The Vitality and Fervor of Argentine Tango

Tango is a genre that originally involved dance, music, poetry and singing. Indeed, tango expresses a way of conceiving the world and life and nourishes the cultural imagery of the inhabitants of the two capital cities on the banks of the Rio de la Plata. This genre also includes the milonga, milonga candombeada and the vals criollo.

Notably, tango was born among the lower urban classes in Buenos Aires (Argentina) and Montevideo (Uruguay) as an expression originated in the fusion of elements from Argentina’s and Uruguay’s African culture, authentic criollos (Creoles) natives of the region, and European immigrants. As the artistic and cultural result of hybridization’s processes, tango is considered nowadays one of the fundamental cultural identities of the Rio de la Plata’s identity.

Brief History of Tango

Tango is a cultural and artistic expression developed in the communities situated in the Rio de la Plata area. This musical form produced outstanding personalities who were and still are considered hallmarks in the development of tango.

Tango was originated around 1870 in the conventillos, huge boarding houses where precarious rooms were rented by impoverished people. Large families had to live in squalid crowded rooms with a common kitchen, a common bathroom and a patio for everyone who lived in poverty-stricken urban quarters. Tango was a genuine expression of the different communities that inhabited these crowded neighborhoods in Buenos Aires and Montevideo.

Originally, tango was a special way of dancing the fashionable rhythms of the era. After a while, specific music was composed for that particular and sexy dance.

First Tangos

Initially, tango musicians had no formal training. The first tangos were composed by typographer Ángel Gregorio Villoldo Arroyo; railroad workers such as Domingo Santa Cruz, Agustín Bardi, Rafael Tuegols and Francisco Lomuto; newspapers vendors such as Francisco Canaro and Vicente Greco; construction workers such as Ricardo Brignolo and Juan de Dios Filiberto; billboard painter Eduardo Arolas, known as the Tiger of the bandoneón; and car mechanic Juan Maglio, best known as Pacho.

Early Bands

The first bands were trios formed by flute, guitar and violin; or flute, clarinet and violin. However, the street “organillo” (street organ) helped promote tango around town and, during the first decades of the 20th century, some professional musicians started to approach this new musical form.

Eventually, tango bands attracted other instrumentalists, without definite rules regarding quantity and type of instruments. For instance, this is the case of ensembles formed by bandoneón, piano and violin. In 1908, Loduca, Castriota and Canaro created the first trio with these characteristics: piano, bandoneón and violin.

There is no exact record about the arrival of the bandoneón to the Rio de la Plata region; it had very little presence in tango until then. From then on, piano and bandoneón would be crucial instruments in the tangos of the Guardia vieja (old guard). Guardia Vieja is the name given to all the bands, composers, musicians, authors and singers of this first phase of tango that lasted until the end of the second decade of the 20th century.

The Orquesta Tipica

In 1919, Vicente Greco (1888-1924) created a band called Orquesta típica criolla to differentiate it from other groups. From then on, this type of ensemble would be known as orquesta típica, characterized by the search for harmony among the participating instruments. Bandoneón and piano replaced guitars and brass. Bandoneones and violins played the melody, while piano and bass stressed the binary rhythm inherited from the ancient drums. In this orquesta típica, the piano played the role of the conductor of the orchestra.

Pianist Roberto Firpo (1884-1969) changed melodic formulas and developed the biphony between the two groups of instruments; although without reaching counterpoint. This opened the doors from the instrumental point of view, to what would then be called La Guardia Nueva (the new guard), whose main exponent was Julio De Caro (1899-1980). He reshaped the role each instrument played in the orchestra. This created a polyphonic distance: melody solos were played by the bandoneones, or pedal violins, while the bass supported the formal basis of the melody. The piano played the conduction role, the openings and bridges and sometimes, it substituted the rest of the orchestra.

All these innovative ideas fostered the mention of before and after De Caro.

