. Palomita blanca Vals
524. Pan Tango
525. Pan comido Tango
526. Pa’qué más Tango
527. Pa’que te acordés Tango
528. Paquetín, paquetón Tango
529. Para quererte nací Cifra
530. Parlez-moi d’amour Canción
531. Pasan las horas Vals
532. Paseo de julio Tango
533. Patadura Tango
534. Pato Tango
535. Pedíme lo que querés Tango
536. Pensálo bien Tango
537. Perdón viejita Tango
538. Perdonada Tango
539. Perdonáme, Señor Tango
540. Perfume de mujer Tango
541. Pero hay una melena Fox-trot
542. Piedad Tango
543. Pituca Tango
544. Pobre amigo Tango
545. Pobre chica Tango
546. Pobre colombina Tango
547. Pobre corazón mío Tango
548. Pobre corazoncito Tango
549. Pobre flor Estilo
550. Pobre gallo bataraz Estilo
551. Pobre madre Estilo
552. Pobre madrecita Tango
553. Pobre mi gaucha Media Cifra
554. Pobre mi negra Zamba
555. Pobre milonga Tango
556. Pobre muñequita Tango
557. Pobre paica (El motivo) Tango
558. Pobre pato Tango
559. Pobre vieja Tango
560. Pobres flores Tango
561. Polvorín Tango
562. Pompas Tango
563. ¿Por dónde andará? Tango
564. Por el camino Tango
565. Por el camino Zamba
566. Por el llano Tango
567. Por ella Tango
568. Por favor, dejáme Tango
569. ¿Por qué me das dique? Tango
570. ¿Por qué no has venido? Tango
571. ¿Por qué soy reo? Tango
572. Por seguidora y por fiel Tango
573. Por tus ojos negros Rumba
574. Por última vez Tango
575. Por un cariño Canción
576. Por un tango Tango
577. Por una cabeza Tango
578. Pordioseros Tango
579. Porotita Tango
580. Porque te quiero Tonada
581. Porteña del rosedal Zamba
582. Poupée de Stamboul Shimmy
583. Preciosa mía Tonada
584. Preparáte pa’l domingo Tango
585. Primavera de colores Estilo
586. Primero campaneála Tango
587. Primero yo Tango
588. Príncipe Tango
589. Prisionero Tango
590. Promesa Vals
591. Puentecito Tango
592. Puentecito de plata Tango
593. Puntana Provinciano
594. Puñadito de sal Pasodoble
595. ¡Qué fenómeno! Tango
596. Qué has hecho de mi cariño Tango
597. Qué linda es la vida Vals
598. Qué lindo es el shimmy Shimmy
599. Qué lindo tiempo aquél Estilo
600. Qué querés con esa cara Tango
601. Que se vayan Tango
602. Qué suerte la del inglés Estilo
603. Qué vachaché Tango
604. Queja indiana Tango
605. Quejas del alma Tango
606. Quejas del alma Vals
607. Querencia Cifra
608. Quien tuviera 18 años Tango
609. Quimera Tango
610. Ramona Vals
611. Raza noble Tango
612. Recordando mi barrio Vals
613. Recordándote Tango
614. Recuerdo malevo Tango
615. Recuerdos Estilo
616. Refusilos Tango
617. Rencor Tango
618. Reproche Tango
619. Resignáte, hermano Tango
620. Reyes del aire Shimmy
621. Ríe, payaso Tango
622. Riojana mía Vals
623. Rosa de otoño Vals
624. Rosal de amor Vals
625. Rosal viejo Canción
626. Rosarito la serrana Zamba
627. Rosas de abril Vals
628. Rosas de otoño Vals
629. Rosas rojas Tango
630. Rubias de New York Fox-trot
631. Rumores Bambuco
632. Rumores Tango
633. Sacáte la caretita Tango
634. Salto mortal Tango
635. Salve, patria Estilo
636. Sanjuanina de mi amor Tonada
637. Se acabaron los otarios Tango
638. ¿Se acuerdan muchachos? Tango
639. Se fue Mateo Tango
640. Se llama mujer Tango
641. Se va y se va Tonada
642. Seguí mi consejo Tango
643. Senda florida Tango
644. Sentimiento gaucho Tango
645. Señor Tango
646. Serrana impía Zamba
647. Sevilla Pasodoble
648. Si me tendrá en su memoria Canción
