10tango Live History
Tango is one of the richest and most complex cultural phenomena in the Americas. Born a little over a century in the River Plate, as a form of music, poetry and dance. Its history, exciting; its present, flourishing. \n\n Throughout the 20th century, great creators and interpreters led tango to culminating expressions. And left the testimony of their talent on the screen. \n\n 10 Tango Live History recovers the amazing archives of tango, national cinema and argentine television, and invites you to walk through the history of the genre through clips and documentaries gathering its key artists.
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Gardel Classic II
Carlos Gardel (1890-1935) was the singer who created the tango-song. His performance of Mi noche triste, in 1917, laid the ground for the subsequent development of the genre, of which he is the emblematic figure. His own tangos Volver and Mi Buenos Aires Querido, and his song El día que me quieras are emblematic titles of his repertoire and pillars of the genre. As a star in the booming film industry of the 1930s, he made films in France and the United States. He performed in Europe and the United States, where his continental stardom gave rise to the tour in which a fateful accident ended his life, right at the peak of his fame. \n\n The circumstances of his birth and his childhood have caused long debates among his biographers. His professional background dates back to the end of the first decade of the twentieth century, in the Abasto neighborhood in Buenos Aires. Initially devoted to folk songs, Gardel performed as solo singer and then in duets and quartets with other singers and guitar players. In 1913, he formed a solid duet with José Razzano. In 1917, his career changed tracks when he performed tango for the first time in public, Mi noche triste: from then on, his repertoire revolved mostly around that genre (even though he did not entirely set aside other rhythms) and even when his strong personality overshadowed Razzano, they continued working together until 1925. \n\n Gardel then split and struck out on his own as a solo singer, with a remarkable career in Argentina, his adoptive country, Europe France and Spain and the United States. The movies provided him with incredible international renown. His films include a silent feature (Flor de durazno, 1917) and other musical shorts made in Argentina by Eduardo Morera, ahead of the concept of video-clip by several decades (1930). Between 1931 and 1932 he made four movies in France (Luces de Buenos Aires, Espérame, La casa es seria and Melodía de arrabal) and just as many others in the United States, between 1934 and 1935 (El Tango en Brodway, Cuesta abajo, El día que me quieras and Tango Bar), in addition to a special performance in the American movie Cazadores de estrellas (1934). \n\n As a songwriter, he had a prolific production in which the most remarkable works are: "Mano a mano", "El día que me quieras", "Soledad", "Melodía de arrabal", "Arrabal amargo", "Volver", "Silencio", "Cuando tu no estás", "Mi Buenos Aires querido", "Cuesta abajo", "Amores de estudiante", among other titles. His songs for movies generally had lyrics by Alfredo Le Pera, with whom he formed a productive partnership. Great poets such as Enrique Santos Discépolo, Enrique Cadícamo and Celedonio Flores owe him the popularity of their poems. He usually sang accompanied by guitars: José María Aguilar, Guillermo Barbieri, José Ricardo and Angel Domingo Riverol were some of his musicians. On different occasions, he recorded with tango orchestras such as that of Roberto Firpo, Francisco Canaro and Osvaldo Fresedo. In his American movies, he sang with an orchestra conducted by Terig Tucci. On June 24, 1935, he was on a continental tour when he had a fatal accident at the airport of Medelín, Colombia. From the day of his death, his myth has been worshipped. His remains, repatriated, were accompanied by an anguished crowd to the Chacarita cemetery, and his films and records currently have a cult following that has withstood the passage of time. For all the subsequent generations of tango singers, Gardel has been an inevitable model and parameter. He has had his fair share of imitators proclaiming to be his heirs, but even though no tango singer has reached an artistic or celebrity dimension even close to that of Gardel, to a larger or lesser degree, every one of them may be considered to be the heir to his fundamental contribution to this genre.
