his prolific creator used to write his compositions on a portable harmonium. He was violinist in the orchestras led by his close friends José Mazzuchelli, Alfredo Bevilacqua and, on some occasions, in that of Juan Maglio (Pacho).

He was leader of the Orquesta Típica Porteña that recorded for the Oro-Phon label in 1913. Eduardo Arolas also conducted that aggregation.

We can highlight of his oeuvre the following: “Agarrate a ese farol”, “Contra la yetta”, “Chaucha pelada”, “Che, toque don Alberto” (dedicated to: «the honorable Mr. Doctor Alberto González»), “El apache oriental”, “El botón”, “El burro”, “El fogón” (recorded by the Cuarteto del Centenario in 1979), “El grone”, “El orillero”, “El testún”, “El verde” (recorded by the Sexteto Ciriaco Ortiz in 1952), “El zorrito”, “La chiflada [b]”, “La niña bonita”, “La patota [c]” (recorded by the Cuarteto Pacho in 1913 and by the Cuarteto del Centenario in 1969), “La taquera”, with lyrics by his son Agustín Minotti (dedicated to: «my friend Alfredo Bevilacqua»), “L. P. Irusta”, “Mi viejo Buenos Aires”, also with words by his son (recorded by Ángel D'Agostino and Tino García in 1962), “No arrugue que no hay quien planche”, “Pacho”, “Prendete de la culata”, “Punto y coma [b]”, “Santos Lugares”; “Amor eterno [c]”, “Amor risueño”, “Flores que embriagan” (waltzes).

Sources:
Veniard, Juan María: en Antología del Tango Rioplatense - Desde los comienzos hasta 1920., Apéndice 4 Principales Autores e Intérpretes, Instituto Argentino de Estudio Sobre el Tango - Instituto de Musicología Carlos Vega, Buenos Aires 1980.
Ferrer, Horacio: El Libro del Tango, Antonio Tersol Editor. Barcelona, 1980.
Outeda, Raúl y Cassinelli, Roberto: Anuario del Tango, Editorial Corregidor, Buenos Aires: 1998.