They made their debut at the “Café Colón” and were immediately hired to perform at the aristocratic “Vogue’s club”. Almost at the same time, they inaugurated the “Chantecler” cabaret, and after that they started a long career around the most important Buenos Aires cinemas. During the first period of de Caro’s orchestra, it was very noticeable the temperamental influence of Pedro Maffia’s bandoneon. The death of contrabass player Leopoldo Thompson (successively replaced by Hugo Baralis, Olindo Sinibaldi, Enrique Krauss and Vicente Sciarreta) and the posterior departures of bandoneon players Luis Petrucelli and Pedro Maffia, determined the restructuring of De Caro’s orchestra. In this new period, the bandoneon players were Pedro Laurenz and Armando Blasco; and Emilio De Caro, second violinist, was replaced by José Nieso. This may have been the most representative period of the orchestra, which caused a real revolution in tango. They tried to join musical techniques resources, specially referring to counterpoint and harmony, with their own rhythmic and melodic essence. The development of the interpretative labour of De Caro’s orchestra was condensed in a phrase that says that “tango is also music”, and greater musicality required greater technical learning from the musicians. Piano’s harmonized accompaniment; bandoneon phrasings and variations; violin’s countersinging knitting melodies that were nicely contrasting to the main theme; and piano and bandoneon’s solos, which expressed an harmonic and sonic riches that had remained unknown until that moment, were some of the most valuable innovations those real revolutionaries introduced in tango playing.  We also have to mention the rhythmic game in which different marcations in charge of each sector of the orchestra were perceived as a backdrop, while violins or bandoneons were singing in the foreground. Julio De Caro’s school opened new musical perspectives for tango. It was admired by some musicians, and despised by others, but it is unquestionable that it definitely separated tango into two opposite streams, which were irremediably confronted from that moment on. Both artists and musicians would have to choose between two different ways of expressing and feeling tango. The first was the “evolutionist”  stream, inaugurated by Juan Carlos Cobián, Osvaldo Fresedo and Julio De Caro. The other one was the “traditional” stream, which was grasped to the old playing formulas. They would both make tango’s instrumental history go for different paths.