“Pico blanco” by Juan D’Arienzo y su Orquesta Típica, 1939.

Agustín Bardi

Violinist, pianist and composer (13 August 1884 – 21 April 1941)

Bardi’s compositions were ahead of his time.

Like Eduardo Arolas’s compositions, they had to wait for the arrival of more trained interpreters, in the mid 1920s, to present all the splendor of their beauty.

According to Luis Adolfo Sierra, a recognized Tango historian, Agustín Bardi’s compositions contain “clarity in the concept of sound elaboration, balance in the melodic drawing of always pure and direct phrases, some sumptuousness in the firmness of the harmonic structure, and a refined good taste, they are in general the salient attractions that emerge in the entire work of this talented composer”.

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“El Marne” by Juan D’Arienzo y su Orquesta Típica, 1939.

Eduardo Arolas

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

As a composer, Arolas took Tango to a more elaborate level with the force of his originality.

“El Marne”, of 1919, is a true concerto of advanced structure for its time.

It needed to wait for qualified musicians to deliver the message of its notes.

Let’s listen to the rendition of the Maestro Juan D’Arienzo with Juan Polito at the piano:

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Thanks for supporting this project, you will find other useful information on the site, a great initiative.

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“¡Qué noche!” by Juan D’Arienzo y su Orquesta Típica, 1937.

Agustín Bardi

Violinist, pianist and composer (13 August 1884 – 21 April 1941)

On June 22, 1918 it snowed in Buenos Aires. A very rare occurrence, so much so that it was not repeated until 89 years later, in 2007.

That day, Agustín Bardi and a couple of his friends went to the La Plata racecourse, 60 kilometers (roughly 37 miles) from the capital.

After the race they stayed late eating at a local grill (parilla), and then returned to Buenos Aires in the same Ford T they had arrived in.

Unfortunately, the car broke down halfway, where there were no available mechanics, and to add to the misfortune it started to snow!

Bardi tried to take advantage of the waiting hours, witnessing this rare phenomenon of snow, and began to mentally compose a tango.

Inspiration can be that untimely.

Shortly after that night, Bardi recounted to his colleague and friend Eduardo Arolas what happened during the night of the snowfall, sharing with him the new tango he had composed, which he had not yet named.

After hearing the harrowing story, Arolas suggested calling the tango “Qué noche (What a night).”

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Eduardo Arolas, Argentine Tango musician, leader and composer, and his orchestra in 1919.

“Maipo” by Juan D’Arienzo y su Orquesta Típica, 1939.

Eduardo Arolas

Bandoneonist, composer and leader.

(24 February 1892 – 29 September 1924)

In 1918 his orchestra was formed with him on first bandoneon and conductor, Manuel Pizzarro on second bandoneon, Rafael Tuegols on first violin, Horacio Gomila on second violin, Roberto Goyeneche on piano and Luis Bernstein on double bass. This was the peak of his career, playing in both Buenos Aires and Montevideo. Soon, Julio De Caro joined his orchestra.

This year culminated with one of his immortal compositions: “Maipo”, of supreme beauty, with a first part truly sublime, of pathetic depth, tearing, and a second part of felt sadness and deep emotions.

Let’s dance to El Rey de Compás Juan D’Arienzo recording of this tango in 1939.

Continue reading about Eduardo Arolas and the History of Tango…

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“La payanca” by Juan D’Arienzo y su Orquesta Típica, 1936.

Augusto Berto

Bandoneonist, composer, and leader.
(4 February 1889 – 29 April 1953)

A patriarchal figure of Tango, a bandoneon player of the heroic period when bandoneon became the instrument most representative of the groups devoted to Tango. His contribution to the definitive adoption and recognition of bandoneon and, consequently, of Tango in the different milieus and social strata has been valuable and decisive.

His first tango was “La payanca”.

“One evening, when the dancers had run through our repertory, I had to improvise, and that was the resulting number. After seventy or eighty pieces, one after another, you had to improvise.” Continue reading at www.todotango.com…