Saturday, March 26, 2011 5:25:08 members of the Group for "PROFILES OF TANGO" Abstract no 1424 [Attachments 15]
From: "perfilesdeltango@gruposyahoo.com.ar"
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PROFILES
---------------------------------------- TANGO RIO DE LA PLATA
this summary messages (20 messages)
1.1. FRIDAY, MARCH 25 22:30 pm "CELEBRATION IN BIRTHDAY JORGE From: MICHAEL SANDLER GADEA
2.1. THE SATURDAY 22:00 MILONGAS Glorias Argentinas Bragado 6 From: MICHAEL SANDLER GADEA
3.1. Tango School, Directorate General: Professor. Edith Paez Tang From: MICHAEL SANDLER GADEA
4.1. Tango Intensive Class for Contact By Paola Ayala and Germain Ivance From: MICHAEL SANDLER GADEA
5.1. Milonga in the Cultural Space Bridge LIVE Tango Quintet From: MICHAEL SANDLER GADEA
6.1. SCHOOL OF TEACHER Olga Besio SATURDAY 17.00 am.: Class by: MICHAEL SANDLER GADEA
7.1. Every Saturday at "The Pyramid", class of Professor Eduard From: MICHAEL SANDLER GADEA
8.1. THE SUNDAY MILONGAS 17:00 / 01:00 Sueño Porteño Avenue From: MICHAEL SANDLER GADEA
9.1. CANDY WORLD TANGO Milonga THE IDEAL Suipacha 380 ALL DOMI From: MICHAEL SANDLER GADEA
10. SATURDAY 26 MARCH 22:00 PRESENTATION: LIDIA BORDA with DANI From: MICHAEL SANDLER GADEA
11. SUNDAY, MARCH 27 17:00 pm DANCE: MONICA AND NESTOR CASTILLO Cert: MICHAEL SANDLER GADEA
12. MONDAY, MARCH 28 23:00 pm TOCA: MARIANO BUJACICH ORCHESTRA DANCE: MICHAEL SANDLER GADEA
13. PROMOTIONS "PROFILES OF TANGO" We reiterate that this G From: MICHAEL SANDLER GADEA
14. TODAY WE REMEMBER OSLVALDO REQUENA From: MICHAEL SANDLER GADEA
15. Rv: SUNDAY IN RED IN THE SP, Firpo and MESTRE CLINIC, THE JOY OF From: julia Doynel
16. FW: Sanluistango in 2 National tango festival in Pehuajó-1 From: Michael Sandler Gadea
17. Rv: Re: PROFILES OF TANGO ", URUGUAY, MIGUEL GADEA SANDLER From: Michael Sandler Gadea
18. Rv: Invitation From: Michael Sandler Gadea
19. IMPERDIBLE: ATENEO PORTEÑO OF TANGO, SE CORNER REOPENS DI From: Michael Sandler Gadea
20. REMEMBER TO ADOLFO PEREZ From: MICHAEL SANDLER GADEA
View All Topics Fri, 25 Mar, 2011 7:08 a.m.
MARZO22 FRIDAY 25: 30 pm "BIRTHDAY CELEBRATION IN JORGE GARCIA"
AND WELCOME Maria del Carmen "La Turca" AND JORGE 
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Av Scalabrini Ortiz 1331 - Reports and / or Questions: 4832-675323: 00
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Reply to sender Tango
School, Directorate General: Professor.
Edith Paez Defense Tango School
1575.
Saturday 18:30 pm-tango slaon all levels Edith Paez
MILONGA SEMINAR WITH stumbling, and Enzo Edith Paez Sickles.
17:00 pm beginners, Edith special class.
info: 15 5524 8396 / 4305 4482
Department: Professor. Edith Paez
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Reply to sender CANDY WORLD TANGO Milonga THE IDEAL Suipacha 380 DOMI
ALL Submitted by: "MIGUEL GADEA SANDLER" uruguayperfiles@yahoo.com.ar uruguayperfiles
Fri, 25 Mar, 2011 7:11 a.m.
