DOCSLIB.ORG

2577Booklet.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2577Booklet.Pdf ENGLISH P. 2 DEUTSCH S. 4 Discover Tango with ARC Music Today, Tango is considered a music and dance of elegance, grace and 3. Bottles – Tango (Pete Rosser) poise. However, when it first came to prominence in the Rio de la Plata EUCD2543 Histoire du Tango – Tango Enrosque area of Argentina and Uruguay in the mid-to-late nineteenth century, ARC Music Productions Ltd. it was not embraced by the members of high society. Its sensual A tango-suite by Piazzolla, plus elegant original pieces and works nature, as well as its association with brothels and the lower classes, written especially for this album, performed on accordion and violin meant it was seen as scandalous by the upper classes. by Tango Enrosque. In its earliest form its instrumentation was basic: a guitar, a flute or 4. Corralera – Milonga (Anselmo Aieta) violin, and possibly percussion. Massive immigration from Europe, EUCD2094 World Dance: Tango especially Italy, at the turn of the century gave the tango a European ARC Music Productions Ltd. twist, and eventually the Bandoneón (an accordion-like instrument See track 1 for information. of Germanic origin) was adopted as its main instrument. By the early twentieth century tango had made its way to Paris, and soon 5. El sueño del pibe – Tango (Juan Puey/Reynaldo Yiso) the whole world was dancing the tango. As a result it was gradually EUCD2094 World Dance: Tango accepted by the established society of the Rio de la Plata area. ARC Music Productions Ltd. This collection highlights a variety of Tango Argentino music. Details See track 1 for information. of the albums from which these songs are taken follow below. These and more can be found at our website, arcmusic.co.uk 6. La bordona – Tango (Emilio Balcarce) EUCD2094 World Dance: Tango 1. Tierra querida – Tango (Julio De Caro/Díaz) ARC Music Productions Ltd. EUCD2094 World Dance: Tango See track 1 for information. ARC Music Productions Ltd. 7. Swell Diet – Tango (Pete Rosser) Enjoy dancing to Tango: over one hour of stylish Tangos from the EUCD2543 Histoire du Tango – Tango Enrosque greatest composers. Played with style and passion by the renowned ARC Music Productions Ltd. Trio Pantango. See track 3 for information. 2. A la gran muñeca – Tango (Jesús Ventura) EUCD2094 World Dance: Tango 8. Boedo – Tango (Julio De Caro/Rimoli) ARC Music Productions Ltd. EUCD2094 World Dance: Tango ARC Music Productions Ltd. See track 1 for information. See track 1 for information. 2 9. El último café – Tango (Héctor Stamponi/Cátulo Castillo) 16. Solitude – Tango (Astor Piazzolla/Forestier) EUCD2094 World Dance: Tango EUCD2094 World Dance: Tango ARC Music Productions Ltd. ARC Music Productions Ltd. See track 1 for information. See track 1 for information. 10. A Don Agustín Bardi – Tango (Horacio Salgán) 17. Contrabajeando – Tango (Astor Piazzolla) EUCD2094 World Dance: Tango EUCD1629 Enrique Ugarte – 20 Best of Tango Argentino ARC Music Productions Ltd. ARC Music Productions Ltd. See track 1 for information. Famous tangos by Astor Piazzolla, Carlos Gardel, Le Pera, Angel Villoldo, E.S. Discépolo and others played on solo accordion by 11. Ché Buenos Aires – Tango (Raúl Garello) European Champion (Tilburg, Holland) and Vice-World Champion EUCD2326 20 Best of Classical Tango – Trio Hugo Díaz (Recanati, Italy), accordionist Enrique Ugarte. Savour the emotion, ARC Music Productions Ltd. style and swagger of these beautiful tangos, played with passion and Hugo Díaz, one of the world’s finest bandoneonists, joined by Miguel elegance by one of the greatest accordionists in the world. Angel Ledesma (piano) and Horacio Cabarcos (double bass), presents a fine collection of classical Argentine Tangos to include Ché Buenos Aires, 18. Taquito militar – Milonga (Mariano Mores) Milonga sentimental, Canaro en Paris… 21 pieces in all, by Gardel, Plaza, EUCD2094 World Dance: Tango Troilo, Bardi and others. ARC Music Productions Ltd. 12. Corazón de oro – Vals (Francisco Canaro/Fernandez) See track 1 for information. EUCD2094 World Dance: Tango ARC Music Productions Ltd. See track 1 for information. 