Excerpt from the book “New history of the tango. From its origins to the XXI century” Hector Benedetti.
“Soy / Tango milongón / she born in the suburbs / malevos and bleary. / Today / I'm in the living room, /I know amansado, /sweetish and tired. / Pa 'to believe, / pa 'to lie / I'm changed, / if I am the same yesterday ", said a tango by Homero Exposito 1941 He is referring to the transformations that had suffered the tango, that gender had been relegated from the suburbs to the consolidation of gender and acceptance by the middle and upper classes.
In his book New History of the tango, Héctor Benedetti says this "idealized marginalization" of the tango on one side while the other stands a sort of "double standards" by the wealthier classes who sought thus show a "false appearance of illustration based on the fear of social censure ". further, the author argues that "as in Argentina society existed always the fear that the competition between classes mistook system hierarchies, the best positioned strata opted for a sermon to keep it at a safe distance. We insist: only one preaching; in the meantime, assiduously exercised tango ".
The book traces the history of the tango, since before its inception, delving into the origin of the word tango, a term current circulation among African slaves, and then address the first documentary records, the consolidation period of the genre from the late nineteenth century and early twentieth century the, the incorporation of the bandoneon and the emergence of dance venues.
It also addresses the appearance of the typical orchestra, the emergence of a phonographic industry, the appearance of tangos sung, whose expressive maturity come with Pascual Contursi and other poets around 1915, using lunfardo and introduction, in the decade of 1920, changes in the pace, the melody and interpretation. The history of tango comes at the beginning of the XXI century depicting iconic moments, the renewal of the tango in the early 1940, for the typical orchestra danceable, and subsequent innovations Hector Varela and Ástor Piazzola.
We share here an excerpt from the book about the tangos emerged in the heat of the celebration of the Centennial of the May Revolution, in 1910, who installed the theme of patriotism. We also include a piece about the effect it had on the music the coup of Jose Felix Uriburu, the 6 September 1930, who set policy in some tangos, one of whose exponents is Cambalache, Enrique Santos Discépolo.
Source: Héctor Benedetti, New history of the tango. From its origins to the XXI century, P. 70-75 Y 174-178
The tangos "patriotic"
What is meant by "patriotic tango"? Is it those mentioned persons or political circumstances? Or just fall into this classification which allude to foundational facts? And, as we read in the dictionary of the Royal Spanish Academy, "Patriotic" is what "really adheres to the love for the homeland and procures all its good", a selection should be consistent from Independence, Alfredo de Bevilacqua, as we shall soon see.
Traditionally, musical genres that best intermarried with patriotic were those of folklore. flap, cielitos, styles, figures, pericones, chacareras, vidalitas, triumphs and other rhythms native to the country that named explicitly or allude to it constituted an overwhelming majority over the tango and the rest of the urban music. Nonetheless, Interestingly,, In its great majority, They were made by people who practically ignorant of what life was like "inland": city people or people, at most, hardly they knew the rural environment.
In the field of tango, the celebration of the Centennial of the May Revolution, in 1910, installed the patriotic theme with a celebration that would never be repeated. The date was not just an excuse, and generated enthusiasm aroused the ideal atmosphere for the local industry incorporate a new theme.
In that 1910 Independence was unveiled, de Bevilacqua. You can not be assured that it was the first, but certainly the history of patriotic tangos begins with him. Bevilacqua noted this in the score that was spent "My Motherland, on the occasion of the Centenary. Buenos Aires, 25 May 1910 ". Despite these very precise data it is clear that, for ephemeris, right thing is to commemorate Independence each 9 of July, no 25 of May, and the fact is that this tango was released by a band 9 July 1910, in a ceremony on the Avenida de Mayo. But nevertheless, given the magnitude of the celebrations of illustrious visitors -Year, charangas- exhibition and no one would stop to challenge the offering; I would not do it, for example, the Infanta Dona Isabel de Borbon to the hands of Bevilacqua receive a printed copy of the score. A sample of the sound this tango at the time the recording is made for Columbia Record Juan Maglio, in 1912.
It is true that since 1899 I was already circulating Sergeant Cabral, of the pianist Manuel Campoamor, a tango that alluded to the episode of the Battle of San Lorenzo in which General Jose de San Martin almost finds death. But his inspiration was actually another: the author said was due to a simple fight between compadritos (probably in an unholy place), in which one said "We have beaten the enemy!”, so unpatriotic repeating the phrase that school historiography attributed to Juan Bautista Cabral, who would have saved his life at San Martin. The pianist also added that it was his first tango. There is a famous and highly publicized recording made by the Republican Band Paris, disks made for Gath & Chaves 1909 (most historians point, However, that it would have been incurred in 1907).
