TITAF-P-3738161 - Revision history

Donxello at 09:09, 10 May 2025

2025-05-10T09:09:57Z

← Older revision		Revision as of 09:09, 10 May 2025
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	Appointed in 1938 as director of the Municipal Orchestra of Folk Art, Filiberto promoted Argentine music until his retirement. In 1956, this ensemble became the Orquesta de Música Argentina y de Cámara. Later, Argentina honored him by naming its National Orchestra of Argentine Music after him.		Appointed in 1938 as director of the Municipal Orchestra of Folk Art, Filiberto promoted Argentine music until his retirement. In 1956, this ensemble became the Orquesta de Música Argentina y de Cámara. Later, Argentina honored him by naming its National Orchestra of Argentine Music after him.

	A fierce advocate for composers’ rights, he co-founded SADAIC, the Argentine Society of Authors and Composers. He was close to painter Benito Quinquela Martín and writer Enrique González Tuñón, and remained proud of his roots in La Boca.		A fierce advocate for composers’ rights, he co-founded SADAIC, the Argentine Society of Authors and Composers. He was close to painter Benito Quinquela Martín and writer [[TITAF-P-8342627\|Enrique González Tuñón]], and remained proud of his roots in La Boca.

	Filiberto’s music, often dismissed by critics, fused city and country traditions into an emotional, accessible art form. After Gardel and La cumparsita, his works are among the most enduring in tango history. He died in Buenos Aires in 1964, leaving behind a legacy deeply woven into the fabric of Argentine culture.		Filiberto’s music, often dismissed by critics, fused city and country traditions into an emotional, accessible art form. After Gardel and La cumparsita, his works are among the most enduring in tango history. He died in Buenos Aires in 1964, leaving behind a legacy deeply woven into the fabric of Argentine culture.

Donxello at 09:06, 10 May 2025

2025-05-10T09:06:26Z

← Older revision		Revision as of 09:06, 10 May 2025
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	His journey began when a comment about his lack of musical understanding wounded his pride. Determined, he studied violin, theory, and harmony, eventually earning a scholarship to study with [[TITAF-P-7957567\|Alberto Williams]]. Influenced by Beethoven and native Argentine styles, he developed a unique blend of tango and folk, which he called “sentimental music with native roots.”		His journey began when a comment about his lack of musical understanding wounded his pride. Determined, he studied violin, theory, and harmony, eventually earning a scholarship to study with [[TITAF-P-7957567\|Alberto Williams]]. Influenced by Beethoven and native Argentine styles, he developed a unique blend of tango and folk, which he called “sentimental music with native roots.”

	Filiberto composed his first tango [[TITAF-T-0352064 \|Guaymallén]] in 1915. His international hit [[TITAF-T-0021821\|Caminito]] (1926), along with [[TITAF-T-0008512\|Quejas de bandoneón]], [[TITAF-T-0002940\|El pañuelito]] and [[TITAF-T-0011061\|Malevaje]], became landmarks of the genre. Many of his works were performed or recorded by [[TITAF-P-1941911\|Carlos Gardel]], including 16 compositions such as [[TITAF-T-0016474\|Clavel del aire]], [[TITAF-T-0020804\|Compañero]] and the [[~~https://tangowiki.titaf.org/wiki/Zamba\|~~zamba]] [[TITAF-T-0006064\|La tacuarita]].		Filiberto composed his first tango [[TITAF-T-0352064 \|Guaymallén]] in 1915. His international hit [[TITAF-T-0021821\|Caminito]] (1926), along with [[TITAF-T-0008512\|Quejas de bandoneón]], [[TITAF-T-0002940\|El pañuelito]] and [[TITAF-T-0011061\|Malevaje]], became landmarks of the genre. Many of his works were performed or recorded by [[TITAF-P-1941911\|Carlos Gardel]], including 16 compositions such as [[TITAF-T-0016474\|Clavel del aire]], [[TITAF-T-0020804\|Compañero]] and the [[zamba]] [[TITAF-T-0006064\|La tacuarita]].

