Jorge Giorno

y father was born in Buenos Aires, on Agrelo Street in the neighborhood of Almagro. He nearly spent all his career in Floresta. He later settled in the province of Buenos Aires, in Castelar.

He furthered his studies and graduated as piano professor at the Conservatorio D’Andrea and his early gigs were at the movie theaters: Atenas (Rivadavia Avenue on the corner of Bahía Blanca Street), Fénix (7802 Rivadavia Avenue) and Pueyrredón (6871 Rivadavia Avenue) where he played piano as background music for silent movies.

It turns out for me a tough challenge to precise in detail the different steps of his show business career but, undoubtedly, his most relevant period was when he was pianist and arranger of the Enrique Rodríguez Orchestra from its inception in 1936 up to 1945. Furthermore, it is worthwhile to highlight that he previously had backed up Carlos Gardel in his rehearsals on different occasions. He was also pianist for other important figures, among them, Azucena Maizani and Amanda Ledesma.

As a graduate, on December 2, 1924 he played at the Prince Georges, Sarmiento 1228, at the alumni concert held at the Conservatorio D'Andrea.

He was an inspired musician that composed over a hundred and thirty numbers. One of the first ones, in 1927, is the waltz “Rosa de pasión” with words by Manuel Saavedra which was committed to record by Francisco Canaro in July 1931. Also that same year and with the same lyricist he wrote “Anda y dale”, a pasodoble that Juan Maglio Pacho, recorded in December 1929 (according to Nicolás Lefcovich, in February 1930).

His composition with the largest number of recordings is the waltz “Con tu mirar”, recorded for Nacional records in 1928 by the orchestra led by Juan Maglio with Carlos Viván on vocals. Later Charlo cut two renditions of it: The first one with guitar group that same year and the second in 1930; also stand out the renderings of the Ruiz-Acuña duo, the one by Mario Pardo (both in 1929) and the one by Ariel Ramírez in a piano solo with Domingo Cura on percussion (1976).

For a short period he fronted his own orchestra with which he played for an «evening and dancing soirée» on May 24 and 25, 1932 at the Club Atlético Vélez Sársfield.

His activity in theater for comedies and musicals was very busy. He started it in the early thirties and lasted for several years. He carried out his task as concert master of the Compañía Argentina de Revistas Modernas (Argentine Company of Modern Revues) at the Teatro Pueyrredón of Flores and was deputy master of the Compañía Argentina de Revistas Giacobino-Ruggero at the Teatro Sarmiento on 1040 Cangallo Street, now Juan Domingo Perón Street.

Between 1947 and 1948 at the Teatro Apolo he composed all the musical numbers in two plays for the Compañía Gregorio Cicarelli–Leonor Rinaldi–Tito Lusiardo–Juan Darthés: En el tiempo que había guapos and Entre locos y milongas featuring the leading actor and singer Alfredo Arrocha.

The radio was another important vehicle for airing his work as composer. He collaborated with González Pulido in his well-remembered soap opera Chispazos de tradición, for which he wrote the waltz “Sueño ingrato” and the zamba “Tradición [b]” (1935).

I want to highlight of this stage the radio soap opera Estampas porteñas by Arsenio Mármol for which my father gradually composed all the music: “Campanas de la noche” (1936), “El fantasma gris” and “Sangre y nieve” (1937), “El valle del infierno” and “La sombra vengadora” (1938), “Padre nuestro que estás en los cielos”, “El palacio negro” and the two hits by the singer Alfredo Arrocha, “Romance en el mar” and “Ambición” (1939) and, finally, “La calle del olvido” that featured the Enrique Saborido orchestra (1940).

He was one of the first members of the Sociedad Argentina de Autores y Compositores (SADAIC) under the number 1213. Out of the remaining pieces of his oeuvre we can mention: “La sevillana del barbero” with Juan Venancio Clauso and “Como palo de gallinero” with Manuel Saavedra (1932); “Por un mantón” with Hugo Zamora (1934); “Penas y alegrías” (1935) and “Coraliyo” with José López Martínez (1938); “Yo no sé besar” and “Juventud [b]” with Arsenio Mármol (1937); “Ay Catalina” with Alfredo Bigeschi Moreno (1939); “Sangre de los jazmines” with Mármol and “Se va Pirulo” with Bigeschi (1940) and “Chunga que no chunga que sí” with Mármol (1941).

Giorno was honored by the greats of his time who recorded a great number of his pieces: Juan Maglio, Francisco Canaro, the Orquesta Típica Victor, the Trío Los Nativos, Enrique Rodríguez, Charlo, Ernesto Famá, Armando Moreno.

The end of his career was sad because of the, indeed, unpleasant behavior of his friend Enrique Rodríguez, who forced him to quit the orchestra. It is pertinent to remember that that aggregation was, at the beginning, the Giorno-Rodríguez orchestra.

As from that event he withdrew from piano playing and began to work at the Comisión Nacional de Granos y Elevadores, a branch of the Ministry of Agriculture of the Nation. He spent his latter years, after his retirement, in his house in Castelar, with his wife Isabel, his children and his grandchildren.

This is my simple and heartfelt homage to the memory of my father who, from now on, will be in the Hall of the Creadores at the Todo Tango portal.