is music career took place between 1915 and 1925. There were two things that singled him out: the first was that he was limp —for that reason it was difficult for him to climb those traditional music platforms at the cafés and salons where he played— and the second was that he was with his violin at the Café ABC on the corner of Rivera and Canning (today Córdoba Ave. and Scalabrini Ortiz) when the Osvaldo Pugliese’s tango “Recuerdo” was premiered.

His peer and very close friend, José Di Clemente, always regarded him as a great violinist. It is very little what we know about him except a part of his career. In 1916 he joined the quartet led by Samuel Castriota and appeared at the Patria e Lavoro saloon along with Francisco Confeta (violin) and Vicente Loduca (bandoneon). That was a three-year tenure.

As from 1919 he had a busy schedule in the quartet headed by the bandoneonist Arturo Bernstein (El Alemán), alongside Alfonso Lacueva (piano) and Peregrino Paulos (violin). Thereafter he joined another quartet, the one led by Ricardo Brignolo, with Roberto Goyheneche (piano) and Domingo Petillo (violin) that appeared at the Café TVO.

He made a trip to Tucumán to appear at two cafés: España and El Águila. This time he played under the leadership of the pianist Vicente Gorrese with Luis Petrucelli and Arturo Abrucese (bandoneons). Another outfit that appeared at the Centro de Almaceneros was led by Samuel Castriota and included José Rosito (violin), Pacífico Lambertucci (drums), Roque Biafore and Víctor Vanucci (bandoneons).

In 1923 he was member of the group fronted by Roberto Goyheneche (piano) with Pedro Laurenz and Enrique Pollet (bandoneons), Luis Bernstein (double bass) and José Marischi (violin). They appeared at the small square on Las Heras and Pueyrredón. From there when Bernardo Germino, another violinist, was added they switched to the Café El Parque on Lavalle and Talcahuano and also they joined the selected number of artists that appeared at the first experimental airings of Radio Cultura. His friend Di Clemente told us about his showcasing alongside Marchiano at the Café Colón (former TVO) accompanying Floreano Benavento, El Negro Eduardo (bandoneon) and César Bertolotto (piano) also in 1923.

The latter with the two violinist friends and with Laurenz and Enrique Pollet premiered “El rebelde”, a tango written by Laurenz and Marchiano that Julio De Caro committed to record on June 19, 1925. The pianist of the group, Bertolotto, was firstly replaced by Gunderico Clemens and later by Luis Visca. Since then we have not known later performances of our character.

As composer there were found the following numbers in a sheet music copy published by Juan Balerio: “El desacato”, “El regalón” and “El pequeño”, all tangos. Later, six tangos-milonga with title and numbered from 1 to 6. “Larrondo”, “Para hoy”, recorded by Roberto Firpo in 1917, “Abran cancha [c]”, “El que sabe sabe”, “La viaraza” and “La posta”. Also two valses criollos: “Linda Thelma” and “Cadena eterna”.

Furthermore, compositions of his committed to disc between 1921 and 1929 were found: “A la moda”, “De vuelta y media”, “En decadencia”, “Lagrimitas” —the latter in collaboration with José Rainelli—, “Loca juventud”, “Mucha cancha”, “Murió de amor”, “No llores”, “La sombra de milonguita”, “Una esperanza” —with Luis Visca, Di Clemente and Pollet. Also “Amelia” (waltz), “Boquita de miel” (fado). There are other numbers but they did not stand out, not even at that time.

Lastly, in 1920 he was one of the co-founders of the Asociación Argentina de Autores y Compositores de Música, a previous step towards the creation of the definitive SADAIC.