Carlos di Sarli ( Bahia Blanca , January 7, 1903 - Buenos Aires , December 12, 1960 ), real name Cayetano di Sarli ( Spanish: Cayetano di Sarli) - composer, pianist and conductor of the Argentine tango , during his lifetime received the nickname "Tango Senor" "(" El Señor del Tango ").
Carlos di Sarli Carlos di sarli | |
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basic information | |
Birth name | Cayetano di sarli |
Date of Birth | |
Place of Birth | |
Date of death | |
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A country | Argentina |
Professions | Conductor, pianist, composer |
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Content
Early years
Father Miguel di Sarli, Italian , from his first marriage had three children, Ana, Maria and Antonio. When he emigrates for the first time, he goes to Uruguay, and then to Argentina. He married Serafina Rassomano, who was the sister of tenor Tito Rassomano, she had six children: Jose, Miguel, Nicholas, Domingo, Kayetano and Roque, the last two were born in the city of Bahia Blanca , where the family settled down.
The head of the family owned a gun shop on San Martin 44, and everyone lived in a house at Buenos Aires Street (today Irigoyen). Cayetano (who eventually changed his name to Carlos) agrees to study at Don Bosco College. Music was encouraged in the family: his brother Domingo was a professor at the Williams Conservatory, Bahia Blanca , Nicholas became a famous baritone and Roque, the youngest, was a pianist like Carlos.
In the conservatory, where he studied and his brother, Carlos de Sarli acquainted with classical music. He loved to play the piano since childhood and intended to go to Buenos Aires .
At the age of 13, he joined a company of sarzuel, with whom he toured around the province for several years playing popular music, including tango. Later, he played the piano in the cinema, accompanying the silent movie of Santa Rosa , the province of La Pampa , the cinemas belonged to Mario Manare, a compatriot and friend of his father. In 1919, he returned to Bahia Blanca and formed his first orchestra, with whom he performed in Bahia Blanca at Express Café, located on the corner of Zelarrayán and Buenos Aires and Moka Café, O'Higgins 50. They also toured La Pampa Cordova , Mendoza , San Juan and Salta . Finally, in 1923, he moved with his brother Roque to Buenos Aires .
Work as a musician
Through the musician Alberico Spatola, the author of the tango Thirteen ( El trece ), with whom he had a certain relationship, he was the conductor of the Buenos Aires police, he met the bandoneonist Anselmo Ayet . In early 1924, he was part of the orchestra under the direction of violinist Juan Pedro Castillo and, later, the trio Alejandro Scarpino , author of the tango Canaro in Paris . He also worked with Olinda Bozan to record an Electra label and worked with a sextet at the Chantecler cabaret.
On the recommendation of the violinist José Pecora (José Pécora) was included in the orchestra of Osvaldo Fresedo in 1926 and performed at the opening of the Fénix del barrio Flores theater. Osvaldo Fresedo had a great influence on the style of di Sarli, who mixed it with his own, they became close friends and, in testimony of their admiration and gratitude to di Sarli, dedicated Fresedo to the Old Milonguero tango written between 1927 and 1928. At the same time, Juan "Pacho" Maglio and José María Rizzutti recorded his Tango Meditation .
Between the end of 1927 and the beginning of 1928, he formed his first sextet: violinists José Pécora and David Abramsky (David Abramsky), bandoneonists Cesar Ginzo and Tito Landó, and contassist contrasist. Adolfo Kraus), di Sarli himself played for the piano and conducted, he recorded on Radio Culture for the studio RCA Victor . He worked with singers Santiago Devin (Santiago Devin), Ernesto Fam (Ernesto Famá) and Fernando Dias (Fernando Díaz), they accompanied the recordings of the orchestra in live and on radio performances. Between November 26, 1928 and August 14, 1931, 48 tracks were recorded, including TBC Tango Edgardo Donato, Maldita Antonio Rodio and Celedonio Flores, and La guitarrita and Una noche de garufa , both of which were last by Eduardo Arolas.
In 1930, during a performance in the cafe Germinal ( El Germina ) there was an incident with one of the owners who did not understand that Di Sarli wore black glasses on the stage not on a whim, but by prescription after a thirteen-year-old accident left the room and went with his orchestra to Bahia Blanca , where he began to play in the confectionery "La Central" ("La Central") in Punta Alta , with the orchestra senorit.
In 1932, Antonio Rodríguez Lesende joined the orchestra as the first permanent singer. In 1934, for reasons not fully understood, di Sarli left the orchestra and settled in Rosario , Santa Fe province, where he joined a small band with famous musicians: bandoneonist Juan Cambareri, violinist Alberto Saikievich and singer Roberto Peary (Roberto Pieri). Sextet continued to play without Di Sarli; Originally, it retained its name, but then after performing at the Novelty confectionery, it was renamed the Roman Orchestra (Orquesta Novel). At the request of his colleagues, di Sarli was temporarily reinstated in the orchestra in 1935 to replace pianist Ricardo Canataro, who was ill.
