Aníbal Troilo, indisputable figure of Argentine music, is the center of three recently published books, which will have their presentation at 7 pm, at the National Academy of Tango to celebrate Bandoneon Day.
Since 2005 and in recognition of the birth of the great bandoneonist, composer and conductor Aníbal “Pichuco” Troilo (1914-1975), on July 11 the day of this instrument known for being decisive in the sound of the band is celebrated in Argentina. tango.
Although in the country the bandoneon – a wind instrument that had its origins in Germany – influenced the zamba, the chamamé and the chacarera and other styles of popular root music, in few was its role as important as in tango.
Within the music of Buenos Aires, the bandoneon is known by the hands of great musicians, among whom Aníbal Troilo stands out; whose relevance for tango and culture was such that the Day of the bandoneon in Argentina is celebrated in homage to his birth. At the same time, this day works as a distinction for all the people who dedicated and dedicate their lives to the execution of this particular instrument.
In the entity located at Avenida de Mayo 833 (first floor) the books «Troilo. A theory of everything», by Miguel Ángel Taboada and Mariano Suárez (edited by Mil Campanas); «I am always arriving», by Javier Cohen and Fernando Vicente (Zorzal books); and «Troilo and his singers», by José Valle and Gabriela Biondo (En un Feca).
The meeting will be coordinated by Francisco Torné, Zita Troilo’s grandson (Aníbal’s wife and great love) and will feature bandoneonist Ayelén Pais, who will play Pichuco’s bellows, and pianist Cristian Asato.
The presentation will include the latest book published on the musician, «Troilo. A theory of everything», published in April and with prologues by the bandoneon player from Salta Dino Saluzzi, the journalist Santiago Giordano and the pianist Leda Torres.
In this publication, the authors tell how the childhood of “Pichuco” coincided with the transformation of tango and how when he was old enough to approach the trade (at 11 years old) tango was a music in full swing.
Asked about the work to delve into different aspects of the musician’s life, ranging from his talent and his training -almost self-taught-, to his contribution to tango from the bandoneon, Taboada said in an interview with Télam: “He is a musician who It evolved from 1937 to the beginning of the 70s. It was born with an orchestra still associated with dance and progressed towards an orchestra to be heard, which followed the ‘decarean’ line but transformed it, with its ear, with its good taste. , with a style that enabled arrangements like those of Argentino Galván or Astor Piazzolla. In a short time he became the canon of tango, which manages to present itself as a synthesis of everything that preceded it and the mirror in which to look at itself for those who came after”.
And he added: «We include some generous preliminary words by Dino Saluzzi, who is not just a traditional tango bandoneon player, and that symbolizes where we stand in relation to the common places and emblems typical of the narratives about Troilo».
Troilo composed the music for tangos such as “Garúa”, which has lyrics by Enrique Cadícamo; “Desencuentro”, which he composed together with Cátulo Castillo; “Mi tango triste”, together with Enrique Santos Discépolo and “Sur”, which he created in a duo with his great friend Homero Manzi, whom after his death he created “Responso” as a tribute to him.
He also formed an unforgettable duo with the singer Roberto Goyeneche with whom he formed a friendship.
Born in the Buenos Aires neighborhood of Almagro, Troilo was an intuitive musician who evolved to become a reference figure and an eternal classic of tango.
The promoters of the law, sanctioned on May 18, 2005, were Francisco Torné, and the poet Horacio Ferrer, friend of the musician and creator and first president of the National Academy of Tango.
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