스크랩 UNO VEZ (ONCE 한번만)

Letra : Lito Bayardo  (Manuel Juan García Ferrari)

Música : Carlos Marcucci

Grabado por la Orquesta Típica Víctor (Dir.: Mario Maurano) con la voz de Ortega Del Cerro. (sello RCA, 09-08-1943)

Morir en los rayos de sol La niebla de un día sin luz. Y luego en la tarde serena Un gelo mi angustia y mi pena. Soñaba aquella tarde con tus besos Sentíame feliz con tu regreso. Y al verte de nuevo ante mí Cantaba en mis sueños así: Una vez, sólo te vi una vez Y  te amé, sólo bastó una vez. Hoy no sé si me faltará tu cariño ¡Ay de mí, que estoy solo sin ti! Sólo tú me sabes comprender Siempre tú, para poder vencer. Nunca más, yo te lo juro vida mía Nunca más podré vivir sin ti.

Die in the sunlight The fog of a day without light. And then in the afternoon calm A gelo my anguish and my pain. I dreamed that afternoon with your kisses Sentíame happy with your return. And see you before me again He sang in my dreams as well: Once, just once I saw And I loved you, only once was enough. Today I do not know if I miss your love Alas, I'm lonely without you! Only you know me understand You always, to win. Never again, I swear my life Never again will I live without you.

햇살도 가리워진 어두운 안개낀 날 고요한 오후에 나의 분노와 고통 나는 그대와 입맞추는 오후와 그대가 돌아오는 행복을 꿈꾸었다 그는 내 꿈속에서 노래했다 한번만 단한번이라도 보고 그대를 사랑하고 싶다 한번이면 족하다 오늘 당신의 사랑을 잃어버리고 그대없이 외로운 나 오직 그대만이 내가 당신을 얻기위해 당신을 항상 이해한다는 것을 안다. 다시는 맹세코 다시는 그대없이 살지 않겠다

Una vez
Tango 1946
Música: Osvaldo Pugliese 
Letra: Cátulo Castillo 

Una vez fue su amor que llamó y después sobre el abismo rodó, la que amé más que a mi mismo fue. Luz de su mirada, siempre, siempre helada. Sabor de sinsabor, mi amor, amor que no era nada. Pequeñez de su burla mordaz, una vez, sólo en la vida, una vez. Pudo llamarse Renée o acaso fuera Manón, ya no me importa quien fue, Manón o Renée, si la olvidé... Muchas llegaron a mí, pero pasaron igual, un mal querer me hizo así, gané en el perder, ya no creí. Luz lejana y mansa que ya no me alcanza. Mi voz gritó ayer, hoy, amor, sin esperanza. Una vez, fue su espina tenaz una vez, sólo en la vida, una vez.

Once their love was called and then rolled over the abyss, which I loved more than myself was. Light in his eyes, always, always cold. Taste of distaste, my love, love was nothing. Smallness of his biting mockery, once in life only once. It could be called Renée or perhaps it was Manon, I do not care who it was, Renee Manon or if I forgot ... Many came to me, but it was equal, a bad want me so, won in losing, and I did not think. Headlight and gentle I no longer enough. My voice cried yesterday, today, love, without hope. Once, it was his stubborn thorn once in life only once.

그리움엔 이유가 없다.

어느날 홀연히 바람결이 전하는

이름모를 들꽃향기에

문득 그리운 사람 있거든

그저 그리워하면 될테지만

바람결 따라 신발이 해지도록

저물 녁 들판을 헤매어도 닿을수 없는

이 안타까움, 이 서러움은 어찌해야 할까요?

깊은밤 유난히 빛나는 별하나

하얗게 흘려 놓은길 위에

문득 그리운 얼굴 있거든

그저 그리워하면 될테지만

기억속에 하얀얼굴

어둠을 밝히는 한줄기 빛처럼

어제보다 더한 그리움으로 찾아드니

이 사무침, 이가슴 절임은 어찌해야 할까요?

비우고 비워내도 다시 채워지는

내안의 끈질긴 목숨

이젠 비울것도 남지 않은듯 싶은데

어느새 채워져 있는 지독한 그리움에

때없이 울어버릴 수밖에 없는

이 애처로움, 이 막막함은 어찌해야 할까요?

까만 밤 끝자락 붙잡고

뒤척이며 흐느끼는 나날을

모두 지새고 나면

견딜수 있는 그리움이 될까요

견딜 수 있는 그리움은

그리움이 아닌가 봐요

- 좋 은 글 中에서 -

 

When the officials of that record company had the idea of putting together an orchestra that would represent the corporation, they turned to a pianist classically trained, who had not yet played tango: Adolfo Carabelli.

This great artist studied with the best teachers of his time and when he was fifteen he was already playing concerts in the theaters of the city of Buenos Aires. When he was very young he went to Bologna, where he stayed until 1914. There he went to school and continued his musical studies. When the war broke up he returned to his country where he put together a small group of classical music: "Trío Argentina".

Around that time he became acquainted with the pianist Lipoff, who accompanied the well-known dancer Anna Pavlova, and through him he was introduced to jazz, a genre that was beginning to get a wide acclaim.

His first orchestra was named "River Jazz Band", later, when switching to the radio, the group bore his name, and the orchestra achieved an overwhelming success and was requested by all the nightclubs of the period. Eduardo Armani and Antonio Pugliese, among others, passed through its ranks.

