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Miguel Caló y su Orquesta Típica with Raúl Berón

Miguel Caló y su Orquesta Típica with Raúl BerónMiguel Caló

Bandoneonist, leader and composer
(28 October 1907 – 24 May 1972)

Caló carried out and developed a style that connects traditional tango with the innovations of the age, without stridence.

He not only promoted great musicians, but also great singers that made their professional debut in his orchestra, for example the case of Raúl Berón.
He was a musician formally trained, that studied violin and bandoneon. Continue reading at www.todotango.com…

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Domingo Federico. Argentine music at Escuela de Tango de Buenos Aires.

Domingo Federico. Argentine music at Escuela de Tango de Buenos Aires.Domingo Federico

Bandoneonist, leader, composer and teacher
(4 June 1916 – 6 April 2000)

«A funny story took place at the opening of his tango “Al compás del corazón (Late un corazón)”. As soon as Federico joined Miguel Caló’s outfit he showed his tango to his colleagues and it was warmly accepted. The members of the orchestra wanted to play it, but the singers Raúl Berón and Alberto Podestá had doubts because they did not know the lyrics well yet. One day they decided to premiere it without Caló’s consent; a lark, a gaily mischievous action for the sake of fun. The leader was not used to go to the tearoom where they played in the afternoons. As the vocalists did not want to sing it, one of the most fervent enthusiasts of that tango piece, Enrique Francini, decided to do it. So was the improvised debut of this tango, with great public acclaim. The audience wanted to hear the piece again. When Caló arrived the public were requesting that the tune be played one more time. As he did not know what was about, he asked them to play it and it immediately was included in the book».Continue reading.

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Raúl Berón

(30 March 1920 – 28 June 1982)

He was, for some people, the best orchestra singer in the history of tango, although other major vocalists, such as Floreal Ruiz or Roberto Goyeneche, rival him this position in the opinion of the connoisseurs. In an undeniable Gardelian tradition, tenor register and velvet sound, his peak in popularity coincided exactly with the period of greatest popularity for tango: from his inclusion in the Miguel Caló orchestra in 1939 until his withdrawal from the Aníbal Troilo orchestra in 1955. Continue reading.

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Osmar Maderna. Argentine tango music. Escuela de Tango de Buenos Aires.

Osmar Maderna

Pianist, leader, composer and arranger
(26 February 1918 – 28 April 1951)

A pianist strongly inclined to romanticism, viewed as the Chopin of the tango. His subtle, almost ethereal and suggestive touch, deprived of any emphasis or pomposity, led him to create an orchestral style based on the same pattern. Plain and transparent, his arrangements conceived fancy solos alternating piano, bandoneon and violin. That style of his, born toward 1940, influenced the entire decade and contrasted with both the popular tango (with Juan D’Arienzo as remarkable example) and the academic tango (Anibal Troilo). His tangos lack any tough or coarse traces but also any symphonic pretension. He preferred to convey a simple emotion and accurate expression, which he achieved through a permanent self-control. Continue reading.
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Raul Beron. Argentine music at Escuela de Tango de Buenos Aires.

“Cuando dijo adiós, quise llorar…
Luego sin su amor, quise gritar…
Todos los ensueños que albergó mi corazón
(toda mi ilusión),
cayeron a pedazos.
Pronto volveré, dijo al partir.
Loco la esperé… ¡Pobre de mí!
Y hoy, que tanto tiempo ha transcurrido sin volver,
siento que he perdido su querer.
Jamás retornarás…
lo dice el alma mía,
y en esta soledad
te nombro noche y día.
¿Por qué, por qué te fuiste de mi lado
y tan cruel has destrozado
mi corazón?
Jamás retornarás…
lo dice el alma mía
y, aunque muriendo está,
te espera sin cesar.
Cuánto le imploré: vuelve, mi amor…
Cuánto la besé, ¡con qué fervor!
Algo me decía que jamás iba a volver,
que el anochecer
en mi alma se anidaba.
Pronto volveré, dijo al partir.
Mucho la esperé… ¡Pobre de mí!
Y hoy, que al fin comprendo
la penosa y cruel verdad,
siento que la vida se me va.”

Music and lyrics by Osmar Maderna and Miguel Caló,  Recorded by Miguel Caló y su Orquesta Típica, with Osmar Maderna in piano and with Raúl Berón singing, September 1942.

(When she said goodbye, I wanted to cry …
Then without her love, I wanted to scream …
All the daydreams dwelling in my heart
(all I dreamt of),
fell to pieces.
I’ll be back soon, she said as she left.
A fool, I waited for her… Poor me!
And today, that so much time has passed without her coming back,
I can feel that I have lost her love.
You will never return …
my soul says so,
and in this solitude
I call your name night and day.
Why, why did you leave my side
and so cruel, have you destroyed
my heart?
You will never return …
my soul says,
and, although it is dying,
it is waiting for you incessantly.
How much I begged her: come back, my love …
How much I kissed her, how fervently!
Something told me that she would never return,
as the nightfall
was nesting in my soul.
I’ll be back soon, she said as she left.
I waited for her so much … Poor me!
And today, that at last I understand
the painful and cruel truth,
I feel that life is leaving me.)

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