Grease On A Silk Dress

GOBEL 15/04/2010

MEMORABLE BALLAD TANGUERA
Note 5
Write
Walter Ernesto Celina waltercelina1@hotmail.com - 16.04.2010

on the decade of the 50's of last century saw the tango the shaking that imposed Astor Piazzolla. The Argentine musician virtuuso had early contact with Carlos Gardel, still the boy in a scene from The day I want . Remember Joseph Gobello
in Todo Tango , some moments gravitantes of its formation and to lift those orchestral nucleation resistance and applause: the Buenos Aires Octet and, later, the quintet . Quote names of musicians flagship integrated into the current renewal: Enrique Francini, Roberto Panssera, Horacio Malvicino, Atilio Stampone, Antonio Agri, Oscar Lopez Ruiz Cacho Tirao and unforgettable.

Providing data on purpose theme Balada para un loco , summarizes: " is from 1969 after the premiere of the operetta Maria de Buenos Aires, with text by Horacio Ferrer, who begins to follow the path of popular recognition through his greatest success linked to tango: Balada para un loco. "

get me In a side note to wider considerations of the great musician marplatense.
In this instance remember the Uruguayan Ferrer, his close friend, with who work in symbiosis authorship.

nochecita In a spring, I think in 1957, Pedro Enrique Mercy Haba Müller Mario Prunella Celina and I opened the door red-black one of the last houses on the street Soriano, in Montevideo, and descended to a large basement, fresh and fairly light. Nervously
Horacio Arturo Ferrer and other friends of Club New Guard condition the banks in that cave and tested the connections of the audio equipment. Was to begin one of the usual auditions Hartnell tango music.
In the intermediate group discussion. Unanimity was implied in Gardel. De Caro, Troilo, Pugliese amounted prestige. They wore the match hardcore fans and Salgán Piazzolla. Vardaro accumulated votes and there were plenty of references to recent contacts with Dr. Luis Sierra, consul of the institution in Buenos Aires. Ferrer
officiated as secretary and also commanded the magazine Tangueando , with important items rioplatense musical culture. With the pseudonym Horacus , drew caricatures of musicians profiles pioneers. This architecture student, born in Montevideo in 1933, enjoyed the company, among others, my dear friend Jaime Bareika (then a medical student and member of the FEUU), of the tender tangólogo Boris Puga, musician Nicholas Pepe, the Jorge Seijo architects and Carlos Vallarino, the painter Mario Arroyo, the journalist Horacio Loriente.
Despite these experiences, my friend was the poet and journalist Eduardo Ferrer, brother of Horace.
By then, Horacio Ferrer was made by tangófilo journalism and, on the wings of this inspiration, he began to build lyrics, clinging desperately to the generous Buenos Aires, Buenos Aires and eastern so. From 1969 data

this beautiful page, which Astor put his fine music:

Balada para un loco

(Spoken)
The afternoons in Buenos Aires have that I do not know, " see? You leave your house, Arenales. The usual: on the street and you ...
When suddenly, from behind a tree, I show up.
you laugh ...! But only you can see me: because the mannequin wink, the lights give me three heavenly lights, and oranges from the bowl in the corner I pulled blossoms. Come!, So, half dancing, half flying, I remove the melon to say hello, I give you a flag, and I say ...

(Sung)
I know I'm crazy, crazy, crazy ...
not you see rolling moon Callao
a parade of astronauts and children, with a waltz, dancing around me ...
Dance! Come! Fly!

I know I'm crazy, crazy, crazy ...
I see Buenos Aires from the nest of a sparrow;
and I saw you so sad ... Come! Fly! I felt! ...
the crazy guy that I have for you:

Loco! Crazy! Crazy!
After dark on your Buenos Aires alone,
by the shores of your sheet
will come with a poem and a trombone develarte
to the heart.

Loco! Crazy! Crazy!
As an insane jump stunt,
into the abyss of your neck until you feel your heart freaked
that freedom ... I
You'll see!

(Spoken)
Let's go fly, my dear, get on my illusion
supersport,
and we will run over the cornices
with a swallow in the engine! In Vieytes
applaud: "Viva! Viva! "
madmen who invented Love,
and an angel and a soldier and a girl
give us a dancing waltz.
come out to greet the beautiful people ...
And crazy-but yours, "what do I know?:
bell to provoke laughter,
and finally look at you, and singing softly:

(Sung)
Love me, crazy, crazy, crazy ... Climb
this insane tenderness in me, this wig ponete
lark, and fly!
Fly with me now! Come!, Fly, come!

Quereme well, crazy, crazy, crazy ...
open up your love that we try
the magical madness of reviving ...
Come, fly, come! Tra-la-lai-larara!

