El Choclo for Pianoforte
El Choclo for Pianoforte
El Cholco for Pianoforte, one of the most famous old tango's.
Ángel Gregorio Villoldo Arroyo (16 February 1861 – 14 October 1919) was an Argentine musician and an early pioneer of tango music. He was a lyricist, composer, and one of the major singers of the era, and he transformed the Spanish tanguillos, cuplés, and habaneras into Argentine rhythms. His most famous works include "El Choclo" and "La Morocha", two of the first tangos to achieve mass circulation and international success.
Villoldo was born in the Buenos Aires neighborhood of Barracas in 1861. Before dedicating himself to music, he held various jobs, including as a typographer, tram driver, circus clown, and journalist. He learned to play guitar and sing largely on his own.
Career: Villoldo became a regular figure in the Buenos Aires entertainment scene at the turn of the 20th century, and he wrote comic songs and cuplés for local theatres. According to poet and lyricist Horacio Ferrer, Villoldo collaborated with actors such as Pepe, Pablo Podestá, and Angelina Pagano, providing songs and sketches that were incorporated into their productions. Many of his tangos and songs debuted in the theatre before entering sheet music and recording circuits.
Songwriting and performance:
When performing, Villoldo often played the guitar and harmonica, telling stories through song. In 1889, he published a compilation of cantos criollos (creole folk songs).[3] His best-known tango, "El Choclo" (1903), became common in the repertoires of theatre orchestras. In 1905, he collaborated with Alfredo Eusebio Gobbi and his wife, the Chilean Flora Rodríguez—parents of bandleader and violinist Alfredo Gobbi—on "La Morocha", which became one of the first tangos to achieve mass circulation, with more than 280,000 copies of sheet music sold.
Other titles by Villoldo, such as "El Porteñito", "Cantar eterno"—(recorded in 1917 by the duo of Carlos Gardel and José Razzano)—and numerous cuplés, were widely performed in theatres and cafés. His lyrics often blended humor and topical references, reflecting his roots as a journalist and entertainer.
International dissemination and recordings In 1907, under contract with the Buenos Aires department store Gath & Chaves, Villoldo traveled with Gobbi and Rodríguez to Paris, where they made pioneering tango recordings, including of "La Morocha" and "El Choclo". Within a few years, "El Choclo" was adopted by international ensembles.
Later years and death By the 1910s, Villoldo's popularity was eclipsed by newer tango composers and professional singers, though his works remained in circulation. In 1916, he published a collection of recordings titled Argentine Popular Songs, commemorating the centennial of the Argentine Declaration of Independence.[3] He died in Buenos Aires on 14 October 1919, at the age of 58.
Legacy:
Villoldo is remembered as "the father of tango song" ("el padre del tango canción"), a songwriter who bridged the stage, the street, and the recording studio. Works like "El Choclo" and "La Morocha" remain staples of the tango repertoire and are considered classics of Argentine popular culture. His pioneering efforts in Paris and the U.S. gave tango its first foothold on the international stage.
"El Choclo" (South American Spanish: meaning "The Corn Cob") is a popular song written by Ángel Villoldo, an Argentine musician. Allegedly written in honour of and taking its title from the nickname of the proprietor of a nightclub, who was known as "El Choclo", it is one of the most popular tangos in Argentina. The song became popular in the United States under the name "Kiss of Fire" after English language words written by Lester Allen and Robert Hill were added,. The English version was first recorded by Louis Armstrong, and later became a No.1 charting hit with over a million record sales for singer Georgia Gibbs.
This page will feature classic Tango's & Choru songs from Argentina & Brazil, Paso Dobles from, Spain, plus some of my own original tango's!
Composer's will incude Chiquinha Gonzaga, Isaac Albamez, Ángel Gregorio Villoldo Arroyo, Zequinha de Abreu & Ástor Piazzolla, to name a few!
versions for Brass, Wind, Strings & Tuned Percussion can be tailor made by request:keithterrett@gmail.com
Gaúcho or Corta Jaca is the Brazilian tango (maxixe) composed by Chiquinha Gonzaga, her most recorded song. It was a song from the burlesque operetta Zizinha Maxixe first staged in 1895.
The original title being Gaucho, the song had the subtitle Dança do Corta-jaca. Eventually, Corta jaca had become the best known title of the song. The dance in question is a Brazilian traditional dance, characterized by energetic individual spins, gymnastic moves, and percussive footwork.The expression "corta jaca" literally means "cut the jackfruit" and has a sexual innuendo, seen in the number Gaúcho itself.
Gaucho arranged for Flute & Piano.
The song caused a minor scandal when the First Lady of Brazil, Nair de Teffé, performed it on guitar in public in 1914. Catulo da Paixão Cearense's interpretations were successful and, in 1914, they encouraged Nair de Tefé to organize a recital to launch Corta Jaca, although Nair knew Chiquinha's songs, they never met in person. There were criticisms of the government and resounding comments about the "scandals" in the palace for promoting and disseminating songs whose origins were in lewd and vulgar dances, according to the conception of the social elite.
