Tango Masters: Anibal Troilo

214 Pages·04.332 MB·English

by  Michael Lavocah

Tango Masters:
Anibal Troilo
Michael Lavocah
3®
milonga press

Tango Masters:
Anibal Troilo
Published in Great Britain by milonga press
Copyright © Michael Lavocah 2014, 2016
Michael Lavocah has asserted his right under the Copyright, Designs and
Patents Act 1998 to be identified as the author of this work
This book is sold subject to the condition that it shall not, by way of trade
or otherwise, be lent, resold, hired out, or otherwise circulated without the
publisher’s prior consent in any form of binding or cover other than that in
which it is published and without a similar condition including this condi­
tion being imposed on the subsequent purchaser.
All rights reserved
First edition 2014
Revised 2016
1234567890
milonga press
33 Britannia Road
Norwich NR1 4HP
England
www.milonga.co.uk
Paperback: ISBN 978-0-9573276-5-8
Series editor: Mike Stocks
Cover design: Nigel Orme
Cover photograph: Fred S Schiffer FRPS
set in Garamond 11/14
The important thing is not to be a
poet-
it is to live life in a state of poetry
Anibal Troilo
-

Preface
Anibal Troilo: 100 years of friendship
It’s 2014, one hundred years since the birth of one of tango’s great­
est and best loved musicians, Anibal Troilo, known as “el ban-
doneon mayor de Buenos Aires” - the greatest bandoneon player in
Buenos Aires. It’s a title that no-one disputes - no mean feat in this
city.
Entering the office of Centenario Anibal Troilo one immediately
feels a special atmosphere. Francisco Torne (Troilo’s nephew), and
Celeste Alvero are working flat out. Whilst Celeste continues to
explore the archive, Francisco is busy arranging and co-ordinating
the schedule; and there is an event almost every day. They have no
financial motive for their work. I’m struck by the atmosphere of
warmth, humility and affection that permeates this office.
Uniquely amongst the leaders of the great tango orchestras, Troilo is
loved by everybody. D’Arienzo, the progenitor of the dance revolu­
tion of 1935, continues to divide opinion now as he did then (be­
cause of the lack of sophistication of his music). Di Sarli, famously,
was a difficult and demanding personality; Pugliese, with great integ­
rity, positioned himself on one side of a political divide that mankind
seems fated never to heal. But Troilo, on the other hand, is loved by
everybody because he loved everybody. He extended the hand of
friendship to everyone, placing himself in the midst of humanity. He
is everyman; and his music speaks to, and for, everyman.
And so it is that this centenary is not that of the abandoned lover,
sitting alone with only a whisky for comfort. It’s the centenary of
warmth and friendship.
Michael Lavocah
Buenos Aires
April, 2014
vn
Contents
Part 1: The Sound
1. Introduction
2. The first orchestra (1937)
3. Troilo - Goni - Diaz (1938)
4. Orlando Goni: marcamn bordoneada
5. Fiorentino: el cantor de orquesta
6. Anibal Troilo, bandoneon
Part 2: The Repertoire
7. An introduction to the repertoire
8. The first recordings (1938)
9. Astor Piazzolla (December 1939)
10. On the radio (1940)
11. 1940: The lost recordings
12. Troilo-Fiorentino 1941
13. A change of pace (1942)
14. Gricel
15. Alberto Marino, the golden voice (1943)
16. The death of Orlando Goni
17. The Arrangers
18. Jose Basso (1943)
19. Adios, Fiore
20. Marino solo (1944)
21. Floreal Ruiz (1944)
22. Recuerdos de bohemio (1945)
23. Edmundo Rivero (1947)
24. Aldo Calderon (1949)
25. Chau, Rivero (1950)
26. The 1950s
27. Responso (1951)
vui
28. The Troilo-Grela quartet (1953)
29. La ültima curda (1956)
30. Roberto Goyeneche (1956)
31. Troilo for export (1963)
32. Nocturno a mi barrio (1968)
33. Troilo in 10 tangos
Part 3: The Man & the Myth
34. A short biography
35. If only they could speak
36. Troilo on Troilo
Appendices
A. Troilo on CD
B. Troilo discography
C. Orchestra formations
Bibliography
Index of Tides
Glossary
Acknowledgements