“Viborita” is other of Arolas’ delicate tangos, with the peculiarity of having only two parts, without a trio, as was his custom. Recorded in 1920 for the first time by the Orquesta Típica Select of Osvaldo Fresedo. Its music sheet was not published until after 1930, when the nephew of Arolas received a pack with manuscripts. That is why it appears published as posthumous work. Wonderful rendition of this tango to dance at the milongas is the one recorded by Francisco Lomuto in 1944. Continue reading.
Lyricist, journalist and theater author
(17 March 1887 – 30 December 1957)
He wrote a hundred lyrics. Gardel committed to record twelve of them: the tangos “Callecita de mi barrio”, “Cicatrices”, “Compañero”, “Chola”, “La borrachera del tango”, “Micifuz”, “Virgencita de Pompeya (Medallita de los pobres)”, “La cumparsita (Si supieras)”, the foxtrot “La hija de japonesita”, the zambas “La salteñita”, “Machaza mi suerte”, the waltz “Rosal de amor” and the milonga “Tortazos”. Continue reading.
Violinist, leader and composer
(14 May 1912 – 21 May 1965)
Unequalled name, with more than six decades of unaltered force throughout two generations, is Alfredo Gobbi’s. When that indefatigable pioneer of the difficult beginnings of the tango conquest, called D. Alfredo Eusebio Gobbi, culminated his prolonged artistic performing career, his son, Alfredo Gobbi as well, was sticking out towards consecration, as the proper continuer of an illustrious popular artistic tradition of ours. He dedicated this tango to his father. Continue reading.
He was Italian, he was born in Strevi, a city near Milano. He arrived in Argentina at four, finally settling in Buenos Aires.
He began to sing in a neighborhood group, and soon entered a second line orchestra which had some success. It was led by the bandoneon player Cristóbal Herreros, and with him he performed at the café El Nacional.
The young singer attracted the attention of the maestro Osvaldo Pugliese who asked some of his musicians to go to listen to this singer in order to have their opinion.
Finally Pugliese took him to Radio El Mundo for an audition after which he hired him while at the same time he advised him to use more his mezza voce.
Morán, as many other singers, never studied neither music nor singing, what added to his impassioned style and his unconventional way of life, made him risk his voice to such an extreme that his voice declined very early. Continue reading.