ittle has been written about the influence that the happenings and daily
events that took place during the first twenty years of the twentieth
century had on the musicians of that period.
All or nearly all the pieces were committed to the music staff by
their composers. Politics, sports, the deeds of the brave that forged
our incipient aviation, children games, the Buenos Aires characters,
the commercial advertisements, etc. These subjects and many more were,
undoubtedly, an important part of the basis of our tango repertoire.
We shall begin with tango pieces composed in homage to the heroes
of our inceptive aviation. Undoubtedly, the engineer Jorge Newbery
was the aviator with the greatest number of tunes dedicated. So we
have:
"Jorge Newbery", by Aquiles Barbieri.
"Prendete del Aeroplano", by José Escurra. Dedicated
to the President of the Aero Club, Mr. Jorge Newbery.
"De Pura Cepa", by Roberto
Firpo. Dedicated to the distinguished Sportsman Jorge Newbery.
"Newbery", by the guitarist Luciano Ríos.
"Un
recuerdo a Newbery", by José Arturo Severino. Dedicated
to the memory of the late Argentine aviator Jorge Newbery, May 1914.
"Tu Sueño", waltz by Eduardo
Arolas, Dedicated to the late Jorge Newbery.
"Matienzo (Perdido en las cumbres)", to the memory of the
late aviator Benjamín Matienzo.
"Zanni", by the female guitarist Ana S. de Cabrera, on occasion
of the double crossing of the Andes.
"Zanni - Beltrán", by Elio Rietti, dedicated to the
daring and brave aviators Pedro Zanni and Beltrán.
"El Gato", by Atilio Cattaneo, dedicated to the First Lieutenant
Pedro Zanni, nickname he acquired because even though he underwent
several accidents he always was uninjured.
"Cattaneo", by Francisco Peirano, to the intrepid renowned
Italian aviator Atilio Cattaneo.
"El Cabo Fels", by Pedro Sofía, as a tribute for
his admirable crossing of the waters of the River Plate on airplane.
"Don Teodoro", by Vicente Mazzolo, to the young pilot corporal
Teodoro Fels, on celebration of the flight to Montevideo, in December
1912.
"Almonacid", by Agesilao Ferrazzano, to the brave aviator
Vicente Almandos Almonacid.
"El Trío", by Santos Aschieri (Jr), to the Aces of
the Argentine Aviation, Captains Antonio Parodi, Pedro Zanni and the
Captain of Frigate Marcos Zar.
"Olivero", by José
Martínez, to the intrepid Argentine aviator Eduardo Olivero.
"Vuelo Nocturno", by Domingo Salerno, to the brave Argentine
aviator Vicente Almandos Almonacid for his night flight.
"De ida y vuelta", by Ana S. de Cabrera, to the aviator
Antonio Parodi, as homage for his round trip to Chile.
"El Pampero", by Luis Sanmartino, dedicated to the famous
globe in which Eduardo and Jorge Newbery died.
As for the "patriotic tangos", their authors transferred
in them personal experiences or important passages related to our
Independence. Among them we can cite:
"Acorazado Rivadavia", by Ángel
Villoldo. Composed celebrating his inclusion in the Argentine
Navy.
"Acorazado Rivadavia", by Carmelo Liparini. Also due to
its inclusion in the Argentine Navy.
"Acorazado Moreno", by Fortunato Cardullo. Idem as the two
above.
"Independencia" by Alfredo
Bevilacqua, for the celebration of the Centennial of the May Revolution,
on May 25, 1910.
"Fragata Sarmiento", by Luis Conde, dedicated to the frigate
with the same name.
"Reconquista", by Alfredo
Bevilacqua.
"Curupaytí", by Augusto
Pedro Berto.
"Cancha Rayada", by Alejandro Rolla.
"Primera Junta", by Alfredo
Bevilacqua.
"9
de Julio", by José
Luis Padula.
"25 de Mayo", by Eduardo
Arolas.
Numerous as well were the tangos composed in connection with various
events and characters. Some of them are:
"La Carreta", by Octavio Barbero, dedicated to the streetcar
pulled by a horse.
"El Eléctrico", by Vicente
Greco. Dedicated to the electric streetcar.
"El Eléctrico", by Carlos Masla. Dedicated to the
electric streetcar as well.
