Escuela de Tango Danza "DISCEPOLIN"

THE SCHOOL OF TANGO DANCES "DISCEPOLIN", when being completed the tenth third anniversary of the great Teacher's death OSVALDO PUGLIESE, he surrenders Homage to the unforgettable Teacher.

She delights in sharing the following information:

The station of the underground train of Villa Crespo, in Buenos Aires, will take its name. To 15 years of its death, the pianist, director and Argentine composer Osvaldo Pugliese, who I emphasize in the tango, sera paid tribute to when putting to him to the station of the underground train of Buenos Aires - until today Malabia-, the name of the artist.
To the Malabia station of the underground B the name of the composer of subjects like “Encopao” would be added to him, “Corazoneando” and “La Yumba”, that fallecio the 25 of 1995 July.
This station is in the district where vivio Pugliese, Curled Villa.
Osvaldo Pugliese nacio the 2 of December of 1905 in Curled Villa, Buenos Aires.

CHARACTERIZATION OF THE SQUARE OSVALDO PUGLIESE

Avenue Corrientes and Scalabrini Ortiz

Buenos Aires - Argentina

December of 2005, 2 day in that the unforgettable teacher Osvaldo Pugliese would turn 100 years, it is inaugurated in its neighborhood, Villa Crespo, the Square in its honor. This action is carried out through the Project Characterized Squares, initiative that homenaje to outstanding characters of the culture of the City.
The author of "La Yumba", is not only one of our civic music's bigger creators, it is also example of coherence and social commitment.
The opening of this public space is given in the mark of the Year Pugliese, throughout which chats, clinical, recitals and a campaign were developed headed "La 2x4 (FM 92.7)" to propose the change of name of the subway station Malabia for that of Osvaldo Pugliese.
The outstanding activities for this characterization are: installation of air scenario, puppets in miniature of Osvaldo Pugliese and their Great Orchestra and posters of the great teacher's semblanza.
They Acted the Orchestra Tango School, the Orchestra of Beba Pugliese and the Sextet Canyengue
.

THEIR REINAUGURACIÓN:

The Secretary of Culture and Tourism of the Government of the Autonomous City of Buenos Aires, Engineer Hernán Lombardi, prison in the afternoon of Friday July of 2008, 25 the reinauguración act of the monument to the teacher Osvaldo Pugliese located in the intersection of the Average avenues and Scalabrini Ortiz, in the neighborhood of Frizzy Villa.

Next to the Secretary Lombardi, Lidia Elman, the remarkable musician's widow, thanked the Government of the City for having restored the figures that were inaugurated originally in the year 2005 and later on destroyed by anonymous hands in the year 2007.

On the other hand, the Secretary Lombardi expressed: he/she "acquires a lot of importance for us this reparative action of the heart and of the soul that is a relief to the memory of Pugliese after the act of vandalism of which was victim."

"To restore this monument is to make what people want and we want to project to the future, for that reason there are many proposals and we will continue valorizing the figures of our culture", the Secretary added.
The restoration of the sculptress's work Paula Franzi allowed to restore, for decision of the ministry, the teacher's representative figure Pugliese.

The reinauguración of the monument was carried out in coincidence with the anniversary decimotercer of the death of the author of Yumba.

 

TRIBUTE OF THE SCHOOL OF TANGO DANCES "DISCEPOLIN"
TO OSVALDO PUGLIESE, TRUE PARADIGM OF THE CULTURE TANGO


And I eat special homage, a subtle and magic version, used for the first time "to the grill" in their trip to Russia, of the waltz of Rosita Melo and Marambio Catán

"Desde el Alma"
(to make click in the title to listen the topic)

For Don Osvaldo Pugliese sometimes...
a red flower on their piano
but always...
a red flower on their heart

Pianist, director, composer.
(December 2/ 1905 - July 25/ 1995)
Name complete: Osvaldo Pedro Pugliese

 

