Lucio Demare
TITAF-P-1737214
Real name Lucio Demare
Life 9 August 1906 – 6 March 1974
Occupation
-
• pianist
• composer
• arranger
• conductor
Instrument
-
• piano
Place of birth Buenos Aires, Buenos Aires
Country of birth Argentina
Citizenship
-
• Argentina
TodoTango: Link
Lucio Demare (Buenos Aires, August 9, 1906 – March 6, 1974) was an Argentine pianist, composer, orchestra leader, and one of the most refined creators of tango’s romantic school. His work stands out for its lyrical richness, delicate arrangements, and a deep sensitivity that shaped a unique musical voice in the Golden Age of Tango.
Early Life and Musical Training
Lucio Demare was born into a musical family in the Abasto district of Buenos Aires. His father, Domingo Demare, was a professional violinist who gave Lucio his first musical lessons. He later studied with his cousin, pianist Luis Riccardi, and ultimately with the legendary teacher Vicente Scaramuzza, whose other pupils included Osvaldo Pugliese, Horacio Salgán, and Orlando Goñi. By age 8, Lucio was accompanying silent films at a local cinema, and by age 13, he was performing jazz in a Dixieland ensemble.
Early Career and Jazz Experience
Demare’s professional debut took place around 1922 with Nicolás Verona's jazz band at the Real Cine. He then performed at the famed cabaret Ta-Ba-Ris with Eleuterio Yribarren's jazz orchestra. During this time, he honed a sophisticated jazz style influenced by swing and boogie. He also developed a close relationship with Juan Carlos Cobián, whose influence marked his transition from jazz to tango.
Paris and the Formation of the Trio Argentino
In 1925, Demare joined Francisco Canaro’s orchestra for a European tour and settled in Paris, continuing to perform after Canaro left for New York. Demare played in luxurious Parisian venues alongside names like Bing Crosby and Al Jolson. In 1927, Canaro returned to Europe with singers Agustín Irusta and Roberto Fugazot, forming the celebrated Trío Argentino Irusta-Fugazot-Demare. They debuted in Madrid to great acclaim, performed across France, Belgium, and Spain, and became radio and recording stars until the Spanish Civil War ended their European success.
Return to Argentina and the Beginning of His Own Orchestra
After returning to Buenos Aires in 1936, Demare began composing film music, often in collaboration with his brother, filmmaker Lucas Demare. In 1938, he founded his own tango orchestra and began appearing on radio, particularly on Radio Belgrano and Radio El Mundo.
His early recordings from 1938, such as "La Racha" and "Telón," displayed a highly distinctive sound: syncopated violin riffs in staccato, lyrical piano lines, and dynamic contrast between string sections and bandoneons. Demare recorded sparingly, valuing perfection and only entering the studio when fully convinced of a piece.
The Golden Years (1938–1945)
Lucio Demare's orchestra flourished during the Golden Age of Tango. He worked with top vocalists:
Juan Carlos Miranda (1938–1942), voice of classics like "Malena" and "Din Don"
Raúl Berón (1943), whose smoother, lyrical style led to hits like "Tal vez será su voz" and "Canta pajarito"
Horacio Quintana (1944–1945), known for tangos with an oriental flavor such as "Oriente" and "Alhucema"
His orchestra was known for its expressive elegance, romantic piano solos, and extremely precise arrangements—many crafted by Máximo Mori, Demare’s close friend and bandoneonist.
Notable Compositions
Demare's compositions span instrumental tangos, valses, and milongas, many in collaboration with poet Homero Manzi:
Tangos: "Malena", "Solamente ella", "Telón", "Hermana", "Mañana zarpa un barco", "Tal vez será mi alcohol", "Dandy", "Musett", "Capricho de amor", "Mi musa campera"
Valses: "Se fue", "Al pasar", "Dos corazones"
Milongas: "La esquina", "Negra María", "Carnavalito", "Señores, yo soy del centro"
Recording Legacy
Though his discography is relatively small, Demare’s 65 recordings from 1938 to 1945 on the Odeon label are essential to tango history. Later recordings were made for Columbia, T.K., Artfono, Philips, and Disc Jockey labels. He continued to perform with different vocalists including Armando Garrido and Héctor Alvarado through the 1950s.
The World of Film
Demare was also a prolific film composer. He composed scores for numerous films directed by his brother Lucas Demare, such as Boliche (1933), considered the first Spanish talking picture. He also appeared in musical comedies and composed songs for cinema throughout the 1930s and 1940s.
Later Years and Legacy
From the 1960s, Demare focused on solo piano work and small performances. He played in Buenos Aires nightclubs such as Cambalache (often alongside singer Tania), and finally opened his own venue, Malena al Sur, in San Telmo. There, he remained a central figure in the intimate world of late tango performance. He was also occasionally joined by friends such as Ciriaco Ortiz and Máximo Mori.
Lucio Demare passed away on March 6, 1974. His refined lyricism, introspective piano playing, and commitment to musical quality made him one of tango's most beloved and respected figures.
Selected Collaborators and Musicians
Raúl Kaplún – violin
Carlos Parodi – piano
Alfredo Calabró – bandoneon
Julio Ahumada – bandoneon
Nicolás Pepe – bandoneon
Santiago Coppola – bandoneon
Carlos Arnaiz – violin
Milo Dojman – violin
Oscar Roma – double bass
Mario Monteleone – double bass
Roberto Arrieta – vocals
Carlos Bernal – vocals
Carlos Almada – vocals
Raúl Garcés – vocals/violin
Nathan Melman – violin
Omar Sansone – double bass
Carlos Bermúdez – vocals
Jorge Linares – vocals
José Domínguez – violin (disputed)
Luis Justino Mejías – bandoneon (disputed)
Sources
Mario Valdéz – Historia de su vida artística (InvestigacionTango.com)
Horacio Ferrer – Biography of Lucio Demare (TodoTango.com)
Orchestras
No known group memberships.
Recordings
No recordings found.