Last edition looked at the life and times of Mariano Mores so this edition includes a cross-section of his music: that’s Tango Capital this Sunday evening from 7:00pm to 8:00pm:
Image Credit: http://www.todotango.com/creadores/ficha/73/Mariano-Mores
There’s a review from a tango perspective of the book The Accordion In The Americas, an interview with Sydney tango DJ Alex Nodelman starts, and a look at the life, times, and music of Mariano Mores features. That’s Tango Capital, Sunday evening from 7:00pm to 8:00pm:
Image: Cover of The Accordion In The Americas, 2012, edited by Helena Simonett, University of Illinois Press, USA.
Dejame no quiero verte mas , meaning “Leave Me, I Don’t Want To See You Anymore”, from Francisco Canaro, recorded on 28 May 1947 with Nelly Omar singing, a tango with music and lyrics composed in 1936 by Mariano Mores, Francisco Canaro, and Ivo Pelay.
Uno, meaning “One”, from Mariano Mores recorded on 22 March 1957 with Carlos Acuña singing, composed by Mariano Mores in 1948 with lyrics by Enrique Santos Discépolo.
Cuartito Azul, meaning “Little Blue Room”, from Francisco Canaro recorded on 14 September 1939 with Francisco Amor singing, a tango composed in 1938 by Mariano Mores and with lyrics by Mario Battistella.
Adiós Pampa Mía, “Good-bye, My Pampa”, a frankly sentimental lament for a long-vanished gaucho culture written by Mariano Mores with Francisco Canaro and Ivo Pelay in 1945, and here recorded by Mariano Mores on 22 March 1957 with Carlos Acuña singing
El Tamango, meaning “The Clod-Hopper”, from Anibal Troilo, recorded on 23 October 1941, a tango composed by Carlos Posados.
Triunfal, meaning “Triumphant”, a piece Piazzolla wrote early on in his career and which excited Boulanger so much that after hearing only 8 bars she advised that Piazzolla to stick with tango-related musical forms. This recording is from the “Adios Nonino” collection of 1991, but was originally recorded during the second “Montevideo recordings” by Piazzolla probably in 1960 shortly after he wrote it.
Pasión, meaning “Passion”, from Juan D’Arienzo recorded on 2 July 1937 , a vals composed by Alberto Cosentino and with lyrics by Juan Miguel Velich, but this is an instrumental version.
La Cicatriz, meaning, “The Scar” a milonga from Juan D’Arienzo recorded on 31 October 1939 with Alberto Echagüe singing music and lyrics composed by Raúl Aguirrezabalaga.
El Olivo, meaning “The Olive Tree”, from Juan D’Arienzo recorded on 14 July 1941 with Héctor Mauré singing, a tango composed by Antonio Scatasso and Domingo Julio Vivas and with lyrics by Carlos Ponciano Cabral.
Last edition looked at the life and times of Teófilo Ibañez so this edition includes a cross-section of his singing: that’s Tango Capital this Sunday evening from 7:00pm to 8:00pm:
Image Credit: http://www.todotango.com/creadores/ficha/711/Teofilo-Ibanez
Orquesta La Luna played their first gig for 2018 at the Camelot Lounge in Sydney, the interview with Wei-Siong Liang of Launceston concludes his observations on linkages between tango and the martial arts, and the singer Teófilo Ibañez features. That’s Tango Capital, Sunday evening from 7:00pm to 8:00pm:
Image: Orquesta La Luna, 28 January 2018, at the Camelot Lounge, Sydney.