649. Si se salva el pibe Tango
650. ¡Si soy así! Tango
651. Si supieras (La cumparsita) Tango
652. Siéntese, che hermano Tango
653. Siga el corso Tango
654. Silbando Tango
655. ¡Silencio! Tango
656. Sin madre Tango
657. Sobre el pucho Tango
658. Soledad Tango
659. Sólo se quiere una vez Tango
660. Sombras Tango
661. Sonia Balada rusa
662. Sonrisas Shimmy
663. Sonsa Tango
664. Soñando Tango
665. Sorpresa Tango
666. Sos de Chiclana Tango
667. Soy una fiera Milonga
668. Suena guitarra querida Estilo
669. Sueño de juventud Vals
670. Sueño marchito Tango
671. Sueño querido Tango
672. Sueños Tango
673. Sufra Tango
674. Sus ojos se cerraron Tango dramático
675. Taconeando Tango
676. Talán, talán Tango
677. Tan grande y tan zonzo Tango
678. Tango argentino Tango
679. Tango porteño Tango
680. Tango, te cambiaron de pinta Tango
681. Tarde gris Tango
682. Te aconsejo que me olvides Tango
683. Te acordás Zamba
684. ¡Te fuiste, hermano! Tango
685. Te fuiste, ja, ja Tango
686. Te odio Tango
687. Tendrás que llorar Vals
688. Tenemos que abrirnos Tango
689. Tengo miedo Tango
690. Tesorito Tango
691. Tiempos viejos Tango
692. Tierra del fuego Tango
693. Tierra hermana Tango
694. Tierrita Tango
695. Titiriteros Tango
696. Todavía hay otarios Tango
697. Todo corazón Tango
698. Tomo y obligo Tango
699. Tortazos Milonga
700. Trago amargo Tango
701. Traicionera Tango
702. Tranco a tranco Tango
703. Trapito Tango
704. Tras cartón Tango
705. Trenzas negras Tango
706. Trianera Pasodoble
707. Triste entrerriano Triste
708. Tristeza gaucha Estilo
709. Trovas Tango
710. Tu diagnóstico Vals
711. Tu mirada Tango
712. Tu vieja ventana Vals
713. Tucumana Zamba
714. Tus besos fueron míos Tango
715. Tus violetas Tango
716. Tut-ankh-amon Camel-trot
717. Tuyo Tango
718. Un año más Tango
719. Un bailongo Milonga
720. Un tropezón Tango
721. Una lágrima Tango
722. Una lágrima Vals
723. Una noche en El garrón Tango
724. Una pena Tango
725. Una rosa para mi rosa Canción
726. Una tarde Tango
727. Uno y uno Tango
728. Valencia Pasodoble
729. Ventanita del arrabal Tango
730. Ventarrón Tango
731. Victoria Tango
732. Vida amarga Tango
733. Vieja recoba Tango
734. Viejecita mía Tango
735. Viejo amor Tango
736. Viejo curda Tango
737. Viejo jardín Vals
738. Viejo rincón Tango
739. Viejo smoking Tango
740. Viva la patria Tango
741. Volvé mi negra Tango
742. Volvéme el cariño Zamba
743. Volver Tango
744. Volvió una noche Tango
745. Y era buena Tango
746. Y reías como loca Tango
747. Y si la ves, dale un beso Tango
748. Ya canta el gallo Zamba
749. Ya pa qué Tango
750. Yira, yira Tango
751. Yo beso vuestra mano, señora Canción
752. Yo nací para ti, tu serás para mi Fox-trot
753. Yo no puedo vivir sin amor Canción shimmy
754. Yo no sé que me han hecho tus ojos Vals
755. Yo sé qué hacer Cifra
756. Yo también como tú Tango
757. Yo te bendigo Tango
758. Yo te imploro Vals
759. Yo te perdono Tango
760. Yo tuyo soy, tuyo es mi amor Vidalita
761. Zorro Gris Tango
Disco Nacional Odeón. Argentine label, sublabel of Odeon, active from 1920 as Disco Nacional then from 1923 as Disco Nacional Odeón, under management of Odeon's agent in Argentina: Max Glücksmann. Then became Disco Criollo Odeón from January 1934 after a 1933 Argentine law prohibiting the use of the word "Nacional" by non-governmental entities. Then became Odeón from 1936 (Discogs).
