Since his childhood, he had been known by the nickname Firpito because he had a liking for the tangos composed by Roberto Firpo.

The latter, on a certain occasion, called him that way.

He became a composer in 1924 and produced many great tangos, like this one.

He started his career working in movie theaters, theaters, and the Uruguayan Sondor records.

Baüer was born in Spain on November 27, 1897. When he was a kid he arrived in Uruguay, Salto, where he grew up and studied.

He passed away in Montevideo on September 13, 1952.

Juan Maglio “Pacho” was essential to the acceptance of the bandoneon as a musical instrument of Tango.

Born in 1881, he started to learn to play bandoneon by watching his father play it every day after work.

He would pay attention to the finger positions and then practice them secretly on his home’s roof.

He went to school until the age of 12, when he started to work, first in a mechanic workshop, then as a laborer in different activities, and then in a brickyard.

At the age of 18, he decided to fully head into his vocation: music.

During the years of hard work, he kept practicing, in order to stay in shape for when the opportunity knocks.

He improved notoriously, and from his bandoneon of 35 buttons, moved successively to instruments of 45, 52, 65, 71, and at last, a customized bandoneon of 75 buttons.

In 1940 he would commence his fundamental period when entering the orchestra led by the pianist Ángel D’Agostino with whom he would stay until 1946, producing 94 renditions on record which stand as legitimate jewels in the genre.

A singer with an impressive personality, he is the symbol of porteño (from Buenos Aires) tango phrasing in the 40s. 

His phrasing was reo and compadrito but at the same time of an infinite good taste. 

Angel Vargas died young and still without a very noticeable decline as interpreter; he was, no doubt, one of the major artists in our tango music. 

Among his recordings, stands out “Ninguna”. 

Very few were the singers and the orchestras that had not included some of his pieces in their repertoires.

He achieved so many hits, the fruit of his extraordinary facility for composition, and his permanent inventiveness. 

When critics are talking about composers, his name should not be omitted.