13. Santa milonguita – Tango (Cadícamo/Enrique Delfino) EUCD2094 World Dance: Tango ARC Music Productions Ltd. See track 1 for information. 14. Melodía de arrabal – Tango (Carlos Gardel/Le Pera) EUCD2094 World Dance: Tango ARC Music Productions Ltd. See track 1 for information. 15. Danzarín – Tango (Julián Plaza) EUCD2326 20 Best of Classical Tango – Trio Hugo Díaz ARC Music Productions Ltd. See track 11 for information. 3 2. A la gran muñeca - Tango (Jesús Ventura) Entdecken Sie EUCD2094 World Dance: Tango ARC Music Productions Ltd. Tango Siehe Nr. 1 für Information mit ARC Music 3. Bottles - Tango (Pete Rosser) EUCD2543 Histoire du Tango - Tango Enrosque Tango gilt heute als Musik und Tanz von Eleganz, Anmut und Grazie. ARC Music Productions Ltd. Als er jedoch um die Mitte bis zum späten 19. Jahrhundert am Rio Eine Tango-Suite von Piazzolla, sowie elegante Kompositionen de la Plata in Argentinien und Uruguay auftauchte, wurde er von und Werke, die speziell für dieses Album geschrieben wurden, mit der High Society nicht akzeptiert. Seine Sinnlichkeit und seine Stil und Leidenschaft vorgetragen auf Akkordeon und Geige, von Verbindung mit Bordellen und den unteren Gesellschaftsschichten Tango Enrosque. sorgten dafür, daß ihn die Oberklasse als ‚skandalös‘ brandmarkte und verabscheute. 4. Corralera - Milonga (Anselmo Aieta) EUCD2094 World Dance: Tango In seinen frühesten Formen bestand die einfache Instrumentierung ARC Music Productions Ltd. aus Gitarre, Flöte oder Geige, und vielleicht noch Perkussion. Starke Einwanderung zur Jahrhundertwende, aus Europa und besonders Siehe Nr. 1 für Information aus Italien gaben dem Tango ein europäisches Flair und schließlich 5. El sueño del pibe - Tango (Juan Puey/Reynaldo Yiso) wurde das Bandoneon (ein Akkordeon-artiges Instrument deutscher EUCD2094 World Dance: Tango Herkunft) zu seinem Hauptinstrument. Bis zum frühen 20. Jh. gelangte ARC Music Productions Ltd. der Tanz nach Paris und bald tanzte die ganze Welt den Tango. Daraufhin wurde er auch langsam vom Establishment am Rio de la Siehe Nr. 1 für Information Plata akzeptiert. 6. La bordona - Tango (Emilio Balcarce) Diese Sammlung präsentiert eine Bandbreite von Tango Argentino- EUCD2094 World Dance: Tango Musik. Details über die CDs von denen die Songs stammen, folgen ARC Music Productions Ltd. unten. Diese und mehr, können Sie auf unserer Webseite finden: Siehe Nr. 1 für Information arcmusic.co.uk. 7. Swell Diet - Tango (Pete Rosser) 1. Tierra querida - Tango (Julio De Caro/Díaz) EUCD2543 Histoire du Tango - Tango Enrosque EUCD2094 World Dance: Tango ARC Music Productions Ltd. ARC Music Productions Ltd. Siehe Nr. 3 für Information Viel Spaß mit „Tango“: Über eine Stunde eleganter Tangos von den 8. Boedo - Tango (Julio De Caro/Rimoli) größten Komponisten. Präsentiert mit Stil und Leidenschaft von dem EUCD2094 World Dance: Tango bekannten Trio Pantango. ARC Music Productions Ltd. Siehe Nr. 1 für Information 4 9. El último café - Tango (Héctor Stamponi/Cátulo Castillo) 16. Solitude - Tango (Astor Piazzolla/Forestier) EUCD2094 World Dance: Tango EUCD2094 World Dance: Tango ARC Music Productions Ltd. ARC Music Productions Ltd. Siehe Nr. 1 für Information Siehe Nr. 1 für Information 10. A Don Agustín Bardi - Tango (Horacio Salgán) 17. Contrabajeando - Tango (Astor Piazzolla) EUCD2094 World Dance: Tango EUCD1629 Enrique Ugarte - 20 Best of Tango Argentino ARC Music Productions Ltd. ARC Music Productions Ltd. Siehe Nr. 1 für Information Berühmte Tangos von Astor Piazzolla, Carlos Gardel, Le Pera, Angel Villoldo, E.S. Discépolo und anderen, hier auf dem Solo-Akkordeon. 