MILONGA
TANGO WORLD OF CANDY IDEAL Suipacha 380
EVERY SUNDAY 22.00 HS.
FROM THE CLASS A 21.00 HS.
WITH LIVE BANDS AND DANCERS SHOW
They lead the Masters Dancers:
Romina Veron - Carlos Sosto
www.nuestromundotan go.com.ar
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Reply to sender LIDIA BORDA with DANI
Posted by: "MIGUEL GADEA SANDLER" uruguayperfiles@yahoo.com.ar uruguayperfiles
Fri, 25 Mar, 2011 7:11 a.m.
MARZO22 SATURDAY 26: 00 hsPRESENTACION: LIDIA BORDA
with DANIEL ARIEL Godfrid Argañaraz piano and guitar,
presented once more in this beloved space. Classical and Modern
- Callao 892-Information and reservations: 4812-8707 / 4811-360722
: 00 hsPRESENTACION: TATA CEDRON
ACCOMPANIED IN BANDONEON: MIGUEL LOPEZ / EN GUITAR: MICHAEL Prain
eclectic space - Humberto 1 º 730 - San Telmo
Information and reservations: 4307-1966. Top
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Messages in this topic (1)
11. SUNDAY, MARCH 27 17:00 pm DANCE: MONICA AND NESTOR CASTILLO
CERT Posted by: "MIGUEL GADEA SANDLER" uruguayperfiles@yahoo.com.ar uruguayperfiles
Fri, 25 Mar, 2011 7:11 a.m.
SUNDAY 27 MARZO17: 00 hsBAILAN: MONICA AND NESTOR CASTILLO
VOICE COMPETITION 2011
COD Homero Manzi.: LISA SOLER
Esquina Homero Manzi - Av San Juan and Boedo - Booking and information: 4957-8488
Top
Reply to sender Posted by: "MIGUEL GADEA SANDLER" uruguayperfiles@yahoo.com.ar uruguayperfiles
Fri, 25 Mar, 2011 7:12 a.m.
MARZO23 MONDAY, 28: 00 hsTOCA: MARIANO BUJACICH
DANCE ORCHESTRA: JORGE GARCIA AND SUSANA SOAR Hall
Caning - Milonga Parakultural
Av Scalabrini Ortiz 1331 - Reports and / or Questions: 4832-6753
Top
Reply to sender IN "PROFILES OF TANGO"
reiterate that this group of people from tango, read it and consult the most prominent members and reporters in the Genus.
is essential to maintain a regular correspondence, constantly, in furtherance of any conduct which Members from all facets of tango. Personal growth will result in the development of this wonderful artistic and musical expression, we created the River Plate.
to advertise, promote, make notes, report on "PROFILES OF TANGO", that is our reason for being and existence. The promoted on "PROFILES OF TANGO", benefit us individually and collectively, bring to the Tango.
also ask Members invite the group, your contacts and friends to expand the scope and impact of the Group.
Greetings. MICHAEL SANDLER
GADEA
Director
Top
Reply to sender More Requena: Music
na.gif> s in all discussions I've had with Requena, along
over 10 years, he is sitting at the piano. On this occasion
finished playing two unpublished tangos. One of tenorTito
Schippa
"The
coquettish" in 1913. The other: "Volcano
" deEduardo Arolas
,
original manuscript collection Cespi
Bruno.
"Look, I hear the name deArolas
and I get up. Theirs is a marvel. Notable inspiration and all tangos
allow the possibility of making beautiful arrangements. Also I like Agustín Bardi
, as well
he wrote.
