I re-read everything I wrote about D'Arienzo, every section and every repeat. And then I listened to all four versions. Almost everything I wrote applies to each of these versions. There are some differences, maybe a couple important ones here and there, but nothing so different to merit being called significantly different, ie. drastically altering the character of the music. By my standards, of course... Here's what I hear: 1937: The Question: pickup (anacrusis - although the correct technical word, I don't use it- sounds like a disease) to bar 1-2. 1) The melody begins with the pickup to bar 1. It is unaccompanied. 2) Rather than play the triplet sixteenth note-eighth note rhythm on beat one of bar 2 just a single note is played. True enough, the melodic rhythm is abbreviated, but there is no silence. And the melody ends on beat one, the strong beat. There is no need to play a melodic flourish on that beat. I hear and feel it distinctly enough without the elaboration. There is no silence. 3) The four count (continuous eighths) is marked by the piano and bass, all the way through beat 1 in bar 1 to beat 1 in bar 2. During the melodic break, starting immediately on the second half of beat 1 ("2" if counting in four), the piano plays a solo fill - it and the bass do not mark the beat. The fill takes place during the melodic break between the 2 bar Q&As. Nothing unusual here - the piano or bandoneons almost always, in every version by every orquesta I've heard, do this. 4) The Answer (pickup to bar 3-4) is treated exactly the same as 1), 2), 3) above. 1954: The melody does not stop as abruptly on beat 1 in bar 2. It plays on the second half of the beat too (count "2" in four). And so do the piano and bass - they don't in the 1937 version. Is this important? No. Does it change the charcter? No. The piano and bass mark the 4 count on the same beats with the additional "2" count in bars 2 and 4 being marked. There is a more elaborate piano fill and it starts sooner, right on the start of beat 1 in bar 2. (It was probably improvised anyway, so no surprise that it is different from time to time). No matter, it does not change the character of the music. The differences are slight and do not change the character, IMO. They take place in such a short time span (one eighth note!) they would have no berring on MY dance. If I were to mention every eighth or sixteenth note difference the already detailed analysis would become overburdened with triviality and have no value at all. ADD: By the way, the YouTube clip we've been studying is D'Arienzo's 1963 recording.