Tango for all

Tango, which was originally rejected by the upper and middle classes because it was perceived as an outcast practice, was a success in Paris in the early 20th century. This led to a change in attitude in Argentina and Uruguay. From then on, it was appreciated and promoted within all social levels. During the previous decades (1890-1912) niños bien (high society superficial and presumptuous young men, who were also known as jaylaifs in slang) listened to tango orchestras in places such as Lo de Hansen, in the neighborhood of Palermo.

Tango dance

The tango dancing steps were defined in series of four compasses: the first one is strong, the second and fourth are weak and the third semi-strong. However, this dance would evolve in different ways when tango choreographies were incorporated in theater performances and motion pictures.

Tango poetry

In 1917, a new era began. Specific characters were described in lyrics, such as El porteñito (young man from the city of Buenos Aires), La morocha (dark haired woman), El entrerriano (someone from the Entre Rios province), among others. Furthermore, a new form of tango appeared, known as tango argumental or tango canción because it tells a story about a subject in its texts. This new tango included a plot line. “Mi noche triste” (my sad night), with poetry by Pascual Contursi (1888-1932), sung by the famous tango singer Carlos Gardel, is considered the first song in this new form of tango.

Tango poetry led by Contursi and Horacio Ferrer, included relevant composers such as Homero Manzi, Enrique Santos Discépolo, Enrique Cadícamo, Manuel Romero, Homero Expósito, Cátulo Castillo, among others.

Carlos Gardel

Undoubtedly, singer, lyricist, composer and actor Carlos Gardel was the most popular tango singer in the 20th century. Some of his biggest hits included “Por una cabeza”, “El día que me quieras”, “Volver”, “Mi Buenos Aires Querido”, “Adios Muchachos”, “Cuesta Abajo”, “Caminito”, Mano a Mano” and “Yira yira”.

While some scholars claim Carlos Gardel was born in Toulouse (France), Uruguayan researchers indicate he was born in Tacuarembó (Uruguay). What is certain is that he lived his childhood in Buenos Aires, and in 1923 he became a naturalized Argentine citizen. His real last name was Gardes, and he turned it into Gardel. Carlos settled, along with his mother, in an old house on Uruguay Street, between Cangallo (currently known as President Perón) and Cuyo (Sarmiento) with a wide patio and iron gate.

The Gardel House Museum is located in the house that Carlos Gardel lived in with his mother. The Casa Carlos Gardel Museum’s mission is to recover, preserve, investigate and disseminate the heritage linked to Gardel. Address: Jean Jaurès 735, Buenos Aires.

The Carlos Gardel International Foundation was created with the goal of keeping the legacy and figure of Carlos Gardel up to date, providing current and future generations with greater knowledge about the great icon of Argentine and international popular culture of the 20th century.

The Golden Age of Tango

The 1940s was the golden age for Tango. During that period, tango became the most popular music in Argentina and Uruguay, and it was present in all social gatherings, clubs, and cafés, with a never ending list of orchestras, such as Aníbal Troilo, Carlos Di Sarli, Alfredo De Angelis, Miguel Donato, Osmar Maderna, Ricardo Tanturi, Osvaldo Fresedo, Osvaldo Pugliese, Mariano Mores and others. This golden age brought together poets, singers and orchestras. At the same time, radio, recording companies and the movies spread tango throughout the world.

Tango Evolution

Tango music has continually evolved. For instance, bandoneon player Astor Piazzolla elevated tango to international concert halls by mixing tango with classical music and jazz. Astor Piazzolla’s nuevo tango (new tango) was so controversial at the time that Piazzolla had his life threatened on numerous occasions and was even exiled from his country. Piazzolla, with his innovative style and desire to legitimize the tango and bring it to a serious musical audience, changed the face of the music forever.

Since then, many musicians have created combinations of tango with other genres: classical, jazz, electronica (also known as tango electrónico), progressive rock, etc.

Electronic tango acts included Narcotango, Bajofondo Tango Club, Tanghetto, Ultratango, Otros Aires and San Telmo Lounge.

