Tag: music

Anibal Troilo, Argentine Tango musician, leader, and composer.

“Toda mi vida” by Aníbal Troilo y su Orquesta Típica with Francisco Fiorentino in vocals, 1941.

Anibal Troilo, Argentine Tango musician, leader, and composer.Aníbal Troilo

Bandoneon player, leader and composer.
(11 July 1914 – 18 May 1975)

He was one of those few artists who made us wonder what mystery, what magic produced such a rapport with people.

As a bandoneon player, he was neither a stylist like Pedro Maffia, nor a virtuoso like Carlos Marcucci, nor a multiple creator like Pedro Laurenz, nor a phrasing player like Ciriaco Ortiz.

But he had something of them all and he was, precisely, a master of personality and feeling in his expression. As an orchestra leader, he dug a unique tango style, balanced, without histrionisms, and of undeniable taste.

He knew how to choose the best players according to his musical ideas, he selected good singers, who besides him achieved their best, to such an extent that when they left the orchestra, only partially and for a short time could they reach a similar level.

He also knew how to choose a repertory without having to accept the conditions suggested by the recording companies.

Finally, he was an inspired composer, creator of pieces made to last forever, as also his renditions of somebody else’s works which became masterpieces of all times. Continue reading at www.todotango.com….

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Juan D'Arienzo portrate

Juan D’Arienzo recorded “Desde el Alma” and “Hotel Victoria” on July 2, 1935.

Juan D’Arienzo y su Orquesta Típica recorded “Desde el Alma” and “Hotel Victoria” on July 2, 1935, jump starting the Golden Era of Tango:

Juan D'Arienzo portrateJuan D’Arienzo: “El Rey del compás”

Violinist, leader and composer
14 December 1900 – 14 January 1976.

In 1935, Juan D’Arienzo successfully appeared in the disputable territory of popularity.

He was just 35 years old, one less than Julio De Caro —stylistically placed on the other end of the musical horizon of tango— he had been a star since 1924 and D’Arienzo started to become one when Pablo Osvaldo Valle took him to the brand new El Mundo radio station.

What in no way meant, at all, that D’Arienzo were a late tango player.

Like almost all the musicians in those days, he started in tango as a boy. Continue reading at www.todotango.com…

El Entrerriano. Rosendo Mendizabal. Argentine music at Escuela de Tango de Buenos Aires.

“El Entrerriano” of Rosendo Mendizábal, by Juan D’Arienzo y su Orquesta Típica, recorded in 1946.

El Entrerriano. Rosendo Mendizabal. Argentine music at Escuela de Tango de Buenos Aires.The story of “El entrerriano” and its main recordings

The canyengue liveliness of the melody amazed the audience from the first bar. The dancer José Guidobono —who was present— was unable to dance as he used to do because he was paralyzed by the spell of those music notes. When the number was finished he approached the composer and suggested him: «Why don’t you dedicate it to Segovia?»

He was referring to Ricardo Segovia, a landowner from Entre Ríos, who was making whoopee in the Buenos Aires nights. Mendizábal told him he would honor him by naming “El entrerriano” his new tango. Continue reading at www.todotango.com…

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Juan Carlos Thorry. Music at Escuela de Tango de Buenos Aires.

“Vida querida” by Osvaldo Fresedo y su Orquesta Típica, vocals by Ricardo Ruiz.

Juan Carlos Thorry

By Juan Carlos Thorry

My relationship with tango is old, intimate and sentimental. I was a young kid and then my old man, who used to play guitar, taught me some accompaniments (dominant and tonic chords) with which I began my Argentine-Tango-Classes-San-Francisco-Bay-Area-Buenos-Airesearly «two-four» songs. Which melody would I have learned first? I remember, through the distant time, the counter line of “La cumparsita (Si supieras)”, the one that says: «Si supieras, que aún dentro de mi alma…» And then, years later, «Buenos Aires, la reina del Plata…», or «Rechiflao en mi tristeza…», when I became acquainted with Carlos Gardel.
My first long trousers, the end of my high school studies and the time when I entered the university are very closely linked to my early experiences at dancehalls. We used to go to dance to the venues called then cabarets, which later became boites and thereafter night-clubs and now are boliches. There we held a contest of twists and turns dancing with the best players of the period: Aníbal Troilo, Juan D’Arienzo, Osvaldo Fresedo, Osvaldo Pugliese, Edgardo Donato, Alfredo De Angelis, etc. They caressed our adolescent dreams with the most popular melodies of the time.
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