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Brasilia + (Arr: [[TITAF-P-9102271|Francisco Pracánico]])

Rumor + (Arranged by Félix Lipesker (F. Villa))
La vida + (Christians stated as composer as well)
El huésped del Sevillano + (Disambiguation with [[TITAF-T-0005444]])
Lagarteranas + (Disambiguation with [[TITAF-T-0009995]])
De viola y mercado + (For Aníbal Troilo, in the centenary year of his birth.)
El tango de Roxanne + (For the 2001 [[jukebox musical]] … For the 2001 [[jukebox musical]] [[romantic drama]] film ''[[Moulin Rouge!]]'' directed, produced, and co-written by [[Baz Luhrmann]], the song "El Tango de Roxanne" was composed as a fusion of "Roxanne" with "Tanguera" by [[Mariano Mores]]. The message is, as stated by one character: "Never fall in love with a woman who sells herself."'"`UNIQ--ref-0000038E-QINU`"' The song was performed by [[Jacek Koman]], [[Ewan McGregor]], [[Nicole Kidman]], and [[José Feliciano]]. In the film, the song shows a combination of locations, memories and characters, anchored by the ensemble cast dancing [[tango]].[tango]].)
Sueña + (French version by [[TITAF-P-3300116|Max François]], Spanish version by [[TITAF-P-8837787|Oscar Rubens]])
So in Love + (From [[Kiss me Kate]])
Saludo a Paysandú + (It is attributed to [[TITAF-P-4630604|Gabino Ezeiza]] … It is attributed to [[TITAF-P-4630604|Gabino Ezeiza]], one of the most prominent payadores of the Río de la Plata. The piece is revered across both margins of the River Plate and holds a special place in the cultural memory of Paysandú, Uruguay. It pays tribute to the heroic defenses of the city in 1811, 1846, and 1864–1865, and is considered one of Ezeiza’s most inspired compositions.== Lyrics ==The text of ''Saludo a Paysandú'' was first published in the 1953 Antología Gaucha and includes the famous opening verse:<blockquote> ''Heroico Paysandú, yo te saludo, hermano de la patria en que nací...'' </blockquote>The lyrics extol the bravery of the city and its people, likening Paysandú to a South American Troy and honoring its role in the shared history of Uruguay and Argentina.== Origin and Contested Accounts ==The exact origins of the piece are disputed. Multiple conflicting versions exist regarding the place, context, and date of its first performance.=== Version 1: Farewell at the Train Station ===According to folklorist [[Cédar Viglietti]] (1947), [[TITAF-P-4630604|Ezeiza]] improvised the piece spontaneously at the train station of Paysandú while bidding farewell to local admirers. The setting was emotional, and the performance occurred as he leaned out the train window while holding his guitar.=== Version 2: A Dedication at a Theater in Argentina ===Another version suggests the piece was dedicated to a group of Uruguayans in an Argentine theater during one of [[TITAF-P-4630604|Ezeiza]]’s performances. In this telling, the song was an impromptu tribute.=== Version 3: Sung from a Ship ===[[Julio César Puppo]] ("El Hachero") reported in 1965 that [[TITAF-P-4630604|Ezeiza]], initially met with hostility in Paysandú due to his political affiliations, performed the milonga from aboard a ship anchored in the port. His verses moved the crowd, transforming rejection into ovation.=== Version 4: Improvised in the "Petit París" ===Historian [[Augusto Isidoro Schulkin]] argued in 1958 that the piece originated in the "Petit París" venue on Calle 8 de Octubre. In this account, [[TITAF-P-4630604|Ezeiza]], frustrated by an unresponsive audience during a low-quality performance, delivered the ''Saludo a Paysandú'' as a dramatic finale that eventually echoed from the Plata to the Andes.