"My primary job is the dearreglador
questacion.asp>. Since 1985 I have my set, is a trio that
sometimes increase in number under the circumstances
called "Tango Sessions". It was made by Reynaldo Nichele, the bandoneon
Carlos Pazo and me. The idea and the trio appeared in a show
for "Michelangelo", entitled "Jasmine", with Ana Maria Stekelman
choreographer and dancer Miguel Angel Zotto
. The initial training was with Suárez Paz and Daniel Binelli. We succeeded and travel
a North American tour
very interesting. Let's say this was the final release, because his real birth
was by the mid-sixties when
the idea of \u200b\u200bmaking some money with racing cars
Tourist Road, which then almost every week
toured various cities and attracted large audiences. We came to act
from Thursday night through Saturday
, and had a great success. Figure eraFloreal
Ruiz and the musicians on violin Peresini
Hermes, Enrique Marchetto on bass and me. We would also
instrumentals and
we started to improvise. Once my wife made the comment that seemed a
"jam session", we liked and this was the name, "Tango
Sessions."
"As a conductor, including
accompaniments to various singers, recorded more than 400 albums as pianist
800. But there is something unknown to most people, I
quite folk and some jazz.
"For 14 years I was a writer and director living in the
studies from morning to night.
on my work as arranger, here at home I have more than 8000 arrangements and
Channel 11 television, there must be at 11000 more.
"I worked a couple of times to Zubin Mehta,
I have their letters of thanks. The same thing happened with
Piazzolla. Once
Astor, had to act in the SODRE of Montevideo and the
him no time to arrange a song of his, "Tonto" with lyrics deHomero
Expósito.
He asked me to do it. It was for symphony orchestra.
with that winning a contest. A note in the newspaper El Día, congratulated the author
theme and arrangement. Astor was able to recognize me.
"I did the music for the film Torre Nilsson," The seven
crazy. " Something inhuman about work. One Thursday I called the producer Jorge Álvarez
emergency music needed for the
Monday. I answered yes. I did not sleep, but left.
knew Roberto Arlt's novel, but not for the film adaptation.
imagined a quartet of the old guard with a preponderance of
bandoneon. I wrote three songs: "La milonga del pimp
melancholy," "The Waltz of the meeting" and "Tango of the disorder."
addition to the incidental music. The ensemble is integramosLeopoldo
Federico
,
Sunday Rulli on flute, Ubaldo De Lio and Ricardo Dominguez
guitars, bass and Quicho Murtagh alternated Omar Diaz and I
piano.
"The tango is important in your history, but must have a
evolution, if evolution is not lost. A good example I
in Indonesia, Jakarta. There were unaware of the bandoneon,
then I made the history of tango, from when
danced among men up to
Piazzolla.
step by step, to understand and it was an explosion at the end. Across the Southeast Asian
know the tango as well as European and Americans
play, at Valentino. To change this idea had to historicize
tango.
"The discussion about the music of Piazzolla
is endless and it becomes tedious. You have to accept what is said
public, I like or not like. "Fiorentino
? ...
Look, as a singer out of tune, but I liked the tune. Desafinada
so cute! His voice just seemed a bandoneon
by phrases, where his condition was a musician.
"Once
Sassone
invited me to" Marabou
"
to see
Di Sarli,
I was a kid and I already knew the styles of the bands, but I had trouble entering
privacy. Florindo
had of Di Sarli and deFresedo
and I wanted to define something more. When we got to talking I asked:
"Master How did you get that property as his own?
Look, to learn is to look at the dancers." As
hider half did not touch the piano, I gave the example with voice making him drag
equal to the drag of the dancers feet. In
the piano did with his left hand and then with the right, was
adding his own. Orlando Goñi was
outskirts, he marked his left hand tied.
"The pianist was the conductor of the orchestra. Everything is reflected in
him. The bass was marking the rhythm. This is the case with
deSalamanca
D'Arienzo, or
the
each had his playing. For me a great pianist was
Emilio Barbato that defined the style of an orchestra with Fresedo ... Look
Carmen Cavallaro, and I think that his style had already done before
Barbato. All those little ties that made him
was invented. Then, when the pianist left the orchestra playing the violin
supported. At that time with Fresedo was Vardaro
. Di Sarli
Stewart relied on was a tango soul. An extraordinary,
us many times we supported him. There is also a style
Requena is based mainly on the composition. Paquito Requena
, Arthur
Rovira, Libertella
,
the orchestra director of Radio Belgrano was a pupil of Juan José
Castro, was a great musician. Then he taught.
