Ricardo García Blaya

genuine representative of expressionism on bandoneon which was started by the great Pedro Laurenz, he displays a sober virtuosity of interpretation, without exaggerations or pyrotechnics, where good taste blends with the conceptual excellence of the best tango.

But the phrasing of his bandoneon walks along varied paths, which when followed, offers to us an infinity of moods in which the feeling of the artist combines the Pedro Maffia’s delicate ways with the groaning laziness of Aníbal Troilo and the contemporary stamina of Astor Piazzolla.

His absolute command of the instrument and the choice of repertoire make evident the demands that his proposal imposes and which are as well evidenced in the suggesting talent of his arrangements and orchestrations.

He plays our classic composers, Villoldo, Arolas, Bardi, Firpo, Cobián, De Caro and goes further with the new progressive streams headed by Pugliese, Salgán, Plaza, Piazzolla, pointing to a tango of the future that is faithful to its essence but which suggests new times and new things to us.

He was born in the neighborhood of El Abasto, in the city of Buenos Aires. His father Francisco and his uncle Vicente, both bandoneon players, taught him to love this instrument. His debut was with his Dad at age 13 at the Mardi Gras balls. He studied with maestro Julio Ahumada. The latter was one of the greatest examples of the technique developed by Pedro Maffia, who along with Pedro Laurenz, paved the road for modern interpretation.

Teacher and pupil shared the same musical language what led them to play together for four years until 1969 when Pane was summoned by Edmundo Rivero to play at his venue, El Viejo Almacén, to replace Ciriaco Ortiz who was then with health problems and who finally died the following year. He put together a trio and soon thereafter we find him as member of some of the many aggregations that performed on the stage of Caño 14, a well-remembered tango temple. Since then his name was associated to the main orchestras of the period: Horacio Salgán, Enrique Francini, Osvaldo Manzi, Armando Pontier, Atilio Stampone, Héctor Stamponi, Miguel Caló, José Basso, Leopoldo Federico, Osvaldo Tarantino, Astor Piazzolla and other tango great stars.

In the early 80s as lead bandoneon he joined the Orquesta del Tango de la Ciudad de Buenos Aires led by Carlos García and Raúl Garello. In 1989 Astor Piazzolla called him to join his sextet as second bandoneon and they traveled to Canada and the United States of America.

After Piazzolla’s death, in 1992 he traveled to France and played as soloist with the Symphonic Orchestra of Toulouse and later with the Symphonic Orchestra of Dresden, in Germany, both then conducted by Raúl Garello.

In 1995 he cut a record with Daniel, Astor’s son, titled: Piazzolla x Piazzolla. With that same line-up they appeared in 1997 at the concert to pay homage to Piazzolla, Astortango, alongside Gary Burton and Chick Corea, especially invited for that event.

By that time he formed a new trio with the pianist Nicolás Ledesma and the bass player Enrique Guerra. They released a compact disc and recorded as guest artists in another disc to pay homage to Enrique Cadícamo who had recently passed away. On the latter record previously unpublished pieces by this author were included. He switches between his appearances with his trio and his work as soloist. Thereafter he performed with several national symphonic orchestras: Orquesta Estable del Teatro Colón, the Orquesta Sinfónica Nacional, the Orquesta Sinfónica de Córdoba and the Sinfónica de Mendoza. With the latter orchestra and conducted by maestro Horacio Salgán, he played as soloist at the “Oratorio Carlos Gardel”, a piece for orchestra, choir, soloists and narrator. It was composed by Salgán himself with words by the poet Horacio Ferrer.

Even though as from the new century it turns out impossible to mention the many, many appearances of the trio, we can highlight its performances at different European festivals, in Spain, Portugal, Holland, France, Belgium and Italy.

Another facet of Pane is his labor as teacher of the instrument. Many of the young talented bandoneonists of today studied with him: Marcelo Nisinman, Gustavo Toker, Pablo Mainetti and Mariano Signa, among others. He composed the tango “Interludio”, recorded by Marcelo Nisinman in Italy, and a chamber piece for two bandoneons, that in Paris recorded the Osvaldo Pugliese's former bandoneonist, Juan José Mosalini, based for many years in Paris, “A las orquestas” also belongs to him.

In 2003 he recorded a compact disc titled Un placer in a duo setting with the virtuoso guitarist Juanjo Domínguez to great critic acclaim.