	In 1932, he formed his own Orquesta Porteña, incorporating non-traditional instruments like the harmonium and clarinet. The orchestra featured in the first Argentine sound film ¡Tango! (1933). He recorded 25 tracks for Odeon (1932–1936) and 20 more for Victor (1941–1959), mostly instrumentals. His vocal collaborators included [[TITAF-P-3556830\|Patrocinio Díaz]] and Jorge Alonso.		In 1932, he formed his own Orquesta Porteña, incorporating non-traditional instruments like the harmonium and clarinet. The orchestra featured in the first Argentine sound film ¡Tango! (1933). He recorded 25 tracks for Odeon (1932–1936) and 20 more for Victor (1941–1959), mostly instrumentals. His vocal collaborators included [[TITAF-P-3556830\|Patrocinio Díaz]] and Jorge Alonso.

Donxello at 09:04, 10 May 2025

2025-05-10T09:04:11Z

← Older revision		Revision as of 09:04, 10 May 2025
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	\|citizenshipLabel=Argentina		\|citizenshipLabel=Argentina
	\|Todotango_links=https://www.todotango.com/creadores/ficha/18/Juan-de-Dios-Filiberto		\|Todotango_links=https://www.todotango.com/creadores/ficha/18/Juan-de-Dios-Filiberto
	\|PersonFreeText=~~uan~~ de Dios Filiberto (1885–1964) was a self-taught, passionate composer who became one of the most influential figures in Argentine music. Born in the working-class neighborhood of La Boca in Buenos Aires, he left school at nine, worked various jobs, and was known as a rebellious character. Despite having no musical training until the age of 24, he believed deeply in the emotional power of music, stating, "Technique is a means, not an end."		\|PersonFreeText=Juan de Dios Filiberto (1885–1964) was a self-taught, passionate composer who became one of the most influential figures in Argentine music. Born in the working-class neighborhood of La Boca in Buenos Aires, he left school at nine, worked various jobs, and was known as a rebellious character. Despite having no musical training until the age of 24, he believed deeply in the emotional power of music, stating, "Technique is a means, not an end."

	His journey began when a comment about his lack of musical understanding wounded his pride. Determined, he studied violin, theory, and harmony, eventually earning a scholarship to study with Alberto Williams. Influenced by Beethoven and native Argentine styles, he developed a unique blend of tango and folk, which he called “sentimental music with native roots.”		His journey began when a comment about his lack of musical understanding wounded his pride. Determined, he studied violin, theory, and harmony, eventually earning a scholarship to study with [[TITAF-P-7957567\|Alberto Williams]]. Influenced by Beethoven and native Argentine styles, he developed a unique blend of tango and folk, which he called “sentimental music with native roots.”

	Filiberto composed his first tango Guaymallén in 1915. His international hit Caminito (1926), along with Quejas de bandoneón, El pañuelito and Malevaje, became landmarks of the genre. Many of his works were performed or recorded by Carlos Gardel, including 16 compositions such as Clavel del aire, Compañero and the zamba La tacuarita.		Filiberto composed his first tango [[TITAF-T-0352064 \|Guaymallén]] in 1915. His international hit [[TITAF-T-0021821\|Caminito]] (1926), along with [[TITAF-T-0008512\|Quejas de bandoneón]], [[TITAF-T-0002940\|El pañuelito]] and [[TITAF-T-0011061\|Malevaje]], became landmarks of the genre. Many of his works were performed or recorded by [[TITAF-P-1941911\|Carlos Gardel]], including 16 compositions such as [[TITAF-T-0016474\|Clavel del aire]], [[TITAF-T-0020804\|Compañero]] and the [[https://tangowiki.titaf.org/wiki/Zamba\|zamba]] [[TITAF-T-0006064\|La tacuarita]].

	In 1932, he formed his own Orquesta Porteña, incorporating non-traditional instruments like the harmonium and clarinet. The orchestra featured in the first Argentine sound film ¡Tango! (1933). He recorded 25 tracks for Odeon (1932–1936) and 20 more for Victor (1941–1959), mostly instrumentals. His vocal collaborators included Patrocinio Díaz and Jorge Alonso.		In 1932, he formed his own Orquesta Porteña, incorporating non-traditional instruments like the harmonium and clarinet. The orchestra featured in the first Argentine sound film ¡Tango! (1933). He recorded 25 tracks for Odeon (1932–1936) and 20 more for Victor (1941–1959), mostly instrumentals. His vocal collaborators included [[TITAF-P-3556830\|Patrocinio Díaz]] and Jorge Alonso.

