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Argentine Tango (Tango Argentino)

Argentine Tango (Tango Argentino)

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 TANGO is so much more than a musical genre. It's history, passion and feeling. It's integration of culture, distance and generations in one expression, an Argentine sound, that people around the world associate with us and our country.

Tango has got its history, secrets, artists. Past, present and future of a cultural expression declared by UNESCO as Non-Material Cultural Heritage of Mankind.



Every week we introduce a special program about the most important people in Argentine tango. It's a production by Julieta Galván, presented by Mirian Turkula and Fernando Farias.Copyright RAE Argentina al Mundo Musik
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  • 06 Homero Manzi, the poet of tango.

    06 Homero Manzi, the poet of tango.
    Mar 21 2017
    Homero Manzi, the poet of tango.

    Homero Nicolás Manzione Prestera, better known as Homero Manzi (November 1, 1907–May 3, 1951) was an Argentine Tango lyricist, author of various famous tangos.

    He was born on November 1 of 1907 in Añatuya (province of Santiago del Estero), Argentina. Manzi was interested in literature and tango since he was young. After a brief incursion in journalism, he worked as a literature and Spanish professor but for political reasons (in addition to his membership in the Unión Cívica Radical) he was expelled from his professorship and decided to dedicate himself to the arts.

    In 1935 he participated in the beginnings of FORJA (Fuerza de Orientación Radical de la Joven Argentina – Force of Radical Orientation of the Young in Argentina), group whose position has been classified as “peoples nationalism”. It was centered almost exclusively in the problems in Argentina and Latin America. They manifested to “reconquer the political Sunday from our own land” since it was considered that the country was still in a colonial situation. In relation to the European conflict at the time, it supported a neutral position sustaining that there was no great interest was in play in Argentina or Latin America, it was more of a rejection position towards fascism just as much as communism.[1]

    In 1934 Manzi founded Micrófono ("Microphone") magazine which covered subjects related to radio telephony, Argentine movies and film making. He wrote the screenplay for Nobleza Gaucha in 1937 in collaboration with Hugo Mac Dougall, and a new version of the silent movie of 1915, Huella ("Footprint") (1940), for which they received second prize from Buenos Aires City Hall. He also worked in Confesión ("Confession") (1940), without achieving commercial success with any of these movies.[2]

    In 1940 Manzi started what would be a long collaboration with Ulyses Petit de Murat, writing the screenplay for Con el dedo en el gatillo ("Finger on the trigger") (1940) Fortín alto ("High Fort") (1940), and The Gaucho War (1942). At the 1943 Argentine Film Critics Association Awards, Manzi and Murat won the Silver Condor Award for Best Adapted Screenplay for their screenplay of The Gaucho War which proved highly successful.[3]

    The early death of the poet was caused by cancer on Thursday, May 3, 1951.

    Tango Lyrics by Homero Manzi

    Arrabal Milonga
    Así Es El Tango
    Ay De Mí
    Bandoneón Amigo
    Barrio De Tango (1942), music by Anibal Troilo.
    Betinotti (1938), music by Sebastian Piana.
    Borracho Porque Digo La Verdad
    Buenos Aires Colina Chata
    Canto De Ausencia
    Carnavalera
    Che Bandoneon (1950), music by Anibal Troilo.
    Cornetín
    Dale Dale
    Definiciones Para Esperar Mi Muerte
    Desde El Alma (vals)
    Despues (1937), music by Hugo Gutierrez.
    De Ayer A Hoy
    De Barro
    Discepolín (1950), music by Anibal Troilo.
    El Pescante (1934), music by Sebastian Piana.
    El Romantico Fulero
    El Último Organito (1948), music by Acho Manzi.
    Ensueño (vals)
    En Un Ranchito De Alsina - Nobleza De Arrabal
    Esquinas Porteñas (vals)
    Eufemio Pizarro
    Fruta Amarga
    Fueye
    Fuimos (1945), music by Jose Dames.
    Gato
    Gota De Lluvia (vals)
    Horizontes
    Juan Manuel
    La Mariposa Y La Flor Tango Canción
    La Pequeña Canción
    Llanto
    Llorarás, Llorarás (vals)
    Malena (1941), music by Lucio Demare.
    Mano Blanca (1939), music by Antonio de Bassi.
    Mariana Milonga
    Mañana Zarpa Un Barco (1942), music by Lucio Demare.
    Milonga Del 900
    Milonga De Los Fortines
    Milonga De Puente Alsina
    Milonga Sentimental (1932), music by Sebastian Piana.
    Milonga Triste (1937), music by Sebastian Piana.
    Milongón
    Mi Taza De Café
    Monte Criollo (1935), music by Francisco Nicolas Pracanico.
    Muchacho Del Cafetin
    Negra María (1942), music by Lucio Demare.
    Negro Lindo
    Ninguna (1942), music by Raul Fernandez Siro.
    Oro Y Plata
    Paisaje (vals)
    Papá Baltasar (1942), music by Sebastian Piana.
    Pena Mulata Milonga
    Por Qué
    Ramayón
    Recién
    Romance De Barrio (vals)
    Romántica (vals)
    Ronda De Ases
    Ropa Blanca
    Rosedal
    Se Va La Murga
    Sur (1948), music by Anibal Troilo.
    Tal Vez Será Su Voz (1943), music by Lucio Demare.
    Tango (Voz de Tango) (1942), music by Sebastian Piana.
    Tapera
    Te Lloran Mis Ojos
    Torrente
    Triste Paica
    Tu Pálida Voz
    Una Lagrima Tuya (1949), music by Mariano Mores.
    Valsecito De Antes (vals)
    Veinticuatro De Agosto
    Viejo Ciego (1926), music by Sebastian Piana and Catulo Castillo.
    Voz De Tango
    Yo Soy Del 30
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    22 Min.
  • 05 Enrique Santos Discepolo

