Tag: tango music

Pablo Podestá, Argentine Tango singer, guitarist, composer and actor.

“Pablo” by Anibal Troilo y su Orquesta Típica, 1943.

“Pablo” by Anibal Troilo y su Orquesta Típica, 1943.

Pablo Podestá

Singer, guitarist, composer and actor (22 November 1875 – 26 April 1923)

He was the younger brother of the Podestá, the great artistic family directed by José Podestá (Don Pepe or Pepino 88), founder of the Argentine theater.

Since childhood he learned all the secrets of the circus and at age eight he was already spoiled by the public for his acrobatic exhibits.

When his brother and guide, Pepe, decided to form a company, he became an actor, and when he managed to make a name for himself he formed his own, premiering in his long career the best dramas of Florencio Sánchez and other great Argentine authors of the time.

Those who saw him act assured that he had no rival on the scene and always remembered him as the greatest of our actors.

José Martinez composed this tango in his homage.

Read more at www.todotango.com

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"El irresistible", Argentine Tango music sheet cover.

“El irresistible” by Juan D’Arienzo y su Orquesta Típica, 1936.

“El irresistible” by Juan D’Arienzo y su Orquesta Típica, 1936.

Lorenzo Logatti

Clarinetist and composer (7 November 1872 – 19 March 1961)

He was born in Foggia, Italy, and was a clarinetist and composer. His father, a professional musician, taught him his first lessons. Later, he continued his studies with other teachers and joined bands and orchestras in his province and also in Naples. He even led a band in Ancona.

During the carnival dances at the Teatro Ópera, he premiered in 1908 his tango “El irresistible”.

At that time the repercussion in the audience was so important that a pair of dancing partners —according to a story— approached the bandstand in order to know its title. It was the female dancer who asked about it.

When the bandleader pointed out at a musician saying he was the composer of the tune, the latter answered that he had not yet given a title to the piece.

Then she added:
– But it’s irresistible!!!
– That’s it, that’ll be its title…

Read more about Lorenzo Logatti at www.todotango.com

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Marcelo Solis dancing Argentine Tango with Mimi

Looking for tips about learning Argentine Tango dance?

Looking for tips about learning Argentine Tango dance?

Marcelo Solis dancing Argentine Tango with Mimi

From absolute beginner to a great milonguero/a Tango dancer.

Because you have realized the value of Tango, namely that Tango is highly important to you, I am offering here a guide into your Tango journey.

You’ll become more yourself within a community. 

Our human nature makes us social beings: we cannot survive in isolation, hence, success is possible for an individual only with the support of one’s peers.
 
That is to say: you learn to dance Tango not only because of your personal taste and choice. There is also a group of people who share your affinity for Tango, and even you will not agree (and you do not need to agree) with everyone in matters of taste and choices, your success regarding Tango will be always tied to how you relate to those other dancers.
 
Even if you never dance with most of them, you will still be sharing the same dance floor and seats around it at the same milonga.

Not everybody has the same sensitivity.

If you are willing to take the challenge, as a great milonguero/a does: aim for the highest, most beautiful, most poetic, and most sublime.

For me, that is Tango.

With such people, I feel at home, and that is my environment.
That is what I would like to share with you.
My reason for doing so is that my goal is always to become a better dancer, and by inviting and challenging you to have the same goal, I count on you to challenge me in the same way.

We mutually challenge each other to become better dancers.

This is not going to make us rivals or enemies. On the contrary: we will develop a deep friendship.
 
I won’t be distant (like on a stage). I will be approachable. I will dance with you or next to you on the same dance floor. I may have more experience than you, but it may turn out that you are more talented. However, on the dance floor of a milonga, we are equals in essence.
The goal of becaming better dancers cannot be quantified.
How do you quantitatively express a good example of a human being?
How do you quantify excellence or the admiration that someone awakens in you?
It is easy to get confused in a world that values quantification the way our civilization does.
For instance, does the number of members in my Facebook group express the level of my dance?
I could set a goal to end the year with over 2,000 members.
That is really easy to do. By the end of this year, I will achieve this goal. Will that make me a better human being?
 
Let’s make a thought experiment (you now know I like them):
An alien comes to our planet and meets with several people. He meets an industrialist called Henry Rearden, a writer and poet called Oliverio Girondo, Gordon Gekko (a banker), Doug McKenzie (a garbage collector), a nurse called Ratched… etc. and a milonguero called Blas Catrenau…
 
What this alien will immediately perceive is the egalitarianism and spontaneity of the milonguero, who approaches him the same way he approaches everyone.
 
