I was born in Argentina. Through my family and the community that saw my upbringing, I have been intimately involved with Tango and an Argentine Tango dancer, choreographer, and instructor for over 30 years. I profoundly love Tango dancing, music, and culture, particularly that of the Golden Era. I am a milonguero. As an instructor, I like to emphasize musicality and the dance partner's connection to each other and the music, stressing that Tango is a social dance framed by a specific set of values expressed through its etiquette codes. I encourage my students to develop their ability to improvise on the dance floor. Dancing becomes an easy game to play after the training you receive in my classes. With these elements, I aim to create a unique atmosphere through which students can experience what a Milonga in Buenos Aires is like. To allow students to experience Tango and its culture at its birthplace, I offer a personally guided Tango Tour to Buenos Aires twice a year. If you plan to visit Buenos Aires, don't hesitate to get in touch with me. Supervisors: Blas Catrenau, Néstor La Vitola, Susana Miller, Myriam Pincen, Enriqueta Kleinmann, and Muma Tango
El artículo "History Of Tango – Part 12: El Cachafaz and the Dancers of the Early 20th Century" e... more El artículo "History Of Tango – Part 12: El Cachafaz and the Dancers of the Early 20th Century" examina la figura de El Cachafaz, uno de los bailarines más icónicos del tango en el Buenos Aires de principios del siglo XX. A través de una narrativa histórica, se explora cómo su infancia en un barrio humilde y su temprana pasión por el tango lo llevaron a convertirse en un referente del baile. El artículo no solo traza su evolución como bailarín, sino que también destaca la influencia de otros personajes clave en su estilo y la transformación del tango desde los márgenes sociales hacia su aceptación en clases más altas. Asimismo, se analiza cómo su estilo único y su dedicación al arte del tango lo llevaron a la fama internacional, representando un periodo crucial en la historia del tango y su expansión global. A través de anécdotas y contextos históricos, se ofrece una visión profunda de cómo El Cachafaz y otros bailarines de su época contribuyeron a la identidad cultural del tango, tanto en Argentina como en el extranjero.
The article "History Of Tango – Part 12: El Cachafaz and the Dancers of the Early 20th Century" d... more The article "History Of Tango – Part 12: El Cachafaz and the Dancers of the Early 20th Century" delves into the lives and legacies of influential tango dancers during the early 20th century, focusing on the iconic figure of El Cachafaz. It explores how tango, originally rooted in marginalized neighborhoods of Buenos Aires, evolved into a respected dance form embraced by higher social classes. Through detailed accounts of El Cachafaz's life, from his humble beginnings to his rise as a tango legend, the article highlights the transformative power of dance in shaping cultural identity. It also discusses the contributions of other significant dancers such as Pedrín, Bernabé Simarra, and Casimiro Aín, emphasizing their roles in popularizing tango internationally. The narrative illustrates how these dancers not only defined the aesthetics of tango but also played crucial roles in its social acceptance and global dissemination. The article concludes by reflecting on the enduring legacy of these pioneers, whose innovative styles and performances continue to influence the art of tango today.
Las letras de tango y su relación con el baile Este artículo da inicio a una serie de artículos s... more Las letras de tango y su relación con el baile Este artículo da inicio a una serie de artículos sobre las letras de Tango. Quiero dedicarlo a mi hermano Carlos Daniel Solís, recientemente fallecido el 28 de abril de 2024, a los 56 años. Que en paz descanse.
This article marks the beginning of a series on the lyrics of Tango. I wish to dedicate it to my ... more This article marks the beginning of a series on the lyrics of Tango. I wish to dedicate it to my brother, Carlos Daniel Solís, who recently passed away on April 28, 2024, at the age of 56. May he rest in peace.
Las concertinas fueron concebidas como una mejora del acordeón: la primeras concertinas, inventad... more Las concertinas fueron concebidas como una mejora del acordeón: la primeras concertinas, inventada en 1829 en Inglaterra por Sir Charles Wheatstone, y 1834 en Alemania por Carl Friedrich Uhlig, tenía cinco botones a cada lado de la caja, donde cada botón puede tocar dos diferentes notas al abrir o cerrar el fuelle.
**Abstract**
This paper explores the historical journey of the bandoneon and its integral role i... more **Abstract**
This paper explores the historical journey of the bandoneon and its integral role in shaping Argentine Tango. Originally invented in Germany as an improvement of the concertina, the bandoneon became central to Tango music in Buenos Aires. The instrument's evolution, from Heinrich Band's modifications to the 71-button version preferred by Tango musicians, is detailed. The bandoneon's introduction to Argentina in 1870 and its gradual acceptance by Tango musicians is examined, highlighting key figures such as Juan Maglio and Vicente Greco who popularized its use. The paper delves into the technical and expressive qualities of the bandoneon that made it indispensable for Tango, providing a nuanced discussion of its impact on the genre's development and its cultural significance.
**Abstract**
This part of the "Historia del Tango" series focuses on José Martínez, a renowned p... more **Abstract**
This part of the "Historia del Tango" series focuses on José Martínez, a renowned pianist and composer known for his intuitive musical talent despite having no formal music education. Born on January 28, 1890, Martínez, nicknamed "El Gallego," played by ear and relied on other musicians to transcribe his compositions. His career began in 1911, and he formed various musical groups, including collaborations with Francisco Canaro and Eduardo Arolas. Martínez was known for improvising melodies during performances, contributing to numerous lasting tangos. He also worked with theatrical companies and composed notable pieces like "Polvorín" and "De vuelta al bulín," recorded by Carlos Gardel. Despite retiring from music in 1928, Martínez left a legacy of tangos that remain popular in milongas today. He died on July 27, 1939, at the age of 49.
