]> 2026-06-15T22:49:18+00:00 El entrerriano 0 en-gb 1897 [[File:TITAF-T-0005272-el-entrerriano-sheetmusic01.jpg|Sheet music|right]] ''El entrerriano'' is one of the most enduring classics of the tango repertoire, credited with popularizing the three-part musical structure that became a defining trait of tango during the Guardia Vieja era. Over a century after its debut, it remains a cornerstone of traditional tango performance. == Origins and Dedication == The composition was created by [[TITAF-P-7213358|Anselmo Rosendo Mendizábal]], who signed his early works as “A. Rosendo.” In 1897, Mendizábal was playing piano to entertain guests at the home of [[TITAF-P-2897062|María Rangolla]], a well-known dancer and madama nicknamed "La Vasca." These gatherings were often held in modest social environments where musicians relied more on generous tips than on formal salaries. To encourage patronage, it was common to dedicate compositions to wealthy attendees. Such was the case with ''El entrerriano'', first performed on October 25, 1897, at the home of [[TITAF-P-2897062|María Rangolla]] (''La Vasca''), where Mendizábal regularly played. The lively, canyengue rhythm of the piece immediately captivated the audience. According to legend, one of the dancers present, José Guidobono, was so mesmerized he momentarily stopped dancing and urged the composer to dedicate the tango to a prominent guest, Ricardo Segovia — a wealthy rancher from Entre Ríos. Mendizábal agreed, naming the piece “El entrerriano” (The Man from Entre Ríos) in Segovia’s honor. When the sheet music was published, it proudly bore the dedication: "Al Sr. Ricardo Segovia." Segovia, reportedly pleased, gifted Mendizábal 100 pesos — a substantial sum at the time. == Lyric Versions == Years later, ''El entrerriano'' also attracted interest from lyricists. [[TITAF-P-9317135|Ángel Villoldo]] was the first to add lyrics, tailoring them for the actress and singer [[TITAF-P-5057985|Pepita Avellaneda]]. Subsequent versions featured new lyrics by various authors, including: • [[TITAF-P-9627974|Alberto Semino]] and [[S. Retondaro]] • [[TITAF-P-3027271|Vicente Planells del Campo]] and [[TITAF-P-9155162|Oscar Amor]] • [[TITAF-P-7227770|Julián Porteño]], and, most notably • [[TITAF-P-1893332|Homero Expósito]] The latter’s version is widely regarded as the finest lyrical adaptation of the piece. == Legacy == ''El entrerriano'' not only marks a milestone in tango’s structural evolution but also illustrates the social fabric and artistic improvisation of Buenos Aires at the turn of the 20th century. It remains a beloved standard, interpreted by countless orchestras and musicians over the decades. == Source == ''This article is based on the chronicle “El entrerriano – Historia de 'El entrerriano' y sus principales grabaciones” published on [https://www.todotango.com/historias/cronica/380/El-entrerriano-Historia-de-El-entrerriano-y-sus-principales-grabaciones/ TodoTango.com].'' E E–H El entrerriano El entrerriano El entrerriano 2025-06-21T11:12:46Z 2460847.9671991 El entrerriano 0 1 template 3 [[Category:Recording]] [[RecordingRelatedTuneID::TITAF-T-0005272]] El entrerriano# QUERY62cc6181ea45679cae374d747d5a0eca El entrerriano (Tango) – Mendizábal, Campo, Amor 0 en-gb El entrerriano (Tango) – Mendizábal, Campo, Amor REDI 102 en-gb REDI