Not only tango, but all music lived the patriotic spirit of the Centenary. For example, reviewing an old record catalog Tagini House can be a block of seven albums Columbia Record numbered consecutively from the T 280 al T 286, called "Marches of the fourteen provinces Centenario", among which there are a series of marches whose names were those of the fourteen provinces that had then (the rest were still national territories), with music by the maestro Vicente Mazzoco, director of the Band of the 6th Infantry Regiment of Buenos Aires. The series was dedicated to the governors of each province and had been awarded in the Exhibition of Saint Louis, in United States. Along with these plates the disk T also announced 288, with an instrumental version and sung the march Viva la Patria. The recordings were 1910, and to 1913 They were still in catalog, because the enthusiasm was not extinct.
In the same time-and halfway between folk and Buenos Aires, and between music and declamación- date the "Discos patriotic" Eugenio Gerardo López. Adding to the celebrations for the centenary, the Columbia Phonograph Company Gen'l commissioned this author, extensive background in theater, recording a series of albums that reconstruct scenes vividly in Argentina's history. They were called "patriotic", but prevailed sign that, in smaller type, It contained both catalogs and labels: "National Episodes Series".
Like those of the marches of fourteen provinces, the extensive catalog of the House Tagini still offered in 1913 National Episodes, now between discs Bianco, Esposito, Gardel, Gobbi and Ms., Greco, Mallet, Navas, Salinas, Villoldo and other. The "Discos patriotic" dramatically reproduced battles, shootings, juras flag and other events, adapted under the strong influence of the theater declaimed well known that Lopez. Although included sound effects and a display of collaborators, the result tended to exaggerate. It emphasized that served to remember the memorable episodes "at home, in the schools, and especially children ", and its illustrative prevailed over historical accuracy and artistic quality.
Some titles of National Episodes speak for themselves of the content and its orthodoxy time to turn to sources: Jura flag of Argentina by the General Belgrano, Cornet of Simon Bolivar, Sword of the General Belgrano, Guemes and his gauchos, Battle of Chacabuco, Execution of the Black Falucho and Battle of Maipu, among others. As "Discos patriotic" interpretations also edited other artists from Columbia Record, Arturo Navas (Argentine Glorias, Creole style) and Angel Villoldo (The soldier Independence, patriotic reminiscence). Any, even, met a small group (Pie Sarmiento, by Eugenio Lopez and Diego Munilla). Lopez plates reached an extraordinary level of sales. Disquerías still advertised in the National Episodes 1929, when technically and stylistically hear was already a real anachronism, and Tagini business had closed more than a decade ago.
Going back to what is strictly tanguero, Bevilacqua continues to stimulate patriotic sentiment through other compositions, as Emancipación, who he dedicated "to the Republic of Chile". The idea was the same, but commemorating the independence of the neighboring country: in fact, its author retained signed a letter of appreciation for the Minister Plenipotentiary of Chile in Argentina. Proof that not only the public, but also for musicians, existed between the two tangos a link that transformed almost twins is that Maglio recorded immediately after Independence Emancipation, and while this is the matrix Columbia Record 56 607, Brings emancipation 56 608. Around the same time, the two tangos were also recorded by Vicente Loduca in Disque Pathé, France.
The pianist continued to tango Primera Junta, referring to the patriotic government that swore in the afternoon 25 May 1810 with a commitment to prepare a fortnight an expedition of five hundred men into the country, thus giving beginning to the process of liberty and republican era. Continuing the theme of the May Revolution, Eduardo Arolas composed a tango called precisely 25 of May, Odeon disk that recorded earlier 1913.
Bevilacqua still had time to give another patriotic tango: Reconquista, as a tribute to those who expelled the British army after the invasion of 1806.
The musicians of the Old Guard felt a great affection for patriotic events, without questioning if anyone was questionable legitimacy. Bandoneonist Augusto Berto, very popular then, Curupaytí composed in memory of the attack that 22 September 1866 undertook General Bartolome Miter against the Paraguayan troops commanded by General Diaz during the war of the Triple Alliance. The real purpose of this war was not to be reviewed by Berto; he was only interested to give title to a tango. On the other hand, is the question of whether Curupaytí to the title it would not have proposed actually pay tribute to the people of the Paraguay, which he resisted and ended up rejecting the Allies with a heroism that Miter himself must recognize. The question arises because the score was dedicated, diplomatically, some friends musicians. It was recorded on albums by Victor Typical Orchestra Select, and Camden (New Jersey), the 24 August 1920.
It would not be the only battle lost (what?) win a place in the inventory of the tango. The memory of the disaster Cancharayada, when the royal army of the general Mariano Osorio Patriots beat San Martin in the morning 19 March 1819, He also had his: Cancharayada, Fiddler Alejandro Rolla.
