D’Arienzo – Orchestra’s Members

Above is a simple table, originally included in a LP produced by few Japanese tango fans and collectors in 1983. This table lists out all the key orchestra members of D’Arienzo in different periods. Then I also have a class note (Japan Tango Academy, September 2007) written by Mr. Yasuhiko Fukukawa on D’Arienzo’s orchestra, which contains detail chronological information on the orchestra members. Since I have never seen something as detailed and as organized before, I would like to share them with all D’Arienzo fans. I compiled these two materials into one (very) long and colorful table. I tried to be as accurate and detailed as possible, so I also took reference from Johan’s D’Arienzo discography and Todotango. Still, given that certain members’ information is not available, this table will never be perfect. In the file, I included the original simple table for you to use. Just in case if you’re not happy with mine, you can still work on your own. 😉 Feel free to leave me a message if you find any error, I would love this table to be as accurate as possible.

Click here to download: OpenOffice version or Excel version

A Little More from Mr. Fukukawa’s Note

Besides chronological information on the orchestra, Mr. Fukukawa also suggested a framework (see below) of listening D’Arienzo’s music. Mr. Fukukawa is a D’Arienzo aficionado, he collected and listened to D’Arienzo since his university time. He is also the producer of Epoca de Tango – D’Arienzo set. His listening framework is nicely compiled with suggested tracks, I hope everybody can benefit from it. If you don’t understand how he divides the periods, then please study the table at the top of this post.

(I) Period of Electra Record (1928)

    Suggested track:
    Que Vachache (1928) singer: Carlos Dante

(II) Period of Rodolfo Biagi-Juan Polito (1935-1940)

    Suggested tracks:
    Joaquina (1935) pianist: Rodolfo Biagi
    Nueve De Julio (1935) pianist: Rodolfo Biagi
    El Cencerro (1937) pianist: Rodolfo Biagi
    Don Pacifico (1939) pianist: Juan Polito

(III) Period of Fulvio Salamanca-Hector Varela-Cayetano Puglisi (1940-1950)

    Suggested tracks:
    Chique (1942)
    Las Doce (1944) singer: Hector Maure
    Amarras (1944) singer: Hector Maure
    Pregonera (1945) singer: Armando Laborde
    Union Civica (1949)

(IV) Period of Fulvio Salamanca-Enrique Alessio-Cayetano Puglisi (1950-1957)

    Suggested tracks:
    Amarroto (1951) singer: Alberto Echague
    Independencia (1953)
    Pampa (1954)
    El Marne (1954)
    El Rezongon (1955)
    El Puaso (1957)

(V) Period of Juan Polito-Carlos Lazzari (from 1957)

    Suggested tracks:
    Adios Chantecler (1958)
    Con Alma De Tango (1959)

According to Mr. Fukukawa, 1944-1947 is the first golden period of D’Arienzo. He said D’Arienzo’s music is full of emotion during this period (Absolutely agree!). Then 1951-1955 is the second golden period of D’Arienzo, because the orchestra members’ combination was perfect! He selected 5 tracks from these two periods, they are indeed “creme de la creme”!

    His Best Five:
    La Mentirosa (1944)
    El Pensamiento (1945)
    Carton Junao (1947) singer: Alberto Echague
    Florida (1952)
    Trago Amargo (1955) singer: Alberto Echague

14 Responses to “D’Arienzo – Orchestra’s Members”

  1. JML Says:

    From a dancer’s perspective, the 30’s and early 40’s are among my favorite with the mid 40’s. Thank you for compiling all of it!

  2. Jantango Says:

    Thanks for posting this valuable source of information.

    I was quizzed recently by a milonguero on who the pianist was for a particular tango by D’Arienzo. I didn’t know, and Alito told me it was Fulvio Salamanca.

    I see that Ernesto Franco is listed. He is still playing bandoneon and directing an orchestra in Buenos Aires in the D’Arienzo style. I found this video http://www.youtube.com/watch?v=4jl2Hp7SP6k&feature=related that was posted today.