Max Glücksmann. South American cinema and phonograph entrepreneur [1875-1946]. Max Glücksmann, an Austrian, arrived in Buenos Aires in 1890. Shortly afterwards he found work as a photographic assistant at the 'Casa Lepage'. The owner was a Belgian, Henri (Enrique) Lepage, and the company imported photographic materials. Eugène Py, a Frenchman, also worked there. The three of them attend the opening show of the 'Cinematografo' (the Lumière Cinématographe) at the Odeon Theatre on 18 July 1896, which was presented by the theatre owner Francisco Pastor and Spanish journalist Eustaquio Pellicer. They immediately got in touch with the Lumière firm in order to buy their machines, but on being rejected they imported a Gaumont/Demenÿ Chronophotographe, and a 'Cinematografo Pathe'. Py became the first Argentinian filmmaker with his short film, La bandera Argentina, taken with the first Gaumont camera that arrived in the country. Max Glücksmann then began selling and marketing the cameras, and the short films, small news or miscellaneous titles that came with them from Europe. Casa Lepage was bought by Glücksmann in 1908 and he gave a huge boost to the South American film business, opening more movie theatres, not only in Buenos Aires, but across Argentina, and in Uruguay and Chile. Max had thirteen brothers and several of them took part in the film business. Max's brother Jacobo lived in the USA where he leased the films to be shown in Argentina. His youngest brother, Bernardo, managed a movie theatre chain in Uruguay. Max Glücksmann was equally powerful in the South American recording industry, marketing phonographs then gramophones, and going on to own major recording studios and becoming the dominant figure in the recording of Argentine music (Juan Pablo Lepra, "Max Glücksmann," Who's Who of Victorian Cinema, 15.5.2019).
Max Glucksmann, founder of Argentina’s cinema and recording industries in the early 20th Century
Part 1
Max Glucksmann’s is not a household name, to be sure. But were it not for him, the Argentine recording and film industries would not have developed as quickly as they did or –- especially in the recording of tango– with such formidable results.
An Austrian and part of the important Jewish immigration to Argentina in the nineteenth and twentieth centuries, Glucksmann arrived with his family in Buenos Aires in 1890, when he was 15 years old. Max was a very industrious young man, and he went to work soon after his arrival in Argentina for Lepage y Compañia, a photography studio. He was one of three employees in a shop that was seven by twenty-five meters in its entirety. He often bragged later in life, shrugging his shoulders in the Buenos Aires manner of humorous acceptance of one’s fate, that his first salary was fifty pesos a month. Even in 1890, this was not a lot.
The arrival of moving pictures and voice recordings. Lepage y Compañia recognized the coming importance of the moving picture, and expanded its operations in 1900 to that primitive but exciting art. In the meantime, the possibility for recording voice and music had also become a reality. In a 1931 interview, Max explained what had been happening in Buenos Aires: “Forty years ago, the first Lioret phonographs were imported from France. They used celluloid cylinders. Then came cylinders made of wax. And finally in 1900 disks appeared, even though they were pretty bad.”
Max understood that, although these first recordings were mostly by opera singers like Enrico Caruso, the real market lay in popular music artists of the period. In a day in which radio was in its own infancy, these recordings were usually the only way that large numbers of people could hear different kinds of music.
“When the gramophone really came into its own in Argentina,” Max said, “it was thanks to the popularity that, day by day, was enjoyed by criolla music (music from Argentina itself). From the time of the payadores (itinerant singers) like Negro Gazcón, Gabino Ezeiza, Villoldo and others, who were singing just as the disk was perfecting itself.”
Max, recognizing that cinema and recording were the coming industries, applied himself to his work so intently that, in 1908, when Lepage y Compañia now had one hundred fifty employees, he bought the company. Soon thereafter, he built the first recording studio in Argentina, taking advantage of new technology that allowed recordings to be made by the thousands. He also worked to establish the legal rights of music authorship for performers, something that had not previously existed in Argentina.
Part 2
We learned last month about the beginnings of the Argentine recording and film industries, principally through the efforts of Max Glücksmann. Eventually he was to build those industries into a business powerhouse. But Glücksmann also had extraordinary taste when it came to popular music, and he knew he was onto something when he first heard the singing voice of Carlos Gardel.
