A review of some of the songs that graced his voice.
On Friday 29 of January of 1926 Doña María Elena Costa traveled by train back to Buenos Aires after visiting northern Argentina, but the contractions that warned that her son was at birth forced her to go down in Urdinarrain, south of Entre Ríos.
It was a hospital ward in that small town where Roberto Emilio Goyeneche arrived at the world helped by Santiaga Bondioni de Boerque, the young nurse who took care of that woman in labor and who would always remember the child: “He was a redheaded baby with many freckles”, He repeated when he who brought the world was already a consecrated singer.
A few days after birth, Robertito arrived at his house in the neighborhood ofSaavedra, place where he spent his life and whom he loved. He was a fan ofPlatense and he knew how to combine work driving a taxi, then a collective and also as a mechanic as he began to walk his way through music from the hand of the most powerful weapon of the decade of the 40, his voice.
The Pole recorded his first single with just 18 years with the orchestra of Raul Kaplun and his career continued alongside the greatest: he was singer of the orchestras of Horacio Salgán, of Anibal Troilo and recorded with Astor Piazzolla. He also sang and recorded with Atilio Stampone, Raul Garello, Armando Pontier, Osvaldo Berlingieri, among others.
What made it different? Your interpretation, his say, the phrasing, her melodious voice, respectful of silences and with the power to emphasize a word, dragging a syllable or letter with exact precision.
The Polaco - thus nicknamed for his appearance - he managed to make insurmountable versions of the tangos of the moment and also of the strangers who, like a good father, he gave them to the later generation because he was the favorite singer of the youngest singers and also of the kids -As I was saying- that they sang and loved rock.
He had a step by who and on the giant screen he was also cheered: He debuted as an actor in “The right to happiness” in 1968, continued on “Singing tells its story”, in 1976 and was consecrated in the film “Sure” (1987) of Pino Solanas.
She was so able to do with her voice that when the unsustainable passage of time reached her throat she got in tune with that phrasing and even the trembling of her hands seemed, on stage, be part of the acting because he also had the gift of turning every song into a mental movie: he managed to make see and feel what he sang and spread his love for tango.
Recorded 42 discs and others 4 were edited after his death, the 27 August 1994. Among the many tangos that he recorded and that stand out we have selected because they are directly related to his voice despite having been recorded by other artists.
“I always sang the feelings to the surface. Without feelings nothing can exist, you can't live. It is the only way that man has to look inside”, Roberto Goyeneche said.
A review of the themes that the “Polaco”
Balada para un loco It is a milestone in the composition of Astor Piazzolla with lyrics by Horacio Ferrer that was first performed by Amelita Baltar, but it was Ferrer himself who said in an interview that when he wrote it he imagined the Polaco singing it. They recorded it together in 1969 and until today it is an insurmountable version.
Desencuentro was written by Cátulo Castillo and musicalized by the great Aníbal Troilo. Goyeneche recorded it in August 1968 for the RCA Victor label.
His eyes closed It is a composition by Gardel-Le Pera that was recorded in with the voice of Zorzal in 1935 and many versions followed, among them those of Julio Sosa, Rosanna Falasca y Nelly Omar. Goyeneche's version arrived in 1972 with Horacio Salgán's orchestra.
The reason It is a composition by Juan Carlos Cobián and lyrics by Pascual Contursi that was born as instrumental tango from the hand of the pianist Cobián and later lyrics were introduced. Was originally called “poor paica” and with that name it was recorded by Carlos Gardel in 1920, but due to the intervention of Enrique Cadícamo the original letter was modified and the name was changed at the request of Cobián and with the authorization of José María Contursi, Pascual's son. It is contemporary to “My sad night”, the first tango song.
It is also one of the tangos that has the most interpretations and came to the voice of the Polaco next to the Aníbal Troilo orchestra the 23 August 1961. Six years later, in 1967, Edmundo Rivero recorded another of the most remembered versions.
The last Kurdish It is part of the repertoire of Cátulo Castillo composed in 1956 with music is by Aníbal Troilo and was recorded by Goyeneche in 1961. “Kurdish” is a lunfardo word of gypsy origin that refers to drunkenness.
Castillo wrote the lyrics about the music composed by Troilo and, according to Edmundo Rivero, was born on a hot night of 1956 in the department ofPichuco. There the great composer and singer began to work on the music in which the humming with the bandoneon was mixed and after several hours the creative geniuses went out onto the balcony without realizing that the window was half open or that the sounds were reaching the Street. When they left they saw a crowded crowd that listened and cheered. At that moment they playedThe last Kurdish for the first time in public.
Finally, In a recording studio, Aníbal Troilo's orchestra and Edmundo Rivero's voice were recorded by 8 August 1956 for TK. The version of thePolaco arrived the 7 May 1963 for the RCA Victor label.
drizzle is a tango composed by Enrique Cadícamo and the music is by Aníbal Troilo. The first version was recorded by the orchestra of Pichuco with the voice of Francisco Fiorentino the 4 August 1943 for the RCA Victor label.
Memories tell that this tango began to come to life one night during the interval of a presentation by the Troilo orchestra. There Pichuco, who already had an almost armed composition, called Cadícamo (I was sitting in the audience) to listen and see if I could put some verses.
Both went to a loft that the musicians used as a dressing room.Pichuco he took out his bandoneon and started playing it while humming it. At the end of the evening, Cadícamo walked home with that humming in mind and while it drizzled the first sentence was born: “Garúa ... Alone and sad on the sidewalk ...”. As soon as he got home he started working on the text until it was complete..
The next night he saw Troilo again and in the same loft showed him the lyrics. Only one modification was made to the instrumental theme to adapt it to the lyrics. Two days later, the orchestra ofPichuco together with Francisco Fiorentino they were already rehearsing it.
drizzle was recorded for the first time on 4 August 1943 for RCA Victor. For the same label and with the same orchestra, the 9 of January of 1962 Roberto Goyeneche recorded it and consecrated it.
Aficheswas born from the genius of Atilio Stampone and Homero Expósito. Master Stampone himself toldInfobae how this tango was born:
“At that time (1956) I lived in the neighborhood of San Cristóbal and Homero had a small bulín in front of my house and as he had little space he came every day to eat at home and my old lady cooked for him. Every time we finished eating I would sit at the piano and play the same melancholic melody that played on the radio while he chatted with my mother; and from listening to it I already knew it. One day Homer came and told me: 'Tomá, the lyrics for that tango that won't let me chat quietly with your old woman ’…
He threw me a pen and told me to point… He dictates it to me and he leaves. I went to the piano and to my amazement it fit perfectly (…) Immediately I crossed to the bar where he was playing cards to tell him that he fit perfectly and he tells me: 'That, stupid, in the second part when you repeat the Yes, the second is flat, not natural ’… With all the fury I went to the piano to try. He was right, he was a genius!”.
Legend has it that Homero composed that tango thinking of an old love and at the same time wrote it criticizing the publicity that invaded all fields of consumer society..
The first version was recorded in 1975 by Atilio with the typical orchestra that he directed and sang by Héctor Petray, but it was not successful until the Polaco in Caño 14, a bar created by Stampone for the tangueros to play together.
The interpretation shown in the video was recorded on Saturday 22 August 1987 at the opera theater. Goyeneche is accompanied by Néstor Marconi on bandoneon and Angel Ridolfi on double bass.
Source: Fernanda Jara – daily Infobae
