Enrique Alessio – the music

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Enrique Alessio featured last week so this week focuses on his music in more depth, tracing how he was able to adapt the style he developed early on with Pugliese to the orquestas of D’Arienzo and the singing of Alberto Castillo.

That’s Tango Capital, Sunday evening from 7:00pm to 8:00pm:

  • broadcasting on 2xxfm 98.3 in Canberra

 

Image Credit:
http://www.todotango.com/creadores/ficha/869/Enrique-Alessio

PLAYLIST:

  • Farol, meaning ‘Streetlamp’, a tango recorded by Osvaldo Pugliese, on 15 July 1943, with music composed by Virgilio Expósito 1943, with lyrics by Homero Expósito, and sung by Roberto Chanel.
  • Muchachos comienza la ronda, meaning ‘Guys, start the ronda’, a tango recorded by Osvaldo Pugliese, on 27 August 1943, with music composed by Luis Porcell in 1943, with lyrics by Leonardo Díaz Vélez, and sung by Roberto Chanel.
  • Que bien te queda, meaning ‘Good that you have left’, a tango recorded by Osvaldo Pugliese, on 21 October 1943, with music composed by Vicente Salerno, with lyrics by Juan Florencio Mazaroni, and sung by Roberto Chanel.
  • Amarroto, meaning ‘Crushed’, a tango recorded by Juan D’Arienzo, on 12 September 1951, with music composed by Juan Cao in 1951, with lyrics by Miguel Bucino, and sung by Alberto Echagüe.
  • El Nene Del Abasto, meaning ‘The baby of Abasto (a suburb in Buenos Aires)’, a tango recorded by Juan D’Arienzo, on 12 September 1951, with music composed by Eladio Blanco, with lyrics by Raúl Hormaza, and sung by Alberto Echagüe.
  • Sepe Nopo Ripi Tapa, a tango recorded by Juan D’Arienzo, on 12 September 1951, with music composed by Juan D’Arienzo and Fulvio Salamanca, with lyrics by Carlos Bahr, and sung by Alberto Echagüe.
  • Ahora Tengo Un Amor, meaning ‘Now I have a love’, a vals recorded by Enrique Alessio in 1947, with music and lyrics by Rodolfo Sciammarella, and sung by Alberto Castillo.
  • Violetas, meaning ‘Violets’, a vals recorded by Enrique Alessio in 1948, with music composed by Juan Félix Maglio, composed in 1930, with lyrics by Francisco Brancatti, and sung by Alberto Castillo.
  • El Torito, meaning ‘The Little Fighter’, a milonga recorded by Juan D’Arienzo, on 29 April 1954, with music composed by Ángel Villoldo in 1910, with lyrics by Carlos Pesce and Antonio Polito.
  • La Endiablada, meaning ‘The Wretched Woman’, a milonga recorded by Juan D’Arienzo, on 10 June 1955, with music composed by Pintín Castellanos.
  • Baile De Los Morenos, meaning ‘Dance of the dark people’, a candombe recorded by Enrique Alessio, on 11 April 1947, with music composed by Romeo Gavioli and Carmelo Imperio, with lyrics by Gerónimo Yorio, and sung by Alberto Castillo.
  • El Aguatero Porteño, meaning ‘The Watercarrier of Buenos Aires’, a candombe recorded by Enrique Alessio in 1947, with music composed by Enrique Maciel, with lyrics by Tito Sobral, and sung by Alberto Castillo.
  • Tristeza Criolla, meaning ‘Sorrow of a native-born’, a vals recorded by Juan D’Arienzo, on 2 November 1954, with music composed by Ignacio Corsini, composed in 1910, with lyrics by Julián De Charras, and sung by Armando Laborde.
  • La Sonrisa De Mama, meaning ‘The mother’s smile’, a vals recorded by Juan D’Arienzo, on 1 September 1954, with music and lyrics by Carlos Bahr, Juan D’Arienzo, and Fulvio Salamanca, and sung by Armando Laborde.
  • Soy Porteño Y Soy Varon, meaning ‘I am of Buenos Aires and I am male’, a tango recorded by Enrique Alessio, on 23 May 1946, with music composed by Roque Miguel Potenza, with lyrics by Alberto Luis De Franco, and sung by Alberto Castillo.
  • Viento En Contra, meaning ‘Against the wind’, a tango recorded by Enrique Alessio in 1947, with music composed by Emilio Brameri, with lyrics by Alberto Luis De Franco, and sung by Alberto Castillo.
  • Ninguna, meaning ‘None’, a tango recorded by Enrique Alessio, on 8 January 1948, with music composed by Raúl Ferdández Siro in 1942, with lyrics by Homero Manzi, and sung by Alberto Castillo.
  • Recuerdo, meaning ‘Memory’, a tango recorded by Osvaldo Pugliese, on 31 March 1944, with music composed by Osvaldo Pugliese in 1924, with lyrics by Eduardo Moreno, although this is an instrumental version.

 

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