He will be surprised he even hugs him as a greeting.
 
Another aspect is the way the milonguero moves, his expressions, the way he walks: he seems easily in control of himself.
 
His words are sometimes a little cryptic. He speaks assuming that the alien understands what he is talking about.
 
However, he speaks with such comfortable self-confidence that the alien cannot avoid agreeing with Blas, even he does not know what Blas is talking about.
 
For Blas, and for any milonguero in general, it does not matter the way you look, your degrees, your wealth, or your job. If he has something to say about you, he would say it only if you ask his opinion, and only in regard to your dance.
 
Now you can continue on your own with this experiment.
 
Imagine any other characters (anyone you want to include) and let me know how you see the alien’s experience meeting them. You can write it here:

Back on Earth, once you’ve made up your mind and accepted that there is no better way to spend your time in life than making it a work of art and that in this endeavor you won’t find anything that makes more sense than dancing Tango, hence, becoming a great dancer (a realization that can take you a period of time ranging from one day to many years), then, the following advice may help you:
  • 1. Be disciplined, regular, and committed to your study of Tango. While dancing Tango is amusing, it is also different from other ways to amuse yourself. Choose these unique characteristics of Tango to be the main core of your dedication to learning it. Steps, choreographic patterns, socializing, close proximity to partners, are all aspects that Tango has in common with other dances and other kinds of activities. On the other hand, its music is unique; and, also, unique is the approach that milongueros have in relation to Tango: for them, Tango is not a “way of life”, but “Life” itself. 

  • 2. If Tango is life, then your Tango teacher is a life-coach. He or she is teaching you how to live Tango. Your relationship between you and your teacher is based on trust, mutual understanding, sympathy, and patience. Tango makes both of you meet at a very humane level, where both need to accept their own limitations and flaws, as well as good qualities. The potential for improvement of Tango is infinite. In the face of such a wide-open horizon, both student and teacher are students of Tango. Your teacher is your guide through Tango, but also your road companion. Choose carefully.
  • 3. Tango is a world. Your Tango teacher is a bridge to it. Allow yourself to know that world, its inhabitants, its culture. A Tango teacher who is doing a good job will have different levels of approximation to your definitive contact with Tango and, eventually, living-breathing-existing-embodying Tango. The first pool in your “decanting” to Tango will be your teacher’s inner group of students. Not anyone who shows up to class, but those who show up in class regularly, and are noticeably there to learn about Tango. Be perceptive of this difference. Then, your teacher with or without this inner group will take you to your first local milongas. New questions will arise there, that you will need to discuss with your teacher. Eventually, you will visit Buenos Aires. You must trust your teacher with this. He or she, if authentic, is your most reliable connection to Tango in Buenos Aires.

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Raul Beron, Argentine Tango singer.

“Lejos de Buenos Aires” by Miguel Caló y su Orquesta Típica with Raúl Berón in vocals, 1942.

“Lejos de Buenos Aires” by Miguel Caló y su Orquesta Típica with Raúl Berón in vocals, 1942.

Raúl Berón singing.

Raúl Berón

Singer (30 March 1920 – 28 June 1982)

He was, for some people, the best orchestra singer in the history of tango.

Although other major vocalists rival him this position in the opinion of the connoisseurs.

In an undeniable Gardelian tradition, tenor register and velvet sound, his peak in popularity coincided exactly with the period of greatest popularity for tango: from his inclusion in the Miguel Caló orchestra in 1939 until his withdrawal from the Aníbal Troilo orchestra in 1955.

Read more about Raúl Berón at www.todotango.com

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"Valsecito de antes", Argentine Tango music sheet cover.

“Valsecito de antes” by Juan D’Arienzo y su Orquesta Típica, 1937.

“Valsecito de antes” by Juan D’Arienzo y su Orquesta Típica, 1937.

'Valsecito de antes', Argentine Tango music sheet cover.

Antonio Sureda

Bandoneonist and composer (4 October 1904 – 23 June 1951)

His early chroniclers said of him that 

“… he is among those who denote an effort to increase their artistic conditions and to renew the virtues that allowed his rise.

Above the name of new figures or above the extinguished popularity of many the name of this modern king of the waltz, as he was wisely called, has daily risen.”

Read more about Antonio Sureda at www.todotango.com

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