Pianist, leader and composer.
(November 2, 1910… Read Full Bio ↴Nickname: El colorado
Pianist, leader and composer.
(November 2, 1910 - March 31, 1992)
He was born at the locality of Adrogué (south of grand Buenos Aires) and since early childhood he started to study sight-reading and harmony. His early gigs were accompanying the singer Juan Giliberti, who used to announce his shows with advertisements that said that Gardel himself had appointed him as his musical heir.
Soon he switched to Anselmo Aieta's orchestra replacing the pianist Juan Polito. A curious information: in that line-up Juan D'Arienzo played violin.
Together with the bandoneonist Ernesto de la Cruz, he accompanied the singer Félix Gutiérrez, a successful refrain singer in several orchestras of the period. Briefly, around 1934, he joined the orchestra of Graciano de Leone. Later he teamed-up with Daniel Álvarez and even later, he joined Los Mendocinos orchestra led by Francisco Lauro.
Only after 1940 he put together his own orchestra, debuting on March 20, 1941 at the café Marzotto on Corrientes street, with the vocalist Héctor Morea, the only one of his singers who did not succeed in having a recording date.
He played on radio El Mundo, with the voices of the above-mentioned Morea and the new member, Floreal Ruiz. So we arrived at the “Glostora Tango Club”, a mythical radio program which was daily broadcasted a little before the most popular theater serial on radio: “Los Pérez García”.
So, De Angelis achieved fame and popularity and it was not strange that the Odeon label included him with its artists, where he recorded 486 numbers, from July 23, 1943 to January 21, 1977.
De Angelis was distinguished by choosing very good singers, such as: Floreal Ruiz, Carlos Dante, Julio Martel, Oscar Larroca, Juan Carlos Godoy, Roberto Florio, Roberto Mancini, Lalo Martel, among others.
Carlos Dante's case is quite special because he had already been a consecrated refrain singer and joined the orchestra in his plenitude, becoming its best singer, its distinct seal.
In the forties Alfredo De Angelis was the promoter of the vocal duets. Revising his discography the team Dante-Martel stands out in first place with their “pearls” "Pregonera", "Remolino" and "Pastora", among others. The Dante-Larroca duo comes after, and later Juan Carlos Godoy with Lalo Martel and Roberto Mancini.
He composed "El taladro", as homage to the Banfield soccer club, "Pregonera", "Pastora" (both with lyrics by José Rótulo), "Qué lento corre el tren" (lyrics by Carmelo Volpe) and that melodic wonder that is "Remolino" (with Rótulo as well).
De Angelis neither had Troilo's transcendence nor Pugliese's, but he was an honest leader that sought refuge in the traditional tango which was easily understood by the people. The evidence is in the amount of records that he recorded and that resulted in an impressive commercial success.
Marioneta
Alfredo De Angelis Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
en la belleza humilde del patio colonial
cubierta en el verano por el florido manto
que hilaban las glicinas, la parra y el rosal...
¡Si me parece verte! La pollerita corta,
sobre un banco empinadas las puntas de tus pies,
los bucles despeinados y contemplando absorta
-¡Arriba, doña Rosa!...
¡Don Pánfilo, ligero!...
Y aquel titiritero
de voz aguardentosa
nos daba la función.
Tus ojos se extasiaban:
aquellas marionetas
saltaban y bailaban
prendiendo a tu alma inquieta
la cálida emoción...
Allá entre bastidores, ridículo y mezquino,
claudica el decorado sencillo de tu hogar...
Y vos, en el proscenio de un frívolo destino,
¡sos frágil marioneta que baila sin cesar!
The lyrics of Alfredo de Angelis's "Marioneta" describe a nostalgic memory of a beautiful, modest home with a colonial courtyard, where the singer sees a girl who is absorbed in watching puppets performing in English, Russian, and French. The girl's short skirt and messy curls emphasize her youthful innocence and curiosity, as she becomes entranced with the puppets' movements and the emotions they evoke in her. The scene is made even more enchanting by the blooming flowers that cover the courtyard, such as wisteria, grape, and rose.
