Ernesto Bianchi

Real name Ernesto Bianchi

Life – 31 January 1944

Pseudonyms

Occupation

Instrument

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Belonging to the 1910 generation of tango musicians, Ernesto Bianchi was a bandoneonist of a primitive but expressive style, likely born at the turn of the century. His career flourished from the 1920s onward, especially during the 1930s.

He began his musical career in 1920, performing in a típico trio with Casiano López (piano) and Mario Brugni ("El Pibe", violin), appearing at the elegant Bar Victoria in Córdoba.

In 1921, he performed at the renowned Palais de Glace with the Quinteto de Maestros, co-directed by Ángel D'Agostino and Agesilao Ferrazzano. The lineup included: Ángel D'Agostino (piano); Agesilao Ferrazzano and Alfredo Mazzeo ("El Loco") on violins; Ernesto Bianchi and Abel D'Onofrio (bandoneons); and singer Teresita Asprella.

During the 1922 summer season, Bianchi joined Juan Carlos Bazán’s orchestra at Club Pueyrredón in Mar del Plata. The lineup included: Bazán (clarinet), Raimundo Petillo (piano), Bernardo Germino and Vicente Russo (violins), Bianchi and Pascual Mazzeo (bandoneons), A. Fernández (drums), and dancer Casimiro Aín ("El Vasquito").

He returned to Club Pueyrredón in 1923, again with Bazán, accompanied by: Bazán (clarinet), Vicente Gorresse (piano), Vicente Russo and Esteban Rovati (violins), Bianchi and Ciriaquito Ortiz (bandoneons), Domingo Martino (drums), and Nicolás Verona (banjo).

In 1924, he performed on LS2 Radio Prieto and joined the giant orchestra of Julio De Caro at the Confitería L'Aiglon. The bandoneon section featured Luis Petrucelli, Pedro Maffia, Miguel Orlando, Ángel Danesi, Graciano De Leone, Ricardo Brignolo, and Nicolás Primiani ("Pindeca").

In 1926, Bianchi joined a group co-directed by Juan D'Arienzo and Ángel D'Agostino, with D'Arienzo and Alfredo Mazzeo on violins, and alternating on bandoneons: Anselmo Aieta and Bianchi. When D'Agostino left, D'Arienzo continued as director with Vicente Gorresse on piano. They performed at Cine Paramount.

That same year, Bianchi toured the United States with Francisco Canaro’s orchestra, performing at Club Mirador in New York. The ensemble included: Fioravanti Di Cicco (piano), Canaro and Emilio Puglisi (violins), Luis Petrucelli, Bianchi, and Juan Canaro (bandoneons), Romoaldo Lomoro (drums), with singer Linda Thelma (replaced by Carmen Alonso).

They also performed at Cabaret Paramount (New York) and in Philadelphia.

Back in Argentina in 1928, Bianchi performed with Gabriel Clausi ("El Chula") and Eduardo Pereyra (piano). He was also active in theatre orchestras at Teatro Maipo, Teatro Smart, and others, accompanying stars such as Libertad Lamarque, Azucena Maizani, and Sofía Bozán ("La Negra").

In the 1930s, he led his own orchestra at venues such as Cabaret Lido, Salón Imperio, Le Chaumiere, and Franz y Fritz.

In 1935, he was featured in the national film Noches de Buenos Aires with a large orchestra. In 1936, he formed a nostalgic quintet that performed on LS9 La Voz del Aire.

Works

Though not prolific, Bianchi composed several tangos and a vals:

Brisa marina – unrecorded

Pare cochero – recorded by Roberto Firpo with Teófilo Ibáñez (Odeon 8779, 1928)

Cosas que pasan – unrecorded

Queja campera – lyrics by Adolfo Piancino, recorded by Minotto Di Cicco (Columbia 5030, 1931)

Juan Carlos – dedicated to Juan Carlos Bazán, recorded by Juan Maglio (Nacional 7444, 1925)

Yo soy un tipo bien

Ecos del alma (vals) – recorded by Antonio Bonavena (1930)

Orchestras

No known group memberships.

Recordings

No recordings found.

Opus

Title	Genre	Alt. title	Comp. Year
Ecos del alma	Vals
Juan Carlos	Tango
Pare, cochero	Tango
Un capricho	Tango
Yo soy un tipo bien	Tango