=== Version 5: At Teatro Artigas in 1888 ===Professor [[Alberto Rusconi]] dated the performance to September 1888 at Teatro Artigas during a contrapunto (duel of verses) between the Uruguayan payador [[Arturo de Nava]] and [[TITAF-P-4630604|Ezeiza]].However, [[Isidro Cristiá]] refuted this, noting that [[Arturo de Nava]] was only 12 years old in 1888 and the theater was reopened only in 1920. He proposed that [[TITAF-P-4630604|Ezeiza]] may have performed instead at the Teatro Politeama and possibly duelled with [[Juan de Nava]], Arturo’s father.=== Version 6: Performance in 1891 or 1895 ===[[TITAF-P-4630604|Ezeiza]] is also said to have performed in April 1891 at the Teatro Politeama in a show with [[José Podestá]] (a.k.a. [[Pepino el 88]]) and [[Scotti]], but no documentation links that performance to the famous song.Researcher [[Carlos Estefanell]] provides further insight, referencing a 1895 theater program for the Teatro Progreso (now Teatro Florencio Sánchez), which includes a "Saludo" segment in [[TITAF-P-4630604|Ezeiza]]’s performance. [[Carlos Estefanell]] suggests this may well have been the moment ''Saludo a Paysandú'' was born.== Cultural Significance ==The piece became a symbol of Argentine-Uruguayan kinship and is one of the most iconic works in the tradition of payada criolla. Though its exact genesis remains uncertain, ''Saludo a Paysandú'' endures as an emotional and patriotic hymn, evoking shared resistance, heroism, and cultural pride.== Legacy ==The song has been cited by numerous scholars and historians, including:[[Carlos Estefanell]], who published extensively on the subject.[[Julio César Puppo]] (El Hachero), who recounted [[TITAF-P-4630604|Ezeiza]]’s political tensions and public reception.[[Augusto Isidoro Schulkin]], in his Diccionario Biográfico de Paysandú.[[Isidro Cristiá]] and [[Alberto Rusconi]], both of whom offered competing accounts of the performance history.Though no definitive version of its first performance has been universally accepted, ''Saludo a Paysandú'' remains a cornerstone in the history of popular poetry and musical improvisation of the Río de la Plata.== See Also ==[[TITAF-P-4630604|Gabino Ezeiza]][[TITAF-P-4864727|Rubén Darío]][[TITAF-P-3786322|Florencio Sánchez]][[Arturo de Nava]][[Juan de Nava]][[Payada]]== References ==[[Carlos Estefanell]] – Homenaje a Gabino Ezeiza, El Telégrafo, Paysandú, 8 September 1978.[[Julio César Puppo]] (El Hachero) – Marcha, Montevideo, 21 May 1965.[[Isidro Cristiá]] – "¿Arturo de Nava se enfrentó a Gabino Ezeiza en 1888?", El Día, Montevideo, 23 February 1978.[[Augusto Isidoro Schulkin]] – Historia de Paysandú – Diccionario Biográfico, vol. 1, 1958.[[Cédar Viglietti]] – Folklore en el Uruguay, 1947.[[Alberto Rusconi]] – cited by [[Carlos Estefanell]].[https://letras-uruguay.espaciolatino.com/barrios_pintos/heroico_paysandu_yo_te_saludo.htm Original text]tos/heroico_paysandu_yo_te_saludo.htm Original text])
Ivette + (Ivette is a tango with disputed authorship … Ivette is a tango with disputed authorship. Most early sheet music attributes the music to the duo Costa–Roca, namely [[TITAF-P-9505819|Enrique Costa]] and [[TITAF-P-2938904|Julio A. Roca]]. A 1918 contract documents Roca selling the rights to [[TITAF-P-3591824|Augusto Berto]]. However, several researchers, including José Gobello, claim the actual composer was [[TITAF-P-4313609|José Martínez]], who allegedly wrote the piece at the café "Las Violetas" and signed it over to Costa and Roca to settle personal debts. According to Orlando del Greco, Berto also claimed authorship. The lyrics are by [[TITAF-P-6045104|Pascual Contursi]], likely written during his stay in Montevideo between 1914 and 1917. stay in Montevideo between 1914 and 1917.)
