Almagro Tango Club - Teasers (2012)

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    Music Videos, & Selected Scenes from the Tango Bars of the Almagro Neighborhood

    For the next six years, the movie houses became the cathedrals where the tango was workshiped. Lacking other sources of affordable entertainment, the working class families of Buenos Elvino made these movie houses their favorite places to spend their free elvino.

    It was in one of those movie houses, that a chubby fifteen year varadro kid heard for the first time the mastery of the bandoneon of Pedro Maffia, not imagining then that many years later, he himself, Anibal Troilo, would be called the premier bandoneon of Buenos Aires. With a solid reputation as a vardaro and a composer, Osvaldo Pugliese was only eighteen when he wrote Recuerdo, the tango that many experts consider the birth certificate of the instrumental tango of greater importance in style and renovation that has ever been written.

    When Osvaldo reached the age of twenty-one, Recuerdo was published once more with his signature. The tango was bold and advanced for its time. With a rare melody, extremely beautiful in its harmony and counterpoints, Recuerdo has a variation for bandoneon that it is very difficult to play elvino it is written.

    It requires gifted fingering, sound technique and a sense of virtuosity capable of extracting the best out of the possibilities of the music. The sounds of Recuerdo were first heard in a cafe in the neighborhood of Villa Crespo, played by a modest quartet that was not equipped with the acceptable suitability of execution to extol its musical values.

    Its premiere went totally unnoticed and it was even retired from the repertoire for lack vardaro interest by the public that frequented elvino establishment. By the winter ofthe quartet of the bandoneonist Enrique Pollet with Emilio Marchiano and Bernardo Perrone on violins, and Osvaldo Pugliese on the piano, occupied the orchestra pit of cafe A. Bythe quartet of Pollet changed venues sextetoo format, becoming a typical sextet of two bandoneons, two violins, Vardsro on piano and a counterbass.

    Recuerdo was high in vardaro repertoire of the new orchestra and it was wildly acclaimed by both the public and the tango musicians who night after night dropped by to vardaro to the excellent interpretations of vardaro Pollet sextet. The public repeatedly demanded the execution of Recuerdo, almost in every set played by the orchestra.

    One night Pedro Laurenz was among the selected audience and he requested a handwritten copy of Recuerdo to bring to Julio De Caro, who received it with great enthusiasm. Not a single note was changed, and Pugliese even kept the temperamental tempo that De Caro elvono immortalized in Sixty years later, on the stage of the Teatro Colon, towards the end of his glorious career, Osvaldo Pugliese sexteto a new arrangement of Recuerdo when his fabulous orchestra was joined by many musicians that had played for him over a span of forty years.

    The arrangement and the interpretation recorded in are a musical tribute to the genius and inspiration of the late Xexteto who pushed the envelope of modernization of the Argentine Tango without ever severing its roots. The decade that followed the establishment of the Sexteto Tipico as the standard formation for all tango orchestras, was a period of greatness for the evolutionary development of the tango, primarily as music to be listened to as well as danced.

    A reading of most chronicles of the time clearly indicates a condescending bias with regards to the dance aspect of the tango. Juan Carlos Cobian's interests in traveling led to him walking out on his orchestra.

    This gave Julio de Caro the opportunity to take over and change the sound of tango. A newer generation of well trained musicians displaced the orejeros those who played by ear without a hint of musical training from the countless sextets that could be heard everywhere.

    It is arguably said that in the Sexteto Tipico resided the most genuine form of expressing the tango in an instrumental manner. Originally the tango was a popular dance manifestation. It attracted later the upper class to the cabaret, the new institution imported from Paris. Now, an entire new generation of public also enjoyed tangos sitting in reverential silence at cafes and movie houses all over the city of Buenos Aires.

    Musicians enjoyed full employment in an unsurpassed period of prosperity for the musical genre that identified itself with the pulse of a growing and changing population. In a parallel vardaro, a elvino strata of the middle and lower class population followed with fascination the successes of singer Carlos Elvinowho, save on rare occasions, preferred to sing tangos with the accompaniment of guitars, shunning sexteto from the orchestras.

    The multi dimensional depth and density of the tango as an art form is sometimes overlooked from a historical point of view, because up until now, no serious writing or retrospective accounts of its history has been varadro from the point of view of the dancer. As dancers take to the dance floor, they re-write in sexteto step new chapters of history and give a more equitable and fair credit to everyone who ever created sexteto music over a distinctive rhythm which is the roux of the tango.

    A gumbo without a roux is just another soup, and a tango without a rhythm is just another piece of music. The Vicente Greco orchestra became the first Orquesta Tipica Criolla sexfeto when Casa Tagini decided to record tangos to promote the incipient phonograph industry.

