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Argentine Tango School

Tag: history

“Después del carnaval” by Osvaldo Fresedo y su Orquesta Típica with Ricardo Ruiz in vocals, 1941.

“Después del carnaval” by Osvaldo Fresedo y su Orquesta Típica with Ricardo Ruiz in vocals, 1941.

Carnival in Argentina

Music & lyrics: José Amuchástegui Keen.

Nearly all the countries in the world celebrate it, whatever their religion, according to their customs and traditions. 

That rapture, that makes a break in routine life, has been the origin of love affairs and disappointments, joys and sadness and even duels of passion.

Our carnival was not much different.

The most popular fancy costumes were those of Colombine, Pierrot, (Italian) cocoliche, harlequin, clown, the dangerous grizzly bear —whose use was banned because on several occasions they were set on fire (the costumes were made of wool and would burn soon—; and many others. 

Even a simple mask added to plain clothes meant some kind of sympathetic support.

Read more about carnival in Argentina at www.todotango.com

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“La Cumparsita” by Carlos Di Sarli y su Orquesta Típica, 1942.

“La Cumparsita” by Carlos Di Sarli y su Orquesta Típica, 1942.

Confiteria La Giralda, where La Cumparsita was premiered in 1916.

The Tango of all Tangos

Music: Gerardo Matos Rodríguez.

In April 19, 1916, in Montevideo, Roberto Firpo premiered what would become the tango of all tangos, “La Cumparsita”, by Gerardo Hernán Matos Rodríguez, which at that time was a two-part song.

Firpo, in the style of the “Guardia Vieja”, composed the third.

Some time later he would regret not having signed it jointly: the rights of “La Cumparsita” reported millions!

With respect to this fundamental tango, Firpo recalled: “In 1916 I was at “Confiteria La Giralda” in Montevideo, when one day a man arrived accompanied by about fifteen boys – all students – to tell me that they had a humble carnival march, and wanted me to take a look and fix it because they thought there was a tango.

They wanted it for that night, because it was needed for a boy named Matos Rodríguez.

In the score, in two by four, appeared a little of the first part and in the second part there was nothing.

I got a piano and I remembered two tangos of mine composed in 1906 that had not had any success: “La Gaucha Manuela” and “Curda Completa”, and I put a little of each one.

At night I played it with Bachicha Deambroggio and Tito Roccatagliatta.

It was an apotheosis, and everybody celebrated Matos Rodríguez that night”.

Read more about Roberto Firpo and the History of Tango

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“Fueye” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1942.

“Fueye” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1942.

Anibal Troilo playing his bandoneon.

Bandoneon and Tango

How did the bandoneon become the instrument of Tango?

The bandoneon is an instrument of exceptional expressivity, which made it perfect for a musical genre that intends to communicate all the rainbow of possible emotions.
 
In addition to its great sound range -at least 142 notes (compare it with a piano which has 88), the character of its sound changes depending of the actions of opening (smooth, airy and sweet) and closing (ruff, strong and throaty). 
In Anibal Troilo’s orchestra, his bandoneon is the instrument at the center of the musical arrangements.

Read more about the bandoneon and Tango

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“Y hasta el cardo tiene flor” by Carlos Di Sarli y su Orquesta Típica, 1941.

“Y hasta el cardo tiene flor” by Carlos Di Sarli y su Orquesta Típica, 1941.

Cardo en Flor

Tango “criollista”

The trend of “Tango Criollista”, emotionally located at the edge between the city and the countryside, enlisted many great composers.

Among them: Vicente Greco, Francisco Canaro, Roberto Firpo, Eduardo Arolas, Agustín Bardi y José Martinez.

Also, many other composers not so known or prolific, like this one from Carlos Escobar.

Read more about the History of Tango

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“La viruta” by Alfredo Gobbi y su Orquesta Típica, 1947.

“La viruta” by Alfredo Gobbi y su Orquesta Típica, 1947.

In 1910, Casa Tagini, dealership of Columbia Records, produced the first recordings of a formation dedicated exclusively to playing tangos.

Origin of the term “Orquesta Típica”

At the beginning of the 1900, the word “tango” was still considered inappropriate..

In 1910, Casa Tagini, a dealership of Columbia Records, produced the first recordings of a formation dedicated exclusively to playing tangos.

In need of an appropriated label for this formation, the term “Orquesta Típica Criolla” was born.

Vicente Greco (1888-1924), conductor and bandoneon player of this formation, is recognized, together with Francisco Canaro (1888-1964), who played violin in it, as the creators of this term, which will from this moment, characterize the orchestras conformed for the interpretation of Tango music.

As a composer, Vicente Greco knew to intertwine in his creations the rhythms and melodies of the “Criolla” music, of the traditions of a country populated by gauchos descendants of the Spanish colony, and the new sounds and idiosyncrasies arriving to Buenos Aires with the massive immigration of the end of 1800s.

Here is one of his beautiful compositions.

Read more about the History of Tango

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We are happy to have a collaboration 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 started a new project that addresses the dancers and the website is https://en.mytango.online
    You will find two compilations at the beginning, one tango and one vals compilation in amazing quality.
    The price is 50€ each (for 32 songs each compilation) and now the good news!

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

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

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