When visitors to Buenos Aires asked for electronic tango at record stores, they were frequently told: “get the one by Otros Aires”. Indeed, Otros Aires was one of the finest electronic tango acts. The group led by Miguel di Genova managed to unify the voices of the critics with the preferences of the dancers. “Vivo en otros Aires” was their third album, possibly their best, with 13 danceable and singable songs, enriched with electronic elements and samples of original sounds from the golden age of tango. It was recorded live at the ND Ateneo in Buenos Aires and at various European venues.

New Tangueros

In an addition to tango fusionists, new generations of orquestas tipicas and tango singers and songwriters have appeared, going back to the roots, recovering tango’s gritty elements, although keeping some modern elements.

Leading acts in the new tango scene include Astillero (tango nuevo); La Chicana (crossover tango), led by Acho Estol and Dolores Solá; Orquesta El Arranque (orquesta típica); Orquesta Típica Fernández Fierro (orquesta típica with a rock band attitude); Orquesta Típica Misteriosa Buenos Aires; Altertango (modern tango with rock beats); Agustín Guerrero (tango jazz fusion); La Martino Orquesta Típica; Alto bondi (tango with electronic elements); Julieta Laso; Denise Sciammarella (leader of an all-female ensemble); Orquesta Los crayones (tango nuevo); Julián Rossini Trío; Omar Mollo (crossover tango singer); guitarist Esteban Morgado; bandoneón player Rodolfo Mederos; Victor Lavallén, Pablo Estigarribia y Horacio Cabarcos; guitar ensemble 34 Puñaladas; Diego Schissi Quinteto; Orquesta Escuela de Tango Emilio Balcarce; Raúl Lavie Con El Sexteto Mayor Tango; singer Susana Rinaldi; bandoneón player Leopoldo Federico; Sexteto Mayor; Orquesta El Arranque; vocal group Opus cuatro; Dúo Salgán – De Lio (piano and guitar duo); the late piano master Horacio Salgán; guitar ensemble Las Muñecas; singer Cristobal Repetto; Andres Linetzky & Ernesto Romeo; guitarist, singer and songwriter Cintia Trigo; singer Hernán “Cucuza” Castiello; and rising bandoneon players Daniel Ruggiero (son of famed composer and bandoneonista Osvaldo “Tano” Ruggiero), Carlos Corrales, Eleonora Ferreyra, and Mariano Cigna.

In essence, tango has grown far beyond its social and geographical origins, reaching its current expression: the essential cultural element that is part of the identity of Buenos Aires and Montevideo.

“Tango is music, dance, and poetry,” explained Alfredo Minetti, musician, scholar, and producer of Zero Hour Tango Fest, an immersive, multisensory theatrical experience. “Tango is an expression, a gaze, a walk, and a type of character-an entire moral system. It is rare to see all these things represented on stage together. Usually, people just emphasize the dance or the music.”

Minetti added: “Tango is a music of the night. It was born in the night. It doesn’t matter where-in brothels or dance academies. It tells you that reality is harsh, that it is bad, and that it is likely going to get even worse tomorrow. It is a fatalistic approach to life. Tango functions like an open wound that never quite heals. Sometimes once in a while you poke at it, and it reminds you of how things are around you.”

Tango as Intangible Cultural Heritage of Humanity

In 2009, UNESCO declared Tango an Intangible Cultural Heritage of Humanity. Argentina and Uruguay, member states of UNESCO, proposed together the nomination of tango on behalf of the cities of Buenos Aires and Montevideo respectively, which share the birth, tradition and passion for tango. The genre includes dance, music, poetry and singing; elements that together create a symbolic universe, which lasts in society of both capitals.

According to the UNESCO declaration, tango is the deepest and most vibrant expression of Rio de la Plata, It has is origins in a strong cultural root and social history, bound as well with the massive immigration settled on the Rio de la Plata region in the second half of 19th century. Due to its intensity, tango conquered a long time ago a universal transcendence.