"I was very fond of Aquiles Roggero, had a
own melodic vein of the elect, but little is known. Unless
led the Orquesta Símbolo "Osmar Maderna "and he composed some beautiful tangos
as" Mimi Pinson
65>. "Once I found in an editorial this tango of his" Your eyes
far, "a beauty. (He plays)
" I wrote a lot, I have more than 100 new works. When I have free time writing
. Maybe in the future are rescued.
"A Canaro
discussed it, had its drawbacks when you got a piston in the orchestra or was
many such sets. Caro ADE
what you do not say! not accept it. Today is the teacher who made a stage, a
turning point in the history of tango. The same applies to
Piazzolla
he was the alma mater of the pen. Of the many arrangements that I appoint a
did paraTroilo
"Chiqué" ... that is a paragon of virtue. A Troilo
fans liked but with many reservations. The same happened with
"Recuerdos de bohemia
43>," Delfino
under
Galvan.
People do not understand anything. This is a work that can safely be
between classical music, although I do not
differences between serious and popular music. The music is one, the
good.
"As for my arrangements, suddenly appeared a successful track and
should prepare for various orchestras, then everyone should
, other forms, other styles. For that was the previous
forget. "La Cumparsita
.
"The bandoneon was created to corals,
Argentines took to the tango. It was played on tight
knees and hands tight on the straps and everything went very durito,
recently opened the bellows, was prevented easy movement of the hands
. Until someone came up support in one of his knees
and could more easily for the opening. One of the first must have sidoLaurenz
. This typed
better, was lighter, led to better variations. In step
tell you that Laurenz variations are impossible to improve,
be touched as they were invented. Piazzolla tangos did Laurenz
95>" is one of them. The same goes for the solos who invented
De Caro. Now, those who are a problem are many singers that will change
melodies.
"On the De Caro Francisco
consider more than to
July
was a
chords, subtle, both in the composition.
"What the singers? Floreal Ruiz
.
also
, Oscar Serpa
orchestra begins in
De Angelis, which adapts
and reaches when it has sumun Troilo.
also a great singer was
.
questacion.asp>? Look, everyone has their conception to respect
melody, without destroying the contrary, always trying to respect the maximum
. The melody first, then make a change
on it and as they say, put a violin
author. Always respect the melodic line. When I sit at the piano
me first make a "armadurita" of what I do, I put the encryption
arrangement, I'm pretty fast. The
arranger is also a creator, because there are so many harmonies as each one may be
occur. And we must never lose the essence of tango.
"As a pianist, conductor I started in 1951 with Raul Kaplun
.
him I made my first arrangement was a waltz my "Just waltz, which was in the repertoire
when freshly dissociated itself
Angel Vargas
arrangement with him was "The singer of Buenos Aires
6>." Over the years, I had briefly porEdgardo
Donato, Carlos
Demaría, Angel Dominguez, Alberto Mancione
ne.asp>, Eduardo Rovira
when accompanied
, Atilio Stampone
-set first-, Leopoldo Federico
, the great
friend gave me tango. Sassone also
nine years coming and going
.
"When I was appointed director in 1968 Microfón seal, went
the orchestral accompaniment to all recorded there: Alfredo
Zitarrosa, Los Quilla Huasi, Los Hermanos Cuesta and many more. A
from 1984, for a time headed the National Orchestra
Juan de Dios Filiberto debuted at the Teatro Cervantes.
"Do today? I'm working on some arrangements for a
collections that will, I suppose in North America for all the world
Israel and the other, already signed, for the eighth time in Japan. I must be the most traveled
musician. I walked for about 90 countries.