Versions are available for all Woodwind, Brass, Strings & Tuned Mallet instruments upon request: keithterrett@gmail.com
Tango in D, Op. 165, No. 2, is a composition by Isaac Albéniz. It was originally written for piano, as part of the suite España, Op. 165 (1890).
A slow, romantic piece, it is played in the key of D major. Norman Lloyd says of the piece, "The most famous tango in concert music is Isaac Albeniz' little Tango in D." Carl Van Vechten has said, "The Tango in D is striking, and crosses some pretty stiles, despite its brevity.
Since it has been transcribed for classical guitar by Miguel Llobet, it has become one of the most important works of the classical guitar repertoire. It has been played and recorded by guitarists such as Julian Bream and John Williams and many others.
It has also been arranged by Leopold Godowsky and others.
Arranged for Brass Quartet "Tico-Tico no fubá" ("sparrow in the cornmeal", or, literally, "rufous-collared sparrow in the cornmeal") is a Brazilian choro song written by Zequinha de Abreu in 1917.
Its original title was "Tico-Tico no farelo" ("sparrow in the bran"), but since Brazilian guitarist Américo Jacomino "Canhoto" (1889–1928) had a work with the same title, Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.
Eros Volusia and her dancers dance to "Tico-Tico" in 1942 Rio Rita. Ethel Smith performed "Tico-Tico" onscreen in Bathing Beauty (1944). Carmen Miranda performed "Tico-Tico" onscreen in Copacabana (1947); It was also featured in the "Aquarela do Brasil" segment of the Walt Disney film Saludos Amigos (1942) and in Woody Allen's Radio Days (1987).
In Quebec the song has been used for several decades in commercials for Sico paint.
In season three of Mama's Family episode "An Ill Wind," an intoxicated Iola briefly sings the song's chorus before passing out onto a bed.
This song can be heard on various episodes of the Belgian Kabouter Wesley cartoon.
In season one of Narcos: Mexico, episode 3 ("El Padrino”), the orchestral version of the song is played by a band during a reception. A biographical movie about Zequinha de Abreu with the same title, Tico-Tico no Fubá was produced in 1952 by the Brazilian film studio Companhia Cinematográfica Vera Cruz, starring Anselmo Duarte as Abreu.
The title phrase also features in the lyrics to the song "O Pato" made famous by João Gilberto.
Choro (Portuguese pronunciation: [ˈʃoɾu], "cry" or "lament"), also popularly called chorinho ("little cry" or "little lament"), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorões.
This arrangement is available in my Score Exchange store for Saxophone Quartet, String Quartet, Wind Quartet, plus there are versions for various instrumental ensembles.
Manuel Penella Moreno was a prolific Spanish composer. Much of his music is forgotten today, but this may be his best-known work. Found in one of his 54 operas, it is commonly performed in concerts and festivals in Spain and throughout the Spanish-speaking world. It is also often used in ballroom dancing competitions. It is among the best known pasodobles (two-step Spanish marches) worldwide.
In Penella's opera El Gato Montes which premiered in 1916 or 1917 depending on who you believe, the tragic hero Rafael (tenor) is promoted from apprentice to full matador and thus emboldened publicly professes his love for the gypsy girl Solea (soprano). Shortly the murderer Juanillo called El Gato Montes (The Wildcat) (baritone) emerges from his wilderness seclusion and tells the gathered crowd that he is in fact Solea's true love, and that his crime was committed in defense of her honor.
In the climactic close of the of the second act, Matador Rafael triumphantly enters the bull ring of Seville to heroically face his burden of honor, to defeat six bulls and then face off against the villain-redeemed-by-love Juanillo to win the hand of Solea or die trying. The majestic and inspiring "Pasodoble Torero" is heard as he enters the ring.
An optional opening solo trumpet cadenza accompanied by marimbas and castanets is included. It is original material and does not come from any of Penella's works.
Traditionally Spanish audiences shout "Ole!" at the conclusion of the four ascending phrases of the chorus which musically depict the passes of the bull, played in this arrangement by low voice instruments. With a little coaching the audience could follow the lead of the band. The appropriate places are marked in the parts where players mouths are not occupied by instruments. Ole! could also be shouted at the end of the piece by the band.
This tragic opera depicts the brave and noble jilted matador Rafael gored to death by a bull shortly after entering the ring at the end of the second act, and Juanillo (El Gato Montes) killed at his request by one of his compadres as the police arrive to arrest him and haul him off for execution at the end of the third act. Solea is left weeping.
It is our hope that your performance of this piece ends on a more positive note!
El Matador for Concert Band
El Matador for Concert Band
El Matador is a Paso Doble for Concert Band, put away Amparico Roca! There is also a version for British Brass Band available, with parts for both BC & TC low brass!