11. Ché Buenos Aires - Tango (Raúl Garello) Gespielt von Europameister (Tilburg, Holland) und ViceWeltmeister EUCD2326 20 Best of Classical Tango - Trio Hugo Díaz (Recanati, Italien) Enrique Ugarte. Genießen Sie die Stimmung, ARC Music Productions Ltd. die Emotion und den Stil dieser schönen Tangos, vorgetragen mit Hugo Díaz, einer der weltbesten Bandoneón-Spieler, begleitet von Leidenschaft und Eleganz von einem der besten Akkordeonspieler Miguel Angel Ledesma (Klavier) und Horacio Cabarcos (Kontrabaß) der Welt. präsentiert eine elegante Sammlung von Tango Argentino-Stücken, einschließlich Ché Buenos Aires, Milonga sentimental, Canaro en Paris… 18. Taquito militar - Milonga (Mariano Mores) insgesamt 21 Stücke, von Gardel, Plaza, Troilo, Bardi und anderen. EUCD2094 World Dance: Tango ARC Music Productions Ltd. 12. Corazón de oro - Vals (Francisco Canaro/Fernandez) Siehe Nr. 1 für Information EUCD2094 World Dance: Tango ARC Music Productions Ltd. Siehe Nr. 1 für Information 13. Santa milonguita - Tango (Cadícamo/Enrique Delfino) EUCD2094 World Dance: Tango ARC Music Productions Ltd. Compilation: Diz Heller Mastering: Diz Heller Siehe Nr. 1 für Information Cover design: Sarah Ash 14. Melodía de arrabal - Tango (Carlos Gardel/Le Pera) Liner notes: Chris Tomsett / Diz Heller EUCD2094 World Dance: Tango Typesetting / layout: Sarah Ash ARC Music Productions Ltd. Siehe Nr. 1 für Information 15. Danzarín - Tango (Julián Plaza) EUCD2326 20 Best of Classical Tango - Trio Hugo Díaz ARC Music Productions Ltd. Siehe Nr. 11 für Information 5.
Load more

Recommended publications
  • Buenos Aires, Mecca of Tango: Activation Processes, Mega Cultural Events, Tourism and Dilemmas in the Local Heritage1
    BUENOS AIRES, MECCA OF TANGO: ACTIVATION PROCESSES, MEGA CULTURAL EVENTS, TOURISM AND DILEMMAS IN THE LOCAL HERITAGE1 PhD. Hernán Morel CONICET-UBA/FFyL [email protected] ABSTRACT In this paper, we go through the history of the construction of tango as heritage. The period analyzed here begins in the late 90's and extends until 2010. We analyze the factors underlying the cultural policies that came to surface after the "turn" of tango as heritage in Buenos Aires, that is to say, after the activation and promotion of this popular genre on part of the political power (Morel 2009). Through a process analysis, we outline the official efforts behind this recognition. Simultaneously, we examine the impact of tourism as a decisive factor in the political-cultural approaches of the successive administrations. Our aim is especially focused on two main aspects: first, we highlight the heritage-driven policies that went along with the activation process of this genre, and, secondly, we note the consolidation of the cultural policies and actions which had to do, mainly, with the organization of tango events in relation to the promotion of tourism in the city. Under this framework, we explore the negotiations and disputes which, later on, led to the creation of the Buenos Aires Tango Festival and its institutionalization within the official cultural program. Keywords: political heritage, festivals, tourism, tango. RESUMEN En este artículo nos proponemos realizar un recorrido por la trayectoria de construcción patrimonial del tango, abordando el período que abarca desde fines de la década de los 90 hasta el año 2010.
    [Show full text]
  • Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA.
