Personnel:
Orlando Goñi, Astor Piazzolla, Reynaldo Nichele, Hugo Baralis (músicos), Francisco Fiorentino, Madeo Mandarino, Alberto Marino (cantantes)
Reference: EBCD 305
Bar code: 8427328133050
· Booklet in Spanish & English
· Includes complete biography & discography
The First Volume covers the 1938-1944 period
Much of the work of Aníbal Troilo (1914-1975) as a composer became huge hits that reflected the talent and musical sensibility that adorned his life as a musician and director. Throughout his creative trajectory, Troilo kept his aesthetic values high, reflected in his strict loyalty to traditional tango. Through his works we can see the uneasy spirit of a man profoundly committed to the traditional values of his city. In total he left 61 written works, among them 42 tangos, 12 milongas, 6 valses and 1 habanera. Here we detail the works composed between 1933 to 1950, marked among the period we are dealing with in this work and the poets that collaborated with Aníbal Troilo in the same. These 4 CD collections on the El Bandoneón label represent the very best of this maestro's work and talent between 1938 and 1950.
Hugo Baralis, musician.
"Even with the passing of the years, no-one is going to be able to deny (his) talent. Apart from being a great orchestra leader, he was the master of singers. I heard him sing on many occasions while surrounded by friends and I can tell you now that he never once was out of tune. He was, above all, intuitive. I think, in terms of tango, he was another Gardel".
Astor Piazzolla, musician.
"I was in Rome when he died. I was at home when I heard the news with the painters Carlos Alonso and Antonio Berni, who had asked me to pose for them. You can't even begin to imagine it that was like (to hear such news). I took by bandoneon and started playing "La última cuerda" and we all cried, while they painted and I played, with tears falling from our eyes and they even asked me to stop playing because they couldn't see properly with the tears in their eyes. But I just couldn't stop playing. It was like trying to make Gordo be there with us. It is the same as when I play "Bandoneón", the first piece in the same suite. There is apart when the melody corresponds with "Quejas de bandoneón". I try to play that part like Pichuco did, copying the way he moved his fingers, but I can¹t quite finish the piece and, as a demonstration of my incompetence, I leave my fingers pressed down and the bandoneon open until the end, as if it was a way of showing the desperation for everything he took away when he left us".
Domingo Mattío, musician.
"He was an exceptional figure. One of a kind. Last generation¹s bandoneon players were technically excellent players: Pedro Laurenz, Carlos Marcussi, Pedro Maffia, Ciriaco Ortíz, Minotto and many others. Unlike the others mentioned here, the Gordo was all feeling. His bandoneon was his heart. There were a lot of good bandoneon players here, but when he played the first three notes, he would slay them all On the solos of "Chiqué", "Inspiración" or "La cumparsita", for example, he gave us all goose bumps".
Edmundo Rivero, singer.
"Troilo was, as everyone knows, someone with a huge heart and a word of honor. I was a good friend of his and I believe I was a good friend for him too. He had the double-privilege of being deaf to gossip yet at the same time had a great ear for what interested him most: the music."
Tito Reyes, singer.
"Troilo was a huge fan of Carlos Gardel, bandoneon player Pedro Maffia and maestro Carlos Di Sarli¹s orchestra. He formed part of the most important cultural movement in the Argentine Republic. The sheer quality of the music and the poetry of tango are recognized around the whole world. He symbolized the duendes of the city. Everything that Homero Manzi, Enrique Cadícamo, Homero Expósito, Juan De Dios Filiberto, Roberto Grela, Azucena Maizani, Tita Merello and many others had seen was represented in Troilo. He had then what we today are lacking".