Gerónimo Giménez y Bellido (10 October 1854 – 19 February 1923) was a Spanish conductor and composer, who dedicated his career to writing zarzuelas, such as La tempranica and La boda de Luis Alonso. He preferred to spell his first name with a "G", even though his name at birth officially began with a "J".
Written in Spanish, a very comprehensive biographical exposition by Ascensión García de las Mozas may be found at the Universidad de Cádiz institutional repository of Research and Learning Objects (RODIN) https://rodin.uca.es/bitstream/handle/10498/7788/33195031.pdf?sequence=1
Giménez was born in Seville. A son of the Granada musician José María Giménez and his wife Antonia Bellido, he moved with his family to the city of Cadiz, where he soon became a choirboy. Although the details of his early years are not entirely certain, Giménez spent his childhood and adolescence in Cádiz.
A child prodigy, he began music lessons with his father and continued his education with Salvador Viniegra. By the age of 12, he was already playing among the first violins of the Teatro Principal orchestra in Cádiz. Five years later, he became the director of an opera and zarzuela company, making his debut in Gibraltar with a production of Giovanni Pacini's Safo.
A scholarship permitted Giménez to enrol at the Conservatoire de Paris in June 1874, where he studied violin with Jean-Delphin Alard and composition with Ambroise Thomas. He received first prizes for harmony and counterpoint. After graduation, he traveled to Italy and then returned to Spain, settling in Madrid. In 1885, he was appointed director of Teatro Apolo de Madrid and shortly afterwards of the Teatro de la Zarzuela.
Ruperto Chapí commissioned him to write the openings to his zarzuelas El milagro de la Virgen and La bruja. As a conductor of the Sociedad de Conciertos de Madrid, Giménez helped cultivate the tastes of audiences in Madrid for symphonic music. According to "those who have seem him conduct [and] have transmitted to us the memory of his performances of great strength and great enthusiasm […] he obtained with imperceptible gestures what he wanted from the orchestra.
A prolific composer, Giménez also collaborated with the leading authors of sainetes (a comic genre found in Spanish theatre), including Ricardo de la Vega, Carlos Arniches, the brothers Serafín and Joaquín Álvarez Quintero, and Javier de Burgos, to obtain the libretti for his zarzuelas. He co-wrote the music of a number of his works with Amadeo Vives, who hailed him the "musician of elegance" because of his sense of rhythm and easy melodies.
In 1896, Giménez wrote El mundo comedia es, subtitled El baile de Luis Alonso, based on a text by Javier de Burgos. Following the success of this piece, he set to music another sainete by Burgos with the same characters, which became one of his most famous works: La boda de Luis Alonso, subtitled La noche del encierro (1897). This second work, which achieved much greater success than the first, was actually meant to be a prequel, not a sequel.
La tempranica was perhaps his most ambitious and successful work. Presented at the Teatro de la Zarzuela on 19 September 1900, it followed a text by Julián Romea. Giménez skillfully managed to combine moments of intense lyricism with scenes of colloquial explosion in a zarzuela which, according to Carlos Gómez Amat, "had all the qualities of the genre and none of the faults".
The influence of Giménez is often noticeable in the compositions of subsequent Spanish composers such as Joaquín Turina and Manuel de Falla (especially the stylistic correspondences between La tempranica and the latter's opera La vida breve). Federico Moreno Torroba adapted the celebrated zarzuela into an opera by setting the spoken parts to music. In 1939, Joaquín Rodrigo also paid his respects with a Homenaje a la tempranica, which contained a solo part for castanets.
Beyond dramatic works for the stage, Giménez also wrote three cadenzas to Beethoven's Violin Concerto.
Towards the end of his life, Giménez lived in a precarious economic situation, which was made worse by the Madrid Conservatory's refusal to grant him a professorship in chamber music. He died in Madrid aged 68.
Gaúcho or Corta Jaca is the Brazilian tango (maxixe) composed by Chiquinha Gonzaga, her most recorded song. It was a song from the burlesque operetta Zizinha Maxixe first staged in 1895.
The original title being Gaucho, the song had the subtitle Dança do Corta-jaca. Eventually, Corta jaca had become the best known title of the song. The dance in question is a Brazilian traditional dance, characterized by energetic individual spins, gymnastic moves, and percussive footwork. The expression "corta jaca" literally means "cut the jackfruit" and has a sexual innuendo, seen in the number Gaúcho itself.
The song caused a minor scandal when the First Lady of Brazil, Nair de Teffé, performed it on guitar in public in 1914. Catulo da Paixão Cearense's interpretations were successful and, in 1914, they encouraged Nair de Tefé to organize a recital to launch Corta Jaca, although Nair knew Chiquinha's songs, they never met in person. There were criticisms of the government and resounding comments about the "scandals" in the palace for promoting and disseminating songs whose origins were in lewd and vulgar dances, according to the conception of the social elite.