TITAF-P-3789825 - Revision history

Donxello at 13:14, 21 May 2025

2025-05-21T13:14:48Z

Donxello at 12:53, 21 May 2025

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	{{Person		{{Person
	\|wikidataID=Q512104		\|wikidataID=Q512104
	\|~~Name~~=Juan D'Arienzo		\|PersonName=Juan D'Arienzo
	\|Name_real=Juan D'Arienzo		\|Name_real=Juan D'Arienzo
	\|alternative_search=el rey del compas;;juan darienzo		\|alternative_search=el rey del compas;;juan darienzo

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	\|Name=Juan D'Arienzo		\|Name=Juan D'Arienzo
	\|Name_real=Juan D'Arienzo		\|Name_real=Juan D'Arienzo
	\|alternative_search=el rey del compas \|\| juan darienzo		\|alternative_search=el rey del compas;;juan darienzo
	\|instanceOf=human		\|instanceOf=human
	\|Commons image URL=https://commons.wikimedia.org/wiki/Special:FilePath/Darienzo%20photo.jpg?width=300		\|Commons image URL=https://commons.wikimedia.org/wiki/Special:FilePath/Darienzo%20photo.jpg?width=300
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	\|birthDate=1900-12-14		\|birthDate=1900-12-14
	\|deathDate=1976-01-14		\|deathDate=1976-01-14
	~~\|Birth display=14 December 1900~~
	~~\|Death display=14 January 1976~~
	\|genderLabel=male		\|genderLabel=male
	\|Pseudonyms-nicknames=El Rey del compás		\|Pseudonyms-nicknames=El Rey del compás
	~~\|Pseudonyms-nicknames display=El Rey del compás~~		\|Occupation=violinist;;conductor;;composer
	~~\|Occupation=violinist \|\| conductor \|\| composer~~
	\|Occupation ~~display~~=violinist~~<br />~~conductor~~<br />~~composer
	\|instrument=violin		\|instrument=violin
	~~\|instrument display=violin~~
	\|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/13/Juan-DArienzo		\|Todotango_links=https://www.todotango.com/creadores/ficha/13/Juan-DArienzo
	}}		}}
	[[Category:TangoPeople]]		[[Category:TangoPeople]]
	<noinclude>{{DISPLAYTITLE:Juan D'Arienzo}}</noinclude>		<noinclude>{{DISPLAYTITLE:Juan D'Arienzo}}</noinclude>

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	}}		}}
	[[Category:TangoPeople]]		[[Category:TangoPeople]]
	~~[[Main Page]]~~		<noinclude>{{DISPLAYTITLE:Juan D'Arienzo}}</noinclude>

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	\|Name=Juan D'Arienzo		\|Name=Juan D'Arienzo
	\|Name_real=Juan D'Arienzo		\|Name_real=Juan D'Arienzo
			\|alternative_search=el rey del compas \|\| juan darienzo
	\|instanceOf=human		\|instanceOf=human
	\|Commons image URL=https://commons.wikimedia.org/wiki/Special:FilePath/Darienzo%20photo.jpg?width=300		\|Commons image URL=https://commons.wikimedia.org/wiki/Special:FilePath/Darienzo%20photo.jpg?width=300

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	\|genderLabel=male		\|genderLabel=male
	\|Pseudonyms-nicknames=El Rey del compás		\|Pseudonyms-nicknames=El Rey del compás
			\|Pseudonyms-nicknames display=El Rey del compás
	\|Occupation=violinist \|\| conductor \|\| composer		\|Occupation=violinist \|\| conductor \|\| composer
			\|Occupation display=violinist<br />conductor<br />composer
	\|instrument=violin		\|instrument=violin
			\|instrument display=violin
	\|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/13/Juan-DArienzo		\|Todotango_links=https://www.todotango.com/creadores/ficha/13/Juan-DArienzo
	}}		}}
	[[Category:TangoPeople]]		[[Category:TangoPeople]]
	[[Main Page]]		[[Main Page]]

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	\|instanceOf=human		\|instanceOf=human
	\|Commons image URL=https://commons.wikimedia.org/wiki/Special:FilePath/Darienzo%20photo.jpg?width=300		\|Commons image URL=https://commons.wikimedia.org/wiki/Special:FilePath/Darienzo%20photo.jpg?width=300
			\|Commons image URL short=Darienzo photo.jpg
	\|birthDate=1900-12-14		\|birthDate=1900-12-14
	\|deathDate=1976-01-14		\|deathDate=1976-01-14
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	[[Category:TangoPeople]]		[[Category:TangoPeople]]
	[[Main Page]]		[[Main Page]]
	~~{{Person~~
	~~\|Commons image URL short=Darienzo photo.jpg~~
	}}