Patriotic quintessential tango corresponded to a composition of José Luis Padula: 9 of July. In 1916, on the occasion of the centenary of the proclamation of Independence Argentina, He appeared a waltz with the same name, signed by Pascual de Gullo. Padula tango seems to have emerged to 1910 if we look at what he hinted in an interview granted to Héctor Bates in August 1934. The problem for correct dating is that 9 July remained unpublished until well into fame, but it is known that Juan Carlos Marambio Catan and interpreted it to 1916. He came to have three letters you, of which one referred to Homeland. The first belonged to Ricardo Llanes (although it was incorrectly attributed to Pascual Contursi); He speaks of a woman who leaves the conventillo to go after a canfinflero (procurer). The story of being the first letter of 9 July inadvertent curiosity of being a tango whose lyrics tell adds the same as my sad night, even in their own language ... but a few years ago before, while always he had taken my sad night as a starting point for letters of tangos. The second letter was added by Eugenio Cardenas, and it appeared reminiscences by 9 July 1816, although strictly speaking what is described is a Gaucha. And the last of the poems, best known, was that of Lito Bayardo; on it the date mentioned, but it could have been any other given the imprecision of the argument. This is the letter that Agustín Magaldi recorded in 1931, for the Brunswick label.
(…)
Milonga of the 900 or tangos "political"
Since the early thirties, coinciding with a critical international scene, Tangos began recording, although not generally, the political reality of the country. No general, we say, because only a small number of tangos managed to transcend this subject. But a handful of them gained much acceptance and durability that were considered part of a current characteristic of the decade. The truth is, for every tango known political court, dozens remained in the dark, overwhelmed by hundreds of tangos with other topics, the usual, on which came to be written since the early twenties.
"Political" tangos from the thirties, somehow, They were adapting to new times of a successful previous model: the tangos "patriotic" of the decade 1910. That success was achieved thanks to two ingredients. First, very few exceptions, lacked singing part (Remember that this is a time when tangos with lyrics were scarce), but what, under the efforts of its composers, They had a really nice music. Y, also, these tangos told a determining factor: the social context of Argentina. In the first decade of the twentieth century the centennial of several national holidays and people commemorated lived a true exaltation of his past, their heroes and their battles. But for 1930 all this fervor was gone and patriotic tangos, While still in the repertoires, They gave way to the newest political tangos.
From 1920 production declined patriotic tangos, while including folklore artists who recorded the theme of tango- still in force. Among the tangos highlighted Argentina (Homeland), with music and lyrics by Vicente Greco, recorded in 1924 by Gardel and the orchestra of Canaro; Viva la Patria, de Antonio Scatasso y Alberto Vaccarezza, of which he was an excellent version of Corsini in 1929, and not much else. The rest, including works that recreated the period of the Federation (when Juan Manuel de Rosas was governor of the province of Buenos Aires), fictions were already framed in a historic setting, were not exactly "tangos patriotic".
Neither were the political tangos. How patriotic discern the merely circumstantial? Under the perspective. As usual, an event acquires patriotic character as "retroactive", so to speak. It is the evolution of history from that fact which makes it such. In the thirties, "Patriotic" became an adjective used in hasty manner and adulatory: Everyone knows that they were called "patriotic" events such as coups, pomposos and even leagues or alliances nationalist speeches, activities and entities, without a doubt, They attempted against genuine patriotism. Degradation of the meaning of this word became dangerous at all levels, but, in the plane strictly tanguero, any composition produced exalting the shift revolution could be taken as "tango patriotic".
So the country came to the sad tango Live, Anselmo Aieta and Francisco García Jiménez (not to be confused with the homonymous mentioned before, de Scatasso y Vaccarezza), who applauded the overthrow of the second presidency of Hipólito Yrigoyen by General Jose Felix Uriburu revolt, in September 1930.
This began the tragedy of periodic military coups and electoral exits the country suffered for over fifty years. And while a few days Gardel recorded it, consolation is the lack of registration as part of their live repertoire, so that perhaps only what has sung for recording (Originally published in the back of The Sun Twenty-five). With this circumstantial tango, so insufferable affected his rhetoric, the era of patriotic tangos sadly closed. During the decade Infame come several more, But skepticism has already been installed in society. And when citing a patriotic tango, people still preferred, more unfashionable it was, that distant era Independence Centennial.