As the performance unfolds, the puppet master calls out to Doña Rosa and Don Pánfilo, the characters he is manipulating. His voice is rough from drinking, but his showmanship still manages to captivate the audience. The girl's eyes widen with delight as she watches the marionettes "jump and dance," their movements bringing her restless soul warm emotions.
However, the final stanza takes a melancholy turn, bringing the listener back to the reality of the situation. The simple decoration and petty life behind the scenes contrast with the girl's vivid imagination, and the fact that she is ultimately a fragile puppet dancing to the puppet master's tune. The song therefore captures the fleeting beauty of childhood innocence and the harshness of growing up.
Line by Line Meaning
Tenía aquella casa no sé qué suave encanto
The house had a subtle charm that I cannot describe
en la belleza humilde del patio colonial
The colonial-style courtyard was beautifully simple
cubierta en el verano por el florido manto
In summer, the courtyard was covered with blooming flowers
que hilaban las glicinas, la parra y el rosal...
Wisteria, grapevines, and roses created this beautiful covering
¡Si me parece verte! La pollerita corta,
It's as if I can see you wearing a short skirt,
sobre un banco empinadas las puntas de tus pies,
sitting on a bench with your toes pointed upward,
los bucles despeinados y contemplando absorta
your messy hair and your focused gaze,
los títeres que hablaban, inglés, ruso y francés.
watching the puppets speak English, Russian, and French.
¡Arriba, doña Rosa!...
Come on, Doña Rosa!...
¡Don Pánfilo, ligero!...
Move faster, Don Pánfilo!...
Y aquel titiritero de voz aguardentosa
And that puppeteer with the strong voice of liquor
nos daba la función.
performed the show for us.
Tus ojos se extasiaban:
Your eyes were filled with delight:
aquellas marionetas saltaban y bailaban
watching those puppets jump and dance,
prendiendo a tu alma inquieta la cálida emoción...
igniting warm emotions in your restless soul...
Allá entre bastidores, ridículo y mezquino,
Backstage, it was ridiculous and petty,
claudica el decorado sencillo de tu hogar...
the simple decoration of your home was collapsing...
Y vos, en el proscenio de un frívolo destino,
And you, on the stage of a frivolous destiny,
¡sos frágil marioneta que baila sin cesar!
You are a fragile puppet dancing non-stop!
Writer(s): Armando Jose Tagini, Juan Jos Guichandut
Contributed by Aiden Y. Suggest a correction in the comments below.
@danielcolignon6526
Hermosa versión espectacular tango
@quiquerossetti867
Este fue un capo lavoro del "Tata" lo grabó en casi todas las orquestas en las que cantó.
@andrestraverso481
Que entonación!! Que justeza, el gordo Troilo tuvo buenos cantores, muchos, a todos aconsejaba sin embargo el decía que el tata no necesitaba consejos, cerraba los ojos y lo sacaba perfecto!!!!
@geraldwalterdoyle8146
Tagini tenía un ojo nostalgioso exacto para recordar el pasado y Floreal canta esta versión espléndidamente. Sin perjuicio de las interpretaciones de Gardel y Corsini, bellísimas ellas.
@nildabugni386
No hacen falta las palabras hay que escuchar y esta todo dicho
@guillermowierna621
Floreal Ruiz vuelve a grabar este tango con la orquesta de Aníbal Troilo, y también con José Basso.
@guillermowierna621
Un verdadero éxito este tango con la orquesta de Alfredo De Angelis.
@raulfernandez7706
Éste tango es de 1928, cuyos autores son Juan José Guichandut y Armando José María Tagini. Grabado en el sello ODEON el viernes 23 de julio de 1943.
@juancarlosbrajus833
Que cantor Floreal Ruiz...👏👏👏
@margaritaecheverry1268
Recordar es vivir 👏🇨🇴❤️