D'Agostino / Vargas recorded a ton in the 1940s and in terms of their overall popularity nowadays, they sit a level below the grandmasters like D'Arienzo or Troilo - I'd say about the same as Tanturi/Castillo.
You'll hear at most one tanda during your typical weekday milonga, and it will be a tango tanda. And I bet you it will start with Tres esquinas.
Their music is often inward-looking, lower energy, and the leader cannot rely on it for clear direction. It is there but very subtle. Its lyricism is understated and not nearly as expansive as that of Caló or Di Sarli.
If you want to hear what I mean, here's Quien tuviera 18 años:
Now, none of this applies to these valses!
This tanda is one of my favorites - I've played this over 30 times and cannot get enough of it. It's crisp, driven, and super clear!
Structure
1) Qué me pasará (1941, C major, 65 BPM)
2) Esquinas porteñas (1942, G minor/major, 68 BPM)
3) El espejo de tus ojos (1944, C minor, 69 BPM)
There are two things I like about the tanda and one I don't.
Like: the subtle speeding up & the consequent energy buildup. Like: the harmonic progression (I'm at my happiest when it's by the "dominant" like here).
Dislike: It starts in a major key and ends in minor. So it's a bit of a downer. I'd much rather end on a high note. You can't always have it all, I guess!
One way to avoid this would be to discard Qué me pasará, start with Esquinas porteñas (solid enough for an opener in my view), and squeeze Tristeza criolla in the middle. El espejo de tus ojos must be the last one as it has a slow ending (while the others do not).
Usage
Whenever you need a lyrical vals - I used to play this both early in the evening and toward the end. This being D'Agostino, it's still somewhat understated and won't fit when you need a total banger.
Photo by Pho Tomass