Viva la Patria was a tango specially written to reflect the situation that Argentina was living at that time, why it was supposed to have a guaranteed and immediate response. It is important to take this into account, since it is the fundamental characteristic of most tangos with political content. This idea explains the urgency to fix it (it is clear that the authors did in a few hours, because it does not have the musical production of other tangos of Aieta nor the poetic quality of other works of García Jiménez), as well as how quickly his interpreter to take it to the disk (He did less than a month of the coup). Given that industrial production and distribution of the album demanded a few weeks, everything had to be peremptorily to avoid losing impact and novelty cease to be effective with the passing of the months.
A few days after the coup of Uriburu, and he was circulating an interesting amount of similar works. Between them, Uriburu, Emancipation (a parody of the tango Canaro Federation), 6 of September, Cadets of my country, A brave Argentine military, For the Fallen, Elpidio González (Group Captain, signed by one Sir Arthur), Soldiers ..., Verses to the bravest Argentine military (Here I'm . my General!, signed with the pseudonym Juan C. Rasca), juvencio Aguilar, José Guerrico (both signed by Patriarch), Mayor Manuel R. Thorne (Postmaster, signed by Carlos Dante; I do not know if this is the famous singer or a homonym), Creoles boys, Marinos: Health…!, Muchachada student, One two Three: Hairy and went and Cadete military!, although none of them would transcend.
The world has a screw loose
Disillusion would come soon. Gardel himself, what in 1930 He had hastily recorded Viva la Patria, already in 1933 He incorporated into his repertoire songs that reflected opposition and criticism of conservatism: there was the socialist content (Etching), striker (At the foot of the Santa Cruz), radical (Milonga of the 900), widespread disagreement (The world has a screw loose), and even he would play a tango that appeared sympathizing with expropriative anarchism (Pan). Other artists also leave embodied such works, and not just merely localistas, but also pieces taking note of global events (Like what Mr. sapa, Discépolo's, in 1931, in one part goes on to say "What Mr. sapa / there is no longer Bourbons "). Even place for some tangos would support the policy of President Agustin P. Just as he tries to differentiate himself from his predecessor Uriburu (the best known is Suscribite to the 6,67%, he recorded the orchestra in Lomuto 1932, He is referring to a bond issued by the State).
But the great political tango would, curiously, one that, actually, He did not seem to think we should persevere thought. Certain prevailing moral decline in the period would be recorded in several tangos, though none as effectively as in Cambalache, Enrique Santos Discépolo. This tango was a true reflection of the twentieth century, although today it is very natural to write it precisely Discépolo 1934, when social unrest was a universal symptom.
He born as a tango more. Discépolo had specially created for the film The soul of the bandoneon (directed by Mario Soffici and released in 1935), and he had a severe problem when Sofia Bozán tried to sing in a show- the Maipo theater magazine, since the film producer Angel Mentasti was presented accompanied by an attorney to prevent its spread arguing that he had the exclusivity. Luis César Amadori, author of the journal, He placated the spirits and not only managed to calm Mentasti, but even she convinced him that he would finance a film (new Port). In 1934 Francisco Lomuto recorded it and its typical orchestra with the voice of Fernando Diaz, and then, Canaro and his orchestra with estribillista Roberto Maida (1935) and Tania (1936, in France), among others. The most widespread versions were later: the Juan D'Arienzo with his singer Alberto Echagüe (1947) and both Julio Sosa, one as a singer Armando Pontier orchestra (1958) and another to the accompaniment of Leopoldo Federico (1964).
In the third stanza, to portray the relativity of values, the poet turned to a parade of contrasting characters. To set the decay according Discépolo not only affected the decade, but all that had elapsed from the twentieth century and could even be projected to the year so far 2000, Cambalache lyrics juxtapose such disparate figures as Alexander Stavisky (A cheater), San Juan Bosco (Priest founder of the Order of the Salesians), Cute (character of two French novels and almost synonymous with "maintained"), Don Chicho (there were two, that they were powerful mafia rosarinos), Napoleon Bonaparte, Primo Carnera (heavyweight champion boxer) and Jose de San Martin. In some versions of the tango these characters are replaced by others, as the musician Arturo Toscanini, the mobster Scarface, horse Yatasto, the racer Toscanito Marimón or the fighter José María Gatica.
As proof of the absolute validity of Cambalache, It may be added that appeared in the "blacklists" that the self-styled National Reorganization Process (1976-1983) He drew up to prevent the spread of some songs he considered "dangerous".
In the forties the composition of tangos with political content was attenuated. Later we will see that the introduction of censorship during the de facto government of General Pedro Pablo Ramírez prevented appear (appear) tangos critics. Some -very few- arise mentioning World War II (before, war of the 14 There was also timidly titles appeared in a handful of tangos) Y, In regard to politics Argentina between the late forties and early fifties, some tangos would be released which were not many- encouragement to Peronism.
Source: www.elhistoriador.com.ar
