![]() The Dúo Gómez-Marino recorded tango and folk music numbers accompanied by guitars for the Electra label: “Ay qué tormento” (gato), “ De mi tierra” (zamba), “ La carreta” (tango), “La güaina” (chacarera), “Pobre corazón” (bailecito), “Son decires” (chacarera). Fernández Díaz that led to confusion and “Viejo taura” with music by Nicolás Blois which was recorded only as an instrumental by the Orquesta Típica Victor and by the singer Ítalo Goyeche with guitar accompaniment in 1927. Roberto Firpo in 1931 committed to record a tango with the same title, written by Fava and J. Later it was followed by “ El batidor”, also with music by Ernesto de la Cruz, which was recorded by Juan Maglio (Pacho) in November 1926 and the following year by Ignacio Corsini “Viejo tango” with music by Juan Arcuri was recorded by José Servidio as an instrumental in 1928. Its title was a Pablo Gómez’s idea and that same day he premiered it accompanied by the Orquesta Típica led by Ernesto de la Cruz at the El Nacional. Francisco accepted the challenge and so the tango to which de la Cruz added music was born. One afternoon on Augat the El Nacional Ernesto de la Cruz suggested a challenge for his friends about who was capable of writing the most marginal lyrics with slang (lunfardo) idioms. In 1924 he teamed up with Pablo Eduardo Gómez as a duo and appeared at the cabaret Casino Pigall and at the El Nacional. ![]() A paradox of life: Francisco Alfredo Marino was the first singer at that café and Alberto Marino was the last one in 1952, 30 years later. In the late 1922 tango with lyrics to be sung began to be in vogue. Prior to his debut only all-girl orchestras and those tango aggregations that played instrumentals were the ones which used to appear. He was the first soloist singer that appeared onstage at the Café El Nacional on Corrientes Street. Blessed with perfect pitch, an excellent mezza voce sound, good intonation and diction, he was radio speaker and actor on Radio Stentor and Radio El Mundo for over thirty years. ![]() It was a daily pleasure listening to good music at home.Īt a very young age he began to frequent cafés, night life and the bohemian places in downtown Buenos Aires. Because of that he dedicated to him his waltz “El viejo piano” with music by Farrell and Tobal. Even though he played by ear he had a thorough knowledge of music because his mother was a piano teacher and his father also played piano. He had learned to play but his father did not know about it. By that time, he was fourteen, he played guitar in the parties held in the yards of his neighborhood. His dad had planned another future for Francisco Alfredo. In 1917 he attended the first year of secondary school but had to quit when his father died. He did not go to grade school because his mother taught him at home. His parents were Vicente Marino Sarnicola, Italian, a land surveyor and amateur poet, and Orfilia Martínez de la Rosa, educator, piano teacher and professor of drawing and painting. E was born in 245 Castro Street, between México and Independencia Avenue, in the city of Buenos Aires.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |