We start this work with a selection of tangos. Some of them, belonging to the so-called “guardia vieja”, were composed at the beginning of the century, such as Silbando, created by three outstanding composers: the music belongs to Sebastián Piana (1903 -1995) and Cátulo Castillo (1906 -1975), and the lyrics, to José González Castillo (1885 -1937). This tango was first recorded by Carlos Gardel.
From the same time comes Canaro en París, composed by Scarpino (1904 - 1970) and Caldarella (1891-19?? ). This tango had no title for some time until its authors read in a newspaper about the success Franciso Canaro was then having in France. When they saw the headlines speaking of “Canaro in Paris”, they knew they have found the right name for the work.
La puñalada, by Pintín Castellanos, another one of these old tangos, can be considered the paradigm of the urban milonga.
The golden days of tango left us these two wonderful works: El
by Mariano Mores (1918), a pianist player and prolific composer, and Los
mareados, by Juan Carlos Cobian and Enrique Cadícamo. The second one was first known
as “Los Dopados”, but this name was censured. Then it was called “Mi
pasado”, and at last, it was given the title we all know today.
We close this selection with Cuatro Estaciones Porteñas, composed by Astor Piazzolla (1920 -1992). Undoubtedly, this is one of the most important integral works of this composer, who is today internationally recognized as one the best musicians of the twentieth century.
Following the tango selection, we include a series of popular compositions: Serrana, by Ángel Lasala (Bs.As.1914 - 2000), a beautiful work adapted for two guitars by the so remembered master and pioneer of guitar duos, Jorge Martínez Zárate (1923 -1993).
Aire de Guarania y Polca is a composition that deserves a special mention. It was created by Hugo Latti(1944 -1992), composer, guitar player and educator. He was born in Encarnación, Paraguay, and later took up residence in Posadas, province of Misiones, where we met him and started a lasting friendship. He dedicated this work, one of his last compositions, to both of us.
Agustín Barrios (1885 -1947) In fact, he is the main composer of guitar pieces of Paraguay, and the Danza Paraguaya can be considered one of his most representative compositions. Transcribed by Richard Stover.
We met Juan José Ramos (1930 -1995) in Sebastián Domínguez’s radio program “De Segovia a Yupanqui”, which has been on the air in Radio Nacional of Buenos Aires for more than fifteen years. Ramos called the day we were invited to the program and humbly offered us some of his compositions adapted for two guitars; Milonga de la recova was among them. We told him we had already included his “Milonga sureña” also transcribed by Maria Luisa Anido (1907 -1996) in a previous work. Since then, we met frequently and enjoyed a wonderful friendship.
Lito Vitale is today one of the most important young musicians in Argentina in the field of popular music. He composed Milonga del 71 to be played by his trio (Vitale Baraj González). The name makes reference to the bus (number71) he used to take very frequently. In fact, he composed the milonga during one of those rides.
Juan Gallino (1960) is part of this duo, the one who is standing on the cover picture. Encuentro was especially composed for a guitar duo.
Máximo Diego Pujol (1957) has certainly become the most brilliant composer of guitar music in Argentina. His works are played by the masters of contemporary guitar. He has been awarded many prizes that are testimony of his outstanding career in different countries. Tiempo del Hombre, a composition in two movements, evokes a poem written by Atahualpa Yupanqui.
Bocaccio - Gallino