The United Nations Educational, Scientific and Cultural Organisation aims to preserve a list of legacies under threat from global change. Argentina and Uruguay, where the dance originated, jointly submitted it. UNESCO said heritages seeking approval, transmit from “generation to generation” and give “communities and groups a feeling of identity”. It added that the dance “embodies and encourages diversity and cultural dialogue.” Argentinian official Hernan Lombardi said he was “very proud that the music and dance of the Tango have now been safeguarded for humanity.
(via bbc.co.uk)
Tango Topper of today: Enrique Rodriguez, responsible for the famous “Llorar, llorar por una mujer es quererla y no tenerla.”
Enrique Rodríguez was a complete functional musician, besides playing bandoneon, he equally played piano and violin or brandished the baton. He was talented and was fast to easily write simple arrangements and versions of consecrated classical and popular melodies of all countries, without depriving them of their essence of international beat. So the success of his orchestra was strengthened not only in our milieu, but also in the whole continent for the delight of listeners and dancers.
Juan D’Arienzo (1900-1976) was an Argentine tango musician, also known as “El Rey del Compas” (King of the Beat). Departing from other orchestras of the golden age, D’Arienzo returned to the 2×4 feel that characterized music of the old guard, but he used more modern arrangements and instrumentation. His popular group produced hundreds of recordings. His music is played often at milongas in Buenos Aires, and the instrumentals are the classic harder rhythmic tangos with a strong staccato dance rhythm.
1935 is the key year in D’Arienzo´s career; this is the year when the D’Arienzo we all remember really appeared. That happened when in his orchestra Rodolfo Biagi was included, a pianist who had played with Pacho, who had accompanied Gardel on some recordings, who had also played with Juan Guido and with Juan Canaro. D’Arienzo was performing at the Chantecler by then. Biaggi´s inclusion meant a change of time signature for D’Arienzo orchestra, which changed the four-eight for the two-four; that is to say, he returned to two-four, the fast frolic beat of the primitive tangos.
(todotango)
Carlos Di Sarli (January 7, 1903 – January 12, 1960) was an Argentine tango musician, orchestra leader, composer and pianist. Before starting his own tango orchestra, he played in Osvaldo Fresedo’s orchestra. He developed smooth, clean-sounding, powerful arrangements which his Orquesta típica and recorded 27 albums and 512 recordings are reported. His music is widely used by learner dancers because of its easy, danceable sound, and is played regularly in milongas for social tango dancing.
And what is the Top 10 of Di Sarli’s songs people listen to on last.fm (#1 and #2 are actually the same song):
Number three in our series of Tango Toppers: Rodolfo Biagi.
Rodolfo Alberto Biagi was born in the Buenos Aires district of San Telmo on March 14, 1906 to Sixto & Ana Maria Gil Landaburu. At the age 13 he graduated from the Conservatory de la Prensa where he had originally studied to be a concert violinist but gradually had converted to the piano. After earning his first money accompanying the silent films (from the piano keyboard) shown at the Colon cinema he was invited by the legendary Juan “Pacho” Maglio to play in his orchestra at barely 15 years of age, sharing the lectern with the celebrated viloinist Elvino Vadaro.
His top ‘hit’ is “Lagrimas y Sonrisas”, a tango vals you probably know.
The United Nations Educational, Scientific and Cultural Organisation aims to preserve a list of legacies under threat from global change. Argentina and Uruguay, where the dance originated, jointly submitted it. UNESCO said heritages seeking approval, transmit from “generation to generation” and give “communities and groups a feeling of identity”. It added that the dance “embodies and encourages diversity and cultural dialogue.” Argentinian official Hernan Lombardi said he was “very proud that the music and dance of the Tango have now been safeguarded for humanity.
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