José Martínez (28 de enero de 1890 - 27 de julio de 1939) fue un destacado pianista y compositor ... more José Martínez (28 de enero de 1890 - 27 de julio de 1939) fue un destacado pianista y compositor de tango, conocido por su capacidad intuitiva para la música a pesar de no haber recibido una educación formal en esta disciplina. Apodado "El Gallego", se defendía diciendo que, aunque su apellido era español, era argentino de varias generaciones. Aprendió a tocar el piano de oído, observando a sus amigos, y sus composiciones eran transcritas por otros músicos, como Eduardo Arolas y Francisco Canaro.
Martínez comenzó su carrera profesional en 1911 con un trío, y su primera obra transcrita fue "Pura uva". Durante su carrera, trabajó con numerosas orquestas y músicos destacados de la época, incluidos Arolas y Canaro, y en varios momentos lideró su propia orquesta, actuando en lugares emblemáticos como el cabaret L’Abbaye en Buenos Aires.
A pesar de sus periodos de alejamiento de la música para trabajar en empleos asalariados, dejó una profunda huella en el tango. Algunas de sus composiciones más famosas incluyen "Polvorín" y "De vuelta al bulín", ambas grabadas por Carlos Gardel. Fue miembro fundador de la entidad que más tarde se convertiría en SADAIC, la sociedad de autores y compositores de Argentina.
Martínez se retiró de la música a fines de 1928 y falleció a los 49 años, dejando un legado de tangos que siguen siendo apreciados y bailados en las milongas actuales. Sus obras reflejan la belleza y profundidad del tango argentino, consolidándolo como una figura inolvidable en la historia de este género musical.
**Abstract:**
This document, "History of Tango – Part 10: Agustín Bardi. The Composer for the Fu... more **Abstract:**
This document, "History of Tango – Part 10: Agustín Bardi. The Composer for the Future of Tango," provides an in-depth biography of Agustín Bardi, a fundamental figure in the evolution of Argentine tango. It explores his life from his beginnings in Las Flores to his move to Buenos Aires, where he began his musical career. The text highlights his achievements as a composer and his transition from the violin to the piano, as well as his influence in the formation of the Argentine Society of Authors and Composers of Music (SADAIC). Additionally, it examines his compositions that were ahead of their time, his unique style, and the admiration he garnered among other musicians. This article is essential for understanding Bardi's depth and impact on popular Argentine music and the history of tango.
A una temprana edad fue enviado por sus padres a la casa de unos parientes que vivían en la capit... more A una temprana edad fue enviado por sus padres a la casa de unos parientes que vivían en la capital, en el barrio de Barracas, para cursar la escuela primaria. En esta casa comenzó también su aprendizaje musical, estudiando guitarra con un pariente. A los ocho años de edad, integró una comparsa de carnaval, sobresaliendo por su destreza como guitarrista. A los trece años ingresó a trabajar como aprendiz de telegrafista en Ferrocarril del Sud, y en 1904 fue convocado a cumplir con el servicio militar obligatorio.
Eduardo Arolas, as a composer, took Tango to a more elaborate level with the force of his origina... more Eduardo Arolas, as a composer, took Tango to a more elaborate level with the force of his originality.
In 1909, when Eduardo Arolas composed “Una noche de garufa”, he had not yet acquired a formalized musical education.
He was 17 years old.Eduardo Arolas at 18 (1910). Escuela de Tango de Buenos Aires. Argentina.
Still, in his first composition, all the elements of his style are present, bursting out into the world, for the amusement of all of those who, like me, love Tango. This quality cannot be attributed to any other Tango composer. None of his colleagues had a defined style during their first compositions and would need many years to develop it. Arolas’ works have such advanced characteristics, that they will keep forever surprising Tango lovers wondering how, what inspiration, and from which source Arolas extracted them.
Eduardo Arolas, como compositor, llevó al Tango a un nivel más elaborado con la fuerza de su orig... more Eduardo Arolas, como compositor, llevó al Tango a un nivel más elaborado con la fuerza de su originalidad.
En 1909, cuando Eduardo Arolas compuso "Una noche de garufa", aún no había adquirido una educación musical formalizada. Tenía 17 años.
Aún así, en su primera composición, todos los elementos de su estilo están presentes, estallando en el mundo, para regocijo de todos aquellos que, como yo, aman el Tango.
Esta cualidad no puede atribuirse a ningún otro compositor de Tango.
Ninguno de sus colegas tenía un estilo definido durante sus primeras composiciones y necesitarían muchos años para desarrollarlo. Las obras de Arolas tienen características tan avanzadas, que continuarán sorprendiendo por siempre a los amantes del Tango, preguntándose cómo, con qué inspiración y de qué fuente las extrajo.
Roberto Firpo is one of the first evolutionists of Tango as a director, interpreter, and composer... more Roberto Firpo is one of the first evolutionists of Tango as a director, interpreter, and composer.