"El subterráneo", by Joaquín Cortes López,
celebrating the opening of the Plaza de Mayo-Primera Junta subway,
November 1913.
"María Barrientos", by Ernesto Zambonini, dedicated
to the great Spanish female singer for her performance in Buenos Aires.
"Prohibido Fumar", by Vidal Cibrián, composed in
allusion to the prohibition of smoking on streetcars.
"Peligro", by David Fiore, composed for the arrival in Buenos
Aires of the first automobiles.
"Alfonsito", by Osmán
Pérez Freire, for the visit of the king of Spain Alfonso
XIII to Argentina.
"El Negro Raúl", by Ángel Bassi. The black
Raúl Grigeras, a popular character of Buenos Aires, a vagabond,
who was used by well-to-do young men for the sake of fun.
"La compadrada del cometa", by José Rodas, celebrating
the appearance of the Halley comet.
"A Trípoli se van", by Rómulo Pane, dedicated
to the Italian residents in Argentina who returned to Italy to fight
in the war against Tripoli.
"Qué Noche",
by Agustín Bardi,
in allusion to the first snowfall in Buenos Aires, in 1918.
"Fuera del ring", by Armando Fernández, composed
because of the fight for the heavyweight world championship, Firpo
vs. Dempsey, in which Luis Ángel Firpo punched Dempsey out
of the ring.
"Carlitos Chaplin", by José A. Molet. Dedicated to
the genial comic of the movies.
Also the children games of the period were a reason to compose tangos
with their names. Here we have some of them:
"Ta Te Ti", by José
María Rizzutti.
"Cara o cruz", by Domingo Fortunato.
"Gallo Ciego", by Agustín
Bardi.
"La Pandorga", by Guido
Vanzina Pacheco.
"El Barrilete", by Guido
Vanzina Pacheco.
"La Primera sin tocar", by Anselmo
Aieta (this was his first composition).
"Chirulote", by Julián Robledo. It was an iron or
tin ring that you rolled along with a thick piece of wire that made
it rotate.
Peddlers, goods offered for sale and the people in charge of certain
jobs in connection with the community also had their tangos. Here
you have some of them:
"Todo a veinte", by José Felipetti. Peddler generally
of Turkish origin, who sold bagatelles.
"Cosa linda barata", later "Bar Exposición",
by Luis Teisseire,
the same characters of "Todo a veinte".
"El Gringo", by René Liaz, dedicated to the itinerant
fruit sellers, mainly of Italian origin.
"El Tano Nicola", by Luciano Bonell, as homage to the Italians
that walked along the streets of Buenos Aires, with their barrel organs,
which were the first to introduce tango into the porteño homes.
"El bollitero", by Próspero Cimaglia, a person whose
duty was to to take out the dung of horses from the streets; most
coaches were then pulled by horses. Later, these men were called barrenderos
(street cleaners).
"Ajo y cebolla", by Rafael Cattalano, for the vendor of
garlic and onion.
"El cebollero", by Ángel
Villoldo, dedicated to the vendor of garlic and onion.
"El Farolero", by Arnaldo Barsanti, a person who, every
evening before sunset, was in charge of lighting the lamps on the
streets, that then were fueled with gas.
"El Manisero", by José A. Grosi, a popular character
until the 40s that used to sell peanuts heated on a small traveling
oven.
"El Escobero",
by Ambrosio
Radrizzani: a huckster that sold brooms.
"Canillita",
by Osmán
Pérez Freire: a peddler that sold newspapers.
"Canillita",
by Julio César
Sanders, Daniel López
Barreto and César
Felipe Vedani, from the sound track of the homonime film.
"Resaca", by Juan Faillace: seller of humus fertilized for
plants.
Furthermore, the tangos composed as homage to commercial firms or
products were numerous:
"A la ciudad de Londres", by Juan
Nirvassed, dedicated to the traditional shop of Buenos Aires,
in the early years of this century.
"A la ciudad de Londres", by Ángel
Villoldo, with the same dedication as the above.
"Comprá en lo de Gath & Chaves", by Luis Chiappe
Ducca, dedicated to the popular shop of Buenos Aires.
