Between 1913 and 1916, Eduardo Arolas’ musical composition and production showed evident improvement due to his musical studies, and the achieved experience of his profession. He consolidated his fame, taking his orchestra to the level of the most prominent ones, leaving the neighborhood cafés, playing on Corrientes Street and at the luxurious places of Palermo neighborhood, in the interior of Argentina, and in Montevideo.
Violinist, bandoneonist, bandleader, arranger and composer (22 February 1918 – 19 January 2011)
Only a great one, after handing an arrangement for orchestra to Aníbal Troilo, can be relieved from the suffering of the implacable torment of Pichuco’s eraser from which nobody escaped. That rare privilege was conferred to him in 1958 when Emilio Balcarce, in his condition of orchestrator, delivered the music sheets of “La bordona”. The latter is his most significant work due to the beauty of its melody which always sounds contemporary despite the passing of time. He was by then the inspired musician that had walked along the music staff in every posible way and who, discovering the secrets of a perfect harmony, was shaping the best sounds of the most important orchestras. Continue reading.
Is celebrated in Argentina on December 11. This date was chosen to commemorate the birthday of two men: Carlos Gardel, a prominent figure in the history of tango, and Julio de Caro, the orchestra conductor in the tango genre.
We should thank composer Ben Molar for Establishment of National Tango Day. He came up with the idea that de Caro and Gardel were born on the same day, that is why he decided organize a special celebration. He presented his proposal to the Secretary of Culture of the Municipality in Buenos Aires, but he was refused. It took long 11 years and a final ultimatum to organize Tango Day and receive a coverage by mass media on his own. Finally it worked and Tango Day was organized in Buenos Aires on December 11, 1977. The same year the celebration of Tango Day was promoted to the national level.
His father, Adolfo, worker in the shoe industry, as an amateur flutist he played in quartets which dug tango in vicinity. Two elder brothers played the violin: Adolfo Salvador Vicente (Fito) and Alberto Roque, the latter was more involved than the former and was linked to music for several years. It was his father who taught him his first music lessons, he started his first steps with violin too, but soon he switched to piano, although it took don Adolfo a certain time to buy the expensive instrument. After being trained at Conservatories nearby, at fifteen he started professionally at the Café de La Chancha, so called by the customers in allusion to the lack of hygiene of the owner.
Sometime later, then at a known café in downtown Buenos Aires, he took part in the group of the first female bandoneonist in tango, Paquita Bernardo. Going on with his career, Osvaldo entered Enrique Pollet quartet, later he played in the famous Roberto Firpo orchestra, and in 1927 he was pianist in the great bandoneonist Pedro Maffia’s orchestra. He together with the violinist Elvino Vardaro left it to form a group under their name which we know was avant-garde for the time, but it has not left recordings. Vardaro-Pugliese had their debut at the café Nacional, to engage in a long tour across the country. They were accompanied by the poet Eduardo Moreno, as manager and Malena de Toledo, as female singer after Moreno’s suggestion. Moreno was the lyricist of “Recuerdo”, the most successful tango composed by Pugliese. Continue reading.