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Gardel Classic I
Carlos Gardel (1890-1935) was the singer who created the tango-song. His performance of Mi noche triste, in 1917, laid the ground for the subsequent development of the genre, of which he is the emblematic figure. His own tangos Volver and Mi Buenos Aires Querido, and his song El día que me quieras are emblematic titles of his repertoire and pillars of the genre. As a star in the booming film industry of the 1930s, he made films in France and the United States. He performed in Europe and the United States, where his continental stardom gave rise to the tour in which a fateful accident ended his life, right at the peak of his fame. \n\n The circumstances of his birth and his childhood have caused long debates among his biographers. His professional background dates back to the end of the first decade of the twentieth century, in the Abasto neighborhood in Buenos Aires. Initially devoted to folk songs, Gardel performed as solo singer and then in duets and quartets with other singers and guitar players. In 1913, he formed a solid duet with José Razzano. In 1917, his career changed tracks when he performed tango for the first time in public, Mi noche triste: from then on, his repertoire revolved mostly around that genre (even though he did not entirely set aside other rhythms) and even when his strong personality overshadowed Razzano, they continued working together until 1925. \n\n Gardel then split and struck out on his own as a solo singer, with a remarkable career in Argentina, his adoptive country, Europe France and Spain and the United States. The movies provided him with incredible international renown. His films include a silent feature (Flor de durazno, 1917) and other musical shorts made in Argentina by Eduardo Morera, ahead of the concept of video-clip by several decades (1930). Between 1931 and 1932 he made four movies in France (Luces de Buenos Aires, Espérame, La casa es seria and Melodía de arrabal) and just as many others in the United States, between 1934 and 1935 (El Tango en Brodway, Cuesta abajo, El día que me quieras and Tango Bar), in addition to a special performance in the American movie Cazadores de estrellas (1934). \n\n As a songwriter, he had a prolific production in which the most remarkable works are: "Mano a mano", "El día que me quieras", "Soledad", "Melodía de arrabal", "Arrabal amargo", "Volver", "Silencio", "Cuando tu no estás", "Mi Buenos Aires querido", "Cuesta abajo", "Amores de estudiante", among other titles. His songs for movies generally had lyrics by Alfredo Le Pera, with whom he formed a productive partnership. Great poets such as Enrique Santos Discépolo, Enrique Cadícamo and Celedonio Flores owe him the popularity of their poems. He usually sang accompanied by guitars: José María Aguilar, Guillermo Barbieri, José Ricardo and Angel Domingo Riverol were some of his musicians. On different occasions, he recorded with tango orchestras such as that of Roberto Firpo, Francisco Canaro and Osvaldo Fresedo. In his American movies, he sang with an orchestra conducted by Terig Tucci. On June 24, 1935, he was on a continental tour when he had a fatal accident at the airport of Medelín, Colombia. From the day of his death, his myth has been worshipped. His remains, repatriated, were accompanied by an anguished crowd to the Chacarita cemetery, and his films and records currently have a cult following that has withstood the passage of time. For all the subsequent generations of tango singers, Gardel has been an inevitable model and parameter. He has had his fair share of imitators proclaiming to be his heirs, but even though no tango singer has reached an artistic or celebrity dimension even close to that of Gardel, to a larger or lesser degree, every one of them may be considered to be the heir to his fundamental contribution to this genre.
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Carlos Gardel - Great Hits
Carlos Gardel (1890-1935) was the singer who created the tango-song. His performance of Mi noche triste, in 1917, laid the ground for the subsequent development of the genre, of which he is the emblematic figure. His own tangos Volver and Mi Buenos Aires Querido, and his song El día que me quieras are emblematic titles of his repertoire and pillars of the genre. As a star in the booming film industry of the 1930s, he made films in France and the United States. He performed in Europe and the United States, where his continental stardom gave rise to the tour in which a fateful accident ended his life, right at the peak of his fame. \n\n The circumstances of his birth and his childhood have caused long debates among his biographers. His professional background dates back to the end of the first decade of the twentieth century, in the Abasto neighborhood in Buenos Aires. Initially devoted to folk songs, Gardel performed as solo singer and then in duets and quartets with other singers and guitar players. In 1913, he formed a solid duet with José Razzano. In 1917, his career changed tracks when he performed tango for the first time in public, Mi noche triste: from then on, his repertoire revolved mostly around that genre (even though he did not entirely set aside other rhythms) and even when his strong personality overshadowed Razzano, they continued working together until 1925. \n\n Gardel then split and struck out on his own as a solo singer, with a remarkable career in Argentina, his adoptive country, Europe France and Spain and the United States. The movies provided him with incredible international renown. His films include a silent feature (Flor de durazno, 1917) and other musical shorts made in Argentina by Eduardo Morera, ahead of the concept of video-clip by several decades (1930). Between 1931 and 1932 he made four movies in France (Luces de Buenos Aires, Espérame, La casa es seria and Melodía de arrabal) and just as many others in the United States, between 1934 and 1935 (El Tango en Brodway, Cuesta abajo, El día que me quieras and Tango Bar), in addition to a special performance in the American movie Cazadores de estrellas (1934). \n\n As a songwriter, he had a prolific production in which the most remarkable works are: "Mano a mano", "El día que me quieras", "Soledad", "Melodía de arrabal", "Arrabal amargo", "Volver", "Silencio", "Cuando tu no estás", "Mi Buenos Aires querido", "Cuesta abajo", "Amores de estudiante", among other titles. His songs for movies generally had lyrics by Alfredo Le Pera, with whom he formed a productive partnership. Great poets such as Enrique Santos Discépolo, Enrique Cadícamo and Celedonio Flores owe him the popularity of their poems. He usually sang accompanied by guitars: José María Aguilar, Guillermo Barbieri, José Ricardo and Angel Domingo Riverol were some of his musicians. On different occasions, he recorded with tango orchestras such as that of Roberto Firpo, Francisco Canaro and Osvaldo Fresedo. In his American movies, he sang with an orchestra conducted by Terig Tucci. On June 24, 1935, he was on a continental tour when he had a fatal accident at the airport of Medelín, Colombia. From the day of his death, his myth has been worshipped. His remains, repatriated, were accompanied by an anguished crowd to the Chacarita cemetery, and his films and records currently have a cult following that has withstood the passage of time. For all the subsequent generations of tango singers, Gardel has been an inevitable model and parameter. He has had his fair share of imitators proclaiming to be his heirs, but even though no tango singer has reached an artistic or celebrity dimension even close to that of Gardel, to a larger or lesser degree, every one of them may be considered to be the heir to his fundamental contribution to this genre. \n\n Enjoy a selection of clips from his movies: tracks "Soledad", "Rubias de New York", "Cuesta Abajo", "El Carretero", "Canchero", "Yira Yira", "Mano a Mano", "Viejo Smoking", "El Día que me Quieras", "Guitarra guitarra mía", "Por una Cabeza", "Lejana Tierra Mía", "Melodía de Arrabal" and "Silencio".