La cucaracha + (Juan Y. D'Lorah - Joint pseudonym of Harold Spina (music) & Johnny Burke (lyrics). "Juan" was used for Johnny Burke and "D'Lorah" is just Harold spelled backwards.)
Amor en voz baja + (Love theme from the film [https://en.wikipedia.org/wiki/The_Godfather The godfather])
Hay que ver los patitos + (M. López - [[TITAF-P-3141410]] or [[TITAF-P-5862109]] or another one)
Merceditas + (Merceditas is a beloved Argentine composit … Merceditas is a beloved Argentine composition originally written in the 1940s by Ramón Sixto Ríos in the chamamé style, a folkloric genre from the northeastern region of Argentina. The song, inspired by a real woman named Mercedes, is known for its heartfelt lyrics and melancholic melody. It became a popular standard in Argentine folk music and has been recorded by numerous artists across genres. In 1958, the tune was adapted into a tango by the Orquesta Símbolo Osmar Maderna—a symbolic tribute recorded after Maderna’s death in 1951, honoring his lyrical style and enduring influence as a pianist and composer.uring influence as a pianist and composer.)
Rosa en pena + (Originally, it was a ''vals'' with lyrics … Originally, it was a ''vals'' with lyrics by '''Martínez Payva''' and music by '''Graciano De Leone''',recorded by [[TITAF-P-7231388|Dorita Davis]] on the BAVE label (No. 60.978-1).Later, the lyrics were preserved, but the title was changed to '''''Alma en pena''''' and the music was replaced by a new composition by [[TITAF-P-8299828|Abel Fleury]].It was transformed into a ''canción criolla'' and later recorded by [[TITAF-P-2382547|Edmundo Rivero]] and [[TITAF-P-6385540|Nelly Omar]].A radio take by [[TITAF-P-5199348|Néstor Feria]] from the mid-1930s has also been preserved.rom the mid-1930s has also been preserved.)
Milonga del interior + (Performed by [[TITAF-P-6520624|Donato Racciatti]], composer/author not found)
Ciribiribin + (Popular Piedmontese song)
Irupe + (Possible full names - [[TITAF-P-9716089]], [[TITAF-P-2824329]])
Hace un año + (Ranchera)
Hechizo + (Remark from [[Carlos Puente]] … Remark from [[Carlos Puente]]Beautiful tango by Discépolo for which no commercial recordings are known to exist. Later, using the same music, the piece "Andrajos" was created in 1961 with lyrics completed by Alberto Laureano Martínez — this version was recorded by several performers at the time.== Media =='"`UNIQ--youtube-000000C6-QINU`"'Media == '"`UNIQ--youtube-000000C6-QINU`"')
Tango á Cordes + (See [[TITAF-P-1001924|Lydie Auvray]] and [https://www.discogs.com/release/2679515-Lydie-Auvray-Triangle here])
Tango des amants + (See [[TITAF-P-1001924|Lydie Auvray]] and [https://www.discogs.com/release/11733177-Lydie-Auvray-Tango-Toujours here])
Tango Taquin + (See [[TITAF-P-1001924|Lydie Auvray]] and [https://www.discogs.com/release/11733177-Lydie-Auvray-Tango-Toujours here])
Tango Normand + (See [[TITAF-P-1001924|Lydie Auvray]] and [https://www.discogs.com/release/11733177-Lydie-Auvray-Tango-Toujours here])
Tango Terrible + (See [[TITAF-P-1001924|Lydie Auvray]] and [https://www.discogs.com/release/11733177-Lydie-Auvray-Tango-Toujours here])
Severino + (See [[TITAF-P-1002449|Severino Di Giovanni]])
Severino + (See [[TITAF-P-1002449|Severino Di Giovanni]])
A los amigos, La vi llegar + (See [[TITAF-T-0022151|A los amigos]] and [[TITAF-T-0005976|La vi llegar]])
Studjentotschka + (See also [[the Polish version|TITAF-T-0008941]])
Maldita noche + (Seems there is only one recording from Orquesta Ricardo Luis Brignolo)
Un violon dans la nuit + (Spanish version 'Un violón en la noche' with lyrics by [[TITAF-P-2064436|Mario Melfi]])