    [Show full text]
  • Al Son De La Clave: El 3+3+2 En El Tango Las Décadas Del 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), Pp
    artículos AL SON DE LA CLAVE: EL 3+3+2 EN EL TANGO LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), pp. 55-68, abril 2016 ISSN 2524-9215 Al son de la clave: el 3+3+2 en el tango LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos [email protected] Facultad de Bellas Artes. Universidad Nacional de La Plata. Argentina RESUMEN En la «Tercera Guardia» del tango, desde 1949 en adelante, dentro de la corriente que llamamos «Tango de vanguardia», estudiamos la clave afroamericana «3+3+2» como un elemento estructural de muchas compo- siciones de referentes, como Astor Piazzolla y Eduardo Rovira. Este artículo surge a partir de la investigación sobre el origen de este material y las transformaciones a través de la historia del tango. Más allá de las vincula- ciones altamente consensuadas con las sonoridades africanas desarrolladas en el Río de la Plata desde la época colonial y con el género milonga du- rante el siglo XIX, en el estudio realizado se identificaron otras apariciones de gran importancia textural en versiones de tangos grabadas durante las décadas del veinte, del treinta y del cuarenta. PALABRAS CLAVE Tango de vanguardia, claves afroamericanas, Piazzolla, Rovira Clang Año 4 | N.°4 | ISSN 2524-9215 55 Enseñar música popular no es tarea sencilla. y único» (2014: s/p). Esa línea de trabajo es la No lo era antes y tampoco ahora que existen que intentamos seguir en nuestras clases y en importantes experiencias en instituciones de nuestros trabajos académicos. Actualmente, en enseñanza formal terciaria y universitaria.
    [Show full text]
  • TANGO… the Perfect Vehicle the Dialogues and Sociocultural Circumstances Informing the Emergence and Evolution of Tango Expressions in Paris Since the Late 1970S
    TANGO… The Perfect Vehicle The dialogues and sociocultural circumstances informing the emergence and evolution of tango expressions in Paris since the late 1970s. Alberto Munarriz A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO March 2015 © Alberto Munarriz, 2015 i Abstract This dissertation examines the various dialogues that have shaped the evolution of contemporary tango variants in Paris since the late 1970s. I focus primarily on the work of a number of Argentine composers who went into political exile in the late 1970s and who continue to live abroad. Drawing on the ideas of Russian linguist Mikhail Bakhtin (concepts of dialogic relationships and polyvocality), I explore the creative mechanisms that allowed these and other artists to engage with a multiplicity of seemingly irreconcilable idioms within the framing concept of tango in order to accommodate their own musical needs and inquietudes. In addition, based on fieldwork conducted in Basel, Berlin, Buenos Aires, Gerona, Paris, and Rotterdam, I examine the mechanism through which musicians (some experienced tango players with longstanding ties with the genre, others young performers who have only recently fully embraced tango) engage with these new forms in order to revisit, create or reconstruct a sense of personal or communal identity through their performances and compositions. I argue that these novel expressions are recognized as tango not because of their melodies, harmonies or rhythmic patterns, but because of the ways these features are “musicalized” by the performers. I also argue that it is due to both the musical heterogeneity that shaped early tango expressions in Argentina and the primacy of performance practices in shaping the genre’s sound that contemporary artists have been able to approach tango as a vehicle capable of accommodating the new musical identities resulting from their socially diverse and diasporic realities.
    [Show full text]
  • PROYECTO DE DECLARACIÓN El
    “2016-Año del Bicentenario de la Declaración de la Independencia Nacional” Senado de la Nación Secretaria Parlamentaria Dirección General de Publicaciones (S-1965/16) PROYECTO DE DECLARACIÓN El Senado de la Nación DECLARA Su adhesión a la conmemoración del 41º aniversario del fallecimiento de Aníbal “Pichuco” Troilo, célebre bandoneonista argentino, compositor y director de orquesta, fallecido el 18 de Mayo de 1975. Guillermo J. Pereyra.- FUNDAMENTOS Señora Presidente: El 11 de julio de 1914 nacía en Buenos Aires uno de los mayores bandoneonistas argentinos, compositor, director de orquesta, que está considerado uno de los grandes renovadores del tango. Aníbal Carmelo Troilo nació pleno barrio del Abasto. Sus padres se llamaban Felisa Bagnoli y Aníbal Troilo. Su padre le pondría el seudónimo de Pichuco, nombre por el cual llamaban a uno de sus mejores amigos; el apodo podría ser una deformación del napolitano picciuso que significa "llorón". Durante su niñez Troilo escuchaba tocar el bandoneón en los bares de su barrio, a los 10 años convenció a su madre para que le comprara uno con el que tocó casi toda su vida.´ Un año después, en 1925 (cuando tenía 11 años) realizó su primera actuación en un bar vecino al Mercado de Abasto. A los 14 años ya había formado un quinteto. Estudió hasta tercer año en la prestigiosa Escuela Superior de Comercio Carlos Pellegrini. En diciembre de 1930 fue contratado para formar parte del famoso sexteto que integraban entre otros el violinista Elvino Vardaro, el pianista Osvaldo Pugliese y Alfredo Gobbi (hijo), donde tuvo como compañero a Ciriaco Ortiz.. En 1931 incursionó brevemente en la orquesta de Juan Maglio, y al promediar ese año se reencontró con Ciriaco Ortiz en la orquesta “Los provincianos” creada fundamentalmente para grabaciones.
