Pascual Mamone
Real name Pascual Mamone
Life 22 April 1921 – 15 September 2012
Pseudonyms
-
• Cholo
• Rollo
Occupation
-
• bandoneonist
• conductor
• composer
• arranger
Instrument
-
• bandoneon
Place of birth Buenos Aires, Buenos Aires
Country of birth Argentina
Citizenship
-
• Argentina
TodoTango: Link
Pascual Mamone was an eminent bandoneon player and one of the most important arrangers in the history of tango. He was sought after by maestros like Osvaldo Pugliese and Alfredo Gobbi, earning widespread recognition for his meticulous arrangements that honored the essence of each composition while adapting to the unique style of the orchestra and the singer involved.
His arrangements were especially tailored, always respectful of the composer's intentions and with an ear for the interpretive style of the musicians. A memorable performance took place at Café Tortoni, where María Volonté was accompanied by Mamone’s quartet. Among the attendees were friends like Bruno Cespi, Héctor Lucci, Oscar Himschoot, Néstor Pinsón, and Juan Francisco Saénz Valiente.
Mamone’s passion for tango and the bandoneon began in childhood. He studied music theory and sight-reading at a local academy. In 1936, he joined the modest orchestra of José Otero, and three years later met his idol Pedro Maffia, who became his mentor and eventually invited him to join his orchestra in 1942.
After parting ways with Maffia in 1944, Mamone began his career as an arranger. He collaborated extensively with Pugliese from 1949 for fifteen years. He also worked with Roberto Caló, Gobbi, José Basso, Enrique Francini, and Pedro Laurenz. He contributed to Florindo Sassone's orchestra in the late 1940s, and shortly after worked with Joaquín Do Reyes on Radio El Mundo and in provincial venues.
In 1954, he joined Alberto Morán’s orchestra as both lead bandoneonist and arranger. The pianist was Armando Cupo. Ten years later, he rejoined Miguel Montero, but due to tango's declining popularity, Mamone stepped back from performing, although he continued arranging for musicians like Atilio Stampone and Leopoldo Federico.
In the early 1960s, he contributed to the Cuarteto de Cámara del Tango, a project led by Leo Lipesker. Mamone’s arrangements were played by Lipesker, Hugo Baralis, Mario Lalli, and José Bragato. The ensemble released LPs on Odeon (1961) and Microfón (1965), standing as a significant but ultimately limited attempt at tango’s cultural resistance.
He returned to performing in 1974, once again with Montero, and continued to work with many vocalists. Among the male singers he accompanied were Rodolfo Lesica, Juan Carlos Cobos, Reynaldo Martín, Ricardo Pereyra, and Francisco Llanos. Among the female singers: Norma Ferrer, Choly Cordero, Silvana Gregori, Patricia Lasala, and María Volonté.
In later years, Mamone led small groups, continued recording, and served as conductor of the Orquesta Municipal del Tango of San Martín (Buenos Aires Province), often accompanied by Choly Cordero and Luis Linares.
Compositions
Some of his notable compositions include:
Cuando era mía mi vieja (milonga), made famous by Julio Sosa
Te quiero más (with Abel Aznar)
Hay lugar (with Haide Daiban)
Platea (with Haide Daiban)
Negroide (instrumental)
Vislumbrando (instrumental)
"Al latir de Buenos Aires" (with Norberto Rizzi)
"Noche de duendes" (with Haide Daiban)
Sources
Orchestras
No known group memberships.
Recordings
No recordings found.