e was born in Barracas and died when he was only 25. We found the date his death in the Anuario del Tango (Tango Yearbook) by Raúl Outeda and Roberto Cassinelli.

He formed a trio with Eduardo Arolas —who dedicated to him the tango “El rey de los bordoneos”— and the guitarist Emilio Fernández to play at the mythical Café La Buseca in Avellaneda. He later continued playing at the same place with Graciano de Leone and the pianist Ángel Pastore.

In the neighborhood of La Boca he also appeared at the Café El Argentino with a trio that included Ricardo González —Muchila—, on bandoneon and the pianist Harold Philips.

He had a solid formal music training. He graduated from the Conservatorio Thea Massan as professor of violin playing, music reading and harmony. He was a virtuoso player that made recitals in the cities of La Plata and Buenos Aires.

In 1913 he ventured on a tour of Paris following the successful steps of Ángel Villoldo, the Gobbis, Enrique Saborido and Carlos Vicente Geroni Flores.

He traveled with Vicente Loduca (bandoneon), Celestino Ferrer (guitar and, later, piano) and the team of dancers Casimiro Aín and his partner Martina.

They appeared at several venues, recorded for the Pathé label and were the musicians that paved the road for the later European consecration of Manuel Pizarro, Genaro Espósito, Francisco Canaro, Eduardo Bianco, Bachicha, Carlos Gardel, Julio De Caro and so many other artists that made tango popular in Paris.

Together with Tito Roccatagliata, Vicente Pepe, Pedro Aragón, Federico Lafemina and Atilio Lombardo, among others, he contributed to the technical development of tango, opening the road for a definition of violin styles that came true around 1920 with the appearance of Elvino Vardaro, Julio De Caro, Agesilao Ferrazzano and Cayetano Puglisi.

On his comeback from Europe he joined a trio that also included Agustín Bardi and Graciano de Leone and played in a movie theater on Avenida Mitre in Avellaneda. He as well began to teach violin classes in a conservatory of Barracas.

He had no time for anything else. Because of his illness he settled in the province of Córdoba where he passed away of tuberculosis at a young age.

As composer he left some numbers which were unable to last with the passing of time: “Antonio el jetudo”, “Basta de soga”, “Cabeza de chancho”, “El Tano Vicente”, “Como queira nomás”, “Cusifai”, “Espiantá de la avenida”, “María Emilia”; los valses: “Luisita”, “Soledad [b]” and “Inspiración [b]” and the mazurca “Pepita [b]”.