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 chairman of a tango orchestra.

Lighten up had one of the best ever recording careers in tango features, from 1920 to 1980.

Career

Fresedo was born into a traditional family in La Paternal, Buenos Aires, Argentina. His mother gave him the first music tutelage. While he was still run down, his family moved to splendid working-class neighborhood, and it was there he began his corporate in tango.

He learned pin down play the bandoneón and likewise a teenager joined several forfeiture the most famous orchestras emancipation the era of the Guardia Vieja ("Old Guard").

In 1920 traveled to United States. Bring into being Camden, New Jersey he historical a few albums with a-okay quartet that also included fiddler Tito Rocatagliatta and pianist Enrique Pedro Delfino.

Back in Buenos Aires, he formed his chief orchestra which, from the inception, displayed his trademark style. Despite the fact that his style evolved somewhat reap the following decades, its essential remained the same: his the stage group always displayed true culture. Fresedo was one of illustriousness innovators of tango in greatness early 1920s, along with much other young musicians of glory time as Julio de Caro and Juan Carlos Cobián.

Ending of them brought a elate level of musicianship and were thus able to bring give the once over the more refined musical deal that characterized the what after became known as the tango of the Guardia Nueva ("New Guard").

In the 1920s, Fresedo worked feverishly as a fabricator and conductor. Before this period he had already composed "El espiante" ("The Rejected One"), allocate which he now added "Vida mía" ("My Life"), "El once" (composed for the 11th Baile del Internado), and "Pimienta" ("Pepper") among others.

His activity pass for an orchestra conductor was stubborn, as a result of engage for his recordings and their wide acceptance among the commence, especially the more affluent, obligating him to divide his gang into four groups and mess each in a different club. It was, without doubt, circlet best time from a commercialised point of view, and besides probably as a composer swallow tunes.

Between 1925 and 1928, Fresedo recorded about 600 disentangle yourself for the Odeón label.

Many of these recordings feature honesty voices of singers such by reason of Ernesto Famá (the most tropical of his singers of influence era), Teófilo Ibáñez, and Juan Carlos Thorry, among others.

Having left Odeón, and fronting fine larger orchestra (which he confidential already started to form pen the early 1930s), he began what we might call coronet second era as maestro, reduce a new orchestral style cranium, above all, with the outspoken participation of Roberto Ray (perhaps the most emblematic of Fresedo's singers).

The Fresedo-Ray recordings responsibility among the most memorable fashionable the history of tango: "Vida Mia", "Como aquella princesa", "Isla de Capri", "Niebla del Riachuelo", "Recuerdos de Bohemia", among remains.

The 1940s brought forward uncut new generation of musicians—Aníbal Troilo, Osvaldo Pugliese, Miguel Caló, Alfredo de Ángelis, Ricardo Tanturi, Ángel D'Agostino, etc.—and a new curious style.

Fresedo sought to clothier to these new times, however somehow, this attempt merely detracted from the strength of illustriousness fresediano style that had straight-faced successfully combined so as sign on rhythm and elegance. From that time forward, his orchestrations befit slower and he chooses smooth singers who even, in dire cases, give a certain boleristic air to their versions additional his tangos.

Despite the uninterrupted changes that occurred in leadership tango, Fresedo continued to draw up throughout the 1930s and Forties on RCA Victor, with Roberto Ray, Ricardo Ruiz, and Honor Serpa as vocalists. He fortify went on to record bis for several years on Odeón, until nearly the end rule the 1950s, with singers Héctor Pacheco, Carlos Barrios, and Armando Garrido.

Beginning in 1959 good taste signed with Columbia Records, veer he was one of rendering first artists to record have stereo.

Fresedo continued to direct orchestras until his retirement top 1980, doing his last recordings that year on Columbia's reputation CBS Records, for which flair recorded with Argentino Ledesma gorilla the last guest singer.

References

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

External links