At the end of 1938, di Sarli reorganized his orchestra and debuted with it in January 1939 on Radio El Mundo . At this stage, he still plays the piano and conducts. His new orchestra included violinists Roberto Guisado (Roberto Guisado), Angel Goikoecha (Ángel Goicoechea) and Adolfo Pérez (Adolfo Pérez); bandoneonists Roberto Gianitelli, Domingo Sánchez and Alberto Mititieri (Domingo Sánchez), Domingo Capurro and Ignacio Murillo (Ignacio Murillo) I’m a bit like you’’t be like you’’t like to look up a bit like you, I’t look up to you, I’m a bit like you, I’ll be like you), I’m going to look up a bit like you, I’ll be one of you, I’ll be like you), I’m going to look up a bit like you) he was 16 years old). In this line-up, on December 11, 1939, recordings were made for the Victor studio, such tango as Corazón (his own authorship of the poems by Hector Marcó, performed by Robert Rufino and Retirao tango by Carlos Posadas,
Last Orchestra
In 1958, di Sarli still played the piano in his orchestra and conducted it, including violinists Roberto Guisado, Elvino Vardaro. A. Rouco, Simon Bachour (Szymsia Bajour, real name Shimon Bakhuz), Carlos Arnaiz, Juan Schiaffino, C. González and C. Rossi (A Rossi); Bandoneonists: Felix Verdi (Félix Verdi), José Libertella (José Libertella), Julian Plaza (Julián Plaza), A. Marcucci (A. Marcucci) and D. Sanchez (D. Sánchez), contrabass player A. Sciarretta (A. Sciarretta) and singers Horacio Casares and Jorge Durán.
Dee Sarli with this orchestra remains to work and achieves great popularity until his death in Buenos Aires on January 12, 1960.
Singers
During his time at sextet, he worked with Santiago Devin (Santiago Devin), Ernesto Fam (Ernesto Famá), Fernando Díaz, Antonio Rodríguez Lesende, Roberto Arrieta and Ignacio Murile (Roberto Arrieta) and Romato Arrieta and Romato Arrieta and Roanto Arrieta (Roberto Arrieta) and Roberto Arrieta (Roberto Arista) , in this order. In the orchestra with Roberto Rufino, he was the first vocalist, followed by Antonio Rodriguez Lesende (Antonio Rodríguez Lesende), Agastín Volpe, Carlos Acuña, Alberto Podesta (Alberto Podestá, again Roberto again, again, again by Roberno, again by Alberto Podestá, again by Alberto Podestó, Alberto Podestá, again by Roberto Rufino, again by Alberto Podestá) , Osvaldo Cabrera, for the third time Roberto Rufin, again Alberto Podesta, Jorge Durand, Raul Rosales, for the fourth time Alberto Podesta, Osvaldo Cordo, Oscar Serp, Mario Pomar, again Oscar Serp, Argentino Ledesma, Rodolfo Gale, Roberto Florio, again Finally, Jorge Durant and Horacio Casares.
Di Sarli Music
At the beginning of his music was quite simple, and later became more lyrical and richer in nuances and subtleties, but was always good for dancing, because had a clear rhythm that helped the beginner and at the same time his music was of enough difficulty for advanced dancers. Therefore, his orchestra was one of the greatest that was popular during the first recordings and is still present in the repertoire of music for milonga.
Di Sarli did not conform to the canons of the old guard or tango revolution, which was carried out by Julio de Caro, but he found his own style without concessions to fashion. Fresedo had an influence at the beginning on his style, but only as a precursor to his own.
He was a talented pianist. In the style of di Sarli there is no one instrument as the main one, the bandoneons sometimes played the melody, but also played an important rhythmic role in creating dance music. Only the violin stood out extremely delicately, in a brief solo or on a counter melody. His fruitful ingenuity was mainly devoted to his left hand (on the piano he was responsible for the accompaniment, very rarely for the melody that the right hand usually plays), which emphasized the rhythm and filled the time between musical phrases with losing, which created one of the most important features in Carlos di sarli
Written Tango
- Nido gaucho (words Héctor Marcó )
- Verdemar (words José María Contursi )
- Porteño y bailarín '(words Héctor Marcó)
- Bien frappe (words Héctor Marcó)
- Otra vez carnaval (words Francisco García Jiménez )
- Bahía Blanca (instrumental work) .
- Juan Porteño (words Héctor Marcó).
- Milonguero viejo .
- Corazón (words Héctor Marcó)
- En un beso la vida (words Héctor Marcó)
- La capilla blanca (words Héctor Marcó)
- Tangueando te quiero (words Héctor Marcó)
- Cuatro vidas (words Héctor Marcó)
- Así era mi novia (words Héctor Marcó)
- Chiquetera .
- Callorda .
- Che, francés, vení .
- Pobre buzón .
- Porqué le llaman amor .
- De qué podemos hablar .
- Rinconcito de alegría .
- Negando el perdón .
- Llanto en el corazón .
- Cortando camino .
- ↑ 1 2 Find a Grave - 1995. - ed. size: 165000000
- ↑ 1 2 todotango.com