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Cristino Tapia has the weight of a legend in our collective imaginary of Cordovan , but in life he did not have that fame. He was earning it little by little, working his charm and his abilities. He was an expert in music, professional since childhood, tireless, restless, entrepreneurial spirit. His creations were fed by the popular soul of Cordoba and reached the highest that could aspire in his time a folklore musician from the Argentine interior. He was a traditional artist , loyal to sounds and rhythms impregnated with historical roots. But it also matched to the canons of the cultural industry, as he recorded two hundred albums for international companies and maintained radio seasons oacute; nicas nacionales without ever losing their identity.
Cristino was born in San Carlos Minas in 1891 , a town in the west of Cordovan that was an area of farmer comechingones, until 250 years before his birth. His provincial origins constituted him as a unique personality in his village.
When he arrived in the Cordovan capital, he took refuge in the famous and busy area of Mercado Norte , where his father had a butcher's post. His existential education took place in the suburb of the beginning of the century, when he found his faithful companion - a guitar that strummed from a child. So, little by little, Cristino sang Creole songs that his recipients praised . His repertoire was a godsend for guests of bars and still lifes on the market, such as the local Don Ciriaco, or As de Copas, where other musicians and singers also met their belonging audience. As a young man he earned the nickname “El Juglar de la Segunda”.
Some say that as an author and compiler, Cristino was the first to spread the cordobesa jota , rhythm on which he composed his songs La Flor del aire, Cordobesita serrana and Sauce Punco. La Jota was a Creole dance born in the mountains of Córdoba in 1750. In addition, those who know music and tradition, attribute him to have marked avant-garde , since he was the first to put lyrics to instrumental creollos valsecitos .
Cristino began his professional career early. He formed the duo Los hermanos Tapia with his brother José María, with whom he debuted in 1919 at the Teatro Olimpo de Rosario contracted by the company of Blanca Podestá and Alberto Ballerini. The duo format was always the predilection of Cristino, who was putting together his dynamic pairs with the passage of time. On stage he teamed up with Italian Amado Simone, Francisco Almada and, from 1928 to 1945, the Duo Tapia Orellana with his wife Elisa Orellana. With the latter they decided to tour the country from end to end professing the love of music.
The tapia-Orellana duo was the most successful. They harvested publications, interviews, a lot of radio presence and even a tour of Uruguay. In 1930 they were hired by Victor, after recording a hundred plates for National and Odeon records. From 1943 they joined the Orchestra Nativa Flor de los Cerros until in 1950 Cristino decided to retire from artistic activity.
Cristino Tapia cultivated, collected and incorporated into his repertoire the Creole musical traditions: zambas, cuecas, chacareras, cats, tonadas and varied styles. All senses and produced by this singer in a unique way . Without a doubt, it generated a revolution in national music.
One of the happiest and most fair influences was the one he exercised in the Creole stage of Carlos Gardel, with whom he had a close and lasting friendship. It was he who started the Gardel-Razzano duo in the interpretation of the folk repertoire of central and northwestern Argentina. Gardel even recorded with the duo or as a soloist, in total twelve songs by Cristino, including “La Tupunganita”, the waltz “Qué linda es la vida! “, the “Chacarerita del Norte” and the zamba “La Cordobesa”.
Its history marks the music of a whole country , and its music continues to sweeten ears even years after it passed through this Earth.
Thank you, Cristino of our heart!
Publication Date: 23/02/2021
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