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D'Arienzo's 1940 orchestra

After his musicians gave notice in February 1940, Juan D'Arienzo assembled a new orchestra around Héctor Varela, Fulvio Salamanca and Cayetano Puglisi. It made its first recordings on 12 April and debuted publicly on 1 May with a more layered sound. [1][2][3]

The change began during a summer engagement in Montevideo, when the musicians asked pianist Juan Polito to seek a pay rise on their behalf. D'Arienzo refused a general increase but offered Polito 1,600 pesos a month. After Polito raised the matter again, the musicians decided to remain together under his leadership and telegraphed six weeks’ notice on 4 February 1940. [1]

The departing band left on 17 March. D'Arienzo drew on Varela's orchestra, added Puglisi as first violin and placed the 18-year-old Salamanca at the piano. Lavocah describes the resulting music as still driven by a clear beat, but more melodic and layered than the earlier orchestra's work. [2][3]

Rebuilding the orchestra

Varela's existing group had reportedly played on Radio Belgrano and at the Imperio cabaret. Its singer, Orlando Medina, did not join D'Arienzo. Salamanca, whom D'Arienzo had heard in Las Varillas, auditioned with Varela; Puglisi took over a violin role previously divided between Alfredo Mazzeo's low-register solos and Domingo Mancuso's more conventional playing. [4]

D'Arienzo first tested the new band in anonymous radio performances. A magazine had announced a debut for 15 April, but the public debut took place on 1 May, after the first recording session on 12 April. [3]

Sound and repertoire

In the 12 April recording of Entre dos fuegos, Lavocah identifies less predictable syncopation, a violin countermelody, a sudden drop in volume and an exchange between bandoneons and piano. The piano also gained room in El pillín, where the melody moved between orchestral sections. [6][7]

The orchestra continued to record valses, though Lavocah says it moved away from older valses criollos toward newer compositions. He describes its early milongas as fast and joyful. In Cajita de música, Salamanca decorated Reynal's vocal passage softly in a high register and later played beneath Puglisi's violin. [5][8]

Singers and recordings

D'Arienzo renamed the singer Enzo Gagliostro, previously billed as Príncipe Rojo, Alberto Reynal. Reynal recorded sixteen numbers with the orchestra over two years before withdrawing because of ill health. Carlos Casares joined as second singer and made three recordings. [9][10]

Casares left at the end of 1940. At auditions in Radio El Mundo's Hall B, Tito Falivene sang La mariposa and was chosen as his replacement. D'Arienzo gave him the stage name Héctor Mauré; Mauré recorded the vals Flor del mal at the 12 December session. [11]

Referencias

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  1. Michael Lavocah, Tango Masters: Juan D'Arienzo, p. 101 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“They sent in their telegrams, giving a generous six weeks' notice”
  2. Michael Lavocah, Tango Masters: Juan D'Arienzo, p. 102 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“The old band departed on 17h March, to an uncertain future”
  3. Michael Lavocah, Tango Masters: Juan D'Arienzo, p. 106 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“the debut was scheduled for 15th April, but finally took place on 1s May”
  4. Michael Lavocah, Tango Masters: Juan D'Arienzo, p. 104 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“The singer in Varela's outfit was Orlando Medina, but D'Arienzo didn't take him on”
  5. Michael Lavocah, Tango Masters: Juan D'Arienzo, p. 107 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“The band continue to record valses, but these are new compositions.”
  6. Michael Lavocah, Tango Masters: Juan D'Arienzo, p. 108 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“the use of syncopation is both less predictable and more complex than before”
  7. Michael Lavocah, Tango Masters: Juan D'Arienzo, p. 110 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“the piano has an expanded role compared to D'Arienzo's 30s orchestras”
  8. Michael Lavocah, Tango Masters: Juan D'Arienzo, pp. 110–111 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“listen closely to the piano decorating softly underneath in a high register”
  9. Michael Lavocah, Tango Masters: Juan D'Arienzo, p. 105 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“Príncipe Rojo was the artistic name of Enzo Gagliostro. D'Arienzo changed it to Alberto Reynal.”
  10. Michael Lavocah, Tango Masters: Juan D'Arienzo, p. 106 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“He recorded sixteen numbers with D'Arienzo over a two year period”
  11. Michael Lavocah, Tango Masters: Juan D'Arienzo, p. 115 (ISBN 978-1-9997551-2-6) · milongapress.comPágina de la fuente“one of the four tracks was given to Mauré (the vals Flor del mal)”
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