In Strangers' Arms

Enrique Binda, author, investigator and music collector of about 5.000 records prior 1935, presents a CD of Guardia Vieja music (period 1897-1920) adjusted to the correct speed. This was the culmination of 30 years of work.

I proudly report this event because Professor Binda has been my mentor in early tango music for several years. Few people are aware of the significance of his work.

It is a widely unknown fact by collectors and researchers  that many tangos of this period were recorded (and consequently reproduced) at an incorrect speed. Binda let the audience hear “Dandy” by Carlos Gardel at 78 RPM, followed by the adjusted version at 72 RPM. (You may hear excerpts below)

What happens when early tangos are restored – not just cleaned?

The human ear hears subtleties: it differentiates the unique sound of each instrument and even hears singer’s voices – the way they were. Carlos Gardel’s voice was even more beautiful – yes, this is possible – in two segments he presented. We could even hear a  “hah” which was unnoticeable at 78 RPM.

Binda, an Engineer by profession, is the first and only individual who brought this to the attention of the musicology world. See his publication in www.todotango.com: “A qué velocidad se grabaron los 78?” (2007).

Ricardo Saltón, journalist and musicologist commented the presentation. His initial response was one of puzzlement: Have we been listening to tango music as it is not? Have we conducted musicological research on music erroneously recorded? Are we now realizing that Carlos Gardel’s voice and the sounds of his guitars were as accelerated as the walk of Charles Chaplin? Saltón concludes: It is a shame that an Engineer has to be the one to tell this fact to the ethnomusicologists. Congratulations!

Enrique Binda plays for the audience a snippet of “Dandy” by Carlos Gardel at 78 RPM, followed by the adjusted version at 72 RPM.

At 78 RPM 

At 72 RPM

Tags: Music