	Appointed in 1938 as director of the Municipal Orchestra of Folk Art, Filiberto promoted Argentine music until his retirement. In 1956, this ensemble became the Orquesta de Música Argentina y de Cámara. Later, Argentina honored him by naming its National Orchestra of Argentine Music after him.		Appointed in 1938 as director of the Municipal Orchestra of Folk Art, Filiberto promoted Argentine music until his retirement. In 1956, this ensemble became the Orquesta de Música Argentina y de Cámara. Later, Argentina honored him by naming its National Orchestra of Argentine Music after him.

Donxello at 08:51, 10 May 2025

2025-05-10T08:51:50Z

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 |citizenshipLabel=Argentina
 |Todotango_links=https://www.todotango.com/creadores/ficha/18/Juan-de-Dios-Filiberto
 }}
 [[Category:TangoPeople]]
 <noinclude>{{DISPLAYTITLE:Juan de Dios Filiberto}}</noinclude>

Donxello: Text replacement - "|Name=" to "|PersonName="

2025-05-07T19:18:02Z

Text replacement - "|Name=" to "|PersonName="

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	{{Person		{{Person
	\|wikidataID=Q2467902		\|wikidataID=Q2467902
	\|~~Name~~=Juan de Dios Filiberto		\|PersonName=Juan de Dios Filiberto
	\|Name_real=Oscar Juan de Dios Filiberti		\|Name_real=Oscar Juan de Dios Filiberti
	\|alternative_search=juan filiberto;;filibertos		\|alternative_search=juan filiberto;;filibertos

Donxello: CSV import

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	\|Name=Juan de Dios Filiberto		\|Name=Juan de Dios Filiberto
	\|Name_real=Oscar Juan de Dios Filiberti		\|Name_real=Oscar Juan de Dios Filiberti
	\|alternative_search=juan filiberto \|\| filibertos		\|alternative_search=juan filiberto;;filibertos
	\|instanceOf=human		\|instanceOf=human
	\|Commons image URL=https://commons.wikimedia.org/wiki/Special:FilePath/Juan%20de%20Dios%20Filiberto.JPG?width=300		\|Commons image URL=https://commons.wikimedia.org/wiki/Special:FilePath/Juan%20de%20Dios%20Filiberto.JPG?width=300
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	\|birthDate=1885-03-08		\|birthDate=1885-03-08
	\|deathDate=1964-11-11		\|deathDate=1964-11-11
	~~\|Birth display=8 March 1885~~
	~~\|Death display=11 November 1964~~
	\|genderLabel=male		\|genderLabel=male
	\|Pseudonyms-nicknames=Oscar de Ramenti		\|Pseudonyms-nicknames=Oscar de Ramenti
	~~\|Pseudonyms-nicknames display=Oscar de Ramenti~~		\|Occupation=guitarist;;harmonist;;pianist;;composer;;conductor
	\|Occupation~~=guitarist \|\| harmonist \|\| pianist \|\| composer \|\| conductor~~		\|instrument=guitar;;piano
	~~\|Occupation display~~=guitarist;;harmonist;;pianist;;composer;;conductor
	\|instrument=guitar ~~\|\| piano~~
	~~\|instrument display=guitar<br />~~piano
	\|birthPlaceLabel=Buenos Aires, Buenos Aires		\|birthPlaceLabel=Buenos Aires, Buenos Aires
	\|birthPlaceCountryLabel=Argentina		\|birthPlaceCountryLabel=Argentina
	\|citizenshipLabel=Argentina		\|citizenshipLabel=Argentina
	~~\|citizenshipLabel display=Argentina~~
	\|Todotango_links=https://www.todotango.com/creadores/ficha/18/Juan-de-Dios-Filiberto		\|Todotango_links=https://www.todotango.com/creadores/ficha/18/Juan-de-Dios-Filiberto
	}}		}}
	~~== Juan de Dios Filiberto – A Pioneer of Argentine Popular Music ==~~

