Bandoneonist, composer and leader
(24 February 1892 – 29 September 1924)
Every tango lover has a personal vision towards the artists’ values, and that is all right, our taste and personal experiences define us in the choice of ones or others.
Certainly, when we talk about tango as song, there is an unanimous agreement in the incomparable figure of Carlos Gardel, something that does not happen when the opinion is about orchestras or the rest of the musicians or singers.
The case of Eduardo Arolas, is another exception, his extraordinary talent as composer, places him one a rank above the rest, what is a merit even greater if we take into account that in his time the major tango creators appeared. Let us remember musicians of the category of Agustín Bardi, Vicente Greco, Arturo De Bassi, Juan Carlos Cobián, Roberto Firpo, among so many others.
So Gardel and Arolas are, in my opinion, the basement of modern tango, the former, born French and porteño (Argentine from Buenos Aires) by adoption, the latter, Argentine with French parents.
Gifted with an incredible melodic creativity, he stepped into the musical environment as a modest player of guitar, his first instrument, introduced by his friend Ricardo González, (Muchila).
But the bandoneon will be responsible for his consecration and the faithful witness of his genius and his tormented life. Continue reading.
Pianist, leader and composer
(7 January 1903 – 12 January 1960)
He, as nobody else, knew how to combine the rhythmic cadence of tango with a harmonic structure, apparently simple, but full of nuances and subtleties.
He was not enrolled for any of the two streams of his time. His was neither a traditional orchestra, styled after Roberto Firpo or Francisco Canaro nor a follower of the De Caro renewal.
Di Sarli imposed a seal of his own; a different musical profile, which remained, unaltered throughout his prolonged career.
In the beginning, his sextet reveals us the influence of Osvaldo Fresedo. And certainly, I think there would have never been a Di Sarli had not existed a Fresedo. But, only as necessary forerunner of a style that, with time, would become a pure model with its own and differentiated nature.
He was a talented pianist, maybe one of the most important, who conducted his orchestra from his instrument, with which he mastered the synchrony and the performance of the outfit.
In his orchestral scheme there were not instrumental solos, the bandoneon section sang at times the melody, but it had an essentially rhythmic and danceable role. Only the violin was showcased in an extremely delicate way, on a brief solo or on a counter melody. Continue reading.
Blas Catrenau & Enriqueta Kleinman dancing in Los Angeles, California, 2011.
He started dancing tango in his early youth among other young men at the practice studio of Crisol and Verné. Later he attended several carnival balls organized at local clubs such as San Lorenzo de Almagro.
Since then he never stopped dancing and attending the most important clubs of his time, like Club Unidos de Pompeya, Club Huracán, Club Social y Sportivo Buenos Aires, Club Social Rivadavia, Palacio Rivadavia, Club Almagro, Chacarita, Premier, Editorial Haines, etc. In his youth he often danced at the main tango bars of Buenos Aires, such as Picadilly, Sans Souci, Montecarlo, and many more.
At the early ‘90s, he started organizing “milongas” himself. From 2003 to 2009 he leaded “La Milongüita”, one of the most famous “milongas” in Buenos Aires.
In 2002 he won the First Metropolitan Tango Championship in Buenos Aires.
In 2003 he obtained the Tango Teacher degree released by Buenos Aires City Government. He was then authorized to teach at the Centro Educativo del Tango de Buenos Aires (CETBA), created by Masters and Dancers Gloria and Rodolfo DINZEL.
His passion for dancing as well as the harmony he shares with his partners, and the gracefulness of his movements, capture and celebrate the essence of traditional TANGO.
In 2002, he won first Metropolitan Tango Championship Hall of the City of Buenos Aires.
In 2003 Professor Tango was declared by the Government of the City of Buenos Aires which enabled him to teach in the Education Center of Buenos Aires Tango (CETBA) created by the teachers and dancers Gloria and Rodolfo DINZEL.
Enriqueta Kleinman (1953-2014)
Enriqueta has danced tango for over 17 years. She had taught group and private classes in Buenos Aires and all over the world. She was an expert in Salon Tango – Milonguero Style, Tango Waltz and Milonga. Enriqueta also specialized in teaching technique for women and has led many courses and seminars. She performed at the Third and Fifth Metropolitan Championships in Buenos Aires. She has done a number of performances in Buenos Aires including at Salon Canning, Cachirulo (Maipu 444), and at the Confiteria Ideal at the First Milongueando Festival in Buenos Aires. Enriqueta has taught and performed in many cities of US, Canada. In Europe: Germany,Italy, France, Sweden and Russia. She has also taught and performed at the following Tango Festivals: 2008 May Madness at the University of Michigan in Ann Arbor; the 2009 Portland Tango Festival; 2009 Tucson Tango Festival; 2009 Chicago Mini Tango Festival; and 2010 May Madness. Also, again Chicago MIni Tango Festival 2011 and 2012. Retiro Festival (Sweden) 2011 and 2012. Enriqueta also speaks English, having lived for several years in New York City. Enriqueta was also an artist by profession.