Crítica sexta + ([[File:Critica-sexta-partitura.jpg|Sheet music|thumbnail]])
Castle Innovation Tango + ([[File:Sheet-music-TITAF-T-0011353.jpg|Sheet music]])
El entrerriano + ([[File:TITAF-T-0005272-el-entrerriano-shee … [[File:TITAF-T-0005272-el-entrerriano-sheetmusic01.jpg|Sheet music|right]]''El entrerriano'' is one of the most enduring classics of the tango repertoire, credited with popularizing the three-part musical structure that became a defining trait of tango during the Guardia Vieja era. Over a century after its debut, it remains a cornerstone of traditional tango performance.== Origins and Dedication ==The composition was created by [[TITAF-P-7213358|Anselmo Rosendo Mendizábal]], who signed his early works as “A. Rosendo.” In 1897, Mendizábal was playing piano to entertain guests at the home of [[TITAF-P-2897062|María Rangolla]], a well-known dancer and madama nicknamed "La Vasca." These gatherings were often held in modest social environments where musicians relied more on generous tips than on formal salaries. To encourage patronage, it was common to dedicate compositions to wealthy attendees.Such was the case with ''El entrerriano'', first performed on October 25, 1897, at the home of [[TITAF-P-2897062|María Rangolla]] (''La Vasca''), where Mendizábal regularly played. The lively, canyengue rhythm of the piece immediately captivated the audience. According to legend, one of the dancers present, José Guidobono, was so mesmerized he momentarily stopped dancing and urged the composer to dedicate the tango to a prominent guest, Ricardo Segovia — a wealthy rancher from Entre Ríos. Mendizábal agreed, naming the piece “El entrerriano” (The Man from Entre Ríos) in Segovia’s honor.When the sheet music was published, it proudly bore the dedication: "Al Sr. Ricardo Segovia." Segovia, reportedly pleased, gifted Mendizábal 100 pesos — a substantial sum at the time.== Lyric Versions ==Years later, ''El entrerriano'' also attracted interest from lyricists. [[TITAF-P-9317135|Ángel Villoldo]] was the first to add lyrics, tailoring them for the actress and singer [[TITAF-P-5057985|Pepita Avellaneda]]. Subsequent versions featured new lyrics by various authors, including:• [[TITAF-P-9627974|Alberto Semino]] and [[S. Retondaro]]• [[TITAF-P-3027271|Vicente Planells del Campo]] and [[TITAF-P-9155162|Oscar Amor]] • [[TITAF-P-7227770|Julián Porteño]], and, most notably • [[TITAF-P-1893332|Homero Expósito]] The latter’s version is widely regarded as the finest lyrical adaptation of the piece.== Legacy ==''El entrerriano'' not only marks a milestone in tango’s structural evolution but also illustrates the social fabric and artistic improvisation of Buenos Aires at the turn of the 20th century. It remains a beloved standard, interpreted by countless orchestras and musicians over the decades.== Source ==''This article is based on the chronicle “El entrerriano – Historia de 'El entrerriano' y sus principales grabaciones” published on [https://www.todotango.com/historias/cronica/380/El-entrerriano-Historia-de-El-entrerriano-y-sus-principales-grabaciones/ TodoTango.com].''principales-grabaciones/ TodoTango.com].'')
Recordando serenatas + ([[File:TITAF-T-0013417-partitura-recordando-serenatas.jpg Sheet music]])
Reina maleva + ([[File:TITAF-T-0013432-shellac-fresedo-reinamaleva.jpg]] Clearly says [[TITAF-P-1002412|Chela Cordero]], who was a famous Argentine actress.)
Alma y corazón + ([[File:TITAF-T-0629554-front-partitura.jpg|thumb|Partitura]])
Kto Ty? + ([[TITAF-P-6702484]])
Igraj, Tsygan + ([[TITAF-P-6702484]])