He recorded his early records for the Electra label and later he is hired by the Victor company as musical advisor and responsible for the creation of a tango orchestra.

It was a seminal orchestra in tango, that never performed in public, but which left for us, during its long career, the indelible memory of its perfection and quality.

 
 
Adolfo Carabelli
 
The first setting chosen by Carabelli, and that made its debut recording two tangos on November 9, 1925: "Olvido", by Ángel D'Agostino, and "Sarandí" by Juan Baüer, was the following:
Bandoneons: Luis Petrucelli, Nicolás Primiani and Ciriaco Ortiz; violins: Manlio Francia, Agesilao Ferrazzano and Eugenio Romano; piano: Vicente Gorrese; and double bass: Humberto Constanzo.

The composition of the orchestra changed very often, the musicians were continuously replaced, but they all were of an excellent level. So that so that some experts recognize, on certain recordings, the violin of Elvino Vardaro, for example.

Other important names that passed through the ranks of the orchestra were: the bandoneon players Federico Scorticati, Carlos Marcucci and Pedro Laurenz; Orlando Carabelli, brother of the leader, and Nerón Ferrazzano on double bass; on violins: Antonio Buglione, Eduardo Armani and Eugenio Nobile. Cayetano Puglisi, Alfredo De Franco and Aníbal Troilo were also included in the orchestra on some occasions.

 
 
Mario Maurano
 
Years later, and due to commercial reasons, the label thought that only one orchestra was not enough. For that reason a number of orchestras began to appear: "Orquesta Victor Popular", the "Orquesta Típica Los Provincianos" led by Ciriaco Ortiz, the "Orquesta Radio Victor Argentina" led by Mario Maurano, the "Orquesta Argentina Victor", the "Orquesta Victor Internacional", the "Cuarteto Victor" (lined up by Cayetano Puglisi, Antonio Rossi, Ciriaco Ortiz and Francisco Pracánico) and the excellent "Trío Victor", with the violinist Elvino Vardaro and the guitarists Oscar Alemán and Gastón Bueno Lobo.

The already mentioned quality of the musicians made the Orquesta Típica Victor one of the highest musical expressions of its period, and it would remain at the same level until the late thirties. And this is important to highlight, because other important orchestras, such as Julio De Caro, had lost their north.

Unfortunately later, because of a repertory that tried to fit into the commercial needs of the period, the quality of it declined, but neither its sound nor the capability of its members were of a poor level. Its vocalists, likewise, kept on being of a first rate level.

 
 
Federico Scorticati
 
In 1936 the leadership of the orchestra is transferred to the bandoneonist Federico Scorticati, and its early recordings were the tangos "Cansancio" (by Federico Scorticati and Manuel Meaños) and "Amargura" (by Carlos Gardel and Alfredo Le Pera), sung by Héctor Palacios.

In 1943 the orchestra was led by the pianist Mario Maurano, and recorded the tangos "Nene caprichoso" and "Tranquilo viejo, tranquilo" (both by Francisco Canaro and Ivo Pelay), with Ortega del Cerro on vocals, on September 2.

The last recordings under the name "Orquesta Típica Victor" were made on May 9, 1944, and they were the waltzes "Uno que ha sido marino" (by Ulloa Díaz) and the popular "Sobre las olas" (by Juventino Rosas), both sung by the Jaime Moreno and Lito Bayardo duo.

According to Nicolás Lefcovich´s discography, the recordings were 444, but to this number we would have to add many recordings coupled on discs that on the opposite face had renditions of varied interpreters.

Even though it was an orchestra that mainly played tango, it also recorded other beats, more than forty rancheras and a similar number of waltzes, around fifteen foxtrots and very few milongas. Also polkas, corridos, pasodobles, etc.

As for vocalists, they appeared only three years after its creation, after over a hundred instrumental numbers were recorded. And the first one was a violinist, Antonio Buglione (a total of four recordings), with the tango "Piba", on October 8, 1928.

He was followed by Roberto Díaz (27 recordings), Carlos Lafuente (37, the one who recorded most), Alberto Gómez (25), Ernesto Famá (17), Luis Díaz (14), Teófilo Ibáñez (9), Ortega del Cerro (7), Juan Carlos Delson (7), Mario Corrales -later Mario Pomar- (6) and Charlo (4).

Through the ranks of the orchestra the following vocalists passed: Alberto Carol, Jaime Moreno, Lito Bayardo, Lita Morales, Eugenio Viñas, Ángel Vargas, José Bohr, Osvaldo Moreno, Vicente Crisera, Dorita Davis, Oscar Ugarte, Fernando Díaz, Héctor Palacios, Mariano Balcarce, El Príncipe Azul, Francisco Fiorentino, Armando Barbé (also with the name Armando Sentous), Samuel Aguayo, Hugo Gutiérrez, Jimmy People, Deo Costa, Alberto Barros, Raúl Lavalle, Augusto "Tito" Vila and Gino Forsini.

When in 1944 the label decided to put an end to its career, tango was so successful that it would not be an exaggeration to say that everyday a new orchestra was put together. Somehow, with the great orchestras of the forties: Troilo, D'Arienzo, Di Sarli, D'Agostino, Tanturi, Fresedo, Laurenz, among others, the need of having one´s own orchestra has come to an end.