In those initial days of the “Orquesta Típica”, he definitively established the piano in the tango orchestra, which displaced the guitar, but his way of playing the piano borrowed a lot from the way of playing the guitar in Tango and in the native music of the gauchos, for instance the “bordoneo”, a technique used to embellish the melody with notes from the sixth string of the guitar -the lowest pitched string, called “bordona”.
We would like to tell you about the early life of Francisco Canaro. According to Tango historian ... more We would like to tell you about the early life of Francisco Canaro. According to Tango historian Orlando Del Greco “In this name, all the Tango is summarized”.
Francisco Canaro, artistic name of Francisco Canaroso, was born in Uruguay in 1888.
The first stablished musical formation for the interpretation of tango music was the trio, integr... more The first stablished musical formation for the interpretation of tango music was the trio, integrated by harp or guitar, flute or clarinete, and violin. These trios did not produce any recordings, but we can be sure enough, according to testimonials, that they played a faster and more " staccato " rhythm, which was slowed down and shaped into a more " legato " sound with the arrival of the bandoneon. At the beginning of the 1900, the word " tango " was still considered inappropriate. As an example, when José Luis Roncallo performed for the first time " El choclo " at the restaurant El Americano, in 1903, he presented it as " danza criolla " .
During the 1870s arrives to Buenos Aires a very particular immigrant: the bandoneon.
Tango was in... more During the 1870s arrives to Buenos Aires a very particular immigrant: the bandoneon. Tango was in its infancy, as well as this new instrument, which was recently invented in 1846 in Germany by Heinrich Band, according to some versions, or Carl F. Zimmerman, according to others. None had patented it.
In my own experience, all the GREAT MILONGUEROS that I have met in my life, many of whom I had th... more In my own experience, all the GREAT MILONGUEROS that I have met in my life, many of whom I had the fortune and the honor to have as my teachers, are (or were -in the case of those that have passed away-) GREAT PEOPLE, incredibly wise and have great sensitivity and common sense, reliable people, generous, respectable, and among many other wonderful qualities, the best at their day jobs and professions. And the bottom line is that for me, everything that I have achieved in my dance has made me a better person. And I still have room to improve.
The dance of tango originated in the second half of the XIX century, in the area designated Rio d... more The dance of tango originated in the second half of the XIX century, in the area designated Rio de la Plata, on the outskirts of port cities like Buenos Aires, Montevideo and Rosario.[1] Historically, this area was an important part of the Spanish Colonial Empire, which gained its independence from Feudalist Catholic Monarchic Spain towards integration into a Western capitalist globalized economy. This economic revolution was led by the United Kingdom and the United States, in the beginning of the 1800s, as a direct consequence of the transformations that swept through Europe due to the Industrial Revolution, the French Revolution and the Napoleonic Wars. The elite class that led this process of transformation, although not unified – as many internal conflicts arose after the final defeat of the Spanish Army – were inspired by the ideas of the French and American Revolutions, and saw the industrialized countries like the United Kingdom as beacons of civilization, superior to the models of a feudalist Spain, and Aboriginal Native nations of America. Since the arrival of the first Spanish expedition to the Rio de la Plata under the command of Juan Diaz de Solís (1515), the changes that affected this territory were very slow for almost 300 years.
Between 1860 and 1915 Buenos Aires experienced an exponential growth. The “Gran Aldea” (Great Vil... more Between 1860 and 1915 Buenos Aires experienced an exponential growth. The “Gran Aldea” (Great Village) became a cosmopolitan city, which, despite its isolated geographic location, was one of the greatest cities of the world.
It was during this period of time of multiethnic and multicultural interaction, that tango developed its unique characteristics and became a cultural identity, a philosophy of life and a lifestyle.
How tango came to be is unknown. What we have is information about the history leading up to the ... more How tango came to be is unknown. What we have is information about the history leading up to the rise of Argentina as a state. From these facts, all we can do is speculate about how tango came to be. In 1805 and again in 1807, England tried to invade Buenos Aires, but was repealed successfully by the population, not by the Spanish army, which abandon the city. This paved the way for ideas of independence, which eventually led to the end of the Colonial system and, after a war against Spain and a civil war, the Argentine Republic unified during the decade of 1860. Most of the references related to tango point to this time to signify its origins. ! The first Argentinean Presidents promoted the immigration of the European workforce, defeated the indigenous people who had still claimed part of the Argentine territory, favored an economic model of production and export of agricultural goods, in accordance with British led ideas of international division of work, and invested in the technology and infrastructure that made possible such model. A modern port was constructed in the area of the Puerto Madero, and a railroad network that transported the whole production of the entire country to this port. Buenos Aires greatly benefitted from these changes and grew exponentially. Between 1871 and 1915, Argentina received 5 million immigrants, mostly Europeans. Almost all of them stayed in Buenos Aires. Buenos Aires, known at that time as " La Gran Aldea " (" The Great Village "), also received other immigrants from the countryside who had been displaced. The gauchos' natural environment was the Pampas, which became private property of the new landowners. Also, the " chinas " , who were indigenous women whose men were killed in battle, defending their territory.
