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Argentine Tango School

Tag: argentine tango music

“Si sos brujo” by Osvaldo Pugliese y su Orquesta Típica, 1952.

Emilio Balcarce. Argentine music at Escuela de tango de Buenos Aires.

Emilio Balcarce

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…

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

Augusto Berto, Argentine Tango bandoneon player, leader and composer.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…

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“Elegante papirusa” by Edgardo Donato y su Orquesta Típica, 1935.

Arolas with Roccatagliata and Firpo 1914. Argentine music at Escuela de Tango de Buenos Aires.Tito Roccatagliata

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.

He was alongside the great figures that created the genre. Let us mention two of them as an example, Roberto Firpo and Eduardo Arolas. Furthermore, he was a member of the mythical Orquesta Típica Select that recorded in Camden (New Jersey), the place of origin of the Victor company. Continue reading about the History of Tango…

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“Así se baila el Tango” by Ricardo Tanturi y su Orquesta Típica with Alberto Castillo, 1942.

“Así se baila el Tango” by Ricardo Tanturi y su Orquesta Típica with Alberto Castillo in vocals, 1942.

Alberto Castillo, Argentine Tango singer.

Alberto Castillo

Singer, actor, composer and lyricist (December 7, 1914 – July 23, 2002)

Alberto Castillo’s distinctive style perhaps finds its roots in the whimsically humorous charm prevalent in the backgrounds of Rosita Quiroga, Sofía Bozán, or Tita Merello. However, it’s crucial to note that these figures do not serve as influences on Castillo, as there exists neither a discernible similarity among them nor does Castillo bear any resemblance to them. Rather, they can be grouped together—alongside the subsequent addition of Elba Berón—due to a shared essence characterized by an unrefined cadence.

What ties them together is not an influence but a common atmosphere, a shared unpolished rhythm.

Yet, when Alberto Castillo delves into profound themes, the remarkable tenderness he imparts becomes evident.

In essence, he is a “voice that resonates unlike any other,” echoing the profound words of the unforgettable Julián Centeya.

Read more about Alberto Castillo at www.todotango.com

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We are happy to have collaborated with the people from tangotunes.com, from whom some of you may have heard; they do high-quality transfers from original tango shellacs.

It is the number 1 source for professional Tango DJs all over the world.

  • Now, they have started a new project that addresses the dancers, and the website is https://en.mytango.online
    You will find two compilations of fantastic quality at the beginning, one tango and one vals collection.
    The price is 50€ each (for 32 songs for each compilation), and now the good news!

If you enter the promo code 8343 when you register on this site, you will get a 20% discount!

Thanks for supporting this project. You will find other helpful information on the site; it’s a great initiative.

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“Dejame ser así” by Enrique Rodríguez y su Orquesta Típica with Roberto “Chato” Flores in vocals, 1938 (English translation).

Escuela de Tango de Buenos Aires - classes - Marcelo Solis

Let me love you my way,
Let me remain as I am,
We can neither put a cast to the affection
Nor reins to the heart.

I am like the thistles of the paddock
Tanned by the winds, rain and sun,
But also, able to produce flowers
Let me remain as I am.

If I’m sad about something
And if I sing a pain,
It will not be on a whim
Nor will it be out of spite.
If there is something strange about me
That I can not explain,
But please,
Do not reproach me
That are yesterday’s things.

“Dejame que te quiera a mi manera,
Dejame seguir siendo como soy,
Que no se pone en moldes el cariño
Ni se le pone riendas al corazón.

Yo soy como los cardos del potrero
Curtido por los vientos, lluvia y sol,
Pero también, capaces de dar flores
Dejame seguir siendo como soy.

Si soy triste por algo
Y si canto un dolor,
No será por capricho
Ni será por rencor.
Si hay en mí un algo raro
Que no alcanzo a explicar,
Pero por favor,
No me reprochés
Que son cosas de ayer.”

Lyrics: Francisco Gorrindo
Music: Enrique Rodríguez