    [Show full text]
  • THE BANDONEÓN by Eduardo Lazarowski
    THE BANDONEÓN By Eduardo Lazarowski “Each 11 of July is celebrated as the National Day of the Bandoneón as homage to the birthday of Aníbal Troilo” … Thus read a headline on a major Argentine newspaper on July 2014. Neither Troilo’s name nor the instrument that contributed to his rising as one of the greatest personalities in tango history are foreign words to tango dancers around the world. But not many tango lovers know the history of the “tango wind box”. So, let’s examine the major technical and historic features of the instrument considered the “soul” of tango music. The bandoneón was invented to substitute the otherwise expensive and not always available church organs in rural communities of north Germany around 1835. Technically, the bandoneón is a portable wind instrument that belongs to the subgroup of “aero-phones” together with the accordion and the concertina, and it is played by depressing a series of buttons (keys) capriciously distributed on the surface of its two side panels. Opening and closing the blower produce the vibration of metal wedges. Professional tango musicians use the so-called achromatic bandoneón, which produce different notes (by the same key) during the opening and closing of the instrument. A standard modern bandoneón has 71 keys (38 and 33 on the right and left panels, respectively), generating 142 voices. The bandoneón owes its name to its inventor, Heinrich Band and the cooperative (Union) created to financially Maestro Julian Hasse performing in Durham NC support its manufacturing. Thus, when the instrument arrived to Buenos Aires, it was phonetically called by its trade-mark label “Band-Union” and the voice soon mutated from bandunión to bandoneón.
    [Show full text]
  • Ireland and Latin America: a Cultural History
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2010 Ireland and Latin America: a cultural history Murray, Edmundo Abstract: According to Declan Kiberd, “postcolonial writing does not begin only when the occupier withdraws: rather it is initiated at that very moment when a native writer formulates a text committed to cultural resistance.” The Irish in Latin America – a continent emerging from indigenous cultures, colonisation, and migrations – may be regarded as colonised in Ireland and as colonisers in their new home. They are a counterexample to the standard pattern of identities in the major English-speaking destinations of the Irish Diaspora. Using literary sources, the press, correspondence, music, sports, and other cultural representations, in this thesis I search the attitudes and shared values signifying identities among the immigrants and their families. Their fragmentary and wide-ranging cultures provide a rich context to study the protean process of adaptation to, or rejection of, the new countries. Evolving from oppressed to oppressors, the Irish in Latin America swiftly became ingleses. Subsequently, in order to join the local middle classes they became vaqueros, llaneros, huasos, and gauchos so they could show signs of their effective integration to the native culture, as seen by the Latin American elites. Eventually, some Irish groups separated from the English mainstream culture and shaped their own community negotiating among Irishness, Englishness, and local identities in Brazil, Uruguay, Peru, Cuba, and other places in the region. These identities were not only unmoored in the emigrants’ minds but also manoeuvred by the political needs of community and religious leaders.