	'''Juan de Dios Filiberto''' (1885–1964) was a self-taught, passionate composer who became one of the most influential figures in Argentine music. Born in the working-class neighborhood of '''La Boca''' in Buenos Aires, he left school at nine, worked various jobs, and was known as a rebellious character. Despite having no musical training until the age of 24, he believed deeply in the emotional power of music, stating, ''"Technique is a means, not an end."''

	His journey began when a comment about his lack of musical understanding wounded his pride. Determined, he studied violin, theory, and harmony, eventually earning a scholarship to study with '''Alberto Williams'''. Influenced by Beethoven and native Argentine styles, he developed a unique blend of '''tango and folk''', which he called ''sentimental music with native roots''.

	Filiberto composed his first tango, '''“Guaymallén,”''' in 1915. His international hit '''“Caminito”''' (1926), along with '''“Quejas de bandoneón,” “El pañuelito,”''' and '''“Malevaje,”''' became landmarks of the genre. Many of his works were performed or recorded by '''Carlos Gardel''', including 16 compositions such as ''“Clavel del aire”, “Compañero”,'' and the zamba ''“La tacuarita.”''

	In 1932, he formed his own '''Orquesta Porteña''', incorporating non-traditional instruments like the harmonium and clarinet. The orchestra featured in the first Argentine sound film '''¡Tango!''' (1933). He recorded 25 tracks for '''Odeon''' (1932–1936) and 20 more for '''Victor''' (1941–1959), mostly instrumentals. His vocal collaborators included '''Patrocinio Díaz''' and '''Jorge Alonso'''.

	Appointed in 1938 as director of the '''Municipal Orchestra of Folk Art''', Filiberto promoted Argentine music until his retirement. In 1956, this ensemble became the '''Orquesta de Música Argentina y de Cámara'''. Later, Argentina honored him by naming its '''National Orchestra of Argentine Music''' after him.

	A fierce advocate for composers’ rights, he co-founded '''SADAIC''', the Argentine Society of Authors and Composers. He was close to painter '''Benito Quinquela Martín''' and writer '''Enrique González Tuñón''', and remained proud of his roots in La Boca.

	Filiberto’s music, often dismissed by critics, fused city and country traditions into an emotional, accessible art form. After Gardel and “La cumparsita,” his works are among the most enduring in tango history. He died in Buenos Aires in 1964, leaving behind a legacy deeply woven into the fabric of Argentine culture.

	~~== References ==~~
	* Néstor Pinsón. [https://www.todotango.com/creadores/biografia/40/Juan-de-Dios-Filiberto/ ''Juan de Dios Filiberto'']. Todo Tango.
	* Orlando del Greco. [https://www.todotango.com/creadores/biografia/437/Juan-de-Dios-Filiberto/ ''Juan de Dios Filiberto'']. Todo Tango.
	[[Category:TangoPeople]]		[[Category:TangoPeople]]
	<noinclude>{{DISPLAYTITLE:Juan de Dios Filiberto}}</noinclude>		<noinclude>{{DISPLAYTITLE:Juan de Dios Filiberto}}</noinclude>

Donxello at 20:28, 11 April 2025

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 |Todotango_links=https://www.todotango.com/creadores/ficha/18/Juan-de-Dios-Filiberto
 }}
 [[Category:TangoPeople]]
 <noinclude>{{DISPLAYTITLE:Juan de Dios Filiberto}}</noinclude>

Donxello at 20:28, 11 April 2025

2025-04-11T20:28:41Z

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	\|Pseudonyms-nicknames display=Oscar de Ramenti		\|Pseudonyms-nicknames display=Oscar de Ramenti
	\|Occupation=guitarist \|\| harmonist \|\| pianist \|\| composer \|\| conductor		\|Occupation=guitarist \|\| harmonist \|\| pianist \|\| composer \|\| conductor
	\|Occupation display=guitarist~~<br />~~harmonist~~<br />~~pianist~~<br />~~composer~~<br />~~conductor		\|Occupation display=guitarist;;harmonist;;pianist;;composer;;conductor
	\|instrument=guitar \|\| piano		\|instrument=guitar \|\| piano
	\|instrument display=guitar<br />piano		\|instrument display=guitar<br />piano

