Gerardo Matos Rodriguez, author of the famous Argentine Tango "La Cumparsita"

“La cumparsita” by Juan D’Arienzo y su Orquesta Típica, 1943.

“La cumparsita” by Juan D’Arienzo y su Orquesta Típica, 1943.

Gerardo Matos Rodríguez

Pianist and composer (18 March 1897 – 25 April 1948)

He was the creator of the worldwide known and most successful tango of all times: “La cumparsita”.

He also composed a large worthy repertory undoubtedly superior to the most famous of his numbers.

He was born in Montevideo, son of don Emilio Matos owner of the cabaret named Moulin Rouge.

Read more about Gerardo Matos Rodriguez at www.todotango.com

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Canaro en Paris. Music sheet original cover.

“Canaro en París” by Juan D’Arienzo y su Orquesta Típica, 1940.

“Canaro en París” by Juan D’Arienzo y su Orquesta Típica, 1940.

Canaro en Paris. Music sheet original cover.

Alejandro Scarpino

Bandoneonist, leader and composer (16 January 1904 – 27 May 1970)

He was, as a performer, a player with a very good technique and a great command of his instrument.

He was born on January 6, 1922, on 753 Agüero Street —in the heart of the neighborhood of el Abasto—.

In 1925 he appeared at a café of La Boca —Noce—, the place where Scarpino might have composed his famous tango “Canaro en París”.

The composer himself, in a radio interview, said that it was a number with no title. But one day when he was on a streetcar in the Última Hora newspaper he read a headline: «Canaro arrives in Paris». Those lines inspired him and soon later, before the creation of SADAIC, on May 6, 1927 he filed a record —as it was costumary then— at the Biblioteca Nacional as «Gran tango de salón para piano».

Read more about Alejandro Scarpino at www.todotango.com

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El apache argentino. Argentine music at Escuela de Tango de Buenos Aires.

“El apache argentino” by Juan D’Arienzo y su Orquesta Típica, 1944.

El apache argentino. Argentine music at Escuela de Tango de Buenos Aires.Manuel Aróztegui

Pianist and composer
(4 January 1888 – 14 November 1938)

In 1912 accompanied by Paulino Facciona (violin) and Manuel Firpo (bandoneon) he appeared at the Café El Maratón (on Canning and Costa Rica). A terrible shooting ended his performances which had been carried out for six months. Probably his bandoneon appealed to belligerent customers.

El Capuchino, a kind of cinema-ballroom was the new scenery, an ambience rather peaceful; there his tenure lasted three years.

His first tango composition —“El apache argentino”—, was heard for the first time in 1913 there.

Withdrawn from the musical activity, later Aróztegui devoted himself to decoration of toys that he himself peddled. Continue reading at www.todotango.com…

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Juan Maglio Pacho y su orquesta. Argentine music at Escuela de Tango de Buenos Aires.

“Sábado inglés” by Juan D’Arienzo y su Orquesta Típica, 1946.

Juan Maglio Pacho y su orquesta. Argentine music at Escuela de Tango de Buenos Aires.Juan Maglio “Pacho”

Bandoneonist, leader and composer
(18 November 1881 – 14 July 1934)

He was essential to the acceptance of bandoneon as a musical instrument of Tango.

Lots of people came to listen to Pacho there. The special rhythm of Pacho’s interpretations of tangos brought many of the best dancers of the time, like El Cachafáz, to listen, because it was not place to dance.

Some of his compositions are: “Armenonville”, “Un copetín”, “Quasi nada” and “Sábado inglés”.

In 1912 he started to record for Columbia. His success was so great that the word “Pacho” became a synonym of “recordings”. Continue reading…

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Ricardo Brignolo. Escuela de Tango de Buenos Aires. Argentine music.

“Chiqué” by Juan D’Arienzo y su Orquesta Típica, 1942.

Ricardo Brignolo. Escuela de Tango de Buenos Aires. Argentine music.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 at www.todotango.com…

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