The first D’Agostino/Vargas tanda I posted contained some of their most beloved songs, all from 1941. These are from a few years later, and they generally have slower tempos and a darker mood than the previous tanda (although “Solo compasión” would fit here too). There is another version of “Madreselva” in a Lomuto tanda that I posted, which is more uptempo and lively, though I think that D’Agostino’s version gets more play.
This is one of my favorite slower, darker tandas, because it is not as heavy as Di Sarli/Duran or Pugliese, but still provides the dancers with a nice slowdown later in the evening when they need it.
Tres Esquinas (1941)
El Yacaré (1941)
Solo compasión (1941)
Adiós, arrabal (1941)
No Golden Age orchestra is as intimately identified with a single singer as Ángel D’Agostino‘s orchestra is with Ángel Vargas. The Two Ángeles are an inseparable icon of tango.
This thematically diverse tanda includes some of their greatest hits. “Tres Esquinas” (Three Corners) is an elegy to the bygone days of a beloved neighborhood. “El Yacaré” (The Gator) is the nickname of Elías Antúnez, a famous jockey from the jungle province Corrientes in northeastern Argentina, and this tango describes a memorable win of his in the Hipodromo de Palermo. In “Solo compasión” (Only Compassion) the man in the lyrics forgives a woman who never truly loved him back—and he actually compares himself to Jesus forgiving those who crucified him! The tanda closes as it opened, with “Adiós, arrabal,” (Goodbye, arrabal), another bittersweet farewell to a bygone neighborhood, though in the end the man returns to his sweet mother, asking her pardon for being so pig-headed.