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	[[Category:TangoPeople]]		[[Category:TangoPeople]]
	[[Main Page]]		[[Main Page]]
			{{Person
			\|Commons image URL short=Darienzo photo.jpg
			}}

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	\|Name_real=Juan D'Arienzo		\|Name_real=Juan D'Arienzo
	\|instanceOf=human		\|instanceOf=human
	\|~~Image~~ URL ~~(300px)~~=https://commons.wikimedia.org/wiki/Special:FilePath/Darienzo%20photo.jpg?width=300		\|Commons image URL=https://commons.wikimedia.org/wiki/Special:FilePath/Darienzo%20photo.jpg?width=300
	\|birthDate=1900-12-14		\|birthDate=1900-12-14
	\|deathDate=1976-01-14		\|deathDate=1976-01-14

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	===The Paramount Orchestra===		===The Paramount Orchestra===
	His entering the “Orquesta Paramount” marked the definitive turn for D'Arienzo towards tango. And towards success. Brought together by the business man in charge of theatre, as was customary back then, throughout the years, the configuration of the cinema Paramount’s orchestra changed as it normally happens; the addition of the remarkable bandoneon player Anselmo Aieta in 1925, however, was key. From then on, the group went on to perform at other venues, such as the movie theatre “Hindú”, and soon changed its name, first to “Los Ases del Tango” (The Aces of Tango), and later on to “Aieta y sus Ases” (Aieta and his Aces). The popularity of the group would only increase.		His entering the “Orquesta Paramount” marked the definitive turn for D'Arienzo towards tango. And towards success. Brought together by the business man in charge of theatre, as was customary back then, throughout the years, the configuration of the cinema Paramount’s orchestra changed as it normally happens; the addition of the remarkable bandoneon player [[TITAF-P-9680534\|Anselmo Aieta]] in 1925, however, was key. From then on, the group went on to perform at other venues, such as the movie theatre “Hindú”, and soon changed its name, first to “Los Ases del Tango” (The Aces of Tango), and later on to “Aieta y sus Ases” (Aieta and his Aces). The popularity of the group would only increase.

	===First steps as orchestra leader===		===First steps as orchestra leader===
	In 1928, D’Arienzo took his first step as director of his own group, alongside the pianist Carlos Howard. The orchestra was integrated by a number of musicians who, according to tango historian and researcher Carlos Puente, had great experience in different styles and were “good readers”, i.e. very well trained in sight-reading, which made them very versatile and also efficient<ref>Carlos Puente. Link to interview?</ref>. Ciriaco Ortiz, Nicolás Primiani, Vicente Gorrese, Luis Visca y Luis Cuervo, were some of the ones to integrate the orchestra at this early stage of “Juan D’Arienzo y su Orquesta Típica“.		In 1928, D’Arienzo took his first step as director of his own group, alongside the pianist [[TITAF-P-1094144\|Carlos Howard]]. The orchestra was integrated by a number of musicians who, according to tango historian and researcher Carlos Puente, had great experience in different styles and were “good readers”, i.e. very well trained in sight-reading, which made them very versatile and also efficient<ref>Carlos Puente. Link to interview?</ref>. Ciriaco Ortiz, [[TITAF-P-1228362\|Nicolás Primiani]], [[TITAF-P-2372102\|Vicente Gorrese]], [[TITAF-P-9103092\|Luis Visca]] y [[TITAF-P-1053905\|Luis Cuervo]], were some of the ones to integrate the orchestra at this early stage of “Juan D’Arienzo y su Orquesta Típica“.

	===The D’Arienzo-Visca===		===The D’Arienzo-Visca===
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	The year 1935 became a landmark: D'Arienzo “cased” the violin to devote himself to directing. The years to come would be filled with success, and the figure of Juan D'Arienzo would reach an almost mythological status.		The year 1935 became a landmark: D'Arienzo “cased” the violin to devote himself to directing. The years to come would be filled with success, and the figure of Juan D'Arienzo would reach an almost mythological status.