El artículo "History Of Tango – Part 12: El Cachafaz and the Dancers of the Early 20th Century" e... more El artículo "History Of Tango – Part 12: El Cachafaz and the Dancers of the Early 20th Century" examina la figura de El Cachafaz, uno de los bailarines más icónicos del tango en el Buenos Aires de principios del siglo XX. A través de una narrativa histórica, se explora cómo su infancia en un barrio humilde y su temprana pasión por el tango lo llevaron a convertirse en un referente del baile. El artículo no solo traza su evolución como bailarín, sino que también destaca la influencia de otros personajes clave en su estilo y la transformación del tango desde los márgenes sociales hacia su aceptación en clases más altas. Asimismo, se analiza cómo su estilo único y su dedicación al arte del tango lo llevaron a la fama internacional, representando un periodo crucial en la historia del tango y su expansión global. A través de anécdotas y contextos históricos, se ofrece una visión profunda de cómo El Cachafaz y otros bailarines de su época contribuyeron a la identidad cultural del tango, tanto en Argentina como en el extranjero.
The article "History Of Tango – Part 12: El Cachafaz and the Dancers of the Early 20th Century" d... more The article "History Of Tango – Part 12: El Cachafaz and the Dancers of the Early 20th Century" delves into the lives and legacies of influential tango dancers during the early 20th century, focusing on the iconic figure of El Cachafaz. It explores how tango, originally rooted in marginalized neighborhoods of Buenos Aires, evolved into a respected dance form embraced by higher social classes. Through detailed accounts of El Cachafaz's life, from his humble beginnings to his rise as a tango legend, the article highlights the transformative power of dance in shaping cultural identity. It also discusses the contributions of other significant dancers such as Pedrín, Bernabé Simarra, and Casimiro Aín, emphasizing their roles in popularizing tango internationally. The narrative illustrates how these dancers not only defined the aesthetics of tango but also played crucial roles in its social acceptance and global dissemination. The article concludes by reflecting on the enduring legacy of these pioneers, whose innovative styles and performances continue to influence the art of tango today.
Las letras de tango y su relación con el baile Este artículo da inicio a una serie de artículos s... more Las letras de tango y su relación con el baile Este artículo da inicio a una serie de artículos sobre las letras de Tango. Quiero dedicarlo a mi hermano Carlos Daniel Solís, recientemente fallecido el 28 de abril de 2024, a los 56 años. Que en paz descanse.
This article marks the beginning of a series on the lyrics of Tango. I wish to dedicate it to my ... more This article marks the beginning of a series on the lyrics of Tango. I wish to dedicate it to my brother, Carlos Daniel Solís, who recently passed away on April 28, 2024, at the age of 56. May he rest in peace.
Las concertinas fueron concebidas como una mejora del acordeón: la primeras concertinas, inventad... more Las concertinas fueron concebidas como una mejora del acordeón: la primeras concertinas, inventada en 1829 en Inglaterra por Sir Charles Wheatstone, y 1834 en Alemania por Carl Friedrich Uhlig, tenía cinco botones a cada lado de la caja, donde cada botón puede tocar dos diferentes notas al abrir o cerrar el fuelle.
**Abstract**
This paper explores the historical journey of the bandoneon and its integral role i... more **Abstract**
This paper explores the historical journey of the bandoneon and its integral role in shaping Argentine Tango. Originally invented in Germany as an improvement of the concertina, the bandoneon became central to Tango music in Buenos Aires. The instrument's evolution, from Heinrich Band's modifications to the 71-button version preferred by Tango musicians, is detailed. The bandoneon's introduction to Argentina in 1870 and its gradual acceptance by Tango musicians is examined, highlighting key figures such as Juan Maglio and Vicente Greco who popularized its use. The paper delves into the technical and expressive qualities of the bandoneon that made it indispensable for Tango, providing a nuanced discussion of its impact on the genre's development and its cultural significance.
**Abstract**
This part of the "Historia del Tango" series focuses on José Martínez, a renowned p... more **Abstract**
This part of the "Historia del Tango" series focuses on José Martínez, a renowned pianist and composer known for his intuitive musical talent despite having no formal music education. Born on January 28, 1890, Martínez, nicknamed "El Gallego," played by ear and relied on other musicians to transcribe his compositions. His career began in 1911, and he formed various musical groups, including collaborations with Francisco Canaro and Eduardo Arolas. Martínez was known for improvising melodies during performances, contributing to numerous lasting tangos. He also worked with theatrical companies and composed notable pieces like "Polvorín" and "De vuelta al bulín," recorded by Carlos Gardel. Despite retiring from music in 1928, Martínez left a legacy of tangos that remain popular in milongas today. He died on July 27, 1939, at the age of 49.
José Martínez (28 de enero de 1890 - 27 de julio de 1939) fue un destacado pianista y compositor ... more José Martínez (28 de enero de 1890 - 27 de julio de 1939) fue un destacado pianista y compositor de tango, conocido por su capacidad intuitiva para la música a pesar de no haber recibido una educación formal en esta disciplina. Apodado "El Gallego", se defendía diciendo que, aunque su apellido era español, era argentino de varias generaciones. Aprendió a tocar el piano de oído, observando a sus amigos, y sus composiciones eran transcritas por otros músicos, como Eduardo Arolas y Francisco Canaro.
Martínez comenzó su carrera profesional en 1911 con un trío, y su primera obra transcrita fue "Pura uva". Durante su carrera, trabajó con numerosas orquestas y músicos destacados de la época, incluidos Arolas y Canaro, y en varios momentos lideró su propia orquesta, actuando en lugares emblemáticos como el cabaret L’Abbaye en Buenos Aires.
