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.
Playing as second violin for Osvaldo Pugliese —Herrero was the lead violin—, recorded “Si sos brujo” (composed by him). Continue reading at www.todotango.com…
“No sabrás… nunca sabrás lo que es morir mil veces de ansiedad. No podrás… nunca entender lo que es amar y enloquecer.
Tus labios que queman… tus besos que embriagan y que torturan mi razón. Sed… que me hace arder y que me enciende el pecho de pasión.
Estás clavada en mí… te siento en el latir abrasador de mis sienes. Te adoro cuando estás… y te amo mucho más cuando estás lejos de mí.
Así te quiero dulce vida de mi vida. Así te siento… solo mía… siempre mía.
Tengo miedo de perderte… de pensar que no he de verte. ¿Por qué esa duda brutal? ¿Por qué me habré de sangrar si en cada beso te siento desmayar? Sin embargo me atormento porque en la sangre te llevo. Y en cada instante… febril y amante quiero tus labios besar.
¿Qué tendrás en tu mirar que cuando a mí tus ojos levantás siento arder en mi interior una voraz llama de amor? Tus manos desatan… caricias que me atan a tus encantos de mujer. Sé que nunca más podré arrancar del pecho este querer.
Te quiero siempre así… estás clavada en mí como una daga en la carne. Y ardiente y pasional… temblando de ansiedad quiero en tus brazos morir.”
English translation:
You will not know … you’ll never know what it is to die a thousand times of anxiety. You will not … never understand what it is to love and go mad. Your lips that burn … your kisses that intoxicate and that torture my reason. Thirst … that makes me burn and that lights up my heart with passion.
You’re stuck in me … I feel you in the throbbing scorching of my temples. I adore you when you are here… and I love you much more when you are far from me
That’s how I love you sweet life of my life. That’s how I feel … only mine … always mine.
I am afraid of losing you… to think that I will not see you. Why this brutal doubt? Why should I bleed If in every kiss I feel you faint? However I torment myself because you are in my blood. And in every moment … feverish and lover I want your lips to kiss.
What would you have in your look that when you raise your eyes I feel burn inside of me a ravenous flame of love? Your hands untie … caresses that bind me to your woman charms. I know never again I can tear this desire out of my heart.
I love you always like this … you’re stuck in me like a dagger in the flesh. And ardent and passionate … trembling with anxiety I want in your arms to die.
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…
Violinist and composer
(30 January 1891 – 7 October 1925)
In 1920, Tango entered its definitive stage. Julio De Caro had already begun to record and his style drew the attention of his fellow musicians, he woke controversies and, since then, two trends coexisted among tango orchestras: the traditional and evocative stream, the avant-garde and innovative stream.
By that time Tito had led a downhill life for over five years, ruined by alcohol and cocaine, until his death in 1925. He was neither a prop of tango, nor he left a big oeuvre.
His most important composition is, no doubt, “Elegante papirusa”.
The chronicles of his time show him as a virtuoso violinist.