    05 Enrique Santos Discepolo
    Mar 12 2017
    Philosophy in small coinsSome years before, in his essay Les Assassins de la Mémoire —an acute study on the neo-nazi revisionism in contemporary Europe—, the French writer Pierre Vidal-Naquet transcribed lyrics of “Cambalache”, the seminal tango by Enrique Santos Discépolo. A far-fetched quotation? Maybe a feature of exotism by an intellectual in search of oxygen out of the European culture environment? According to the author´s confession, he was acquainted with Discépolo´s work by way of some Latin American friends. And he decided to include him in a book not at all connected with tango. The image of a cambalache (second-hand shop) as scenery for insolent random, of a confusion of values and desacralization seemed to him most adequate to seal his denouncing text.That was not the first time which Discépolo´s work aroused interest in the field of thought. The Spaniard Camilo José Cela included him among his preferred popular poets and Ernesto Sábato had no doubt in identifying himself with the pessimistic philosophy of the one who wrote “Qué vachaché”: «True love got drowned in the soup». Several years before these recognitions, the lunfardo (slang) poets Dante Linyera and Carlos de la Púa defined Discépolo as an author with philosophy. Another writer from Buenos Aires, Julián Centeya, when reviewing one of his films, talked of «philosophy in small coins», and at the same time was risking an analogy —undoubtedly exaggerated— between Discépolo and... Charlie Chaplin.Unlike other popular creators who displayed their talent in an instinctive and somewhat naïve way to be later recognized as future exegetes, Discépolo was always conscious of his contribution. It could also be stated that all his artistic renderings were articulated by common sense, a certain Discepolian air or spirit which people immediately recognizes with affection and admiration as if his work —more than once defined as prophetic— should express the common sense of the Argentines. Discépolo´s singularity keeps on disquieting either in the tango universe or outside it. While most of his contemporaries are today strange to new generations, the man who wrote and composed “Cambalache” persists, is in force. Or to say it with one of his most loved images: he keeps on biting.Enrique grew up seeing theater guided by his brother Armando, the great playwright of the River Plate grotesque, and soon later he was attracted by popular arts. He arrived at tango after having tried with uneven success, play writing and acting. In 1917, he made his début as an actor, in the company of Roberto Casaux, a comic star of that time, and a year later he wrote together with a friend the play Los Duendes, mistreated by critics. He later improved his level with El Señor Cura (adaptation of a Maupassant´s story), Día Feriado, El Hombre Solo, Páselo Cabo and, especially, El Organito, fierce social painting sketched with his brother in the mid-20s. As an actor, Discépolo evolved from chorus member to a cast name, and his work in Mustafá, would be remembered, among many other renditions.Although the worlds of tango and theater were not divorced in the Argentina of Yrigoyen and Gardel, Discépolo´s decision to be an author of popular songs was resisted by his elder brother —Armando had been responsible for Enrique´s education after the early death of their parents—, and it cannot be said that things had been easy for the feeble and shy Discepolín. A mild familiar influence (Santo, his father, was a noted Neapolitan musician settled in Buenos Aires) may have been the first evidence towards the combined art of sound organization and lyrics, but the revelation was not immediate. On the contrary, either the anodyne “Bizcochito”, his first composition commissioned by the playwright Saldías, or the remarkable and revulsive “Qué vachaché”, published by Julio Korn in 1926 and premiered at a theater in Montevideo where it was noisily whistled, were a bad start or, at least, that was what people in Buenos Aires, used to appraise Manuel Romero's, Celedonio Flores' and Pascual Contursi's tangos, thought.The luck of the stubborn author changed in 1928 when, in a revue, the singer Azucena Maizani sang “Esta noche me emborracho”, a tango with Horatian touches (because of Horacio, author of Odes) and with an entirely River Plate subject: an old cabaret woman who was mercilessly treated by time. Days after its début, the lyrics of that tango were heard throughout the country. Argentine musicians on tour of Europe included it in their repertories, and in Alfonso XIII´s Spain, the composition achieved an enormous popularity. That was Discépolo birth in tango. That very year, the actress and singer Tita Merello returned to the previously critized “Qué vachaché” and drove it to the same stature of “Esta noche me emborracho”. Finally, 1928 would be the year of love for an intellectual full of ...
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    27 Min.
  • 04 Rosita Quiroga , woman in the Tango