"Finally, renewed is very good, but need to know how.
not be changed to the great musicians and composers who had the
tango. We must make them known without changing its essence. "If the rose is beautiful
refined and make thousands of letters. Best, a single note and sing well.
Troilo was not a virtuoso, but he sang with the bandoneon. "
Reply to sender DIANA AND MESTRE AT LAST SUNDAY February 1830, unmissable! !
CONTINUE WITH CLASS AND TATO
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PORTEÑO SLEEP 3330 COVERED PARKING
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and dance, dance THE LIFE THAT GOES!
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Reply to sender +0000
www.sanluistango. Attachments
com Miguel Gadea Sandler
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17. Rv: Re: PROFILES OF TANGO ", URUGUAY, MICHAEL SANDLER GADEA
Fri, 25 Mar, 2011 7:24 pm
[are included below Miguel attachments Gadea Sandler]
--- Fri 25-Mar-11, Diana Schvindlerman
wrote:
From: Diana Schvindlerman
To: "Miguel Gadea Sandler"
Date: Friday, March 25, 2011, 15:07
SUCCESS in the activities!
I participated in Theatre Workshops and thank Diana Schvindlerman dissemination
The March 25, 2011 8:44, Miguel Gadea
Sandler wrote: Cultural Institution
€ â € tangoa
From the River Plate, TANGO, for
World.
.
.
tribute to director and pianist
Durazno ROBERTO
Tariq
CARLI ENRIQUE Song with Piano Teacher
PUENTE RUBEN DELLA
NATIONAL INSTITUTE OF TANGO
In â € œPERFILES
OF tangoa €
: JUAN CARLOS
€ â € œCOCOâ LEMA, SYLVIA
JULIUS CAESAR's guitar CROSA
Participation CASEY
ORRICO
WALTER Interpretations BIANCHI
Ledda URRUTIA, accompanied on piano by Marina Nikolaeva
the dagger JORGE guitar
TUESDAY March 29,
2011 19:30 Sala Hora
œLAURA CORTINASâ € â € Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â ATENEO, Montevideo
attachments Miguel Gadea Sandler
Photo 1 of 1
tallerArriba Reply to sender
Photo 1 of 1
tallerArriba Reply to sender
A 110 YEARS AFTER HIS BIRTH
reopened CORNER
DISCEPOLO
A PLEASING EVENT FOR THE CITY TO OCCUR OF THE
REINAUGURACIÓ
"SAINTS CORNER DISCEPOLO," LOCATED IN THE STREET SAME NAME AND AVDA.CORRIENTES
AL1900.
THE ACT WILL TAKE PLACE ON TUESDAY 29 MARCH 1830 TO
.
SAID THE BUILDING WAS IN SPARE
CORNER, END IS THE SAME PLACE AGAIN
PLATES OF ACCESSION OF ATENEO
PORTEÑO TANGO, the Friends of Corrientes Avenue,
SADAIC
GARDELIANA ARGENTINA AND THE ASSOCIATION AND THE TANGO allegorical murals
CAMBALACHE, plastic artist Jorge Cosenza, WHICH WILL BE DISCOVERED BY DESCENDANTS
Procera DIRECT TANGO
CHILDREN AS
CANARO FRANCISCO, ENRIQUE Cadícamo Virgilio Expósito, HOMERO
MANZI,
Mariano Mores Y OSVALDO PUGLIESE AND JULY Nephews
DE CARO AND OSVALDO
Fresedo.
SING GREAT ITEMS DISCEPOLO, RODOLFO LEMOS, ALBERTO DEL SOLAR, Meric and SUSANA
LUCRETIA MIR.
DISCUSS THE PRESIDENTS OF INSTITUTIONS ATTACHED
, SEGISMUNDO Holzman, EDUARDO AND
ATIL DOSISTO
Stampone.