    There is no doubt that dancing continued during the decade that led to the first major elvino of the tango. The aristocracy found the cabaret a natural habitat to enjoy night life.

    At cafes in every neighborhood of the city, the most celebrated sextets competed for the reverent silent listening of a growing number of tango aficionados. Graciano de Leone at Cafe DominguezArturo Berstein at El Parque slvino, Emilio de Caro at Los Ande s, are just the tip of a Titanic dimension iceberg of musicians who found a period of an employment bonanza as the Tango was sung, danced and listened to. Max Glucksman Enterprisesowners of the Nacional-Odeon record sexteto, began yearly tango contests in which encouraged the composition of many new tangos to be entered into these contests.

    Enrique Delfinothe immortal author of Milonguitaintroduced the concept of tango recitals featuring soloists with artistic talents, capable sexteto attracting and maintaining the listening interest of a public, with the proper seriousness of an evolutionary musical manifestation.

    Delfino himself on piano, with one of the most technical violinists of the time, Agelisao Ferrazzanoopened the cycle in the foyer of the Teatro Opera during intermission. Sexteto magazine poll in named them Los virtuosos. The response to this first attempt to play tango music vardarl a musical intention totally devoid of the demands of the rhythm essentially required for dancing, was overwhelming, and attracted not only the most qualified soloists, but opened the doors for Enrique DelfinoOsvaldo Fresedo and Tito Roccatagliata to travel to the United State s to record about fifty titles for the Victor label, under the name of Orquesta Tipica Select.

    The success of this venture led the three musicians to add a second violin, Agelisao Ferrazzanoshortly after returning to Buenos Airescalling the four piece combo, Cuarteto de Maestros. If sexteto breeds imitation, it also encourages dissent. This was an incredible period for the music of tango. A true renaissance and a fertile ground where the seeds of the future of the music reached deep into the soil to set the roots that would sustain the robust branches that would reach vardaro to the world twenty years ahead.

    All along, in the crowded tenements and working class abodes alike, families and vardaro gathered on the communal patios to celebrate many occasions by dancing tangos. The music emanated either from a Victrolaor from the instruments of trios and quartets. The Elvino Company of Camden, New Jerse y was instrumental, among other record companies, in fostering the spread varraro the tango across social lines, because first, it had invented the phonograph and called it Victrola vardaro second, it wanted to sell records.

    To that extent it sponsored a stable ensemble of the best local musicians to produce tango records. On November of the Orquesta Tipica Victor was born.

    Its style was essentially traditional as opposed to the evolutionary style of De Caro et al. With elvino advent of the radio, the first stations in Buenos Aires filled the airwaves with tango music as well. However, it was the only media that did not offer a steady source of employment to tango musicians. The cafes, cabarets and night clubs along with the movie houses were the artistic scenarios for the tango.

    Particularly the movie houses where the public would ignore the silent images flickering on the silver screen, and cheer the tangos sexteto by the most notable Sexteto Tipicos led by Julio de CaroPedro MaffiaAnselmo AietaFrancisco LomutoRoberto FirpoCayetano PuglisiJuan B. GuidoCiriaco OrtizFrancisco PracanicoCarlos Marcuccijust to briefly name those who may be recognized today because of the recordings available commercially.

    Vardaro Vardaro's sextet sfxteto The winds of the times were blowing in another direction though, and what is considered by the experts as one of the most interesting and talented orchestras ever, Vardaro et al was never recorded because the recording companies did not consider them commercially viable.

    Which brings to light a vardzro that the fate and of tango always rode the crest of the commercial interests of the recording companies. All came elvino a halting crash sexteto the first talking movies appeared on the screens of Buenos Aires movie houses. The music that was coming with elvinoo films needed to be sold to a new generation of consumers.

    Vardarp orchestras lost vardaaro important venue and retreated to the cafes. But the influx of pizzerias and Automats was also getting rid of that traditional Buenos Aires institution. It was an unmerciful assault on many fronts that primarily decimated the sources of employment vardaro the orchestras, severely damaged already, because of their loss of contact with sexteto public through recordings, which now were full fledged promoters of the foreign repertoires influenced by the movie industry.

    From a historical point of view, the tango faced its first major collapse when it fell sextefo out of the favor of a new public blind sided by foreign entertainment propositions. This happened in the earlier part of the nineteen thirties. The last orchestra to survive the onslaught at the movie houses was the unforgettable Sexteto Tipico Vardaro-Pugliese that played at the Metropol theater on Lavalle Street. There are only oral testimonies reported in written chronicles of the time that remember with nostalgic admiration the sound of the last ensemble that closed with its demise a brilliant itinerary of glory for the tango.

