e did not stand out either as a player or as an orchestra leader, but he did as composer. As bandoneonist he was correct, simple and, in a way, his style certainly belonged to the generation of 1910.

As teacher he polished Antonio Sureda, the alumnus most faithful to his style and his liking for our valsecitos criollos (folk waltzes). He was also Miguel Caló’s teacher.

On several occasions he led his own orchestras and, by 1932, he fronted a symphonic tango orchestra with a five-bandoneon section led by José Dames.

He lived in the neighborhood of Caballito (Small Horse) on Pedro Goyena Avenue which turns out a paradox because he greatly admired horses, especially those which run on the racetracks, of course. His addiction to horses is evidenced in his oeuvre which contains many tangos inspired by turf.

His pieces committed to record were: “Gaucho lindo”, recorded by Juan Carlos Cobián in 1923; “Reflejos”, dedicated to the jockey Héctor Córdoba, recorded by Osvaldo Fresedo in 1923; “Romance malevo”, also recorded by Fresedo in 1927 as an instrumental even though it bore lyrics by José Di Clemente; the waltz “Para las chicas (Un recuerdo)”, recorded by Roberto Firpo, first in 1922 and, later, with his quartet, in 1942.

Others of his compositions were: “Mosca blanca”, a tango dedicated to the jockey Manuel Ojeda; “Aclarando el día”; “Criolla noble”, “De mi rosal” and “Siga la vuelta” (with lyrics by Oscar Rómulo Sosa); “La reina chic”; “Mis viejos barrios” (in collaboration with Emilio Pistocchi); “Noche estrellada” (lyrics by Bernardino Iadarola) and “Vengan muchachos” (lyrics by Guillermo Mottesi).

He had two brothers, Francisco and Juan. The latter also played bandoneona and composed the waltz: “Una noche de amor”, with words by Juan Belando, recorded by Pedro Maffia with Francisco Fiorentino in 1931.