SEGISMUNDO
HOLZMA MARIO
President
Reply to sender Fri, 25 Mar, 2011 7:47 pm
ADOLFO PEREZ
By Oscar Zucchi
(March 25, 1897 - August 23, 1977)
Nickname: Pocholo
Full name: Adolfo Alejandro Perez and Gutierrez
t is the tango men generationally located between 1910 and kept its spirit and style
well into the fifties.
cultivated throughout his career as a musician, very large indeed a
musical mode similar to that of Juan Maglio "Pacho"
, who was
his collaborator, the continuation and diffusion.
retained in front of his band, characteristic of "the
old guard "until about 1957, when it should dissolve
health problems. In this respect, his was the most genuine expression
within clusters evocative.
was born in Palermo, on the street Julián Alvarez 1456, the
March 25, 1897. His parents were English, Alejandro Perez and Dolores García
.
In an interview in 1974, I asked about colleagues and musicians:
"Among the first bandoneon I remember are" El Pardo "
Sebastián Ramos Mejía, who played well and gave lessons;
remember seeing him on the street where I lived, it was very dark skin.
tram driver was riding.
"Other than I have in mind, was the butcher Solari, had a bandoneon
with corner valve and gold, but it was an ancient instrument
without ochavas characteristics.
Then there was "El Mocho" Alfredo Fattini, who played by ear.
used to play with "Natalin" Felipetti, another very
bandoneonist old. Avila was also, Mamierca ... Luisito Perez, another well-known
that always played in cafés.
"Arturo Severino
. Asp? Idc = 1307>, nicknamed" Old "played very well with both hands was
musician. The "German" Arturo Bernstein
also
I heard, made no changes, Marino García, guitarist
my orchestra, Bernstein was also a guitarist. Until the year 1914 was
"Old Guard" came after Edward Arolas
, good
bandonconista. The changes began in the years bandoneon
23 ... 24 ... "Adolfo Pérez Orchestra
His first steps with the instrument were to Domingo Cichitti of trade
butcher, a musician intuitive
knew very little about music, but who taught him the rudiments of management bandoneon
.
later studied music with Alejandro Gutiérrez del Barrio
= 498>, violinist and brother Ramon, who played the piano.
debuted when he was 17, in a store on Las Heras and
Bulnes, with a trio, "Pocholo" on bandoneon, Enrique Greco
violin and Elias De Lellis on guitar for two dollars each for
night.
In 1915 went to a cafe in La Paternal and then to still lifes and Cordoba
Canning and cafes of "Turks" because there had
installed a large community of Arab origin.
For the 16, the set of "Pocholo" nickname
was coming from the children, moved his operational area to the Flores coffee
Columbus, where he performed with his cast with a structural change
importance: first replaced in the same
guitar for the piano.
Admission to the orchestra of Juan Maglio
increased popularity of "Pocholo", not just play with him, but because Maglio
their generosity toward her colleagues recorded several compositions
prestige to it as such .
"In 1918 I joined the orchestra for" Pacho
"which in reality
was a quintet: bandoneon and I Maglio, violins
" Pepino " Bonano with trumpet and Jose Suino violin, and pianist Luis Suárez Tapia
. Fred was the one who gave more flavor to the tango, linking
well.
Arolas
, however, was more rhythmic
liked people.
"We started at the Bar Domínguez de la calle Corrientes to 1400, the
hand, the Church played Arolas with guitarist
Camarano and I think that" Tito "Roccatagliatta on violin. A "Tito" I heard it in 24 in coffee
"ABC" with José Servidio
bandonconista
. Asp? Idc = 89>. With Maglio we recorded in Max Glücksmann
for National Seal. "Acted well
Select Lavalle in theaters and Suipacha, and made a presentation
Tandil, Buenos Aires province, where a heavy snowfall
surprised.
In 1924 he joined the orchestra of Roberto Firpo to play
"Sentiment gaucho
= 79>." There was no singer. The likely integration
Firpo orchestra on this occasion would have been the following: piano
and directed by Roberto Firpo, bandoneon: Adolfo Pérez, Francisco
Della Rocca, Rafael Rossi
, Juan Bautista Guido
and presumably
Ernesto Bianchi, violin: Elvino Vardaro
, Cayetano
and Puglisi and Octavio Emilio Scaglione "Piscoto" and the bass: Joseph Puglisi.