A former street singer, Gardel had made an early reputation as half of the Razzani-Gardel duo that was popular on the Buenos Aires music scene before and during World War I. Eventually the two split up, and Gardel continued on as a single, signed to an early recording contract by Max Glücksmann. Gardel was still a criollo singer whose music had a country flavor heavily influenced by the music of the Argentine pampas and the gauchos.
But he was an urban kid.
As in many great cities, there were populations in Buenos Aires that had been forced to emigrate from other countries by war or economic difficulties. There was chaotic urban noise and emotional dissociation, the alienation that comes from the break-up of families, the loss of community and the anger and rage that can result.
Gardel was no stranger to this, and his first solo recording, in 1917, was a tango entitled “Mi noche triste,” about a man sitting alone in his Buenos Aires room, crushed because his lover has just left him.
The first such recording ever made. Tango had existed for years before this, but more as a folkloric music and country dance. What Gardel was singing was urban, new, and instantly popular. Gardel went on to become the biggest-selling music star in the Spanish-speaking world, an international phenomenon of enormous proportions.
On October 12, 1924, Gardel made one of the first live radio broadcasts to be produced from the studio of “[El] Grand Splendid,” Glücksmann’s new headquarters housed on the upper floor of his new “splendid” concert theater. [...]
Gardel became a movie star so well thought of by Hollywood that by 1934 he was being prepared by Paramount Studios to become the next Maurice Chevalier. On March 5, 1934, Glücksmann arranged for a short wave radio hook-up, broadcast by Radio Splendid in Argentina –- from a studio in the Grand Splendid — and NBC in the United States.
The artists were Carlos Gardel and his long-time guitarists Guillermo Desiderio Barbieri and Angel Domingo Riverol. This occasion was memorable for a unique reason, since in fact Gardel was singing in New York while the guitarists were playing in Buenos Aires. It was one of the first such international broadcasts ever made.
Glücksmann had essentially gained control of the Argentine record industry. He did it while nonetheless becoming a hero to musicians through his practice of paying them royalties. He was the first in Argentina to suggest this, and in so doing made Carlos Gardel a world-class star and a multi-millionaire. Other Argentine musicians may not have climbed to Gardel’s heights of fame, but they all benefited from Glücksmann’s careful protection of their artistic rights.
Max Glücksmann died on October 20, 1946 (Terence Clarke, "Who was Max Glücksmann and how did he influence tango?," Alma del Tango, September 2018).
Part 1
Max Glucksmann’s is not a household name, to be sure. But were it not for him, the Argentine recording and film industries would not have developed as quickly as they did or –- especially in the recording of tango– with such formidable results.
An Austrian and part of the important Jewish immigration to Argentina in the nineteenth and twentieth centuries, Glucksmann arrived with his family in Buenos Aires in 1890, when he was 15 years old. Max was a very industrious young man, and he went to work soon after his arrival in Argentina for Lepage y Compañia, a photography studio. He was one of three employees in a shop that was seven by twenty-five meters in its entirety. He often bragged later in life, shrugging his shoulders in the Buenos Aires manner of humorous acceptance of one’s fate, that his first salary was fifty pesos a month. Even in 1890, this was not a lot.
The arrival of moving pictures and voice recordings. Lepage y Compañia recognized the coming importance of the moving picture, and expanded its operations in 1900 to that primitive but exciting art. In the meantime, the possibility for recording voice and music had also become a reality. In a 1931 interview, Max explained what had been happening in Buenos Aires: “Forty years ago, the first Lioret phonographs were imported from France. They used celluloid cylinders. Then came cylinders made of wax. And finally in 1900 disks appeared, even though they were pretty bad.”
Max understood that, although these first recordings were mostly by opera singers like Enrico Caruso, the real market lay in popular music artists of the period. In a day in which radio was in its own infancy, these recordings were usually the only way that large numbers of people could hear different kinds of music.
“When the gramophone really came into its own in Argentina,” Max said, “it was thanks to the popularity that, day by day, was enjoyed by criolla music (music from Argentina itself). From the time of the payadores (itinerant singers) like Negro Gazcón, Gabino Ezeiza, Villoldo and others, who were singing just as the disk was perfecting itself.”
