Pedro LaurenzBandoneon player, director and composer
(10 October 1902 – 7 July 1972)
In 1937 he started recording for the Víctor company, and his version of “Arrabal” by the pianist José Pascual, is considered by some scholars, as the hinge of the newly born golden epoch of the tango which would reach the top in the 40s.
Read more at www.todotango.com…
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The tango piece “Recuerdo”, a family secretThe tango piece “Recuerdo” was born at a time when the genre grew and evolved constantly, when the inspiration of the composers seemed infinite, so much so that today it would be difficult to choose a «hinge», a milestone, from which one concludes that there is a time before and a time after some or other piece.
However, we can say that “Alma de bohemio” (1914) by Roberto Firpo is an indubitable mark of an avant-garde creation because of the originality of its melodic structure and the complex density of its music that foretell us the appearance of a tango more polished, of a modern tango. The same happens with “Recuerdo” ten years later, with the difference that it bore lyrics almost since its inception and these words also influenced, finally, on the musical result of the piece. Let us remember that the lines by Juan Andrés Caruso for “Alma de bohemio” date back to 1929, that is to say, fifteen years after its creation. Continue reading at www.todotango.com…
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Armando PontierBandoneonist, leader and composer
(August 29, 1917 – December 25, 1983)
A complete musician, a good bandoneon player and a great composer, he belongs to a generation that recreates tango, consolidating the task of arranging, where, as composer, he brings a work of nicely harmonized structure with completely original melodies, sometimes simple and melodic:
“Corazón no le hagas caso”, “Trenzas”, “Tabaco” and “Claveles blancos”; others based on harmonic designs with a rhythmical treatment more complex: “Margo” and “Anoche” or even, in a definitively modern trend: “A los amigos”, possibly his masterpiece, “A Zárate” and “A tus pies bailarín”. Continue reading at www.todotango.com…
Pedro MaffiaBandoneonist, leader, composer, teacher
(28 August 1899 – 16 October 1967)
It is not known what secret gift made Pedro Maffia find in the core of the bandoneon sounds that nobody had discovered before.
Until the second decade of the twentieth century bandoneon players had a tendency to imitate the flute —gradually displaced in the early quartets— and the barrell organ with their instrument. Pedro Maffia was who delivered the bandoneon needed by this popular genre so to leave behind the playful Guardia Vieja (old stream) and turn serious, concentrated, fairly dreaming and frequently sad. Continue reading at www.tangomango.com…
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Violinist, pianist and composer (13 August 1884 – 21 April 1941)
Another of Bardi’s great contributions to Argentine popular music was the creation, together with Canaro, Filiberto, Lomuto, Greco, Martinez and others, of a society that protected the rights of musicians and composers, a society that over time would become the prestigious Sociedad Argentina de Autores y Compositores de Música (SADAIC).
He died on April 21, 1941.
Read more about Agustín Bardi at our History of Argentine Tango
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