"Convidá con chocolate", by Guido
Vanzina Pacheco, dedicated to the company Saint Hnos., manufacturers
of the Águila chocolate.
"Echale Bufach al catre", by José María Tagle,
dedicated to the Bufach insecticide.
"Echale Piloil a la pelada", by Rafael Russo, dedicated
to Piloil, a product to prevent baldness.
"El Columbia", by Orfeo Giudice, dedicated to Mr. José
Tagini, owner of the legendary records labeled "Columbia Record".
"El Nacional", by Francisco Cafiero, dedicated to the famous
café with the same name.
"Fray Mocho", by Ángel Bassi, dedicated to a popular
magazine of the years 1910 - 1920.
"Gran Hotel Victoria", by Feliciano Latasa, dedicated to
the hotel of the same name.
"Hesperidina",
by Juan Nirvassed,
dedicated to a beverage of that name.
"Hoy llegó el dulce de leche", by Juan Nirvassed,
dedicated to the factory of milk products "La Martona".
"La Nación", by Próspero Cimaglia, dedicated
to the popular Buenos Aires daily paper.
"La Razón", by Luis Chiappe, dedicated to the paper
of the same name.
"Kalisay",
by Ángel Villoldo,
dedicated to another traditional drink.
"La Negra", by
Enrique Delfino, dedicated
to the famous cold storage plant of the same name.
"Libre del Trust", by Luis Buttaro, dedicated to Piccardo
& Cía., producers of the cigarette trademark 43.
"Los carruajes de Mirás", by P. A. Garbagnoli, dedicated
to Casa Mirás, an important house for carriage rent.
"Muy del Bubú", by Juan Spreafico, dedicated to a
popular biscuit made by the Bagley Company.
"No se puede con Muñoz", by Arnaldo Barsanti, dedicated
to the tailor's shop Casa Muñoz.
"Omega", by Emilio De Caro, dedicated to the well-known
vinegar of the same name.
"P.B.T.",
by Pedro Aicardi,
dedicated to the popular magazine of the turn-of-the-century.
"Pineral", by Ángel
Villoldo, dedicated to the traditional drink.
"Radiolina", by R. Ginerca Ferrer, dedicated to that kerosene
trademark for light lamps.
"Sin Marca", by Esteban González, dedicated to that
cigarette trademark.
"Tigre Hotel", by Rosendo
Mendizábal. Dedicated to the famous hotel of the locality
of Tigre.
And in like manner, ballrooms and dancers had also their tangos:
"Palace de Glace", by Juan
Carlos Bazán, dedicated to the famous palace with the same
name.
"La Vasca", by Juan
Carlos Bazán, dedicated to María Rangolla, owner
of the famous dance hall.
"Ca-ra-ca-fú",
by Juan Maglio, dedicated
to dance hall that run the Basque
Casimiro Aín.
"La Hora", by Domingo Salerno, dedicated to the dancer
with the same nickname.
"El Pollo Ricardo",
by Luis Fernández,
dedicated to the dancer Ricardo Scandroglio (El Pollo Ricardo).
"Rodríguez Peña", by Vicente
Greco, dedicated to the famous dance hall with the same name.
"Chikoff", by Manuel
Jovés, dedicated to Juan de Chikoff, dance instructor at
the Plaza Hotel.
And we further find numerous tangos with common sayings of the period:
"Aquí está el Queco", by Juan Carlos Basavilbaso.
"Está cabrera mi prienda", by Próspero Cimaglia.
"Agarrame en esta vuelta", by Joaquín Cortés
López.
"Qué florcita pa' mi ojal", by Mauricio Mignot.
"Qué chinche pa' mi colchón", by Justiniano
Caminos.
"Papita pa'l loro", by Ángel
Villoldo.
"Nene no te resfriés", by Esther I. Seoane.
"Afilame que me gusta", by A. Peloso.
"Qué Pimpollo", by Rafael Fracassi.
"Haceme venir la risa", by Mauricio Mignot.
"Agarrate nena que hay marejada", by Ernesto Sola.
"Dale perejil al loro", by Ernesto Manfredi.
And it would take long to go on with the list because the quantity
is extremely long and because with the above mentioned I think there
is enough evidence to say that in the first twenty years of this century
musicians were deeply aware of the characters and habits in Buenos
Aires.
