Musician, violinist, leader and composer.
(26 November 1888 – 14 December 1964)
His life runs parallel to the history of Tango: starting in the poorest neighborhoods of Buenos Aires, moving up the social ladder, eventually achieving world wide recognition.
He was born in Uruguay in 1888.
During his early childhood he moved with his family to Buenos Aires, where they rented a room in a “conventillo”, collective form of accommodation or housing in which several poor families shared a house, typically one family for each room using communal sanitary services.
His family was very poor.
Later, he would become one of the wealthiest people in Argentina, and a major contributor to the diffusion of Tango in Buenos Aires, the rest of Argentina and abroad. He went on to be very involved in the struggle for musicians and composers rights, making it possible to make a living for musicians and generating incentives for them to improve and be creative. Continue reading.
Pianist, leader and composer.
(24 November 1893 – 23 December 1950)
Francisco Lomuto recorded with his orchestra, between 1922 and 1950, over 950 numbers.
His last orchestra was, undoubtedly, the best, the most evolved and the tightest he led. The bandoneon section was lined-up by Federico Scorticati, Alfredo Cordisco, Manuel Alvarez and Domingo Greco. The violins were in charge of Carlos Taverna, Ernesto Gianni, José Carli and Otelo Gasparini. The pianist was Juan Carlos Howard, the double bass player was Alberto Celenza and his singers were Alberto Rivera and Miguel Montero. Continue reading at www.todotango.com…
We need to educate ourselves with a set of good habits, which in turn will allow us to flow through the dance floor in a comfortable manner.
The more of our classes you take, the sooner you will feel comfortable and incorporate what you are learning to be able to dance.
The best way to advantage of our classes is to take all of them, and the second best is to take as many as possible.
Asking us which one of our classes we recommend is like asking a father which one of his children he loves the most: we love all our classes. We fully engage ourselves, making each of them one-of-a-kind. In this sense, the best way to advantage of our classes is to take all of them, and the second best is to take as many as possible.
Our pricing options include class cards, which will allow you to take any of our classes with a single payment. See more information pricing options…
Private lessons:
Private lessons are a must!!!
Another advantage of becoming a regular student is that we will be able to personalize our instruction to you. In order to better personalize our instruction to you, private lessons are a must. More information about private lessons…
When making your decision, please keep in mind that learning how to dance is comparable to learning how to live:
How much of your life are you willing to give to the goal of living better?
If you are in the San Francisco Bay Area and want to learn to dance Tango, you can:
Bandoneonist, leader and composer
(18 November 1881 – 14 July 1934)
He was essential to the acceptance of bandoneon as a musical instrument of Tango.
Lots of people came to listen to Pacho there. The special rhythm of Pacho’s interpretations of tangos brought many of the best dancers of the time, like El Cachafáz, to listen, because it was not place to dance.
Some of his compositions are: “Armenonville”, “Un copetín”, “Quasi nada” and “Sábado inglés”.
In 1912 he started to record for Columbia. His success was so great that the word “Pacho” became a synonym of “recordings”. Continue reading at todotango.com…
Oigo tu voz
engarzada en los acordes de una Iírica guitarra…
Sos milonga de otros tiempos… Yo te vi crecer
prendida en las polleras de un bailongo guapo y rompedor
como jamás ha de volver.
Nadie, tal vez,
comprendió mejor las penas y el sentir de mi barriada…
Sin embargo te olvidaron y en el callejón
tan sólo una guitarra te recuerda, criolla como vos,
y en su gemir tiembla mi ser.
Vuelvo cansado de todo
y en mi corazón lloran los años…
Mi vida busca tan sólo
la tranquilidad del viejo barrio…
Y encuentro todo cambiado menos tu canción, milonga mía…
El progreso ha destrozado toda la emoción
de mi arrabal.
Quiero olvidar
y tus notas van llenando de tristeza el alma mía…
He cruzado tantas veces ese callejón,
llevando entre los labios un silbido alegre y tu cantar
emborrachando el corazón.
Era feliz
entregado a las caricias de la única sincera
que acunó una primavera que no floreció…
Milonga, ya no puedo continuar… El llanto me venció…
Quiero olvidar… y pienso más.
Milonga 1937.
Music: Pedro Laurenz.
Lyrics: José María Contursi.
English translation:
I hear your voice
set in the chords of an Iyric guitar…
You are milonga of other times… I saw you growing up
stitched in the skirts of a brave and groundbreaking dancing
as never to return.
No one but me, perhaps,
understood better the sorrows and the feeling of my neighborhood…
However, they forgot you, and in the alley,
only a guitar remembers you, criolla like you,
and in my groan, my whole being trembles.
I return tired of everything
and in my heart the years cry…
My life seeks only
the tranquility of the old neighborhood…
And I find everything changed except your song, my milonga…
Progress has shattered all the emotions
of my suburb.
I want to forget
and your notes fill my soul with sadness…
I’ve crossed that alley so many times,
bringing a happy whistle between my lips and your singing
getting my heart drunk.
I was happy
and committed to the caresses of the only sincere one
that cradled a spring that didn’t bloom…
Milonga, I can no longer continue… The crying beat me…
I want to forget … and I think more.
Francisco Canaro
