Tag: dance

Hector Maure. Escuela de Tango de Buenos Aires. Music

Héctor Mauré

Singer and composer
(13 March 1920 – 12 May 1976)
«His interpretation was dramatic and at the same time, melodic. A peculiar voice, with a baritone-tenor range, pleasant timbre and clear diction, strong voice, melodious and with good intonation, clearly influenced by Gardel». Continue reading.

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Ángel Greco

Guitarist, singer and composer
(9 March 1893 – 4 October 1938)

Belonging to an illustrious family of tango, which also included his siblings Vicente, Domingo, Elena and María and that has been engraved with golden letters in its history.
He started in the circus with Pepe Podestá, to go to the theaters as a singer. Continue reading.

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Eduardo Arolas

Bandoneonist, composer and leader
(24 February 1892 – 29 September 1924)

His musical language, as composer and as player, was purely Tango, a language that the people of the neighborhoods of Rio de la Plata understand, a language that flows effortless like spring water. His performance was vibrantly brilliant, simple, without variations, very nuanced and colorful. Continue reading.

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"Derecho viejo" of Eduardo Arolas. History of Tango by Marcelo Solis. Escuela de Tango de Buenos Aires.

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.

One of the compositions of this period, among many that have today been forgotten are “Derecho viejo”, played here by Osvaldo Pugliese y su Orquesta Típica in 1945. 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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