Their father, Adolfo, worker of the footwear, intervened as fond piper in neighborhood quartets that cultivated the tango. Bigger two siblings played violin: Vicente Salvador, "Fito", and Alberto Roque, more consequent that the first one and for many years tied to the music. To Osvaldo the father who imparted the first lessons was of I sol-fa, and he began to also babble with the violin, but soon he leaned for the piano, although don Adolfo took certain time in buying the expensive instrument. After being formed in conservatories of the vicinity, to the 15 year-old age he began professionally in the "Brown call of Chancha", this way baptized by the parishioners in allusion to the owner's little hygiene.
Soon after, already in a brown acquaintance of the center of Buenos Aires, it integrated the first woman's bandoneonista group that had the tango, Francisca "Paquita" Bernardo. Ascending in their career, Osvaldo incorporated to Enrique's quartet Pollet, then to Roberto's Firpo famous orchestra, and in 1927 he was already the orchestra's of the great bandoneonista pianist Pedro Maffia, of which detached, next to the violinist Elvino Vardaro, to form a group to name of both that one knows was of advanced, but of which they have not been recordings.
Vardaro-Pugliese debuted in the National coffee, to undertake an extensive tour then for the interior of the country. It accompanied them as representante.gerente the poet Eduardo Moreno, author of the letter of the tango "Recuerdo", the most celebrated of those signed by Pugliese, and also, proposed by Moreno, the songwriter Malena of Toledo. The tour was an economic failure, and Vardaro it should pawn its arch "Sartoris" to pay the return passages.
Pugliese associated then with another violinist, Alfredo Gobbi, forming a group, one of whose bandeonistas was the jovencísimo Aníbal Troilo. That lasted few months, after that which formed their first cast characteristic to achieving the opportunity to act in a couple of local. Later on it integrated two duets, first with Gobbi and then with Vardaro, to act in radio radio stations. In 1934, when the bandoneonista Pedro Laurenz - ex De Caro, as Maffia - orchestra formed, Pugliese occupied the piano, occasion in that wrote the first arrangements on a couple of tangos, among them "La Beba", it that belongs him. In 1936 it integrated the group of the bandoneonista Miguel it Soaked, even signed up in the tendency "decareana", and this way it was channeling their aesthetic ideas on the tango. Up to 1938 Pugliese new groupings that didn't consolidate, formed and he attempted without success to structure a work cooperative, as expression of its communist ideas.
Its definitive projection toward the tango that sought began August 11 1939, when showing up again in the National coffee. Amadeo Mandarino was its beginner's singer it orchestrates. After a time it rearmed the group, already with Augusto Gauthier like vocalist. Pugliese was managing, pianist and adjustor of that group that, that time yes, it worked like a cooperative. From a coffee of the neighborhood of Frizzy Villa they jumped to the most important radio in the moment, The World, being gestated an important one swollen that followed them, composed for fanatic from their style and followers to Communist Party.
The continuity in the work allowed him to secure its conception, supported in the contribution of his partners as the bassist Aniceto Rossi, so important to give him/her the rhythmic sense that he needed. Fundamental it was the bandoneón of Osvaldo Ruggiero, who remained next to Pugliese up to 1968, deeply consustanciado with the director. And another point can be said of the violinist Enrique Camerano, born - somebody said - to play with Pugliese. This it was affirmed as the faithfulest exponent in the style decareano, but with a rhythmic firm marcación, attractive for the dancer without hence to sacrifice quality.

It orchestrates Osvaldo Pugliese
Of supreme importance, for when their orchestra arrived to the disk in 1943, he was Roberto's appearance Chanel, hefty singer, of nasal voice and I am used "compadrito" that she left 31 recordings. Looking for a contrasting vocalist, Pugliese incorporated to Alberto Morán, dramatic and sensual, of strange aptitude for the stocking voice and perfect it couples with the orchestral accompaniment. Its attractiveness for the women was not equaled by any other singer. They were of Morán 48 recorded works. 8 hardly registered in turn, between 1949 and 1950, Jorge Vidal, another of the important voices in this orchestra's history. Among the later singers they stood out, although with repertoires of irregular quality, Jorge Maciel and Miguel Montero.
In the decade of the '40, Pugliese recorded some instrumental topics characteristic with those that he was early to the vanguard. It is the case of "La Yumba", (transformed into something like that as their orchestra's hymn) "Negracha" and "Malandraca." For these two last it considers it to him a precursor in the employment of the syncopation and the counterpoint, being ahead to Horacio Salgán and Astor Piazzolla. Other important tangos that Pugliese wrote and he/she interpreted they are, above all, the one mentioned "Recuerdo", and "La Beba", "Adiós Bardi", "Recién", "Barro", "Una Vez" and "El Encopao".
Per years, the orchestra of Osvaldo Pugliese was forbidden for the broadcasting, as measure of censorship politics, but it didn't achieve it to shrink its popularity.

 

 

©2008 Escuela de Tango Danza "DISCEPOLIN"