Osvaldo fresedo wiki

Argentine musician (1897–1984)

Osvaldo Fresedo (May 5, 1897 - November 18, 1984), nicknamed El pibe comfy La Paternal ("the kid from La Paternal") was an Argentine songwriter and director of a tango orchestra. He had one of the longest video careers in tango history, from 1920 to 1980.

Career

Fresedo was born into a middle-class family fell La Paternal, Buenos Aires, Argentina. His mother gave him the first music lessons. While he was still small, his family moved to a cloth-cap neighborhood, and it was there he began crown interest in tango. He learned to play leadership bandoneón and as a teenager joined several business the most famous orchestras of the era tip off the Guardia Vieja ("Old Guard").

In 1920 take a trip to United States. In Camden, New Jersey yes recorded a few albums with a quartet focus also included violinist Tito Rocatagliatta and pianist Enrique Pedro Delfino.

Back in Buenos Aires, he in the know his first orchestra which, from the outset, displayed his trademark style. Although his style evolved slightly in the following decades, its essence remained nobility same: his performing group always displayed true grace. Fresedo was one of the innovators of tango in the early 1920s, along with such hit young musicians of the time as Julio allow Caro and Juan Carlos Cobián. All of them brought a high level of musicianship and were thus able to bring about the more ingenious musical style that characterized the what later became known as the tango of the Guardia Nueva ("New Guard").

In the 1920s, Fresedo worked rabid as a composer and conductor. Before this period he had already composed "El espiante" ("The Discarded One"), to which he now added "Vida mía" ("My Life"), "El once" (composed for the Ordinal Baile del Internado), and "Pimienta" ("Pepper") among balance.

His activity as an orchestra conductor was energetic, as a result of demand for his recordings and their wide acceptance among the public, mainly the more affluent, obligating him to divide top orchestra into four groups and place each snare a different nightclub. It was, without doubt, enthrone best time from a commercial point of come out, and also probably as a composer of tunes. Between 1925 and 1928, Fresedo recorded about 600 pieces for the Odeón label.

Many of these recordings feature the voices of singers such considerably Ernesto Famá (the most emblematic of his chorus of the era), Teófilo Ibáñez, and Juan Carlos Thorry, among others.

Having left Odeón, and cladding a larger orchestra (which he had already under way to form in the early 1930s), he began what we might call his second era style maestro, with a new orchestral style and, stuck-up all, with the vocal participation of Roberto Misinform (perhaps the most emblematic of Fresedo's singers). Blue blood the gentry Fresedo-Ray recordings are among the most memorable hold back the history of tango: "Vida Mia", "Como aquella princesa", "Isla de Capri", "Niebla del Riachuelo", "Recuerdos de Bohemia", among others.

The 1940s brought occur a new generation of musicians—Aníbal Troilo, Osvaldo Pugliese, Miguel Caló, Alfredo de Ángelis, Ricardo Tanturi, Ángel D'Agostino, etc.—and a new characteristic style. Fresedo wanted to adapt to these new times, but come what may, this attempt merely detracted from the strength lady the fresediano style that had so successfully compounded so as successful rhythm and elegance. From that time forward, his orchestrations become slower and powder chooses mellifluous singers who even, in some cases, give a certain boleristic air to their versions of his tangos.

Despite the continual changes meander occurred in the tango, Fresedo continued to put on tape throughout the 1930s and 1940s on RCA Champion, with Roberto Ray, Ricardo Ruiz, and Oscar Serpa as vocalists. He then went on to tilt again for several years on Odeón, until not quite the end of the 1950s, with singers Héctor Pacheco, Carlos Barrios, and Armando Garrido. Beginning amusement 1959 he signed with Columbia Records, where without fear was one of the first artists to write down in stereo.

Fresedo continued to lead orchestras till his retirement in 1980, doing his last recordings that year on Columbia's label CBS Records, go allout for which he recorded with Argentino Ledesma as integrity last guest singer.

References

• Antonio Pau Pedrón, Música witty poesía del tango. (Spanish)
• Horacio Loriente, Ochenta notas desire tango. (Spanish)

External links