De Angelis, Alfredo: Pianist, director and composer (November 2, 1910 - March 31, 1992) Nickname: The colorado

De Angelis, Alfredo: Pianist, director and composer (November 2, 1910 - March 31, 1992) Nickname: The colorado
Born in the town of Adrogué-province of Buenos Aires on November 2, the violinist 1912Hijo Virgilio De Angelis. In 1922

began his musical studies in the care of teacher William Olson, devoting his artistic concerns the bandoneon, an instrument

with which debuted during a festival in public school. It later spent at the piano, tipping his career as a performing a

dance academy at Suipacha 300 and around 1930. Shortly after-ran 1932 - Anselmo Aieta required its services for the

orchestra led in coffee Germinal, left-ing, music, the prospects for its already obtained an expert commercial.
He continued his career as a solo pianist in theaters cienematográficas neighborhood, working in 1934, with Graciano De

Leone, where the veteran bandoneon presented one of their sets by the defunct Radio Ultra. He, then, a grouping of Daniel

Alvarez, with whom, in 1936, shared the cartel-like orchestra Alvarez De Angelis. By 1939, trained as a pianist of

Mendocinos The orchestra, conducted by Francisco Lauro, before ultimately integrating its own set. He made his debut with

him on March 20, 1941, at the stage of coffee and Marzotto before the microphones of Radio Splendid first, then in El

Mundo, with Hector Ruiz Morea and Floreal as vocalists and succeeded by bit later than, Julio Martel. His first record for

Odeon-house which has counted on its artistic cast since then-took the stage and puppet tangos Which is good, with

orchestral style and clearly defined limited ambition in his music, his elementary harmonic conception and the constitutive

limitation of ideas, typical of the pattern exclusively designed to serve the dance. The attraction of the voices who

marched, through long twenty-five years of uninterrupted action, was also one of the pillars of its ongoing success: the

initial figures succeeded Carlos Dante, Oscar Larroca, Robert Florio, Lalo Martel and others, cultores repertoire

preferably structured on the basis of pages vocalist who imposed their work. His renditions of Mocosita, Alelí, Gloria,

Pastora, Under the blue cone and do we change the life, are well representative of their mode of interpretation, extended

without substantial variations of instrumental compositions excellent choice as The pial and black flowers. Took part in

the realization of several films, among them Al Compás your Lie (1950), which ran for two pianos, Osmar Maderna, a subject

of tango romanza. His first event was Pregonera composer in 1945, which followed Pastora, Alelí, Pimpollo broken. My

cariñito, Mañanita nice, do slow the train runs between the pieces for singing, and instrumentation The taladro.Fuente

Horacio Ferrer


Biography 2 by Ricardo Garcia Blaya of Todotango
In the second half of the thirties music took precedence over international tango, to the point that our more traditional

tango orchestras included in his repertoire foxtrots, polkas, corridos, pasodobles, congas and rumbas. Since Canaro Typical

Lomuto and Victor, until De Caro and Fresedo mixture tangos with the most extravagant music. But the emergence of bold and

dizzying pace of John D'Arienzo, positioned again to tango in the preference of young people, who not only regained his

taste for dance, but also took to recreate it.
Then, hundreds of orchestras and vocalists, leading the rebirth of "two by four" and so, the wonderful forties.
Alfredo De Angelis is part of the group of orchestras that put the emphasis on dancing. This however does not mean that

lacked artistic value, by contrast, were afiatadas well-orchestrated and had great musicians and vocalists.
Our intellectual elite peyorizó always popular, Prendes quickly that the taste of people, because no recovery, nor valued,

the sociocultural phenomenon that means dance.
Always heard that De Angelis was an orchestra "Carousel," which only served in the lounge, which lacked creativity. I

suppose the adjective referring to the curious form of the dancers to tour the ground orderly turning around the perimeter

of the track. From another perspective, critics could point to the music easy, elementary and routine of calesita

(carousels). These definitions dasafortunadas the meeting.
De Angelis was the beauty of a harmonious and synchronized work of a tango that was neat and simple, achieved with an

efficient handling of pace and very respectful of the melody and the showcasing of the singer.
It will say that the style was simple and unambitious formula was repeated, but today, at the distance, I am delighted

listening to his recordings some of them anthological. "At the foot of the Holy Cross," "breeze", "We are already equal"

(with the voice of Carlos Dante), "puppet" (by Floreal Ruiz), "Atenti pebeta", "One tango and nothing else "," Equal

footing "(with Julio Martel).
Born in the town of Adrogué (south of Buenos Aires great) and very boy began to learn music theory and harmony. His first

performances were accompanying the singer John Giliberti, announcing their presentations with posters claiming that he had

Gardel himself recognized as his successor.
Soon thereafter becomes the orchestra Anselmo Aieta replacing the pianist John Polito. As curious information, participated

in that training as a violinist John D'Arienzo.
Together with the bandoneonist Ernesto de la Cruz, accompanied the singer Felix Gutierrez, successful refrain from several

orchestras of the time. Fleeting, back in 1934, passing through the orchestra Graciano de Leone. After a gun team with

Daniel Alvarez and later integrates Mendocinos The orchestra led by Francisco Lauro.

Orchestra Alfredo De Angelis is just after 1940 forming his own orchestra, debuting on March 20, 1941 in coffee Marzotto on

Corrientes Street, with vocalist Hector Morea, who is the only one of their singers who do not reach the record .
It acts on radio El Mundo, with the voices of that Morea and its new addition, Floreal Ruiz. Thus we come to "Glostora

Tango Club", legendary radio program that is broadcast daily and that it was un ratito before the most popular radio:

"Perez Garcia."
Thus, De Angelis gained fame and popularity and it was not strange that the Odeon incorporate into their artistic cast,

where he recorded 486 items, from July 23, 1943 to January 21, 1977.
De Angelis was characterized by having chosen very good singers, suffice as an example: Floreal Ruiz, Carlos Dante, Julio

Martel, Oscar Larroca, Juan Carlos Godoy, Robert Florio, Roberto Mancini, Lalo Martel, among others.
The case of Carlos Dante is very special because it had been a devoted and refrain comes to the orchestra in its fullness,

becoming its best singer, his hallmark.
Alfredo De Angelis was in the forties the propellant of vocal duets. Walking his discography highlights the first-team

Dante Martel with his "pearls" "Pregonera", "Whirlpool" and "Pastora," among others. Then the duo Dante-Larroca, after Juan

Carlos Godoy with Lalo Martel and Roberto Mancini.
He is the author of "The drill", in homage to the football club Banfield, "Pregonera", "Pastora" (both with lyrics by

Joseph Banner), "What is the slow train" (lyrics by Caramel Volpe) and marvel that that is melodic "Whirlpool" (also with

Banner).
De Angelis did not have the imprint of Troilus nor Pugliese, but he was an honest leader who took refuge in a traditional

tango that came easily to popular recognition. The proof is in the amount of records and that they had recorded an

impressive commercial success.......


.http://eltangoysusinvitados.blogspot.com/2008/08/biografia-del-maestro-alfredo-de.html