The year 1939 passed when he disconnected from the Aníbal Troilo orchestra “Pichuco” (25), one of its founding bandoneons . I mean Juan Miguel Rodriguez (“El Toto” Rodriguez).
At that time, Hugo Barilis (18) was already one of the violinists. This one, very friend and companion of misdeeds of Astor Pantaleón Piazzolla (18), asks the master to test Astor to replace Rodriguez. Pichuco accesses, and “El gato”, as Aníbal dubbed Astor, surprises him, first, playing classical music. Then some tango.
Astor is approved immediately, and the master invites him to rehearse a few days the repertoire, and then join the orchestra . “You know we present ourselves in a blue suit...” To which the bandoneonist responds that he already knows all the scores of the songs that the ensemble executes, because he is a deep admirer and no essay is lost.
This is how a duo was born between Piazzolla and Baralis, which gives title to this note, because they were having jokes... some, heavy. Among them, to put a live cat in the bandoneon box of another musician from another orchestra, while he rehearsed.
There is a video record of a meeting at a coffee table, in which Atilio Stampone (eximio pianist, with his own orchestra, who made an alternate for Osvaldo Berlinghieri when he asked for him) oacute; a license to accompany on a tour the rutilating star of the spanish song Nati Mistral) and Leopoldo Federico (excellent bandoneonist, who shortly before his recent death, confessed that his pending subject was having worked with Aníbal Troilo), where Federico comments that the famous They had made it to him.
One of the most important bandoneonists and composers in our country, Nation in the city of Mar del Plata , on March 11, 1921. His family lived in New York between 1925 and 1936, where he began his relationship with music. With the bandoneon he first met at the age of 8, when his father gave him one. An early child, at the age of 10, made an acetate recording. Very young, too, he met Carlos Gardel and became friends. In fact, he invited him to participate in the film “El día que me quieres” and to be part of a tour throughout America, but the latter could not go because he was a minor and had the necessary permission.
When his family returned to Mar del Plata in 1936, he began Astor's prolific career. He participated in several ensembles and at the age of seventeen decided to move to Buenos Aires to explore tango more deeply. His goal was to enter the Aníbal Troilo orchestra and he did it. He continued with academic studies and approached jazzy. Little by little, he was finding his own style, very personal, that moved away from classical tango.
For his work Buenos Aires, three symphonic movements (1953) won an important prize and the French government awarded him to study in Paris with Nadia Boulanger. It was she who encouraged him not to abandon tango and continue along that path. Two Argentinians in Paris (1955) was born at that time, a work he recorded with Lalo Schirfrin.
The return to Buenos Aires and the unstoppable race
On his return from his stay in Paris, he was followed by the years of career that consolidated him as a great artist of the 20th century. Enumerating and describing his works could take extensive words. He was the author of “ Adiós Nonino ”, dedicated to his father when he died. He composed “ Ballad para un mado ”, perhaps one of the most popular in his career. Avant-garde, he formed an Electronic Ensemble with which he recorded Libertango and experienced his approach to jazz-rock. He consecrated as an international artist with tours around Europe, South America, the United States and Japan. He received countless awards and recognitions. Astor Piazzolla left us an invaluable legacy to Argentines and we will be eternally grateful to you.
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