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Guillermo Fernández - Nostalgias
Part of the tango scene since the 1970s, a precocious and media-exposed child, Fernandez grew up surrounded by and under the wing of tango old-timers. After a long period in which he was dedicated to performing romantic songs and other popular styles, leading him to settle in the United States, Fernandez returned to tango. In 1969, he made his first appearance on the TV program Grandes Valores del Tango. As a young singer, he performed in the mythical Caño 14 along with great names such as that of Anibal Troilo, Stampone, Roberto Goyeneche and Orquesta Nacional del Tango (conducted by Osvaldo Piro). In 1986, he moved to the United States, where he worked as a producer and distanced himself from tango in order to take up pop and Latino music. Towards the end of the 1990s, he returned to Argentina and to his musical roots. Accompanied by Jose Colangelo, he went on a tour in Japan. He recorded 9 CDs and received the Carlos Gardel Award 2000 in the category best tango album for his CD simply entitled Guillermo Fernandez. In 2002, he performed Astor Piazzolla and Horacio Ferrers opera María de Buenos Aires several times in France. He also took part in theatrical productions such as Bocca Tango (2001) and El romance de Romeo y Julieta (2002). In 2006, he became the host, together with Luis Longhi, of the TV program Sarpando Tangos on Channel 7.
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Jorge Valdez - El último café
Singer Jorge Valdez, the renowned tango soloist performs "El último cafe", one of the classics of the genre.
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María José Mentana - Desencuentro
Singer María José Mentana performs "Desencuentro", a traditional tango.
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Pepito Avellaneda - Documentary
Pepito Avellaneda (1930-1996) Dancer and teacher, particularly admired for his talent for milonga, creating a great number of new steps. He was raised among the club regulars in his neighborhood and although he was a pizza maker by inheritance, he began to perform tango professionally when he was very young. He started at age 15 with a show at Teatro Roma in the neighborhood of Avellaneda and he later landed contracts to work in the rest of the country. He also began to work as a curtain raiser in between cinema performances and it was then when a representative gave him the pseudonym Pepito Avellaneda (first he was Pepito from Avellaneda, making reference to his home neighborhood). In the mid-80s, he began traveling abroad to give courses on tango and milonga. He was accompanied by his second wife and dancing partner, Suzuki. Many of the most outstanding professional dancers in the mid-90s were his students. He is commemorated in Milonga para Pepe Avellaneda, composed by Domingo Federico and Fabián Russo. We are paying tribute to the great milonga maestro through his colleagues comments and a display of his notable style.
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Tango History - Documentary
This documentary covers one century in the evolution of tango, the whole spectrum of its major figures, the greatest pieces of this musical genre, and the stages that have witnessed its birth and growth. It also features musical clips.
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Juan D'Arienzo - Documentary
Juan DArienzo (1900-1976). Violinist composer and director was at the helm of one of the most popular tango orchestras in the history of tango. His orchestras simple style of nervous rhythm was the key to the popular revival of tango dancing as of 1937. He was the most successful conductor of his time, nicknamed the King of the Beat without any apparent rivals. An old object of reservations and criticism by other musicians, identified with the Decarean school, today his orchestra, which performed until the mid 70s, is renowned for its personality and its unquestionable ascendancy over milongueros. \n\n In 1928, he created his own ensemble, with which he made presentations at the Chantecler cabaret and started recording with Electra. In 1937, his orchestra raged. So he changed the violin for the baton, started recording for Victor and signed a contract with the brand new LR1 Radio El Mundo. His popularity remained huge until his death. In the definition of his orchestras style very danceable, with an accelerated beat and the key participation of the piano Rodolfo Biagis contribution was decisive. Juan Polito and Fulvio Salamanca were his followers. The orchestra had popular singers too, like Héctor Mauré, Alberto Echagüe, Armando labored, Mario Bustos and Jorge Valdez. Among the most successful works by DArienzo are "Cartón junao", "Chirusa", "Dos guitas", "El vino triste", "Nada más" y "Paciencia". He left close to a thousand recordings, including the successful versions of milonga "La puñalada" and tango "La cumparsita". \n\n This documentary walks through his invaluable contribution to the genre.
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