Aníbal Troilo's fervor for River, the Greater Bandoneón of Buenos Aires.
"His fueye gambeteaba to the violins, he piled on the piano and served the singer tango ”. Oscar del Priore reveals, first hand, Aníbal Troilo's fervor for River.
Note made at the end of 1975, a few months after Troilo's death and a few days after River was consecrated as champion, after 18 years of drought.
1st July 1937 made his debut at the Marabú cabaret, in Maipú between Corrientes and Sarmiento, a new typical orchestra. Its director was a young bandoneon player of twenty-three. It was the partner number 814 of River Plate and in the environment he was known by his family nickname, Pichuco, more than by name: Anibal Troilo.
The Gordo orchestra was born when the works of the Monumental began, and in a happy year for River: achieved his third professional championship. Soul footballer, Troilo had formed a team with his orchestra, always ready for the challenges of other cabarets. He played centroforward. Pichuco was always linked to River. He never hid his fervor for the red band. It was common to see with his orchestra the River cracks. The nights of Tibidabo included Troilo in the 1940s as a permanent entertainer with his tangos. His fueye danced to the violins, he piled on the piano and served the singer with tango, what could be Fiorentino, o Marino, o Rivero. There they were going to dance Moreno, Pedernera, Labruna, Deambrosi ... and many nights on Saturdays were made early on Sunday and minga of concentration! The Machine went out to the Monumental with sleep but with the music of the Gordo in the ears, and the applause for the variation of “Chiqué” were mixed with those that initialed Moreno's luxury plays, they were inspiring like Pichuco's grumbling…
And when Labruna and Loustau intermingled in their usual combinations, terrifying the opposing defense, it seemed the Bandoneón Mayor in a counterpoint with the piano of Orlando Goñi ... And the screams of Pipo Rossi were like the voice of the Gordo, in those moans that came from his soul when, packed in one of its many masterful, he gave instructions to his musicians ... It is that the Pichuco orchestra was like a luxury team ... like that River, the unforgettable champion ...
Now Troilo was playing in the Odeon ... one hundred meters from the place of his initial debut ... thirty-eight years after that night and eighteen years after the last River championship ... And El Gordo was happy ... because River had returned with everything, because he had returned with his orchestra, that it had been a long time since she had met ..., like River. It was Pichuco's new debut, in the year of River. It was the return of the fervent Buenos Aires.
Years ago Troilo did not miss a game in which River played ... until Paquito left, his friend, his brother ... That man who brought him the fueye and who shared with him on Sunday afternoons. When Paco died, Pichuco stopped going to the field ... Now Troilo was playing in the Odeon and he commented on his desire to return to the field, to see another Olympic Tour, what would it be like for El Gordo to listen once more to his entire orchestra, when they sang Fiore, the Mariano, or Rivero… and when their tangos were danced by Moreno, Pedernera, Deambrosi…
I wanted to get back on the court, and it couldn't be. But nevertheless, Pichuco is in the Monumental, who was born with his orchestra. It is in all its corners ... in the joy of the kids who return the ball to the court ... And when Beto Alonso sends himself a luxurious play, It is like a snubbed grumble from the Gordo's fueye ... and when Mono Más leaves behind a half-defense, it seems that El Gordo sent the variation of "Complaints of Bandoneón" ... Pichuco! Look what I miss all this! Look. I wait for you. Hide inside one of your tangos and come for the Vuelta. We all meet there, at the Monumental ... Come, Fat ... Look, Paquito will be waiting too ...
By OSCAR DEL PRIORE (1975).
Source: The graphic – 25 April 2020