The Día Nacional Del Tango (National Tango Day) was established in 1997 to celebrate tango culture. The date coincides with the birth of two of tango’s greatest performers, Carlos Gardel and Julio de Caro.

Buenos Aires Tango Orchestra

The Orquesta del Tango de Buenos Aires (Buenos Aires Tango Orchestra), a stable organization founded by the Ministry of Culture of the City of Buenos Aires since 1980, was founded by Raúl Garello. Originally, the orchestra was directed by Carlos García and Raúl Garello. The orchestra includes most of the best instrumentalists of the genre.

Throughout the years, the orchestra was conducted by musicians such as Néstor Marconi, Horacio Salgán, Leopoldo Federico, Mariano Mores, Julián Plaza, Atilio Stampone, Osvaldo Piro, José Libertella, Mauricio Marcelli, Osvaldo Requena and Lisandro Adrover, among others. Correspondingly, the list of singers is also extensive: Roberto Goyeneche, Susana Rinaldi, Raúl Lavié, María Graña, Alberto Bianco, Eladia Blázquez, Amelita Baltar, Guillermo Fernández, Hernán Salinas, Gustavo Nocetti, among others.

With the aim of bringing tango closer to children and young students, the Orchestra carries out a special program of educational concerts in schools in Buenos Aires.

Recommended tango CDs:

Classics

• Al Compas del Corazon – Miguel Calo
• Sus Exitos con Raul Iriarte – Miguel Calo
• Sus Exitos Con Podesta, Ortiz y Beron – Miguel Calo
• Miguel Calo and His Orchestra of the Stars – Miguel Calo
• Miguel Calo Y Sus Cantores – Miguel Calo
  Del Compas Te Llaman Rey – D’Arienzo, Juan
• Mucho Mucho – D’Arienzo, Juan
• Sus Primeros Exitos 1935/40, Vol. 2 – D’Arienzo, Juan
• El Rey del Compas – D’Arienzo, Juan
• Criollo de Ley – D’Arienzo, Juan
• Sus Primeros Exitos 1935/40, Vol. 1 – D’Arienzo, Juan
• El Esquinazo – D’Arienzo, Juan
• Milonga de Mis Amores – D’Arienzo, Juan
• Sus Primeros Exitos, Vol. 1 – Carlos Di Sarli
• Sus Primeros Exitos, Vol. 2 – Carlos Di Sarli
• Sus Primeros Exitos, Vol. 3 – Carlos Di Sarli
• Coleccion 78 RPM: 1940-1943 – Carlos Di Sarli
• Instrumental, Vol. 2 – Carlos Di Sarli
• Instrumental – Carlos Di Sarli
• Tangos de Salon – Osvaldo Fresedo
• Nostalgia – Osvaldo Fresedo
• Sus Exitos Con Oscar Serpa Y Ricardo Ruiz – Osvaldo Fresedo
• From Argentina to the World – Osvaldo Fresedo
•  De Un Tiempo Que Paso – Osvaldo Fresedo
• Ausencia – Osvaldo Pugliese
• Edicion Aniversario: 1905-2005 – Osvaldo Pugliese
• From Argentina to the World – Osvaldo Pugliese
• 40 Obras Fundamentales – Osvaldo Pugliese
• Instrumentales Inolvidables – Osvaldo Pugliese
• En el Colon, Vol. 1-2 – Osvaldo Pugliese
• Tango Que Traen Recuerdos – Osvaldo Pugliese
• Tangos, Valses y Milongas – Enrique Rodriguez
• El “Chato” Flores En el Recuerdo – Enrique Rodriguez
• Serie de Oro: Grandes Exitos – Enrique Rodriguez
• Para Bailar Sin Parar – Enrique Rodriguez
• Coleccion 78 RPM: 1940-1950 – Ricardo Tanturi
• Coleccion 78 R.P.M.-(1940/1948) Con a. Castillo – Ricardo Tanturi
• Una Emocion 1943-1944 – Ricardo Tanturi
• Cantor de Barrio 1940-1948 – Ricardo Tanturi