A pesar de sus periodos de alejamiento de la música para trabajar en empleos asalariados, dejó una profunda huella en el tango. Algunas de sus composiciones más famosas incluyen "Polvorín" y "De vuelta al bulín", ambas grabadas por Carlos Gardel. Fue miembro fundador de la entidad que más tarde se convertiría en SADAIC, la sociedad de autores y compositores de Argentina.
Martínez se retiró de la música a fines de 1928 y falleció a los 49 años, dejando un legado de tangos que siguen siendo apreciados y bailados en las milongas actuales. Sus obras reflejan la belleza y profundidad del tango argentino, consolidándolo como una figura inolvidable en la historia de este género musical.
**Abstract:**
This document, "History of Tango – Part 10: Agustín Bardi. The Composer for the Fu... more **Abstract:**
This document, "History of Tango – Part 10: Agustín Bardi. The Composer for the Future of Tango," provides an in-depth biography of Agustín Bardi, a fundamental figure in the evolution of Argentine tango. It explores his life from his beginnings in Las Flores to his move to Buenos Aires, where he began his musical career. The text highlights his achievements as a composer and his transition from the violin to the piano, as well as his influence in the formation of the Argentine Society of Authors and Composers of Music (SADAIC). Additionally, it examines his compositions that were ahead of their time, his unique style, and the admiration he garnered among other musicians. This article is essential for understanding Bardi's depth and impact on popular Argentine music and the history of tango.
A una temprana edad fue enviado por sus padres a la casa de unos parientes que vivían en la capit... more A una temprana edad fue enviado por sus padres a la casa de unos parientes que vivían en la capital, en el barrio de Barracas, para cursar la escuela primaria. En esta casa comenzó también su aprendizaje musical, estudiando guitarra con un pariente. A los ocho años de edad, integró una comparsa de carnaval, sobresaliendo por su destreza como guitarrista. A los trece años ingresó a trabajar como aprendiz de telegrafista en Ferrocarril del Sud, y en 1904 fue convocado a cumplir con el servicio militar obligatorio.
Eduardo Arolas, as a composer, took Tango to a more elaborate level with the force of his origina... more Eduardo Arolas, as a composer, took Tango to a more elaborate level with the force of his originality.
In 1909, when Eduardo Arolas composed “Una noche de garufa”, he had not yet acquired a formalized musical education.
He was 17 years old.Eduardo Arolas at 18 (1910). Escuela de Tango de Buenos Aires. Argentina.
Still, in his first composition, all the elements of his style are present, bursting out into the world, for the amusement of all of those who, like me, love Tango. This quality cannot be attributed to any other Tango composer. None of his colleagues had a defined style during their first compositions and would need many years to develop it. Arolas’ works have such advanced characteristics, that they will keep forever surprising Tango lovers wondering how, what inspiration, and from which source Arolas extracted them.
Eduardo Arolas, como compositor, llevó al Tango a un nivel más elaborado con la fuerza de su orig... more Eduardo Arolas, como compositor, llevó al Tango a un nivel más elaborado con la fuerza de su originalidad.
En 1909, cuando Eduardo Arolas compuso "Una noche de garufa", aún no había adquirido una educación musical formalizada. Tenía 17 años.
Aún así, en su primera composición, todos los elementos de su estilo están presentes, estallando en el mundo, para regocijo de todos aquellos que, como yo, aman el Tango.
Esta cualidad no puede atribuirse a ningún otro compositor de Tango.
Ninguno de sus colegas tenía un estilo definido durante sus primeras composiciones y necesitarían muchos años para desarrollarlo. Las obras de Arolas tienen características tan avanzadas, que continuarán sorprendiendo por siempre a los amantes del Tango, preguntándose cómo, con qué inspiración y de qué fuente las extrajo.
Roberto Firpo is one of the first evolutionists of Tango as a director, interpreter, and composer... more Roberto Firpo is one of the first evolutionists of Tango as a director, interpreter, and composer.
In those initial days of the “Orquesta Típica”, he definitively established the piano in the tango orchestra, which displaced the guitar, but his way of playing the piano borrowed a lot from the way of playing the guitar in Tango and in the native music of the gauchos, for instance the “bordoneo”, a technique used to embellish the melody with notes from the sixth string of the guitar -the lowest pitched string, called “bordona”.
We would like to tell you about the early life of Francisco Canaro. According to Tango historian ... more We would like to tell you about the early life of Francisco Canaro. According to Tango historian Orlando Del Greco “In this name, all the Tango is summarized”.
Francisco Canaro, artistic name of Francisco Canaroso, was born in Uruguay in 1888.
The first stablished musical formation for the interpretation of tango music was the trio, integr... more The first stablished musical formation for the interpretation of tango music was the trio, integrated by harp or guitar, flute or clarinete, and violin. These trios did not produce any recordings, but we can be sure enough, according to testimonials, that they played a faster and more " staccato " rhythm, which was slowed down and shaped into a more " legato " sound with the arrival of the bandoneon. At the beginning of the 1900, the word " tango " was still considered inappropriate. As an example, when José Luis Roncallo performed for the first time " El choclo " at the restaurant El Americano, in 1903, he presented it as " danza criolla " .