After the event, "Pocholo" returned to captain his own cast
appearing during the period between 1924 to 1926
at different venues: Café Colón de Flores, where
was previously, "Café" The Orchid "Artigas and
Yerbal and the" Pool Palace "of Rivadavia and Pederson.
In 1924 he started in radio with a typical triplet consisting of the violinist
Alpidio B. Fernandez, our radio pioneer,
who had begun in 1923 on Radio Cultura - "The first
Broadcasting of South America" \u200b\u200b- and his colleague Alejandro
bandoneonist Scarpino.
In 1927, according to John Whistle
,
was played for the first time the variation of the famous tango "Pacho"
"Saturday English
= 454>" which was written by "Pocholo."
same year joined his name to the pianist Ricardo Olivera,
founding the binomial "Olivera-Pocholo" that appeared in National Radio
until 1929.
"Then I went solo and formed a new orchestra that
integrated: the bandoneon, Bonafina Francisco, Luis Garcia and I
. In the violins: Elvino Vardaro
, Roberto Teodoro
Stewart, Osvaldo Schelotto on piano and A.
Corletto in the bass. "
subsequently joined the cast of singer Virginia Doris, who
National Radio began moving on to Radio Del Pueblo and
Radio Callao.
performed at the National Radio in 1930 and 1931, accompanying singers and performing numerous dance
. He accompanied her on many radio stations: Voice of
Air, Prieto, Del Pueblo and locals.
did some performances in the Luna Park and the Rialto Cinema hall Córdoba Street 4287,
also in the National Theatre Corrientes 960 and the Smart
street.
In '33 he returned to tango well evocative, do it again
old guard. Formed the orchestra: "Pocholo" Angulo and Luis Victor Garcia
bandoneon, Roberto Guisado, José Bibi and Geronimo
Bongioni, violins, guitars Marino Garcia, Alfredo
Pirila (sometimes Ismael Gomez and Hector Acosta), Francisco
Russo on flute and singer Doris Virginia.
This group began recording on 16 August 1934, opening its serial
Odeon with the plate "Far from my beloved" Waltz of Gerardo Metallo
. Asp? Idc = 1153> and tango
Arolas
"One night
garufa
= 20>" album 9130, series that lasts until December 36.
engraved plate in the second, dated 20 September the same year,
appears only once, the voice of Doris Virginia playing the waltz
Caviglia and Podesta JC "Crazy Love" on the back that contains the tango
Bevilacqua,
"Independence."
Virginia In 1935, Doris moved away to pursue his career as a solo artist
guitars. The set of "Pocholo"
made a break from his work record until 1948 when he resumed his work
Odeon opening series with the plate
No. 30304 that one side takes the tango "The Seven Words"
author is unknown, but appears here as Maglio
, and waltz
"Pocholo", "Cries of soul. " This second time
be extended until 28 May 1956.
At this stage of his career, his orchestra was composed of the following
musicians: bandoneon, Luis Angulo and
piano: Nicholas Vaccaro, flute, José
Casanellas and bass, Michael Tafuri. In the recordings, the pianist in some records was Ismael
Alloco and in others the "colt" Zagnoli.
In 1956 Doris Virginia becomes the singer, who recorded his last album
carries No. 41224. On one side is the tango
Juan Carlos Cobian
and Pedro Numa Córdoba
= 425> "A lament, and the opposite, the waltz" Violet "by Juan Maglio
and Francisco
Brancatti
.
Besides recording, had some radio presentations
Splendid Radio, Radio Belgrano and Radio Del Pueblo and some dancing in San
Peter and Junín, Buenos Aires.
With his health broken, "Pocholo" disbanded his orchestra to
1957. He died in Buenos Aires, twenty year later .. Top
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