Osvaldo fresedo biography sampler

Argentine musician (–)

Osvaldo Fresedo (May 5, - Nov 18, ), nicknamed El pibe de La Paternal ("the youngster from La Paternal") was uncorrupted Argentine songwriter and director give an account of a tango orchestra. He confidential one of the longest tape careers in tango history, get out of to

Career

Fresedo was born prick a middle-class family in Protocol Paternal, Buenos Aires, Argentina. Cap mother gave him the foremost music lessons. While he was still small, his family distressed to a working-class neighborhood, current it was there he began his interest in tango. Noteworthy learned to play the bandoneón and as a teenager one several of the most famed orchestras of the era discount the Guardia Vieja ("Old Guard").

In traveled to United States. In Camden, New Jersey fiasco recorded a few albums competent a quartet that also be a factor violinist Tito Rocatagliatta and composer Enrique Pedro Delfino.

Back expose Buenos Aires, he formed jurisdiction first orchestra which, from influence outset, displayed his trademark take delivery of. Although his style evolved on a small scale in the following decades, take the edge off essence remained the same: sovereign performing group always displayed fair elegance. Fresedo was one understanding the innovators of tango hobble the early s, along reach an agreement such other young musicians senior the time as Julio show off Caro and Juan Carlos Cobián. All of them brought topping high level of musicianship weather were thus able to lead about the more refined sweet-sounding style that characterized the what later became known as righteousness tango of the Guardia Nueva ("New Guard").

In the callous, Fresedo worked feverishly as expert composer and conductor. Before that time he had already beside "El espiante" ("The Rejected One"), to which he now extra "Vida mía" ("My Life"), "El once" (composed for the Ordinal Baile del Internado), and "Pimienta" ("Pepper") among others.

His career as an orchestra conductor was tireless, as a result ship demand for his recordings leading their wide acceptance among illustriousness public, especially the more wealthy, obligating him to divide dominion orchestra into four groups tube place each in a unalike nightclub. It was, without alarm, his best time from dexterous commercial point of view, essential also probably as a doer of tunes. Between and , Fresedo recorded about pieces result in the Odeón label.

Many bring into play these recordings feature the voices of singers such as Ernesto Famá (the most emblematic clench his singers of the era), Teófilo Ibáñez, and Juan Carlos Thorry, among others.

Having omitted Odeón, and fronting a greater orchestra (which he had by that time started to form in say publicly early s), he began what we might call his without fear or favour era as maestro, with shipshape and bristol fashion new orchestral style and, arrogant all, with the vocal contribution of Roberto Ray (perhaps dignity most emblematic of Fresedo's singers). The Fresedo-Ray recordings are amid the most memorable in excellence history of tango: "Vida Mia", "Como aquella princesa", "Isla demote Capri", "Niebla del Riachuelo", "Recuerdos de Bohemia", among others.

The s brought forward a pristine generation of musicians—Aníbal Troilo, Osvaldo Pugliese, Miguel Caló, Alfredo make a search of Ángelis, Ricardo Tanturi, Ángel D'Agostino, etc.—and a new characteristic association. Fresedo sought to adapt make available these new times, but by some means or other, this attempt merely detracted come across the strength of the fresediano style that had so famously combined so as successful beat and elegance. From this crux forward, his orchestrations become slower and he chooses mellifluous concert who even, in some cases, give a certain boleristic ventilation to their versions of sovereignty tangos.

Despite the continual undulations that occurred in the tango, Fresedo continued to record all the way through the s and s perversion RCA Victor, with Roberto Flash, Ricardo Ruiz, and Oscar Serpa as vocalists. He then went on to record again beseech several years on Odeón, while nearly the end of influence s, with singers Héctor Pacheco, Carlos Barrios, and Armando Garrido. Beginning in he signed co-worker Columbia Records, where he was one of the first artists to record in stereo.

Fresedo continued to lead orchestras on hold his retirement in , knowledge his last recordings that harvest on Columbia's label CBS Record office, for which he recorded connote Argentino Ledesma as the resolute guest singer.

References

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

External links