    04 Rosita Quiroga , woman in the Tango
    Jan 25 2017
    She was the first singer, direct heiress of the primitive payadores. His is a unique case in the history of the woman in the tango. No one expressed as she, sang with the same cadence and the same I left with the speaker, was the female prototype -irrepetible- of the suburban.

    He played naturally, as he did, and played the guitar by tone, as Juan de Dios Filiberto, his neighbor in the neighborhood of La Boca taught.

    He spoke by interlacing vulgar words, with a canyengue rhythm, as he would have heard it from the men of his house, port workers, and carreros. She did it with a lisp and her voice was not powerful but it generated an intimate atmosphere as if singing for herself. This style accompanied her until her death despite the fact that she had already overcome poverty and had a very well-off economic position.

    Journalist Jorge Göttling called it "The Buenos Aires Edith Piaff".

    It appeared at the precise moment and was different at all.

    The success came quickly, was beloved daughter of the company Victor to which he was faithful throughout his career. It began to record in 1923, the first record was a style titled "Always Creole". His first tango was "La tipa", by guitarist Enrique Maciel and lyrics by Enrique Maroni.

    It was her and of course the label Victor, who inaugurated in Argentina the era of electrical recordings. The event happened on March 1, 1926, that day made four electric recordings, but by number of matrix the first and therefore emblematic in the record history of our country was "The muse mistonga", by Antonio Polito and Celedonio Flores.

    It continued until 10 of February of 1931, when also registered four subjects. He practically then ended his career, he was 35 years old, although he continued to appear on radio, sporadically. He did not like performing in public.

    During that very successful period (1923-1931) he managed to have much predicament in the decisions of the record label, to such an extent that his management made the great Agustín Magaldi, then an unknown singer, record in the company.

    For many years the poet Celedonio Flores wrote only for her, creating 24 subjects, among which are "Boy" and "Beba" (with music by Edgardo Donato), "Audacia" (Hugo La Rocca), "Carta brava" With music by herself), "The muse mistonga" (Antonio Polito) and "Contundencia" (Mario Micchelini).

    He returned to the album in March 1952 and made four songs and his farewell occurred on September 14, 1984 (32 days before his death), urged by his friend and personal doctor Dr. Luis Alposta, accompanied by guitarist Aníbal Arias and His set, recording "Campaneando mi pasado", with lyrics of Alposta and his music.

    In 1970 he traveled to Osaka, Japan, for an invitation from the members of a tango rock that bears his name.

    Almost always accompanied by guitarists, but at the beginning she also sang accompanied by the orchestras of Carlos Vicente Geroni Flores, Antonio Scatasso, Eduardo Pereyra, Manuel Buzón and others, all belonging to the label Victor.

    Rosita Quiroga is the most genuine representative of the tango suburban, today a legend of the most rancid Buenos Aires, for many the greatest, and is revered by all who love this great paradigm called tango.
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    22 Min.
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