During the 1870s arrives to Buenos Aires a very particular immigrant: the bandoneon.
Tango was in... more During the 1870s arrives to Buenos Aires a very particular immigrant: the bandoneon. Tango was in its infancy, as well as this new instrument, which was recently invented in 1846 in Germany by Heinrich Band, according to some versions, or Carl F. Zimmerman, according to others. None had patented it.
In my own experience, all the GREAT MILONGUEROS that I have met in my life, many of whom I had th... more In my own experience, all the GREAT MILONGUEROS that I have met in my life, many of whom I had the fortune and the honor to have as my teachers, are (or were -in the case of those that have passed away-) GREAT PEOPLE, incredibly wise and have great sensitivity and common sense, reliable people, generous, respectable, and among many other wonderful qualities, the best at their day jobs and professions. And the bottom line is that for me, everything that I have achieved in my dance has made me a better person. And I still have room to improve.
The dance of tango originated in the second half of the XIX century, in the area designated Rio d... more The dance of tango originated in the second half of the XIX century, in the area designated Rio de la Plata, on the outskirts of port cities like Buenos Aires, Montevideo and Rosario.[1] Historically, this area was an important part of the Spanish Colonial Empire, which gained its independence from Feudalist Catholic Monarchic Spain towards integration into a Western capitalist globalized economy. This economic revolution was led by the United Kingdom and the United States, in the beginning of the 1800s, as a direct consequence of the transformations that swept through Europe due to the Industrial Revolution, the French Revolution and the Napoleonic Wars. The elite class that led this process of transformation, although not unified – as many internal conflicts arose after the final defeat of the Spanish Army – were inspired by the ideas of the French and American Revolutions, and saw the industrialized countries like the United Kingdom as beacons of civilization, superior to the models of a feudalist Spain, and Aboriginal Native nations of America. Since the arrival of the first Spanish expedition to the Rio de la Plata under the command of Juan Diaz de Solís (1515), the changes that affected this territory were very slow for almost 300 years.
Between 1860 and 1915 Buenos Aires experienced an exponential growth. The “Gran Aldea” (Great Vil... more Between 1860 and 1915 Buenos Aires experienced an exponential growth. The “Gran Aldea” (Great Village) became a cosmopolitan city, which, despite its isolated geographic location, was one of the greatest cities of the world.
It was during this period of time of multiethnic and multicultural interaction, that tango developed its unique characteristics and became a cultural identity, a philosophy of life and a lifestyle.
How tango came to be is unknown. What we have is information about the history leading up to the ... more How tango came to be is unknown. What we have is information about the history leading up to the rise of Argentina as a state. From these facts, all we can do is speculate about how tango came to be. In 1805 and again in 1807, England tried to invade Buenos Aires, but was repealed successfully by the population, not by the Spanish army, which abandon the city. This paved the way for ideas of independence, which eventually led to the end of the Colonial system and, after a war against Spain and a civil war, the Argentine Republic unified during the decade of 1860. Most of the references related to tango point to this time to signify its origins. ! The first Argentinean Presidents promoted the immigration of the European workforce, defeated the indigenous people who had still claimed part of the Argentine territory, favored an economic model of production and export of agricultural goods, in accordance with British led ideas of international division of work, and invested in the technology and infrastructure that made possible such model. A modern port was constructed in the area of the Puerto Madero, and a railroad network that transported the whole production of the entire country to this port. Buenos Aires greatly benefitted from these changes and grew exponentially. Between 1871 and 1915, Argentina received 5 million immigrants, mostly Europeans. Almost all of them stayed in Buenos Aires. Buenos Aires, known at that time as " La Gran Aldea " (" The Great Village "), also received other immigrants from the countryside who had been displaced. The gauchos' natural environment was the Pampas, which became private property of the new landowners. Also, the " chinas " , who were indigenous women whose men were killed in battle, defending their territory.
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Papers by Marcelo Solis
This paper explores the historical journey of the bandoneon and its integral role in shaping Argentine Tango. Originally invented in Germany as an improvement of the concertina, the bandoneon became central to Tango music in Buenos Aires. The instrument's evolution, from Heinrich Band's modifications to the 71-button version preferred by Tango musicians, is detailed. The bandoneon's introduction to Argentina in 1870 and its gradual acceptance by Tango musicians is examined, highlighting key figures such as Juan Maglio and Vicente Greco who popularized its use. The paper delves into the technical and expressive qualities of the bandoneon that made it indispensable for Tango, providing a nuanced discussion of its impact on the genre's development and its cultural significance.
This part of the "Historia del Tango" series focuses on José Martínez, a renowned pianist and composer known for his intuitive musical talent despite having no formal music education. Born on January 28, 1890, Martínez, nicknamed "El Gallego," played by ear and relied on other musicians to transcribe his compositions. His career began in 1911, and he formed various musical groups, including collaborations with Francisco Canaro and Eduardo Arolas. Martínez was known for improvising melodies during performances, contributing to numerous lasting tangos. He also worked with theatrical companies and composed notable pieces like "Polvorín" and "De vuelta al bulín," recorded by Carlos Gardel. Despite retiring from music in 1928, Martínez left a legacy of tangos that remain popular in milongas today. He died on July 27, 1939, at the age of 49.
