Violinist, leader and composer
(14 December 1900 – 14 January 1976)
In 1949 D’Arienzo said: «In my point of view, tango is, above all, rhythm, nerve, strength and character.
Early tango, that of the old stream (guardia vieja), had all that, and we must try not to ever lose it. Because we forgot that, Argentine tango entered into a crisis some years ago. Putting aside modesty, I did all was possible to make it reappear.» Continue reading at www.todotango.com...
Of the greatest importance was, when his orchestra finally recorded in 1943, the arrival of Roberto Chanel, a tough singer with nasal sound and compadrito style, who left 31 recordings. To achieve a contrast, Pugliese included Alberto Morán as a vocalist because of his dramatism, sensuality, rare quality for the mezza voce, and perfect match with the orchestral accompaniment. Any other singer has ever equaled his appeal to women. Morán left 48 recorded songs. Between 1949 and 1950, Jorge Vidal, another of the popular voices in the history of this orchestra, recorded only eight. Among the subsequent singers outstanding, although with repertories of irregular quality, Jorge Maciel and Miguel Montero. Read more at todotango.com……
After the mid-thirties, international music prevailed upon Tango to such an extent that our more traditional tango orchestras included foxtrots, polkas, corridos, pasodoble, congas, and rhumbas in its repertoire.
From Francisco Canaro, Francisco Lomuto, and the Típica Victor until Julio De Caro and Osvaldo Fresedo alternated tangos with the most extravagant music.
But the appearance of the audacious and fast beat of Juan D’Arienzo again placed tango into the preference of the young, who not only recovered the liking for its dance but also eagerly started to recreate it.
Hundreds of orchestras and vocalists sprang up, creating the revival of the two-four, and so came the wonderful forties.
Alfredo De Angelis belongs to the group of orchestras that focused their interest on dancing. However, this does not mean they lacked artistic value; on the contrary, they were precise in execution, with good arrangements, and lined up with great musicians and vocalists.
Our intellectual élite always looked down on popular things, on what was easily accepted by people’s choice, because they disregarded and disregard the sociocultural phenomenon represented by dancing.
I always heard people say that De Angelis was a merry-go-round orchestra, that it was only used for dancing rooms, and lacked creativity. I guess the expression alluded to the funny habit of the dancers of their displacement on the place, turning round following the outline of the dancing floor. From another point of view, the criticism may aim at the easy, elementary, and routine music of the merry-go-rounds (carrousels).
I find these definitions somewhat mistaken.
De Angelis had the beauty of a harmonious and synchronized work, from which a neat simple tango was evidenced, achieved through efficient handling of rhythm, a careful respect for melody, and the showcasing of the singer. Continue reading at www.todotango.com….
Poet and lyricist
(November 1, 1907 – May 3, 1951)
Manzi has given, like no one else, poetry to tango lyrics. However, he was a poet who never published a book of poems.
His poetry was evidenced only through songs, from country themes to urban music, the latter where he would be at his best. In this way he became immensely popular without giving up his poet feelings.
He resorted to metaphors, even surrealist, but never so much as to prevent ordinary people from fully understanding his message. Continue reading at www.todotango.com.
Listen to “Gricel” by Anibal Troilo y su Orquesta Típica with Francisco Fiorentino (1942):
José María Contursi
A lyricist essentially poetic, sensitive and prolific, José María Contursi created a great number of hits. His huge work reveals a creator of even inspiration, careful and experienced though somewhat reiterative in his themes and only exceptionally original and truly daring. This prevents him from being among the supreme authors although some of his lyrics deserve to be within the most consummated of the genre. In fact, he aided, as few did, with his refined language to raise the average quality of the tango canción ( tango with lyrics to be sung ). He conceived numerous celebrated pieces in collaboration with various of the best composers, who saw in him a crafted lyricist, whose verses always produced the appropriate mood. His first known work, the waltz “Tu nombre”, dates from 1933, almost 20 years after his father Pascual Contursi, gave birth to the tango canción on some little Montevideo nights. Continue reading at www.todotango.com...
Juan D’Arienzo: El Rey del compás
Roberto Chanel
After the mid-thirties, international music prevailed upon Tango to such an extent that our more traditional tango orchestras included foxtrots, polkas, corridos, pasodoble, congas, and rhumbas in its repertoire.
