Recuerdos de Milonga

Featuring Tita Merello . Se Dice De Mi . The Tango Lesson . Milonga De Mis Amores . Valentina Gardes . Milonga Sentimental . Virginia Luque . Arce . Montes Milonga Criolla . Cem “Gem” Duruoz . Jorge “Coco” Trivisonno . La Trampera . Astor Piazzolla . Milonga Del Angel . Los Hermanos Macana . Renato Borghetti . Milonga Para As Missões . Milonga De Manuel Flores Troilo. Borges . : The Habanera and the Polka played a part in the Argentine Dance> known as the’Milonga’ (“Poor Mans Habanera”). The Milonga originated as a song with lively improvisations and a peppy tempo. When this tempo was quieted down and steps were added to it making the Milonga the first known Tango but had not yet been named as such. However the Milonga was very popular by the 1870’s.

Anibal Troilo : He is, because he never left us, the tango most loved by his contemporaries and even recpected by the new generations. His body of work not of his death only encompasses great creations but is also includes interpretations which constitutes hits from Buenos Aires city music. “Gordo Pichuco” represents a piece of history not only of tango but of this city nigth’s life.

Todo Tango : From then on, D’Arienzo continued linked to theater. Always with D’Agostino on piano, he accompanied Evita Franco, who was his same age and beautifully sang tangos like “Loca”, “Entra nomás” or “Pobre milonga”; he played his violin in the Frederickson jazz band and assembled an orchestra with D’Agostino, in which the latter, naturally, played piano; the other violin was Mazzeo; on bandoneons were Anselmo Aieta and Ernesto Bianchi, and Juan Puglisi on bass.

Gardel Web : ” I get to record twenty songs each month. In addition to the recording, which in that form has to be almost daily, taking into account the instrumentation, the harmonization of guitars, the modifications that should always be introduced, so that the song and the instruments work well, and it will be visible what is my life; very pleasant, I cannot complain, only about the continuous work.” (Gardel’s comment for: La Nación, Buenos Aires, June 30, 1929).

ToTango : Born Pedro Blanco Acosta, Pedro Láurenz came to prominence with De Caro as he and Pedro Maffia (Laurenz’ idol) stunned the tango musicians around them with their unique approaches to the bandoneón. A whole generation of musicians seem to gravitate to the style of one or the other. Two who followed his way, and became giants themselves, were Aníbal Troilo and Osvaldo Ruggiero (Pugliese, Sexteto Tango). : Francisco Lomuto’s career closely followed that of his friend and mentor Francisco Canaro. The orchestra he formed had a strong beat and can always be recognised by the characteristic ending of the tangos on a diminshed seventh cadence.

Antonio Agri on Wikipedia : The diminutive violinist was invited to take part in world-renowned cellist Yo-Yo Ma’s dedication to Ástor Piazzolla, Soul of the Tango, in 1997. Following the album’s recording, Agri joined the famous cellist on his promotional tour for the album. Agri’s health, however, forced him to return to Buenos Aires. He was featured in Carlos Saura’s Tango, and shortly after its premiere, Agri lost a battle with cancer on October 17, 1998, at age 66

Irene and Man Yung’s Tango Blog : Oh, that incredible voice! That delivery that breathes and speaks of the streets of Buenos Aires! We can’t get enough of Angel Vargas – preferably singing with the orchestra of Angel D’Agostino, but we’ll take later Vargas with his own orchestra just as well. We already have most of the commercially available Vargas tracks – but we’ll hunt down CDs that may have just one or two tracks with Vargas that we don’t already have. We can’t get enough of the singing of Angel Vargas.

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