Bandoneon masters

• Tango: Zero Hour – Astor Piazzolla
• El Tanguero – Rodolfo Mederos
• Comunidad – Rodolfo Mederos
• Tangos – Rodolfo Mederos
•  Eterno Buenos Aires – Rodolfo Mederos
• Imagenes – Juan José Mosalini
• A Las Orquestas – Trio Julio Pane
• A Las Orquestas – Julio Oscar Pane
• Tiempo Esperado – Nestor Marconi
• Bien De Arriba – Nestor Marconi Trio
• Sobre Imagenes – Nestor Marconi
• Coleccion 78 R.P.M.: 1931-1955 – Trio Ciriaco Ortiz
• Homenaje a la Guardia Vieja – Eduardo Arolas
• Tango Argentino: Baroque Classics – Eduardo Arola
• Pedro Maffia / Ricardo Brignolo 1930 – Pedro Maffia
• Grabaciones Olvidadas, Vol. 2 – Pedro Laurenz
• Coleccion 78 R.P. M: 1937-1943 – Pedro Laurenz
• Mala Junta 1926-1944 – Pedro Laurenz
• Romance de Barrio – Anibal Troilo
• Quejas De Bandoneon – Anibal Troilo
• Yo Soy el Tango: 1941 – Anibal Troilo
• Renovadores del Tango – Leopoldo Federico
• Sentimental y Tanguero – Leopoldo Federico Trio
• Milonguero De Hoy – Leopoldo Federico
• Serie de Oro – Leopoldo Federico Trio

Compilations

• The Rough Guide to Tango Nuevo – Various Artists
• The Rough Guide to the Music of Argentina – Various Artists
• The Rough Guide to Astor Piazzolla – Astor Piazzolla
• Rough Guide to Tango, Vol. 2 – Various Artists
• Rough Guide: Tango – Various Artists
• The Rough Guide to Tango Revival

Neotango, Contemporary and electronic tango

Otros Aires (2004)
Otros Aires – Otros Aires Dos (2007)
Otros Aires – Vivo En Otros Aires (2008)
Otros Aires – Tricota (2010)
Otros Aires 4 (2013)
Otros Aires – Perfect Tango (2016)
Bajofondo Tango Club (2002)
Bajofondo Tango Club – Remixed (2005)
Bajofondo Tango Club – Mar Dulce (2007)
Bajofondo Tango Club – Presente (2013)
Bajofondo Tango Club – Aura (2019)
Gotan Project – La Revancha del Tango (2001)
Gotan Project – Lunático (2006)
Gotan Project – Tango 3.0 (2010)
Narcotango (2003)
Narcotango vol. 2 (2006)
Narcotango en vivo (2008)
Tanghetto – Emigrante (2003)
Tanghetto – Hybrid Tango (2004)
Tanghetto – El Miedo a la Libertad 2008)
Tanghetto – Más Allá del Sur (2009)
Tanghetto – Incidental Tango (2012)
Tanghetto – Hybrid Tango II (2014)
Tanghetto – Progressive Tango (2015)
Tanghetto – Reinventango (2020)
Tanghetto – Tanghetto plays Piazzolla (2021)

Tango Books

Tango Songs From the Soul of Buenos Aires and Beyond

Sources

Embassy of Argentina in United Arab Emirates, UNESCO and World Music Central editors

(headline image: Carlos Gardel)

Author: Angel Romero

Angel Romero y Ruiz has dedicated his life to musical exploration. His efforts included the creation of two online portals, worldmusiccentral.org and musicasdelmundo.com. In addition, Angel is the co-founder of the Transglobal World Music Chart, a panel of world music DJs and writers that celebrates global sounds. Furthermore, he delved into the record business, producing world music studio albums and compilations. His works have appeared on Alula Records, Ellipsis Arts, Indígena Records and Music of the World.