e carried out the major part of his career in the province of Santa Fe despite he was in Buenos Aires several times.

Even though his technique was rather scarce he possessed special capabilities for teaching. As orchestra leader he carried out a successful long work. His orchestra became the most popular one in Rosario and he was known as El Canaro Rosarino because his style was simple, danceable, without subtleties.

His debut was in 1910 at the Café El Caburé and that was his point of departure for his future prestige. He also played in the whorehouse circuit of the neighborhood of Pichincha. He arrived in Buenos Aires in 1917 with a quintet that included Eduardo Pereyra aka (El Chon) as pianist. Here they appeared in the little houses of the neighborhood of Almagro and its surroundings.

In Rosario he followed the customary routine of the widely acclaimed aggregations: Weekend balls at different dancehalls and clubs, for several years —from 1926 to 1929— appearances at the then famous Cine Belgrano movie theater, at the radio station LT3, in carnival balls.

In 1932 at the Teatro Colón of Rosario he premiered his tango "Por algo será". And the same year at the Teatro Ópera —with José Pane as lead bandoneon—, he premiered the waltz "Es cierto, te engañé".

Several of his alumni that later would be renowned, like the bandoneonists Julio Ahumada y Antonio Ríos, passed through the ranks of his orchestra. Juan Rezzano was also member of his orchestra. In 1936 two of his vocalists, Tito Moreno and Guido Cantú, though not well-known in Buenos Aires, were very famous in Rosario. By the addition of the necessary instruments his outfit was also a jazz-band.

In 1940 his singer was Ricardo Argentino. The following year he tried to work in Buenos Aires and signed a contract with LR3 Radio Belgrano. His bandoneonists were Guillermo Uría, Adolfo Galessio, Lucio Di Filippo —Roberto’s brother— and Domingo Mattio who, tempted by other orchestras, stayed in the big city and then the orchestra was dismembered. Bedrune returned to his city to put together another aggregation and to continue playing with his customary success. Again balls, theaters, radio stations. He has been regarded as the pioneer of tango in Rosario.

His daughter Ebe Bedrune tried to emulate his father and even attempt to achieve what he didn’t, to be a hit in Buenos Aires, but in spite of a good advertising she failed. She appeared in 1944, with male clothes, a white tail coat that highlighted her blond curly hair and announced as The Tango Woman. She sang a little, had some knowledge of piano playing but, of course, that was not enough. The name Bedrune was unable to conquer the tango audiences of the capital. They had appeared at a time when all the big orchestras of the period and others, of minor importance, had total control of the milieu.

As composer 18 numbers have been found. The first one dates back to 1911, "Don Samuel". The ones committed to record were "Carne de pecado", co-written with René Ruiz and recorded by Agustín Magaldi on May 12, 1927. "Flor de milonga" with words by Emilio Magaldi was recorded by Julio De Caro for the Brunswick label. "La machona", a ranchera with lyrics by José Oliva Noguera, recorded by Francisco Canaro on October 20, 1934 with Carlos Galán on vocals. Other numbers of his that were published are: "De punta a punta", "Don Rodolfo", "Don Vicente", "El bordoneo", "El Chon" —dedicado a su amigo—, "El lecherito", "El marroco", "Hay que reír", the milonga "Pepito", "Siempre flor" and "Varieté", besides the above mentioned ones.

Excerpted from the book El tango, el bandoneón y sus intérpretes, Volume II.