Martínez comenzó su carrera profesional en 1911 con un trío, y su primera obra transcrita fue "Pura uva". Durante su carrera, trabajó con numerosas orquestas y músicos destacados de la época, incluidos Arolas y Canaro, y en varios momentos lideró su propia orquesta, actuando en lugares emblemáticos como el cabaret L’Abbaye en Buenos Aires.
A pesar de sus periodos de alejamiento de la música para trabajar en empleos asalariados, dejó una profunda huella en el tango. Algunas de sus composiciones más famosas incluyen "Polvorín" y "De vuelta al bulín", ambas grabadas por Carlos Gardel. Fue miembro fundador de la entidad que más tarde se convertiría en SADAIC, la sociedad de autores y compositores de Argentina.
Martínez se retiró de la música a fines de 1928 y falleció a los 49 años, dejando un legado de tangos que siguen siendo apreciados y bailados en las milongas actuales. Sus obras reflejan la belleza y profundidad del tango argentino, consolidándolo como una figura inolvidable en la historia de este género musical.
This document, "History of Tango – Part 10: Agustín Bardi. The Composer for the Future of Tango," provides an in-depth biography of Agustín Bardi, a fundamental figure in the evolution of Argentine tango. It explores his life from his beginnings in Las Flores to his move to Buenos Aires, where he began his musical career. The text highlights his achievements as a composer and his transition from the violin to the piano, as well as his influence in the formation of the Argentine Society of Authors and Composers of Music (SADAIC). Additionally, it examines his compositions that were ahead of their time, his unique style, and the admiration he garnered among other musicians. This article is essential for understanding Bardi's depth and impact on popular Argentine music and the history of tango.
In 1909, when Eduardo Arolas composed “Una noche de garufa”, he had not yet acquired a formalized musical education.
He was 17 years old.Eduardo Arolas at 18 (1910). Escuela de Tango de Buenos Aires. Argentina.
Still, in his first composition, all the elements of his style are present, bursting out into the world, for the amusement of all of those who, like me, love Tango. This quality cannot be attributed to any other Tango composer. None of his colleagues had a defined style during their first compositions and would need many years to develop it. Arolas’ works have such advanced characteristics, that they will keep forever surprising Tango lovers wondering how, what inspiration, and from which source Arolas extracted them.
En 1909, cuando Eduardo Arolas compuso "Una noche de garufa", aún no había adquirido una educación musical formalizada. Tenía 17 años.
Aún así, en su primera composición, todos los elementos de su estilo están presentes, estallando en el mundo, para regocijo de todos aquellos que, como yo, aman el Tango.
Esta cualidad no puede atribuirse a ningún otro compositor de Tango.
Ninguno de sus colegas tenía un estilo definido durante sus primeras composiciones y necesitarían muchos años para desarrollarlo. Las obras de Arolas tienen características tan avanzadas, que continuarán sorprendiendo por siempre a los amantes del Tango, preguntándose cómo, con qué inspiración y de qué fuente las extrajo.
In those initial days of the “Orquesta Típica”, he definitively established the piano in the tango orchestra, which displaced the guitar, but his way of playing the piano borrowed a lot from the way of playing the guitar in Tango and in the native music of the gauchos, for instance the “bordoneo”, a technique used to embellish the melody with notes from the sixth string of the guitar -the lowest pitched string, called “bordona”.
Francisco Canaro, artistic name of Francisco Canaroso, was born in Uruguay in 1888.
Tango was in its infancy, as well as this new instrument, which was recently invented in 1846 in Germany by Heinrich Band, according to some versions, or Carl F. Zimmerman, according to others. None had patented it.
And the bottom line is that for me, everything that I have achieved in my dance has made me a better person.
And I still have room to improve.
Historically, this area was an important part of the Spanish Colonial Empire, which gained its independence from Feudalist Catholic Monarchic Spain towards integration into a Western capitalist globalized economy. This economic revolution was led by the United Kingdom and the United States, in the beginning of the 1800s, as a direct consequence of the transformations that swept through Europe due to the Industrial Revolution, the French Revolution and the Napoleonic Wars.
The elite class that led this process of transformation, although not unified – as many internal conflicts arose after the final defeat of the Spanish Army – were inspired by the ideas of the French and American Revolutions, and saw the industrialized countries like the United Kingdom as beacons of civilization, superior to the models of a feudalist Spain, and Aboriginal Native nations of America.
Since the arrival of the first Spanish expedition to the Rio de la Plata under the command of Juan Diaz de Solís (1515), the changes that affected this territory were very slow for almost 300 years.
It was during this period of time of multiethnic and multicultural interaction, that tango developed its unique characteristics and became a cultural identity, a philosophy of life and a lifestyle.
This paper explores the historical journey of the bandoneon and its integral role in shaping Argentine Tango. Originally invented in Germany as an improvement of the concertina, the bandoneon became central to Tango music in Buenos Aires. The instrument's evolution, from Heinrich Band's modifications to the 71-button version preferred by Tango musicians, is detailed. The bandoneon's introduction to Argentina in 1870 and its gradual acceptance by Tango musicians is examined, highlighting key figures such as Juan Maglio and Vicente Greco who popularized its use. The paper delves into the technical and expressive qualities of the bandoneon that made it indispensable for Tango, providing a nuanced discussion of its impact on the genre's development and its cultural significance.
