Pinky And The Body And

SARO 'Mitrea ONLY!

VENERDi' 24 OTTOBRE: "ART&TANGO" Mitrea to
Rome, Via Mazzacurati, 63, (Casetta Mattei, Portuense) 22.30 00 /...,
Big Tango party @ london organized by Luca Lamberti: admission by donation (! !), closing time indefinite, for dancing till dawn ...
Info and booking tables: 335/1310425

Sunday, October 26: "ART & TANGO" to Mitrea
Rome, Via Mazzacurati, 63, (Casetta Mattei, Portuense), 19.30 / 24.00, € 7 , 00 with open buffet
Another Sunday by Silvia Colli and Luke Lambert.
In an art gallery, a beautiful circular track, with ample space around the tables, open sweet and savory buffet included in the entrance ... to close the week with a flourish!
Info and booking tables: 333/5300844

ALSO! THURSDAY 'October 23 THE RADIO! In fact, I'll still
Cecilia Herrera host the show "Tango Special" broadcast on RADIO MAMBO from 19.00 to 20.00, to hear talk of tango and its history.
The program can be heard:
from Rome on 106.9 FM;
:-))) from anywhere in the world on the Internet site of Radio Mambo http://www.mambo.it/ by clicking on controls for listening online.

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Un po' di storia

UN ARTICOLO SU EDUARDO AROLAS, EL TIGRE DEL BANDONEON

SECONDA PARTE (IL GENIO)

Eduardo Arolas è stato il rappresentante puro del romanticismo e del modernismo della “belle époque”, per il suo genio creativo, per la sua vita e per la sua morte.

Fu un precursore, sia come compositore, sia come direttore d’orchestra, sia naturalmente come bandoneonista.

In netto anticipo sui suoi tempi, compose brani dalla struttura moderna e complessa, piena di possibilità per arrangiamenti e variazioni.

Come direttore d’orchestra, including instruments that nobody so far had taken into account, such as the cello, saxophone, banjo.

How bandoneon, created new modes of execution, adding intensity and color of the musical phrase, putting themselves in harmony with the city and its neighborhoods, felt as his own.

His interpretation of the bandoneon and the melancholy of the people of the barrios of those times were one voice, one melodious and nostalgic lament.

and melodies are the most of his tangos, although many of these different bands have also given them a rhythm "darts" and fast.

Purtroppo, la scarsa qualità delle registrazioni delle esecuzioni al bandoneon di Arolas non rende piena giustizia al suo talento, ma l’importanza della sua figura è fuori discussione.

Disse di lui Julio De Caro: “Fue un ejecutante magistral, el creador del rezongo y del fraseo. Sus tangos son como la óperas, se mantienen a través de los años. Interpretaba con su bandoneón el idioma del pueblo, el idioma porteño. Y sus tangos estaban escritos ajustados al tango, con tónicas dominantes, con armonización y con la virtud que otros pudieran ejecutarlos”.

Ancora giovanissimo, raggiunge la piena maturità artistica.

the period 1913-1916 which date back tangos Derecho Viejo, La Guitarra, Rawson, Artificiales Fuegos (written with Roberto Firpo).

form his own orchestra in 1914 and 1916, the final year of his consecration, will include professionals and young talents such as Roberto Goyeneche (father), Louis Bernstein, Julio De Caro, Rafael Tuegols, Manuel Pizarro.Compone tangos which Retintin and Lagrimas (1917), Catamarca and Maipo (1918), El Marne (1919).

count among his disciples, Osvaldo Pugliese, collecting hits in Montevideo, traveling in Europe and in France in 1920, thus realizing a dream, however, common to many artists at that time Porten. In 1921 he composed The
Cachila, considered by many his masterpiece.

END PART TWO. THE FIRST PART 'WAS PUBLISHED IN THE PREVIOUS POST. THE THIRD AND FINAL WILL BE 'NEXT PUBLISHED ON THIS BLOG
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Article by Armando Tatafiore and Romina Romano of January 7, 2007

Reproduction

Sources: Hector Herne, Ricardo Garcia Blaya, Oscar Marmol, Nestor Pinson