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Ricardo Brignolo

Bandoneonist, leader, composer and lyricist
(7 March 1892 – 27 March 1954)

This excellent musician left for our memory thirty-seven 78 rpm discs, with 74 numbers, most them with vocals.
The passing of time and the evolution of tango gradually made him step aside and, in the early forties his name had been overshadowed by the younger ones. But his mark was left on those gems: “Chiqué” and “Intimas”, which by themselves are enough to deserve a place in the hall of fame of the greats of tango. Continue reading.

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Juan D'Arienzo y su Orquesta Típica. Argentine Tango music at Escuela de tango de Buenos Aires.

Juan D'Arienzo. Escuela de Tango de Buenos Aires and Marcelo Solis offer Argentine Tango lessons in the San Francisco Bay AreaJuan D’Arienzo: El Rey del compás

Violinist, leader and composer
(14 December 1900 – 14 January 1976)

In 1949 D’Arienzo said: «In my point of view, tango is, above all, rhythm, nerve, strength and character. Early tango, that of the old stream (guardia vieja), had all that, and we must try not to ever lose it. Because we forgot that, Argentine tango entered into a crisis some years ago. Putting aside modesty, I did all was possible to make it reappear. In my opinion, a good part of the blame for tango decline is on the singers. There was a time when a tango orchestra was nothing else but a mere pretext for the singer´s featuring. The players, including the leader, were no more than accompanists of a somewhat popular star. For me, that can´t be. Tango is also music, as is already said. I would add that is essentially music. In consequence, the orchestra, which plays it, cannot be relegated to the background to spotlight only the singer. On the contrary, it is for the orchestras and not for the singers. The human voice is not, it should not be another thing but an instrument more in the orchestra. To sacrifice everything for the singer´s sake, for the star, is a mistake. I reacted against that mistake which caused the tango crisis and placed the orchestra in the foreground and the singer in his place. Furthermore, I tried to rescue for tango its masculine strength, which it had been losing through succesive circumstances. In that way in my interpretations I stamped the rhythm, the nerve, the strength and the character which distinguished it in the music world and which it had been losing for the above reasons.
Luckily, that crisis was temporary, and today tango has been re-established, our tango, with the vitality of its best times. My major pride is to have contributed to that renaissance of our popular music.» Continue reading.

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El Entrerriano. Rosendo Mendizabal. Argentine music at Escuela de Tango de Buenos Aires.

The story of “El entrerriano” and its main recordings

The canyengue liveliness of the melody amazed the audience from the first bar. The dancer José Guidobono —who was present— was unable to dance as he used to do because he was paralyzed by the spell of those music notes. When the number was finished he approached the composer and suggested him: «Why don’t you dedicate it to Segovia?»

He was referring to Ricardo Segovia, a landowner from Entre Ríos, who was making whoopee in the Buenos Aires nights. Mendizábal told him he would honor him by naming “El entrerriano” his new tango. Read more, click here.

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