	Among its ranks, Juan D'Arienzo’s orchestra counted a great number of outstanding musicians who, many say, were an important part of the explanation of the group’s prosperity. One way or the other, it is impossible to deny the quality of, just to give an example, Rodolfo Biagi, who played the piano in the orchestra from the end of 1935, until mid 1938. According to Puente, Biagi’s unmistakeable style was developed during his time in D’Arienzo’s orchestra. He was also in charge of arranging, which he did with the assistance of, for example, orchestra members Mancuso, Moro, De la Roca. Juan Polito succeeded him at the piano, and eventually came ~~Fluvio Salamanca’s~~ turn. Alberto Echagüe and Armando Laborde were some of the best known voices to sing with the orchestra. Also, it is known that even Aníbal Troilo would perform with D'Arienzo on occasion, and also Carlos Di Sarli collaborated with him once for a period of 45 days. Many of the members of his orchestra eventually went their own ways, forming their own groups. Their time under the direction of D'Arienzo, however, would normally shine through, and their own styles were quite often considered a continuation of that of D'Arienzo.		Among its ranks, Juan D'Arienzo’s orchestra counted a great number of outstanding musicians who, many say, were an important part of the explanation of the group’s prosperity. One way or the other, it is impossible to deny the quality of, just to give an example, Rodolfo Biagi, who played the piano in the orchestra from the end of 1935, until mid 1938. According to Puente, Biagi’s unmistakeable style was developed during his time in D’Arienzo’s orchestra. He was also in charge of arranging, which he did with the assistance of, for example, orchestra members Mancuso, Moro, De la Roca. [[TITAF-P-7038362\|Juan Polito]] succeeded him at the piano, and eventually came [[TITAF-P-1425289\|Fulvio Salamanca]]’s turn. [[TITAF-P-2699137\|Alberto Echagüe]] and [[TITAF-P-4482437\|Armando Laborde]] were some of the best known voices to sing with the orchestra. Also, it is known that even [[TITAF-P-7008908\|Aníbal Troilo]] would perform with D'Arienzo on occasion, and also [[TITAF-P-7919655\|Carlos Di Sarli]] collaborated with him once for a period of 45 days. Many of the members of his orchestra eventually went their own ways, forming their own groups. Their time under the direction of D'Arienzo, however, would normally shine through, and their own styles were quite often considered a continuation of that of D'Arienzo.

	For 28 years, the orchestra performed at the Chantecler, which became the orchestra and its director’s favourite stage, as well as a symbol of the dance of tango during the 1940’s. The milonga “La puñalada” and, of course, “La cumparsita” were and still are among the orchestra’s greatest hits. A record that contained both tracks became a success that was unusual for its time, selling almost two million copies.		For 28 years, the orchestra performed at the Chantecler, which became the orchestra and its director’s favourite stage, as well as a symbol of the dance of tango during the 1940’s. The milonga “La puñalada” and, of course, “La cumparsita” were and still are among the orchestra’s greatest hits. A record that contained both tracks became a success that was unusual for its time, selling almost two million copies.
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	According to D’Arienzo himself, tango was built on three pillars: “rhythm, effects and nuances.” The great potency of its music, characterized among other elements by the determined and very precise staccatos, its eminently rhythmical style made D’Arienzo’s orchestra a favourite among dancers. It was said that he renewed the feeling for the dance, and, to a further extreme, that he saved tango from its decadence. D’Arienzo himself won the public’s affections and became a true idol. It can still be seen today on priceless videos that have survived, how involved and emotional his directing was, with how much passion he transmitted his energy to his musicians.<ref>Link to youtube video?</ref>		According to D’Arienzo himself, tango was built on three pillars: “rhythm, effects and nuances.” The great potency of its music, characterized among other elements by the determined and very precise staccatos, its eminently rhythmical style made D’Arienzo’s orchestra a favourite among dancers. It was said that he renewed the feeling for the dance, and, to a further extreme, that he saved tango from its decadence. D’Arienzo himself won the public’s affections and became a true idol. It can still be seen today on priceless videos that have survived, how involved and emotional his directing was, with how much passion he transmitted his energy to his musicians.<ref>Link to youtube video?</ref>

	The “D’Arienzo Style”, which [[Horacio Ferrer]] in ''El libro del tango'' describes as having:		The “D’Arienzo Style”, which [[TITAF-P-5534873\|Horacio Ferrer]] in ''El libro del tango'' describes as having:

	''A strong rhythm, uniformly accentuating the four beats in each bar, filled with nervous pianistic passages on the empty spaces left by the melody; violin solos, preferably played on the lower register of the instrument, and bandoneon variations, all extremely fast and on the base of a repertoire of instrumental compositions, generally old (…)''<ref>(…) marcación rítmica dura, acentuando uniformemente los cuatro tiempos de cada compás y mechada con nerviosos rellenos pianísticos en los claros de la melodía; solos de violín preferentemente ejecutados en la tesitura grave del instrumento y variaciones de bandoneón extremadamente rápidos y sobre a base de un repertorio de composiciones instrumentales generalmente antiguas, valses criollos y páginas cantables del momento.” ''El libro del tango'', p. 364.</ref>		''A strong rhythm, uniformly accentuating the four beats in each bar, filled with nervous pianistic passages on the empty spaces left by the melody; violin solos, preferably played on the lower register of the instrument, and bandoneon variations, all extremely fast and on the base of a repertoire of instrumental compositions, generally old (…)''<ref>(…) marcación rítmica dura, acentuando uniformemente los cuatro tiempos de cada compás y mechada con nerviosos rellenos pianísticos en los claros de la melodía; solos de violín preferentemente ejecutados en la tesitura grave del instrumento y variaciones de bandoneón extremadamente rápidos y sobre a base de un repertorio de composiciones instrumentales generalmente antiguas, valses criollos y páginas cantables del momento.” ''El libro del tango'', p. 364.</ref>

	was quite a novelty in its time, perhaps precisely because he is considered to have returned, in his own way, to the original feeling of the Guardia Vieja, or rather, to have brought the feeling of the old days of the tango to his present. In his own words,		was quite a novelty in its time, perhaps precisely because he is considered to have returned, in his own way, to the original feeling of the Guardia Vieja, or rather, to have brought the feeling of the old days of the tango to his present. In his own words,

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	The following are compositions he never recorded: Amigo Evaristo; Apache; Borrá y apuntá de nuevo; Brumas; En la boca, no.		The following are compositions he never recorded: Amigo Evaristo; Apache; Borrá y apuntá de nuevo; Brumas; En la boca, no.

	With his orchestra, D’Arienzo also performed the works of [[Carlos Lázzari]], [[Juan Polito]], [[~~Fluvio~~ Salamanca]], [[Enrique Alessio]], [[Héctor Varela]], [[Eladio Blanco]], [[Ernesto Franco]], [[Jorge Dragone]], [[Cayetano Puglisi]], [[Pablo Hechin]], [[Luis Visca]], [[Rodolfo Biagi]],[[ Juancito Díaz]], [[Alberto Echagüe]], [[Aldo Junnissi]], [[Armando Laborde]], [[Victorio Virgilito]], [[Aquiles Aguilar]], [[Clemente Ortiz]], [[Mario Landi]], [[Ciriaco Ortiz]], among others (many were members of the orchestra themselves at some point).		With his orchestra, D’Arienzo also performed the works of [[TITAF-P-8386018\|Carlos Lázzari]], [[TITAF-P-7038362\|Juan Polito]], [[TITAF-P-1425289\|Fulvio Salamanca]], [[TITAF-P-9592710\|Enrique Alessio]], [[TITAF-P-6703363\|Héctor Varela]], [[TITAF-P-3351342\|Eladio Blanco]], [[TITAF-P-8100138\|Ernesto Franco]], [[TITAF-P-9115050\|Jorge Dragone]], [[TITAF-P-6808887\|Cayetano Puglisi]], [[Pablo Hechin]], [[TITAF-P-9103092\|Luis Visca]], [[TITAF-P-6058791\|Rodolfo Biagi]],[[TITAF-P-2079685\|Juancito Díaz]], [[TITAF-P-2699137\|Alberto Echagüe]], [[TITAF-P-9574877\|Aldo Junnissi]], [[TITAF-P-4482437\|Armando Laborde]], [[Victorio Virgilito]], [[TITAF-P-5137620\|Aquiles Aguilar]], [[Clemente Ortiz]], [[TITAF-P-6945035\|Mario Landi]], [[Ciriaco Ortiz]], among others (many were members of the orchestra themselves at some point).

	It’s a little known fact that D’Arienzo was author to a “shimmy” called “Tu boquita” (Your little mouth), dedicated to his friend Martín Gregorini.		It’s a little known fact that D’Arienzo was author to a “shimmy” called “Tu boquita” (Your little mouth), dedicated to his friend Martín Gregorini.