This part of the "Historia del Tango" series focuses on José Martínez, a renowned pianist and composer known for his intuitive musical talent despite having no formal music education. Born on January 28, 1890, Martínez, nicknamed "El Gallego," played by ear and relied on other musicians to transcribe his compositions. His career began in 1911, and he formed various musical groups, including collaborations with Francisco Canaro and Eduardo Arolas. Martínez was known for improvising melodies during performances, contributing to numerous lasting tangos. He also worked with theatrical companies and composed notable pieces like "Polvorín" and "De vuelta al bulín," recorded by Carlos Gardel. Despite retiring from music in 1928, Martínez left a legacy of tangos that remain popular in milongas today. He died on July 27, 1939, at the age of 49.
Martínez comenzó su carrera profesional en 1911 con un trío, y su primera obra transcrita fue "Pura uva". Durante su carrera, trabajó con numerosas orquestas y músicos destacados de la época, incluidos Arolas y Canaro, y en varios momentos lideró su propia orquesta, actuando en lugares emblemáticos como el cabaret L’Abbaye en Buenos Aires.
A pesar de sus periodos de alejamiento de la música para trabajar en empleos asalariados, dejó una profunda huella en el tango. Algunas de sus composiciones más famosas incluyen "Polvorín" y "De vuelta al bulín", ambas grabadas por Carlos Gardel. Fue miembro fundador de la entidad que más tarde se convertiría en SADAIC, la sociedad de autores y compositores de Argentina.
Martínez se retiró de la música a fines de 1928 y falleció a los 49 años, dejando un legado de tangos que siguen siendo apreciados y bailados en las milongas actuales. Sus obras reflejan la belleza y profundidad del tango argentino, consolidándolo como una figura inolvidable en la historia de este género musical.
This document, "History of Tango – Part 10: Agustín Bardi. The Composer for the Future of Tango," provides an in-depth biography of Agustín Bardi, a fundamental figure in the evolution of Argentine tango. It explores his life from his beginnings in Las Flores to his move to Buenos Aires, where he began his musical career. The text highlights his achievements as a composer and his transition from the violin to the piano, as well as his influence in the formation of the Argentine Society of Authors and Composers of Music (SADAIC). Additionally, it examines his compositions that were ahead of their time, his unique style, and the admiration he garnered among other musicians. This article is essential for understanding Bardi's depth and impact on popular Argentine music and the history of tango.
In 1909, when Eduardo Arolas composed “Una noche de garufa”, he had not yet acquired a formalized musical education.
He was 17 years old.Eduardo Arolas at 18 (1910). Escuela de Tango de Buenos Aires. Argentina.
Still, in his first composition, all the elements of his style are present, bursting out into the world, for the amusement of all of those who, like me, love Tango. This quality cannot be attributed to any other Tango composer. None of his colleagues had a defined style during their first compositions and would need many years to develop it. Arolas’ works have such advanced characteristics, that they will keep forever surprising Tango lovers wondering how, what inspiration, and from which source Arolas extracted them.
En 1909, cuando Eduardo Arolas compuso "Una noche de garufa", aún no había adquirido una educación musical formalizada. Tenía 17 años.
Aún así, en su primera composición, todos los elementos de su estilo están presentes, estallando en el mundo, para regocijo de todos aquellos que, como yo, aman el Tango.
Esta cualidad no puede atribuirse a ningún otro compositor de Tango.
Ninguno de sus colegas tenía un estilo definido durante sus primeras composiciones y necesitarían muchos años para desarrollarlo. Las obras de Arolas tienen características tan avanzadas, que continuarán sorprendiendo por siempre a los amantes del Tango, preguntándose cómo, con qué inspiración y de qué fuente las extrajo.
In those initial days of the “Orquesta Típica”, he definitively established the piano in the tango orchestra, which displaced the guitar, but his way of playing the piano borrowed a lot from the way of playing the guitar in Tango and in the native music of the gauchos, for instance the “bordoneo”, a technique used to embellish the melody with notes from the sixth string of the guitar -the lowest pitched string, called “bordona”.
Francisco Canaro, artistic name of Francisco Canaroso, was born in Uruguay in 1888.
Tango was in its infancy, as well as this new instrument, which was recently invented in 1846 in Germany by Heinrich Band, according to some versions, or Carl F. Zimmerman, according to others. None had patented it.
And the bottom line is that for me, everything that I have achieved in my dance has made me a better person.
And I still have room to improve.
Historically, this area was an important part of the Spanish Colonial Empire, which gained its independence from Feudalist Catholic Monarchic Spain towards integration into a Western capitalist globalized economy. This economic revolution was led by the United Kingdom and the United States, in the beginning of the 1800s, as a direct consequence of the transformations that swept through Europe due to the Industrial Revolution, the French Revolution and the Napoleonic Wars.
The elite class that led this process of transformation, although not unified – as many internal conflicts arose after the final defeat of the Spanish Army – were inspired by the ideas of the French and American Revolutions, and saw the industrialized countries like the United Kingdom as beacons of civilization, superior to the models of a feudalist Spain, and Aboriginal Native nations of America.
Since the arrival of the first Spanish expedition to the Rio de la Plata under the command of Juan Diaz de Solís (1515), the changes that affected this territory were very slow for almost 300 years.
It was during this period of time of multiethnic and multicultural interaction, that tango developed its unique characteristics and became a cultural identity, a philosophy of life and a lifestyle.