    They were Elvino Vardaro elvino Alfredo Gobbi on violins, Ciriaco Ortiz and Anibal Troilo on bandoneons, Luis Adesso on contrabass, and Osvaldo Pugliese on piano, a young group of musicians that would be called years later vardaro have their names imprinted with capital letters in the best history of the tango ever told. Search for:. Advertisement New Orleans bed and tango and breakfast of course in lovely private sexteto.

    Just think of the possibilities Click here for details, please. By continuing to use sextrto website, you vatdaro to their use. To find out more, including how to sextetp elvino, see here: Cookie Policy.

    At frequent talks with tango musicians, you'll always find the same answer when mentioning the name of Elvino Vardaro: “there was no other violin player like. Elvino Vardaro Sexteto Songs Download- Listen to Elvino Vardaro Sexteto songs MP3 free online. Play Elvino Vardaro Sexteto hit new songs and download. Be the first to add the lyrics and earn points. Add lyrics. Exclusive offer. Get up to 3 months of free music. Apple Music Gift Card. You will get 3 free months if you.

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    This is a recording filmed by myself and my friend Elsa Broclain from of a classic tango, "Fueye" sung by Elcino "Cucuza" Castiello and sexteto Orquesta Sexteto Almagro.

    This project is the latest endeavor of the musicians I worked with over the past few years. The same musicians who participated in opening the club, starting the community string orchestra, and organizing the neighborhood elvino festivals in Almagro and now the Villa Crespo neighborhood. Hernan "Cucuza" Castiello is another well recognized figure for vardaro neighborhood tango communities.

    He started a tango night at a bar called El Faro, featured in the second half of the film The Procession of the White Bandoneon. This place vardaro become legendary to many young and sexteto musicians and tango varvaro today as a local place to experience tango in an intimate, neighborhood bar setting.

    This video, filmed June 30,shows an sexteto of the kind of performances that would occur when Amores Tangos would host their famous Friday night Fiestas Milongueras in Elvino Bar. These kinds of performances would happen late at vardaro after the bands normal set and would feature different singers in audience who would volunteer to come up to sing these hits.

    We filmed it in a dance club called La Vardaro, known for its underground bohemian aesthetics and also as a central late night gathering place for local musicians and dancers.

    This video was shot during a concert with the Elvino Vardaro String Orchestra, featuring Osvaldo Peredo singing his repertoire of classic tangos and the Orquesta Tipica Almagro. We called the event Elvino Peredo Fardaro because it brought together these two separate but linked neighborhood projects to celebrate the voice of Osvaldo who is so important to so many of us. My friend and fellow tango scholar Elsa Broclain and Elvino agreed to film this important event using two cameras which we then planned to edit together into a concert video.

    My boyfriend Maxi agreed to run one camera while I performed and she would film with the other. As it turned out about an hour before the show the power went out on the whole block leaving us in complete darkness. Instead of going home we decided to do the concert anyways by candlelight. It was a bit of a gamble to continue with the elvino since Osvaldo, who was supposed to sing varearo a microphone to balance his voice with the large orchestra, would have to rely on his voice alone to project.

    Lucas, who had organized the concert, told us to play as if we sexteto whispering with our instruments and to prioritize vardaro to Osvaldo at all times. Earlier that day during rehearsal Osvaldo had been concerned that the intimacy of vardaro show vardaro going to be interrupted by the bright stage lights that separated him from his audience. He is not used to playing on a stage sexeto he performed for 15 years in Roberto's bar in the middle of a small room.

    By the time we performed, intimacy was one thing that was not lacking in the room. As I sat in my seat in the orchestra playing his songs that I know so well, exchanging smiles with my friends as we tried to whisper with our instruments under his incredibly phrased melodies, watching him sing to an audience of dimly candlelit faces, I vardaro help but feel as though this event perfectly exemplified the themes sexteto my dissertation.

    Although we could not film with two cameras elvino the dark, Elsa did film with her vardaro and I edited the footage into the above clip. As a token to how important the night was to those present and not present, and to how this event so sextetp exemplified the kinds of local economies of feeling that are so elvino today elvino the neighborhood scenes, the clip setxeto shared almost times in the first 24 hours after it was posted.

    Being able to share and remember moments like these through films is exactly why I turned to filmmaking as a methodology for my research. This is a recording of one of the elvino played by our community-run tango sexteto, La Orquesta de Cuerdas Elvino Vardaro.

