Rosendo Mendizabal was an authentic forerunner of Argentine Tango music

“Don José María” by Carlos Di Sarli y su Orquesta Típica, 1943.

“Don José María” by Carlos Di Sarli y su Orquesta Típica, 1943.

Rosendo Mendizabal was an authentic forerunner of Argentine Tango music

Rosendo Mendizábal

Pianist and composer (21 April 1868 – 30 June 1913)

He was an authentic forerunner of our popular music.

As time goes by, the value and quality of his work grow with indelible edges; the following are titles that speak for themselves: “El entrerriano” and “Don José María”.

Rosendo generally played as a soloist, and his income depended on the generosity of the attendants.

A violinist and a flutist joined him if the importance of the session made it necessary, the repertoire to be played was read on handwritten lead sheets because tangos at that period were not published.

Read more about Rosendo Mendizabal at www.todotango.com

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Confiteria La Giralda, where La Cumparsita was premiered in 1916.

“La Cumparsita” by Carlos Di Sarli y su Orquesta Típica, 1942.

“La Cumparsita” by Carlos Di Sarli y su Orquesta Típica, 1942.

Confiteria La Giralda, where La Cumparsita was premiered in 1916.

The Tango of all Tangos

Music: Gerardo Matos Rodríguez.

In April 19, 1916, in Montevideo, Roberto Firpo premiered what would become the tango of all tangos, “La Cumparsita”, by Gerardo Hernán Matos Rodríguez, which at that time was a two-part song.

Firpo, in the style of the “Guardia Vieja”, composed the third.

Some time later he would regret not having signed it jointly: the rights of “La Cumparsita” reported millions!

With respect to this fundamental tango, Firpo recalled: “In 1916 I was at “Confiteria La Giralda” in Montevideo, when one day a man arrived accompanied by about fifteen boys – all students – to tell me that they had a humble carnival march, and wanted me to take a look and fix it because they thought there was a tango.

They wanted it for that night, because it was needed for a boy named Matos Rodríguez.

In the score, in two by four, appeared a little of the first part and in the second part there was nothing.

I got a piano and I remembered two tangos of mine composed in 1906 that had not had any success: “La Gaucha Manuela” and “Curda Completa”, and I put a little of each one.

At night I played it with Bachicha Deambroggio and Tito Roccatagliatta.

It was an apotheosis, and everybody celebrated Matos Rodríguez that night”.

Read more about Roberto Firpo and the History of Tango

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Cardo en Flor

“Y hasta el cardo tiene flor” by Carlos Di Sarli y su Orquesta Típica, 1941.

Carlos Di Sarli in 1969

“Bahía Blanca” by Carlos Di Sarli y su Orquesta Típica, 1958.

“Bahía Blanca” by Carlos Di Sarli y su Orquesta Típica, 1958.

Carlos Di Sarli in 1969

Carlos Di Sarli

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.

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.

Of his work as composer, we undoubtedly highlight “Bahía Blanca”, a true jewel of the genre.

Carlos Di Sarli was the final piece of the puzzle of tango in the 40s, that made neither concessions to strident fashions, nor to rhythmic extravagances and who, however represented with extreme delicacy, the interpretative paradigm of danceable tango.

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Learn to dance Argentine Tango

José Martínez. Argentine music at Escuela de Tango de Buenos Aires.

“La torcacita” by Carlos Di Sarli y su Orquesta Típica, 1941.

José Martínez. Argentine music at Escuela de Tango de Buenos Aires.José Martínez

Pianist leader and composer
(28 January 1890 – 27 July 1939)

The most valuable heritage he left for us are his numerous works as composer:

“Yerba mala”, dedicated to Bardi; “Samuel” and “El pensamiento”, to Castriota; “Canaro” to Canaro; and “Pablo”, to Pablo Podestá.

Furthermore he composed the music of: “Pura uva”, “El cencerro”, “La torcacita”, “De vuelta al bulín”, “El palenque”, “Olivero”, “Calma chicha”, “Punto y coma”, “Lepanto”, “El matrero [b]”, “Expresión campera”, “El acomodo”, “La correntada”, “Carbonada”, “Pedacito de cielo [b]”, “Tengan paciencia”, “Polvorín”, “Marianita”, etc. Continue reading at www.todotango.com…

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