Tag: history

Angel D'Agostino music at Escuela de Tango de Buenos Aires

“Así me gusta a mí” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1942.

Ángel D’Agostino

Pianist, composer, and leader.

(May 25, 1900 – January 16, 1991)

Angel D'Agostino. Argentine music at Escuela de Tango de Buenos Aires.

His orchestra had magic, and that magic was perceived without the need for grandiloquence or stentorian deeds.

Everything was achieved through its simplicity and its good taste.

That orchestra neither achieved the musical recognition that the orchestras of Aníbal Troilo, Carlos Di Sarli, or Osvaldo Fresedo had nor produced the widespread phenomenon of the Juan D’Arienzo orchestra, but since 1940 up to the present, tango generations never stopped their respect and admiration towards him. Continue reading at www.todotango.com…

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Carlos Di Sarli young. Argentine music at Escuela de Tango de Buenos Aires.

“Racing Club” by Carlos Di Sarli y su Sexteto Típico, 1930.

The decade that followed the establishment of the Sexteto Tipico as the standard formation for all tango orchestras, was a period of greatness for the evolutionary development of the tango, primarily as music to be listened to as well as danced.

Meanwhile, legendary cafes with names like Germinal, offered a permanent rotation of talent, the innovative music of up and coming musicians like Carlos Di Sarli.

The immense success of the tango in the decade of the nineteen twenties was the true pinnacle of evolution of tango music. Continue reading at www.elfirulete.com…

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Eduardo Arolas, Argentine Tango musician, leader and composer, and his orchestra in 1919.

“Maipo” by Juan D’Arienzo y su Orquesta Típica, 1939.

Eduardo Arolas

Bandoneonist, composer and leader.

(24 February 1892 – 29 September 1924)

In 1918 his orchestra was formed with him on first bandoneon and conductor, Manuel Pizzarro on second bandoneon, Rafael Tuegols on first violin, Horacio Gomila on second violin, Roberto Goyeneche on piano and Luis Bernstein on double bass. This was the peak of his career, playing in both Buenos Aires and Montevideo. Soon, Julio De Caro joined his orchestra.

This year culminated with one of his immortal compositions: “Maipo”, of supreme beauty, with a first part truly sublime, of pathetic depth, tearing, and a second part of felt sadness and deep emotions.

Let’s dance to El Rey de Compás Juan D’Arienzo recording of this tango in 1939.

Continue reading about Eduardo Arolas and the History of Tango…

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

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.

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…