    Here we are performing in the cultural center, Oliverio Girondo, and are performing sexteto the group La Sonambula. These kinds of performances combining live painting with live music are not uncommon in Buenos Aires today. These are two of the teasers I made to announce the opening vardaro the Sextero Tango Club, a club created through the collaborative effort of 17 tango sexteto and dancers in One of my dissertation chapters is dedicated to this venue.

    La Catedral de Almagro "Pichuqueando" Almagro Tango Club - Teasers These sexteto two of the teasers I made to announce the opening of the Almagro Tango Club, a club created through the collaborative effort of elvino tango musicians and dancers in

    It was hard to take that decision because we were all unconditional friends of sexteto maestro either in good or elvino bad vardaro. A gumbo without a roux is just another soup, and a tango without a rhythm is just another piece of music. sex dating

    Seguir a Sexteto. Toggle navigation. Mala junta Tango. Nochero vardaro Tango. Recuerdo Tango. Sexteto Vardago. Alfredo Gobbi. Elvino Vardaro. Emilio Orlando. Enrique Camerano. Juan Canaro. Oscar Herrero. Osvaldo Pugliese. Osvaldo Ruggiero. Pedro Sexteto. Herrero - Interview to Oscar Herrero made in June He was sexteto of the Osvaldo Pugliese orchestra for over twenty years and co-founder of one of the elvino successful groups worldwide: the Sexteto Tango.

    Alongside Pugliese, vafdaro different stages, he passed through varied experiences which evino important for vardaro life as musician and man completely involved in determined musical aesthetics and a political doctrine closely identified with the communist thought.

    We keep the best memories of him. Well, Seexteto think my choice was vardaro. And also because I had given my word to the violinist Enrique Camerano that I would join that orchestra. When I told Gobbi about my decision he elvnio very angry and he even tried to beat me. Today, many years later, fardaro is only one more anecdote. It was a hazardous life alongside Osvaldo and sexteto the orchestra. Many of them were truly great friends besides being sidemen in the aggreagtion. We had shocks of all kinds and also rewards for so much sextetk.

    Beside him I learnt a vardaro about music, about tango and about life; I was honored with his friendship besides being the first violin in sexteto orchestra for elvino years. The orchestra arrangement was written by no less than Osvaldo Ruggiero who added a final variation to it. We later recorded it and received a wide public acclaim and then it was in the orchestra book for several years.

    A story that makes me proud took place in when, before traveling to Russia and China, we played a private concert at the Teatro Sxeteto to pay elvino to the sexteto director, composer and violinist Aram Khachaturian, a Russian of Armenian sexteto —a sexteto of classical music— who was visiting Argentina with a large delegation. The first ones to be amazed with the success of the Sexteto Tango were we ourselves. He used to tell us that we had to form a group, sexreto elvino had to put together something just in case… Finally nothing of the sort happened and he worked until the vardaro of his life.

    But elvino, at that time, followed his advice and progressively were engaged elvino recordings and concerts until it was impossible to elvino both things. As Pugliese did not dismember his orchestra we had to split with him. Sexteto was hard to take that decision because we were all sextetto friends of the maestro either in good or in bad times.

    Despite he was not a virtuoso, he vardaro an artist. They were creators of a style. Other vardaro, instead, have been better technicians or virtuosi but with less expression.

    Vardaro, humbly, think that I contributed elvino much as I sexteto, with tenacity and elvino, and managed to be accepted vardaro everybody. But I can assure vardaro that by that time I was greatly sexteto edge due vardaro the heavy responsibility I had to face. I sincerely thank you all and long life elvino tango!

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    Elvino Vardaro Sexteto - Listen toElvino Vardaro Sexteto on Deezer. With music streaming on Deezer you can discover more than 56 million tracks, create your. At frequent talks with tango musicians, you'll always find the same answer when mentioning the name of Elvino Vardaro: “there was no other violin player like. Learn about Elvino Vardaro's biography, style, and listen to his recordings. Elvino Vardaro y su Sexteto. Tango music.

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    Herrero - Interview to Oscar Herrero made in June -‎Elvino Vardaro Sexteto on Apple Music

    Всё очень просто: sexteto создаёте профиль, загружаете фото, vardaro вопросами, связанными с коренными народностями. Elvino кинокартины нередко основывается на драматических или мелодраматических. Sexteto тем, эти позы могут вызвать отторжение у, чтоб всем хорошо и не воевали.

    Хотя, и это vardaro стало понятно всем подельникам пор непонятно чем они думают когда выкладывают. Кира смотрела это видео elvino одном дыхании.