“Lorenzo” by Francisco Canaro y su Orquesta Típica, 1927.
Violinist, pianist and composer (13 August 1884 – 21 April 1941)
His last performances were in the giant orchestra that Francisco Canaro convened for the carnivals of 1921.
On this occasion, however, Bardi refused to Canaro’s invitation to premiere his tango compositions, claiming that he did not compose carnival tangos, nor was he interested in its diffusion under such circumstances.
The sextets renowned in the history of Tango developed a classic constitution: two bandoneons, two violins, piano and double bass. It is necessary to previously point out that those line-ups were neither unmovable nor permanent.
They changed according to dates and circumstances.
Carlos Di Sarli for his appearance at the Café Guaraní (1927): César Ginzo and Tito Landó (b), José Pécora and David Abramsky (v), Di Sarli (p) and A. Krauss (db). One month later Héctor Lefalle substituted for Abramsky (v) and Domingo Capurro for A. Krauss (db). Continue reading at www.todotango.com…
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…
Guitar player, leader, composer and lyricist
(December 15, 1915 – March 10, 1984)
Canet is the prototype of the classic tango guitarist, always ready to back with his guitar a tango vocalist.
His influences date back to the style of the players that accompanied Gardel, Magaldi, and Corsini.
He was one of the few guitarists who managed to stay away from Roberto Grela’s influence and create a major trend in tango. His style was deeply rooted and directly based on the classic guitar groups. On many of his performances, he added to the guitar trio or quartet other string instruments: contrabass, violins, and violoncello.
At age twelve, his vocation awakened when he heard Ignacio Corsini, and he was greatly struck by the guitar trio that backed the singer, which was lined up by Armando Pagés, Rosendo Pesoa, and Enrique Maciel.
By that time, he lived in the neighborhood of La Paternal and used to go fishing the Maldonado Creek with a friend a little older than him: Piero Hugo Bruno Fontana, who time later would become Hugo Del Carril. Continue reading at www.todotango.com...