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	}}		}}
	[[Category:TangoPeople]]		[[Category:TangoPeople]]
	~~[[Main Page]]~~		<noinclude>{{DISPLAYTITLE:Juan de Dios Filiberto}}</noinclude>

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 |Name=Juan de Dios Filiberto
 |Name_real=Oscar Juan de Dios Filiberti
 |instanceOf=human
 |Commons image URL=https://commons.wikimedia.org/wiki/Special:FilePath/Juan%20de%20Dios%20Filiberto.JPG?width=300
@@ Line 23: / Line 24: @@
 |Todotango_links=https://www.todotango.com/creadores/ficha/18/Juan-de-Dios-Filiberto
 }}
 [[Category:TangoPeople]]
 [[Main Page]]

← Older revision		Revision as of 09:06, 10 May 2025
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	His journey began when a comment about his lack of musical understanding wounded his pride. Determined, he studied violin, theory, and harmony, eventually earning a scholarship to study with [[TITAF-P-7957567\|Alberto Williams]]. Influenced by Beethoven and native Argentine styles, he developed a unique blend of tango and folk, which he called “sentimental music with native roots.”		His journey began when a comment about his lack of musical understanding wounded his pride. Determined, he studied violin, theory, and harmony, eventually earning a scholarship to study with [[TITAF-P-7957567\|Alberto Williams]]. Influenced by Beethoven and native Argentine styles, he developed a unique blend of tango and folk, which he called “sentimental music with native roots.”

	Filiberto composed his first tango [[TITAF-T-0352064 \|Guaymallén]] in 1915. His international hit [[TITAF-T-0021821\|Caminito]] (1926), along with [[TITAF-T-0008512\|Quejas de bandoneón]], [[TITAF-T-0002940\|El pañuelito]] and [[TITAF-T-0011061\|Malevaje]], became landmarks of the genre. Many of his works were performed or recorded by [[TITAF-P-1941911\|Carlos Gardel]], including 16 compositions such as [[TITAF-T-0016474\|Clavel del aire]], [[TITAF-T-0020804\|Compañero]] and the [[~~https://tangowiki.titaf.org/wiki/Zamba\|~~zamba]] [[TITAF-T-0006064\|La tacuarita]].		Filiberto composed his first tango [[TITAF-T-0352064 \|Guaymallén]] in 1915. His international hit [[TITAF-T-0021821\|Caminito]] (1926), along with [[TITAF-T-0008512\|Quejas de bandoneón]], [[TITAF-T-0002940\|El pañuelito]] and [[TITAF-T-0011061\|Malevaje]], became landmarks of the genre. Many of his works were performed or recorded by [[TITAF-P-1941911\|Carlos Gardel]], including 16 compositions such as [[TITAF-T-0016474\|Clavel del aire]], [[TITAF-T-0020804\|Compañero]] and the [[zamba]] [[TITAF-T-0006064\|La tacuarita]].

	In 1932, he formed his own Orquesta Porteña, incorporating non-traditional instruments like the harmonium and clarinet. The orchestra featured in the first Argentine sound film ¡Tango! (1933). He recorded 25 tracks for Odeon (1932–1936) and 20 more for Victor (1941–1959), mostly instrumentals. His vocal collaborators included [[TITAF-P-3556830\|Patrocinio Díaz]] and Jorge Alonso.		In 1932, he formed his own Orquesta Porteña, incorporating non-traditional instruments like the harmonium and clarinet. The orchestra featured in the first Argentine sound film ¡Tango! (1933). He recorded 25 tracks for Odeon (1932–1936) and 20 more for Victor (1941–1959), mostly instrumentals. His vocal collaborators included [[TITAF-P-3556830\|Patrocinio Díaz]] and Jorge Alonso.