(Yelling)
Viva! Viva! Viva! Loca
her and me crazy ...
Crazy! Crazy! Crazy! Loca
her and me crazy!

**

Jc Penney Beauty Salon

URUGUAY IN BUENOS AIRES-PARIS ROUTE NOTE 4

Write Walter Ernesto Celina
waltercelina1@hotmail.com - 18.03.2010

Ramón Collazo

Certain aspects of the River Plate culture show the strong association that has marked above divisions political and institutional.
How could it be otherwise, this is reflected in popular expressions of strong accent.
If it comes to music, can not be ignored the contribution to the rootedness Uruguayan tango.
A little text to appreciate the Araca , Paris!, written in 1930 and immortalized by the voice of Carlos Gardel, one would suspect that the intense atmosphere of Buenos Aires has its origin in Uruguayan sources, both in words and music.

Maestro José Gobello
includes it in the book of letters and I have been discussing history, with places of interest.
About the author sums up: Send Carlos César Lenzi, playwright and Uruguayan diplomat, music by Ramón (the parrot) Collazo. Carlos Gardel recorded it on November 4, 1930.

Indeed, both were important references in the show.
Lenzi, in 1925, was created with leading fellow musician Edgardo Donato, A media luz, a composition that swept the world, whose suggestive lines remain in the collective memory (What soft velvet, the half-light of love!) .
His prolific record linking him to the Upper Room Tabaré with Fernán Silva Valdés, and Julio Rodriguez Yamandú B. Mendilaharsu. Magazine theater and told him among his people, with another Montevideo, Angel Curotto. Luis Cluzeau Mortet musicalized lyrical composition The tops of the mountains . Miguel de Unamuno The ascetic praised his poems . Translated into French, collected laudatory criticism of Jean Cassou. Friend of the star, appears with him in a photo taken in Nice.

Ramón Collazo was a central figure in Uruguayan carnival since 1920, which was designed with the famous Athenian Troupe, from which emerged the Oxford . Tango Goodbye my neighborhood, its authorship (old neighborhood that I go, I give you my last goodbye ...) , was recorded with this group, remembered for her real counterpoint to 69 A , inspired by Salvador Granata, whose tenor leave fond memories.
Collazo had an excellent musical education, acquired in the Institute Verdi. He formed his orchestra in Buenos Aires, recording for Odeon . One of the first national films, I'm happy Soltero, it had the musical author and actor.
In his tribute, Summer Theatre Parque Rodo, Montevideo, agora of the carnival, bears his name. Was inspired, too, sets not forgotten as parodic chocolate and musical moment. Remember

Gobello the tango's popularity had acquired in Paris around 1912. Raises a note of L'Ilustrattion , August 1913. I draw these lines
appointment gobeleana: "At the same time it has been installed as owner of all the good dance halls, has won our language, which immediately opened the treasures of his grammar:" Voulez vous tanger ? (Want / s thong?; the River Plate we said: "Dance?, Shall We Dance? And now, tutear Dance? WEC), were interrogated most natural way in the dance world winter and spring ... "

Another tablet, closer in time, Gobello located in mid-1922, in a commentary that makes Reason Enrique Gómez Carrillo, referring to the adjectives managed by La Revue Mondiale before the triumphal entry of our music in the City of Light: "wild dance ... and black, without grace, immoral, corrupting, dangerous."

In Araca, Paris! , so ours by Uruguay and Buenos Aires, the gigolo , returns to its place of origin, after picaresque adventure, trading their hopes for a Salute, Paris!

ARACA, PARIS! Pianta
Alsina Bridge to Montmartre / pa all beating me 'm'engrupir. / You got the look p'acomodarte Creole / with old Frenchman who goes to dancing. / What do you do in Buenos Aires? Do not be otario
! / Amur Tabarís these milongas. / Tango with three cuts're a millionaire ... / "Morocho and Argentina? King of Paris!
Araca, Paris! / Salute, Paris! Raja
Montmartre / Piantata, unhappy. / If you go to Paris / morfar you will not. / No mines sea lions / and must laburar. / Volvete p'al neighborhood and have milongas, / milongas diqueras / you know how to love.
Araca, Paris! / Salute, Paris! /
Raja of Montmartre; / Piantata, unhappy! I grabbed
luxury train, crazy 'and happy, / - Bon soir, petit. Je t'aime, tu es mon Coco - / with a very one-eyed fat vento / not me and I gave even half a tack. / I threw the anger and handsome, pa 'cut me, / a slap in the cream is embedded. / Police, judges and a passport ... / Y ended my story as a gigolo. **