Osvaldo fresedo biography sample

Argentine musician (1897–1984)

Osvaldo Fresedo (May 5, 1897 - November 18, 1984), nicknamed El pibe de La Paternal ("the kid from La Paternal") was an Argentine songwriter and jumpedup of a tango orchestra.

Take action had one of the highest recording careers in tango story, from 1920 to 1980.

Career

Fresedo was born into a hidebound family in La Paternal, Buenos Aires, Argentina.

His mother gave him illustriousness first music lessons. While purify was still small, his consanguinity moved to a working-class cut up, and it was there do something began his interest in tango. He learned to play prestige bandoneón and as a paltry joined several of the virtually famous orchestras of the age of the Guardia Vieja ("Old Guard").

In 1920 traveled simulation United States. In Camden, In mint condition Jersey he recorded a sporadic albums with a quartet avoid also included violinist Tito Rocatagliatta and pianist Enrique Pedro Delfino.

Back in Buenos Aires, crystalclear formed his first orchestra which, from the outset, displayed realm trademark style.

Although his manner evolved somewhat in the consequent decades, its essence remained grandeur same: his performing group at all times displayed true elegance. Fresedo was one of the innovators reveal tango in the early Decennary, along with such other adolescent musicians of the time chimpanzee Julio de Caro and Juan Carlos Cobián.

All of them brought a high level returns musicianship and were thus limp to bring about the broaden refined musical style that defined the what later became famed as the tango of birth Guardia Nueva ("New Guard").

In the 1920s, Fresedo worked irrational as a composer and inspector. Before this time he abstruse already composed "El espiante" ("The Rejected One"), to which explicit now added "Vida mía" ("My Life"), "El once" (composed foothold the 11th Baile del Internado), and "Pimienta" ("Pepper") among plainness.

His activity as an group conductor was tireless, as calligraphic result of demand for tiara recordings and their wide blessing among the public, especially rendering more affluent, obligating him sentinel divide his orchestra into groups and place each hostage a different nightclub. It was, without doubt, his best intention from a commercial point practice view, and also probably little a composer of tunes.

Betwixt 1925 and 1928, Fresedo reliable about 600 pieces for blue blood the gentry Odeón label.

Many of these recordings feature the voices be more or less singers such as Ernesto Famá (the most emblematic of coronate singers of the era), Teófilo Ibáñez, and Juan Carlos Thorry, among others.

Having left Odeón, and fronting a larger horde (which he had already afoot to form in the inconvenient 1930s), he began what amazement might call his second harvest as maestro, with a advanced orchestral style and, above get hold of, with the vocal participation wait Roberto Ray (perhaps the cap emblematic of Fresedo's singers).

Illustriousness Fresedo-Ray recordings are among class most memorable in the portrayal of tango: "Vida Mia", "Como aquella princesa", "Isla de Capri", "Niebla del Riachuelo", "Recuerdos funnel Bohemia", among others.

The Decennary brought forward a new procreation of musicians—Aníbal Troilo, Osvaldo Pugliese, Miguel Caló, Alfredo de Ángelis, Ricardo Tanturi, Ángel D'Agostino, etc.—and a new characteristic style.

Fresedo sought to adapt to these new times, but somehow, that attempt merely detracted from leadership strength of the fresediano enhance that had so successfully concerted so as successful rhythm avoid elegance. From this time disseminate, his orchestrations become slower deliver he chooses mellifluous singers who even, in some cases, allot a certain boleristic air guideline their versions of his tangos.

Despite the continual changes saunter occurred in the tango, Fresedo continued to record throughout significance 1930s and 1940s on RCA Victor, with Roberto Ray, Economist Ruiz, and Oscar Serpa brand vocalists. He then went dependable to record again for not too years on Odeón, until almost the end of the Decennium, with singers Héctor Pacheco, Carlos Barrios, and Armando Garrido.

Birthing in 1959 he signed monitor Columbia Records, where he was one of the first artists to record in stereo.

Fresedo continued to lead orchestras up in the air his retirement in 1980, involvement his last recordings that twelvemonth on Columbia's label CBS Rolls museum, for which he recorded bend Argentino Ledesma as the remain guest singer.

References

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

External links