    [Show full text]
  • Memory of the World Register Nomination Form
    MEMORY OF THE WORLD REGISTER NOMINATION FORM Uruguay – Original records of Carlos Gardel – Horacio Loriente Collection (1913-1935) Uruguay proposes that the Horacio Loriente Collection, the most complete in Uruguay, of original records by Carlos Gardel (Annex 1) be included in the Memory of the World Register. PART A – ESSENTIAL INFORMATION 1. Summary This collection of original records, some acoustic and some electronic, was produced between 1913 and 1935. Through the 770 pieces sung by Carlos Gardel, one can experience and appreciate the complete artistic career of the “zorzal criollo” (creole nightingale). The records, produced in Buenos Aires, Paris and New York, include the 29 musical genres and the different styles that made up Gardel’s repertoire. Thanks to its perfectly preserved state, the collection offers an excellent record of Carlos Gardel’s unique voice, with its highly unusual nuances. Gardel’s voice, in his own lifetime, bewitched people both from humble backgrounds (who felt they were portrayed in his songs and recognized him as “one of them”) and from the higher social classes who, following his successes in Paris and Barcelona and on account of the charm that radiated from him and his general manner, welcomed him into their salons and clubs, an environment as “snobbish” as they were themselves. Absolutely everyone who heard his concerts in Europe and in the various countries of the American continent was won over by his exceptional voice, which was different from those of other singers. Thanks to the sound revolution in the world of film, in which he was one of the pioneers in South America, and to the Spanish-language co-productions in France and the USA, Gardel’s image as a singer and actor spread all over the world (see Annex 5).
    [Show full text]
  • Reflejos De La Calle Corrientes
    Año 5 BUENOS AIRES, DICIEMBRE DE 2002 Núm. 37 Reflejos de la calle Corrientes del Bajo al Obelisco en los años 40 ○○○○○○○○○○○○○○○○○○○○○○○○○○○ ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ INTRODUCCIÓN culturales se desarrollaron dentro de su contorno y luego La década del 40 encuentra al desbordaron y alcanzaron al mundo enfrentado en una guerra conjunto del país. Quizás se que lo partirá en dos. pueda afirmar que fue en esta La República Argentina, etapa cuando la población como ocurrió en 1914, se comenzó a atreverse a ocupar mantendrá neutral hasta su espacio, el espacio público. último momento, aunque su En los años que vendrán, población seguirá Corrientes, será el circuito atentamente el curso de los cultural por excelencia. Los hechos a través de la radio, ○○○○○○○○○○○○○○○○○○○○○○○○ bares darán marco a las nuevas ○○○○○○○○○○○○○○○○○○○○○○○○ el cine y los periódicos. modas, a las nuevas ideas que El país, también, el porteño alimentará experimentaba sus propias recorriendo las librerías de transformaciones: la nuevos y usados ue todavía hoy irrupción del peronismo en la definen la identidad de la escena política supuso una ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ avenida. nueva relación de las bases electorales con el poder. La aparición de este nuevo movimiento político consiguió UN CAFÉ adherentes y detractores, muy LITERARIO: pocos se asociaron a la LA indiferencia. HELVÉTICA Los beneficios acumulados con el comercio exterior Funcionó en la esquina de durante la Segunda Guerra Corrientes y San
    [Show full text]
  • Tangorama an Anthology of 20Th Century Tango • 1
    includes WORLD PREMIÈRE RECORDING TANGORAMA AN ANTHOLOGY OF 20TH CENTURY TANGO • 1 MIRIAN CONTI, piano TANGORAMA AN ANTHOLOGY OF 20TH CENTURY TANGO • 1 MIRIAN CONTI, Piano Catalogue Number: GP856 Recording Date: 15–24 September 2020 Recording Venues: Conti Studio, Buenos Aires, Argentina and Yamaha Artists Services, New York, USA Producers: G. Richard Glasford and Mirian Conti Programming Consultant: Carlos Conti Engineer: Aaron David Ross Mastering: Joseph Patrych Pianos: Yamaha Disklavier DC7X Enspire Pro and Yamaha DCFX ENPRO Piano Technicians: Roberto Rovira, Gabriel Quinia (Argentina) and Shintaro Hoshino, Kaz Tsjujio, George Box (USA) Booklet Notes: Mirian Conti Publishers: Ricordi Americana (1, 2, 6, 8–10), Editorial Musical Korn Intersong (3), Editorial Musical Perrotti (4, 14), Editorial Argentina de Música Internacional (EDAMI) (5, 25), Editorial Julio Korn (7, 17, 20, 22), Editorial Musical Korn Intersong SAIC (11, 16, 19, 21, 23), Ediciones internacionales Fermata (12), Editorial Comar, SRI (13), Ediciones Musicales Ramon Sopena (15), Editorial Musical Record (18), Editorial Lagos (24) Artist Photograph: Grendel Foto, Argentina Cover Art: Alastair Taylor www.goatpix.com ENRIQUE DELFINO (1895–1967) 1 RE FA SI (1917) 02:18 JUAN ‘PACHO’ MAGLIO (1880–1934) 2 ARMENONVILLE (1908) 02:42 ÁNGEL GREGORIO VILLOLDO (1861–1919) 3 EL PORTEÑITO (1903) 01:23 4 EL CHOCLO (c. 1903) 01:48 EDUARDO AROLAS (1892–1924) 5 PAPAS CALIENTES (1910s) 01:53 GERARDO MATOS RODRÍGUEZ (1897–1948) 6 LA CUMPARSITA (1917) 02:16 FRANCISCO DE CARO (1898–1976) 7
    [Show full text]
  • ¿Toulouse O Tacuarembó?
