Pedro Laurenz

Pedro Laurenz was born Pedro Blanco Acosta on 10 October 1902 in Buenos Aires and spent his childhood in the Villa Crespo neighborhood; he died in Buenos Aires on 7 July 1972 at the age of sixty-nine.^[17][18] He first studied violin, but at fifteen, while living in Montevideo, he took up the bandoneon at the urging of his half-brothers Félix and Eustaquio Laurenz.^[17][18] Early professional work in Montevideo included the orchestra of pianist Luis Casanovas (where he played alongside future notables Edgardo Donato and Roberto Zerrillo) and appearances with Eduardo Arolas at the Moulin Rouge cabaret.^[17][18] He returned to Buenos Aires in 1920 and joined Roberto Goyheneche’s group, performing at the inauguration of Radio Cultura in December 1922, where his first tango, “El rebelde,” was introduced (later forgotten).^[17][18]

In 1925 Laurenz entered Julio De Caro’s sextet, replacing Luis Petrucelli and forming a bandoneon duo with his idol Pedro Maffia; the pair recorded for Victor (including “Julián,” “Buen amigo,” “Sonsa” and the foxtrot “Titina”).^[17][18] When Maffia left in 1926 amid internal disagreements, Laurenz became first bandoneon, partnered with the short-sighted but brilliant Armando Blasco.^[17][18] The De Caro years produced historic sides and tours (Brazil 1927, Europe 1931) and appearances in the film “Luces de Buenos Aires”; Laurenz’s energetic, two-handed technique and vehement phrasing earned him recognition as the founder of a distinct school of bandoneon playing that later influenced Aníbal Troilo and Osvaldo Ruggiero.^[17][18]

In 1934 Laurenz left De Caro with Blasco, José Nieso and Vicente Sciarreta to form his own orchestra, debuting at the café Los 36 Billares on Corrientes 965.^[17][19] The initial lineup included Sammy Friedenthal (second violin), Alejandro Blasco (bandoneon) and Osvaldo Pugliese (piano and arrangements).^[18][19] The group maintained a twenty-year trajectory (1934–1953) through the golden age, recording for Victor (from 1937), Odeón (1943–47), Pampa and later Microfón.^[17][19] Key instrumental sides include the 1937 “Arrabal” (José Pascual), often cited as a landmark of the period, together with “La beba,” “De antaño,” “Boedo,” “Orgullo criollo” and “Poca suerte.”^[17][18] Singers included Juan Carlos Casas, Héctor Farrel, Alberto Podestá, Carlos Bermúdez and Jorge Linares; vocal popularity was more limited than that of some contemporary orchestras, yet the instrumental recordings remain highly valued by dancers.^[17][19]

Laurenz’s compositions form a substantial part of the standard repertoire: “Mala junta” and “Orgullo criollo” (both with Julio De Caro), “Amurado” (with Maffia), “Risa loca,” “Berretín,” “Milonga de mis amores,” “La revancha,” “Mal de amores,” “Esquinero,” “De puro guapo,” “Como dos extraños” and “Vieja amiga.”^[17][18] Many feature sophisticated variations that showcase the bandoneon’s technical possibilities. His playing style—brilliant tone, precise rhythmic marking, emotional tension and independent use of both hands—has been described as “cadenero,” the horse that sets the pace for the whole ensemble.^[18]

In 1960 Laurenz joined the Quinteto Real with Horacio Salgán (piano), Enrique Francini (violin), Ubaldo De Lío (guitar) and Rafael Ferro (bass).^[17][18] The quintet recorded for Columbia and Philips and toured Japan three times, offering a more intimate, modern-inflected sound while retaining Laurenz’s characteristic drive.^[17][18] Earlier he had also participated in the Quinteto Los 5 Ases with Ciriaco Ortiz, Maffia, Carlos Marcucci and Sebastián Piana.^[17] In 1966 he appeared with Maffia, Ortiz and Troilo in the short film “Fueye Querido,” performing “Esquinero.”^[18] A 1967 quintet recorded his own pieces for Microfón, and on 16 May 1970 he performed at Carnegie Hall in New York with a quartet (Osvaldo Potenza, piano; Fernando Suárez Paz, violin; Julio Rodolfo, bass).^[19]

Laurenz served on the board of the Asociación Argentina de Directores de Orquesta and of SADAIC.^[18] His dual legacy as a virtuoso interpreter within the De Caro tradition and as a composer of durable standards, together with the distinctive energy of his own orchestra’s recordings, continues to influence both instrumentalists and dancers.^[17][18]

Formation and the De Caro years

After early work in Montevideo and with Goyheneche, Laurenz’s 1925 entry into De Caro’s sextet placed him beside Maffia and, after 1926, as first bandoneon with Blasco.^[17][18] The period produced both technical benchmarks and the beginnings of his compositional catalog.^[17]

Own orchestra 1934–1953

The 1934 debut at Los 36 Billares and the subsequent two decades of activity yielded a substantial discography whose instrumental sides, especially “Arrabal” (1937), remain reference points for golden-age dance music.^[17][19] Pugliese’s early presence on piano and arrangements left a lasting imprint.^[18]

Compositions

Works such as “Mala junta,” “Milonga de mis amores,” “Amurado” and “Esquinero” entered the permanent repertoire; many contain variations that exploit the bandoneon’s full range and continue to be studied by players.^[17][18]

Quinteto Real and later years

From 1960 the Quinteto Real with Salgán, Francini and De Lío offered Laurenz a late-career platform for both recording and international touring, extending his influence into a new decade.^[17][18]