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Troilo’s first orchestra (1937)

Troilo formed his first orchestra after working in Ciriaco Ortiz’s circle, then opened at the Marabú on 1 July 1937 with Francisco Fiorentino singing. [1][2] He said his ambition was for the instruments to phrase together in the manner of Gardel. [3]

The orchestra emerged after Ortiz’s large carnival ensemble with Juan Carlos Cobián dissolved and Ortiz later broke up his radio group. [1] Ortiz encouraged Troilo to form a band of his own. [1] When Jorge Salas needed a replacement for Luis D’Abraccio at the Marabú, Ortiz recommended Troilo, leaving the new group about ten days to prepare. [2]

Friends from the Ortiz circle joined Troilo, and rehearsals took place at Pedro Sapochnik’s home. [1][2] Orlando Goñi was the pianist, while Toto Rodríguez played bandoneón alongside Troilo. [1][2] Fiorentino was already singing with the orchestra when it opened at the Marabú on 1 July 1937. [2]

The opening

Accounts of the first tango played at the Marabú differed. [2] Troilo remembered “Sobre el pucho”; Sierra named “El carrerito” in the vermút show; another account placed “Tinta verde” before “El carrerito.” [2] The available accounts therefore did not establish a single opening number. [2]

Musical direction

Troilo described a definite aim for the new orchestra: its instruments should phrase together in the manner of Gardel. [3] Lavocah interpreted this as an attempt to bring the expression of tango canción into a dance orchestra after Gardel’s death in 1935. [4] In the orchestra’s early conception, Fiorentino’s voice was treated as one more instrument in the ensemble. [2]

The ensemble’s developing sound

Lavocah described Goñi as a fluent improviser who ranged across the keyboard, and Fiorentino as a singer whose timing remained free while keeping the dance beat. [5][6] He characterized Troilo’s bandoneón playing chiefly through its feeling and expression. [7] Kicho Díaz’s steady bass and the regular beat marked by the bandoneón section gave those musicians room to play with the phrasing. [8]

The orchestra did not receive its RCA-Victor recording contract until 1941, after four years of work. [9] Lavocah’s description of its recordings from that year shows how he heard the ensemble’s later balance of a firm beat and flexible playing; those recordings should not be taken as direct evidence of its sound on opening night. [8][9]

References

How Tangopedia works

  1. Michael Lavocah, Tango Masters: Aníbal Troilo, p. 2 (ISBN 978-1-9997551-5-7) · milongapress.comSource page
  2. Michael Lavocah, Tango Masters: Aníbal Troilo, p. 7 (ISBN 978-1-9997551-5-7) · milongapress.comSource page
  3. Michael Lavocah, Tango Masters: Aníbal Troilo, p. 5 (ISBN 978-1-9997551-5-7) · milongapress.comSource page“that the instruments phrase together in the manner of Gardel.”
  4. Michael Lavocah, Tango Masters: Aníbal Troilo, p. 8 (ISBN 978-1-9997551-5-7) · milongapress.comSource page
  5. Michael Lavocah, Tango Masters: Aníbal Troilo, p. 1 (ISBN 978-1-9997551-5-7) · milongapress.comSource page“An improviser, covering the whole keyboard with great fluency and freedom”
  6. Michael Lavocah, Tango Masters: Aníbal Troilo, p. 1 (ISBN 978-1-9997551-5-7) · milongapress.comSource page“Fiorentino somehow manages to do so whilst still having a very free timing.”
  7. Michael Lavocah, Tango Masters: Aníbal Troilo, p. 1 (ISBN 978-1-9997551-5-7) · milongapress.comSource page“his reputation rested on the feeling and expression”
  8. Michael Lavocah, Tango Masters: Aníbal Troilo, p. 1 (ISBN 978-1-9997551-5-7) · milongapress.comSource page“he provided the platform for Goñi, Fiorentino and Troilo to play freely with the music.”
  9. Michael Lavocah, Tango Masters: Aníbal Troilo, p. 1 (ISBN 978-1-9997551-5-7) · milongapress.comSource page“after tour years of hard work, the band was finally handed a recording contract by RCA-Victor.”
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