In the 40s Pugliese recorded some instrumental pieces of his own which anticipated the avant-garde.
Such is the case of “La yumba” (which became a sort of anthem of his orchestra).
Other important tangos Pugliese composed and played are, above all, the aforementioned “Recuerdo”, and “La beba”, “Adiós Bardi”, “Recién”, “Barro”, “Una vez” and “El encopao”.
Through years, Osvaldo Pugliese orchestra was banned for broadcasting as a means of political censorship but it did not succeed in diminishing his popular acceptance. Continue reading at www.todotango.com…
Violinist, bandoneonist, bandleader, arranger and composer (22 February 1918 – 19 January 2011)
Enamored with music, his blood is nurtured by the sap of tango and the four-to-the-bar beat circulates in his veins as soon as his fingers caress the strings of his violin and transfer his feeling to the bandoneon keyboard.
He decided to play bandoneon to make it weep or sing influenced by its expressive forcefulness, the sweetness of its nuances and the harmony of its chords.
Bandoneonist, leader, composer, teacher
(28 August 1899 – 16 October 1967)
It is not known what secret gift made Pedro Maffia find in the core of the bandoneon sounds that nobody had discovered before.
Until the second decade of the twentieth century bandoneon players had a tendency to imitate the flute —gradually displaced in the early quartets— and the barrell organ with their instrument. After undergoing in his chilhood the frequent beating with a chain made by his brutal father, who forced him to beg money after each tango he played, Maffia was who delivered the bandoneon needed by this popular genre so to leave behind the playful Guardia Vieja (old stream) and turn serious, concentrated, fairly dreaming and frequently sad. Continue reading at www.todotango.com…
The tango piece “Recuerdo” was born at a time when the genre grew and evolved constantly, when the inspiration of the composers seemed infinite, so much so that today it would be difficult to choose a «hinge», a milestone, from which one concludes that there is a time before and a time after some or other piece.
However, we can say that “Alma de bohemio” (1914) by Roberto Firpo is an indubitable mark of an avant-garde creation because of the originality of its melodic structure and the complex density of its music that foretell us the appearance of a tango more polished, of a modern tango. The same happens with “Recuerdo” ten years later, with the difference that it bore lyrics almost since its inception and these words also influenced, finally, on the musical result of the piece. Let us remember that the lines by Juan Andrés Caruso for “Alma de bohemio” date back to 1929, that is to say, fifteen years after its creation. Continue reading at www.todotango.com…