“Mishiadura” by Edgardo Donato y su Orquesta Típica, 1942.
Eduardo Arolas
Bandoneonist, composer and leader (24 February 1892 – 29 September 1924)
His musical language, as a composer and as a player, was purely Tango, a language that the people of the neighborhoods of Rio de la Plata understand, a language that flows effortlessly like spring water.
His performance was vibrantly brilliant, simple, without variations, very nuanced, and colorful.
He moved his home permanently to Montevideo and formed an orchestra in which Edgardo Donato played.
In only 15 years as a composer, Arolas wrote 120 titles, of which only about 20 are widely known.
Pianist, leader, composer and arranger
(26 February 1918 – 28 April 1951)
A pianist strongly inclined to romanticism, viewed as the Chopin of the tango.
His subtle, almost ethereal and suggestive touch, deprived of any emphasis or pomposity, led him to create an orchestral style based on the same pattern. Plain and transparent, his arrangements conceived fancy solos alternating piano, bandoneon and violin. That style of his, born toward 1940, influenced the entire decade and contrasted with both the popular tango (with Juan D’Arienzo as remarkable example) and the academic tango (Anibal Troilo). His tangos lack any tough or coarse traces but also any symphonic pretension. He preferred to convey a simple emotion and accurate expression, which he achieved through a permanent self-control. Continue reading at www.todotango.com...
Violinist, bandoneonist, bandleader, arranger, and composer(February 22, 1918 – January 19, 2011)
Only a great one, after handing an arrangement for the orchestra to Aníbal Troilo, can be relieved from the suffering of the implacable torment of Pichuco’s eraser from which nobody escaped.
That rare privilege was conferred to him in 1958 when Emilio Balcarce, in his condition of orchestrator, delivered the music sheets of his arrangements of “La bordona”.
The latter is his most significant work due to the beauty of its melody which always sounds contemporary despite the passing of time.
He was by then the inspired musician who had walked along with the music staff in every possible way and who, discovering the secrets of perfect harmony, was shaping the best sounds of the most important orchestras. Continue reading at www.todotango.com…
His story is part of the tango mythology, a legend; today, very few who have witnessed his life or art remain. His image was captured in the film Tango, which premiered in 1933, where he can be seen with his partner Carmencita Calderón, just a girl under 20 years old.
His nickname remained for our everyday history as his definitive first and last names: El Cachafaz.
According to the lunfardo dictionary by Adolfo Enrique Rodríguez, “cachafaz” means rascal, shameless, insolent, rogue, or idler.
He may have been, and it is possible he had not; his face inspired doubts. Combed “a la gomina” (with a sticky paste), the hair tightly pulled backward, Indian-like features and pock-marked, he always appeared with a severe countenance in pictures and on movies. Read more at www.todotango.com…
Myriam Pincen con Blas Catrenau dancing at “El Maipú Milonga”, January 2018
Myriam Pincen
“My classes aim to instruct and encourage the dance of Tango Salón Tradicional Argentino, a knowledge that I have acquired over more than 30 years of study with various teachers such as: Miguel Gutierrez, Eduardo Arquimbau, Mingo Pugliese, Pepito Avellaneda, J.C. Copez among others, with whom I not only learned to dance but also to teach dance, scene and choreography.
In my classes we work everything you need to dance tango on a dance floor: posture, musicality, balance, cadence, styles, different orchestras, lead and follow, adornments, codes, floor craft, etc.
The final goal is that all can access to enjoy a good tango dance and also to transcend our Buenos Aires’ culture for the next generations.”
Blas Catrenau
He started dancing tango in his early youth among other young men at the practice studio of Crisol and Verné. Later he attended several carnival balls organized at local clubs such as San Lorenzo de Almagro.
Since then he never stopped dancing and attending the most important clubs of his time, like Club Unidos de Pompeya, Club Huracán, Club Social y Sportivo Buenos Aires, Club Social Rivadavia, Palacio Rivadavia, Club Almagro, Chacarita, Premier, Editorial Haines, etc. In his youth he often danced at the main tango bars of Buenos Aires, such as Picadilly, Sans Souci, Montecarlo, and many more.
At the early ‘90s, he started organizing “milongas” himself. From 2003 to 2009 he leaded “La Milongüita”, one of the most famous “milongas” in Buenos Aires. In 2002 he won the First Metropolitan Tango Championship in Buenos Aires. In 2003 he obtained the Tango Teacher degree released by Buenos Aires City Government. He was then authorized to teach at the Centro Educativo del Tango de Buenos Aires (CETBA), created by Masters and Dancers Gloria and Rodolfo DINZEL.
His passion for dancing as well as the harmony he shares with his partner and the gracefulness of his movements, capture and celebrate the essence of traditional TANGO.
Violinist, bandoneonist, bandleader, arranger, and composer (February 22, 1918 – January 19, 2011)
