“Loca de amor” by Rodolfo Biagi y su Orquesta Típica with Teófilo Ibáñez in vocals, 1938.
Singer (25 January 1864 – 26 June 1897)
He began in 1880 and, like all payadores, traveled the country from one extreme to the other in search of adversaries or holding challenges that made the audience vibrate, so fond of payadoril art at that time.
The tours of homelands were also made with various circuses in which he was an attraction, and he performed in various Buenos Aires theaters doing it at the Politeama with José Podestá in 1881, and also in Montevideo.
He was one of the most brilliant payadores, due to his select training and higher education, as he was a school teacher.
He published a pamphlet with his verses in 1895 titled “El payador argentino”.
He is included in this work because he owns the music with which the waltz “Loca de amor” is known, badly signed by Enrique Caviglia, who was not a composer but a music editor.
“Como los nardos en flor” by Carlos Di Sarli y su Orquesta Típica, 1951.
Lyricist (23 January 1881 – 28 April 1952)
He was a person endowed with sensitivity and culture.
Tall, elegant, with gray hair, he was the archetype of the good-looking Porteño, made to dialectics, revelry and jokes. He suffered from a constant blinking that in no way diminished his pleasant personality.
He lived in an elegant bohemian train, and was fond of drinks, without it signifying intoxication.
His first song was probably “Como los nardos en flor”.
“El pensamiento” by Juan D’Arienzo y su Orquesta Típica, 1945.
Pianist leader and composer (28 January 1890 – 27 July 1939)
Without having studied music, he played by ear, and yet he was a very good instrumentalist and a better composer; as he did not know how to write them, his creations were put on paper by other musicians, among which were Eduardo Arolas, Augusto Berto, Agustín Bardi, and Francisco Canaro.
He was greatly intuitive, who learned to play the piano by watching his friends play.
He even left the music on several occasions to work as a salaryman in different companies, such as Bunge & Born, Dreyfus, and in a notary’s office.
“Danza maligna” by Enrique Rodríguez y su Orquesta Típica with Armando Moreno in vocals, 1940.
Music: Fernando Randle. Lyrics: Claudio Frollo.
“Courageous compass measures are dragged of the tango that shrinks and stretches … His suffering music would seem feel that a threat is coming. We will both live the quarter of an hour of the nostalgic and malignant dance. Let’s hear the hearts beat under the number of Venus Aphrodite.
The pleasure of the gods, perverse dancing, Tango is a rite and is religion; Criollas orchestras are their altars and the priest, his bandoneon.
I want to feel trapped as in the prison of my pain, keep silent, half my soul that there is a secret between the two.
Courageous compass measures are dragged of the tango that takes over the fibers. The game of your curlers in my temples will be the extreme unction of my agony. I invite you to penetrate this temple where love purifies it all. We will both live the quarter of an hour of nostalgic and evil dance!”