  3. Royce Says:

    Dear Jan,

    Thank you for the link. I watched the whole series. It’s my first time to see Orquesta de Ernesto Franco “live”. I first knew about him through the documentary “Si Sos Brujos”, in which he demonstrated how he played the style of D’Arienzo. I was very impressed by how quiet his body was when he played and attacked the beat. After that I bought a CD of him during my last trip to BA. 🙂


  4. Louis Says:


    I assume those are starting years of when certain people join D’Arienzo’s orchestra? As in, Biagi was on the piano from 1937-1939 inclusive?

    Great resource, as usual!

  5. Royce Says:

    Hi Louis,

    Download the detailed version and then you will see much more. Biagi was on piano between 1935-1938.


  6. Louis Says:

    OK, got you!!

  7. Michael Lavocah Says:

    Nice article Royce, thank you. The late 1940s are certainly overlooked for D’Arienzo and I think that the “Epoca de Oro” series has gone some way towards helping us appreciate this period. I still find it difficult to appreciate Echagüe numbers from his second and third periods with D’Arienzo and need to spend some more time listenting to them – are there Echagüe tracks from this period that you DJ?

    All good wishes


  8. Royce Says:

    Hi Michael,

    Like you, 30s’ Echague-D’Arienzo is still my favourite. For listening, I like their 40s work too. But the last period, hmm… the singing became too flamboyant.

    I have Carton Junao, Barajando, Aparcero, Cambalache, Corrientes Y Esmeralda & Te Espero En Rodriguez Pena on my tanda collection. I don’t play them often, but I used them once in a while.

    Merry Christmas to you!


  9. Henning Says:

    Hi Royce,

    diving deeper into D’Arienzo’s work I came across your excellent site.
    And too, I came across a little errata: According to Johan’s D’Arienzo discography the first recordings with Rodolfo Biagi were “Orillas de Plata” and “Nueve de Julio” on Dec 31 1935, so “Joaquina” is still with Lidio Fasoli I guess.
    Btw: I like to think it was kind of a simbolic recording: “Nueve de Julio” as D’Arienzo’s personal Independance Day.

    Best wishes

  10. Royce Says:

    Dear Henning,

    Thank you for pointing out this little error. I double checked the material I have with me and the Lefcovich discorgraphy. Yes, you’re right, according to Lefcovich, Joaquina was recorded with Lidio Fasoli on piano.

    I listened to few tangos during that transition period, I must say I can’t hear lots of differences between the two pianists. Of course Biagi’s got more and more character after a while, but at the beginning, his playing wasn’t that different from that of Fasoli.


  11. Pablo Stafforini Says:

    Hi Royce,

    Take a look at Pascal Guilloux’s orchestra genealogy spreadsheet. He claims that Salvador Alonso and Luis Pinotti played in D’Arienzo’s orchestra in 1945-1950, in line with Mr. Fukukawa’s remarks (which you refer to in one of your footnotes).

  12. Royce Says:

    Hi Pablo,

    Thank you for the link. I have this spreadsheet while making my own version. At that time I couldn’t find the exact serving period of Salvador Alonso and Luis Pinotti by myself. I tried to cross-check with the musician’s biography, if I didn’t find any, I didn’t include it in my own version. Thus I just added them in footnotes.


  13. Jose Manuel Araque Says:

    I think that Orillas del Plata is a natural for Biagi to start playing with d’Arienzo because he played it with Guido… at least that’s what my ears tell me 🙂

  14. Michael Lavocah Says:

    Dear Royce, I’ve been working through the timeline of the D’Arienzo orchestra and I think it’s very unlikely that Alessio left the orchestra in 1957, nor even in 58 or 59, which are the other dates offered by researchers. We are told that Alessio left because he was offered the chance to record with his own orchestra by Odeón. We have the dates for these recordings: 1st June 1962.
    Similarly it’s unlikely that Ernesto Franco, who takes Alessio’s place, joins in the 1950s. Franco says he was with Maderna “almost to the end”, then 8 years with Roberto Caló, with short spells with Miguel Caló either side, which would take us to some time in 1959. Then he had 1½ years with De Angelis, and three or four months replacing Roberto Pérez Precchi, who was ill, in the lineup of Fresedo. That’s another two years: 1961. Furthermore, when asked which year he joined D’Arienzo, Franco says 1963. Musicians get these things wrong all the time (the interview was in 2013) but I think he would have remembered had it been in the 1950s.
    In summary, I think Alessio left at the end of 1961, around the time that Eladio Blanco was replaced by Celso Amato.

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