Max, recognizing that cinema and recording were the coming industries, applied himself to his work so intently that, in 1908, when Lepage y Compañia now had one hundred fifty employees, he bought the company. Soon thereafter, he built the first recording studio in Argentina, taking advantage of new technology that allowed recordings to be made by the thousands. He also worked to establish the legal rights of music authorship for performers, something that had not previously existed in Argentina.
Part 2
We learned last month about the beginnings of the Argentine recording and film industries, principally through the efforts of Max Glücksmann. Eventually he was to build those industries into a business powerhouse. But Glücksmann also had extraordinary taste when it came to popular music, and he knew he was onto something when he first heard the singing voice of Carlos Gardel.
A former street singer, Gardel had made an early reputation as half of the Razzani-Gardel duo that was popular on the Buenos Aires music scene before and during World War I. Eventually the two split up, and Gardel continued on as a single, signed to an early recording contract by Max Glücksmann. Gardel was still a criollo singer whose music had a country flavor heavily influenced by the music of the Argentine pampas and the gauchos.
But he was an urban kid.
As in many great cities, there were populations in Buenos Aires that had been forced to emigrate from other countries by war or economic difficulties. There was chaotic urban noise and emotional dissociation, the alienation that comes from the break-up of families, the loss of community and the anger and rage that can result.
Gardel was no stranger to this, and his first solo recording, in 1917, was a tango entitled “Mi noche triste,” about a man sitting alone in his Buenos Aires room, crushed because his lover has just left him.
The first such recording ever made. Tango had existed for years before this, but more as a folkloric music and country dance. What Gardel was singing was urban, new, and instantly popular. Gardel went on to become the biggest-selling music star in the Spanish-speaking world, an international phenomenon of enormous proportions.
On October 12, 1924, Gardel made one of the first live radio broadcasts to be produced from the studio of “[El] Grand Splendid,” Glücksmann’s new headquarters housed on the upper floor of his new “splendid” concert theater. [...]
Gardel became a movie star so well thought of by Hollywood that by 1934 he was being prepared by Paramount Studios to become the next Maurice Chevalier. On March 5, 1934, Glücksmann arranged for a short wave radio hook-up, broadcast by Radio Splendid in Argentina –- from a studio in the Grand Splendid — and NBC in the United States.
The artists were Carlos Gardel and his long-time guitarists Guillermo Desiderio Barbieri and Angel Domingo Riverol. This occasion was memorable for a unique reason, since in fact Gardel was singing in New York while the guitarists were playing in Buenos Aires. It was one of the first such international broadcasts ever made.
Glücksmann had essentially gained control of the Argentine record industry. He did it while nonetheless becoming a hero to musicians through his practice of paying them royalties. He was the first in Argentina to suggest this, and in so doing made Carlos Gardel a world-class star and a multi-millionaire. Other Argentine musicians may not have climbed to Gardel’s heights of fame, but they all benefited from Glücksmann’s careful protection of their artistic rights.
Max Glücksmann died on October 20, 1946 (Terence Clarke, "Who was Max Glücksmann and how did he influence tango?," Alma del Tango, September 2018).
El Grand Splendid. Edificio diseñado por los arquitectos Peró y Torres Armengol y construido por Pizoney y Falcope. Construido entre 1917 y 1919, el cine-teatro contaba con cuatro filas de palcos, quinientas butacas, refrigeración, calefacción y techo corredero. Fue el primer edificio teatral construido a prueba de fuego y con sala de primeros auxilios. De tono arquitectónico ecléctico, el frente del edificio posee marquesina de hierro y vidrio, presentando asimismo atlantes que sostienen los balcones y son obra del escultor Troiano Troiani. En el fresco de la cúpula es desarrollada una compleja alegoría dedicada al tema de la Paz, que celebra el fin de la Primera Guerra Mundial y es trabajo del pintor italiano Nazareno Orlandi.
Entre las alegorías de la Música y el Teatro, las iniciales de Max Glücksmann figuran sobre el escenario del Grand Splendid, donde otrora descollaba El Zorzal Criollo.
Realizado por Mariano Akerman, el presente estudio tiene su base en investigación de Boris Puga y transcripción de Jorge Finkielman que oportunamente fue dedicada a la discografia de Carlos Gardel y publicada por el Club de la Nueva Guardia de Montevideo en el Cuaderno 7 de Tangueando en abril de 2003.
