Hugo del Carril: between the countryside and the city

What does Hugo del Carril — who was said to have been Gardel's successor— do in the section of Folklore? It happens that this great singer of tangos also knew how to venture into the music of the inland of our country.

One could say that Hugo del Carril was a national singer: he played genres typical of the city and the countryside. He was born with the voice and the face, but it was much more than that. In addition to being a singer and a galan, he was a writer, actor and film director.

In addition to his extensive repertoire of tango, several Creole pieces are recorded in his discography. He sang the song Camino del indio, by Atahualpa Yupanqui, in Cuba in 1941, and recorded it two years later. In the sixties appeared Canción del jangadero, Gajito de Cedrón, Zamba de la toldería, the Guitarra miastyle and the song Caminito soleado. In 1976 he recorded Los ejes de mi carreta, also by Yupanqui, and the zamba Mama viejaof Larenza and Bayardo.

His filmography also reflected his taste for folklore. In History of the 900, 1949, he played the Pobre gallo batarazstyle. In Amalio Reyes, a man, from 1969, sang the beautiful cat The Sun of 25, an authentic hymn to the gestation of 1810:

The people, the gauchage

makes enthusiasm

tremble with courage.

And now, countrymen,

the

American

peoples were free

.

The sun of the 25

Between tango and folklore, and from the countryside to the city, Del Carril spent his life singing to the most of us without being locked, without limiting himself. Because this man who is synonymous with tango was also a great exponent of our folklore.