It is one of the most widely tangos that have reached and in some cases have made wonderful versions of the same. And like all subjects, carries with it a story, but in this case, because it is such a fundamental work, worth retelling.
It was composed by the bohemian genius named Juan Carlos Cobian in 1922, with the name of doped and takes Alberto Weisbach letter, sainetero a Uruguayan who wrote several works in collaboration with other prestigious Argentine authors.
He was one of the pioneers in introducing tangos in plays, as withMy sad night in the work“Dog Teeth”, he signed with José González Castillo and sang with great success Manolita Poli, the daughter of Spanish zarzueleros, in 1918, accompanied by the orchestra of Roberto Firpo.
The same will happen then with the work he did in partnership with his compatriot Samuel Linnig entitled Deli house, premiered at the Opera Theater on 12 May 1920. Although the piece was jeered and criticized, her own tango Linnig opened and Enrique Delfino, sang Mary Esther Podesta: Milonguita, which in turn it was ovacionada.
Letterdoped, in which collaborated playwright Raul Doblas, It was recorded by the Cobián himself at the piano and violin Agesilao Ferrazzano, Accompanying the singer Roberto Diaz and recorded the 13 of January of 1924, with very poor results.
Enrique Cadícamo which was Cobián Bohemian buddy and co-author of beautiful works with pianist Pigüé (Buenos Aires), He had rented a furnished three-room apartment on the street Tucuman 642, in partnership with the editor Lebendiguer, who was responsible for his works, even his books of poems, and expenses paid half bulín.
Cadícamo then bought a MiniPianoCarlit, who handled discreetly and it began to compose songs. He began to sign with the pseudonym of Rosendo Creole Moon and there tookthe cuarteador, an issue that Troilo recorded with the voice of Fiorentino, performing an original creation.
Cadícamo said that the piano had brought him a lucky fluid and took off thoroughly in the task. So he took Three friends, Troilo which he recorded with the voice of Marino. And then: The streets of life, To whom can import YWill not come, your editor will immediately published, between sprees and nocturnal wanderings riding on that department.
Aníbal Troilo day comes to visit him carrying an old version of Osvaldo Fresedo, recorded by his orchestra in instrumental form the subject of Cobián: doped.
A Pichuco loved the subject and asked him to urgently docked verses premiere, but with lyrics. Cadícamo put all kinds of objections because Cobián was in America and did not seem right to do so without authorization.
But Troilo insisted the argument that when he returned Cobián the country would be a surefire. They put on the turntable plate several times and as vate and had the melody embedded in ears us from the time when it reached to CobiánAbdullah, She made him a great new letter and imposed a new title: The dizzy.
Troilo made a magnificent arrangement and the voice of Francisco Fiorentino premiered in 1942 in Tibidabo. Since then he travels staves and voices of the singers with endless success. Only had a short break when the military government censorship 1943, he forbade the letter and title, He was called fleetingly, so, In my past.
Recording Diaz Cobian and Ferrazzano is quite poor and rather then bring the instrumental version of Osvaldo Fresedo made in 1922. And then, 20 years later, the miracle of Troilus and Fiore made the 15 June 1942.
Source: Tangos to Bardo – 17 July 2013