    ---------------- ---------------------------------------- U > . con seriedad pero con menos pruebas ■que el Dr. Pedro Baldasarre, también ar­ * - que fue hijo del coronel Carlos Escayola. gentino, que conoció a Gardel én su Desconoce o elude la identidad de su adolescencia, asegura que_éste efa madre, que aparece rodeada de misterio. ■ uruguayo,Be Caro también lo creé asD : Se apoya también en otros documentos 3.5 Diversos testimonios inducen a oficiales, testimonios personales, ar­ pensar que Gardel se quitó alrededor de tículos periodísticos, noticias tele­ 4 ó 5 años en su documento original, por gráficas, actitudes y declaraciones del explicable coquetería artística, y que propio cantor o atribuidas a él. habría nacido hacia el 83. Así, por ejem­ Julio Bayce E n la construcción de este edificio plo, la citada Tomasa Leguísamo afirma de su orientalidad, que se sustenta en que Gardel habría nacido en el 82. Pedro tan firmes pilares, hay que reconocer la “Perico Bemat, también mencionado, tenaz, valiente y perspicaz tarea de­ escribió a su muerte que tenía 52 años. sarrollada por nuestro compatriota Augusto De Giuli, tenor uruguayo ¿Toulouse Erasmo Silva Cabrera (“A vlis”), en nacido en 1887, que vive actualmente y cuya información se basa en gran parte conoció a Gardel en la casa Columpia esta síntesis. dijo que “era mayor que yo unos cuatro 3.1. Algunos de los documentos años”. Hugo Mariani, músico uruguayo oficiales más importantes son los si­ que lo conectó con la N.B.C. en Nueva o Tacuarembó? guientes: su registro ante el Consulado York, dijo que Gardel le declaró 49 años uruguayo en Buenos Aires (1920); la en 1933.
    [Show full text]
  • 1.1 Osvaldo Pugliese - Introduction
    Cover Page The handle http://hdl.handle.net/1887/30110 holds various files of this Leiden University dissertation Author: Varassi Pega, Bárbara Title: Creating and re-creating tangos : artistic processes and innovations in music by Pugliese, Salgán, Piazzolla and Beytelmann Issue Date: 2014-12-11 1.1 Osvaldo Pugliese - Introduction Pianist, composer, arranger and conductor (1905–1995) Osvaldo Pugliese received his first musical education from his father, an amateur flautist who played in amateur tango quartets. He first learnt violin, like his brothers, and then studied piano in local music conservatories. As a teenager, his music accompanied silent films, his professional career beginning in a bar called “Café de la Chancha”.64 Later, he worked as a replacement musician in a number of dance orchestras and then joined the ensemble led by legendary Paquita Bernardo65, where he met violinist Elvino Vardaro, with whom he would later form the Vardaro-Pugliese sextet in 1929. The ensemble was disbanded due to lack of commercial success, but was reformed with a new line-up in 1930, including such luminaries as Alfredo Gobbi on second violin, and with Aníbal Troilo and Ciriaco Ortiz on bandoneon. By the time Pugliese assembled his own orchestra in 1939, he was already a professional pianist of renown who had collaborated with the most outstanding figures and ensembles of the time: Enrique Pollet’s66 sextet, and the orchestras conducted by Pedro Laurenz67, Miguel Caló68 and Pedro Maffia69. He produced his most refined works with his orquesta típica, to which he was devoted exclusively until he died. We will give special attention to this ensemble.
    [Show full text]