Sweetheart MILONGA this Friday..:-))
Friday, FEB 12th 9:30-1 special Sweetheart MILONGA at DW w/DJ Dubrovay – see below for Elemer’s (pick of the month) musician Pedro Laurenz..! Great floors, Valentine decor & treats, lovely company, strut your V day Red, rose, pink, lavender, violet..!! $12 (8:45 pre dance) Lesson & (9:30-1) Milonga, $10 Milonga only, $7 DW students. The Milonga follows DW’s 7-9:30 Sweetheart Social (which includes Milonga entrance – http://danceworksstudio.com)
THURSDAY Night Arg Tango CLASSES at DW – FEB 4-25 Series focus – 7:30 Beg+ OCHOS / 8:30 Int+ COLGADAS / 9:30 free Practica – Ladies 1/2 price Series or Drop in Classes – more info at www.mstango.com – all welcome:-))
Pedro Laurenz was one of the greatest bandoneon players of all time, a great musician in the innovative school of Julio De Caro (with whom he played bandoneon alongside Pedro Maffia). Like Pugliese, he endeavoured to take the musical ideas of De Caro to a broader public, although in his case with a greater emphasis on a rich and varying rhythm, something that would later be instrumental in his participation in the legendary Quinteto Real.
Laurenz was also an also an important composer. His most famous works include Mala junta and Orgullo criollo (both with Julio De Caro); Amurado (with Maffia); Berretin, Milonga de mis amores andMal de amores.
Laurenz’s reputation is assured despite the relatively modest success of his orchestra, which never reached the heights of popular acclaim reached by Troilo, Pugliese or Di Sarli. One factor would have been his singers: until Alberto Podesta joined him from Di Sarli in 1943, the orchestra lacked a truly great singer, and found itself without one when Podesta returned to Di Sarli in 1946.
However I like to think that the orchestra was simply ahead of its time. Some musicologists consider that his first recording, Arrabal, inaugurated the true golden age of tango. Considering that this is from 1937 it puts Troilo’s 1941 sides with Fiorentino in a very different light, and of course it’s light years ahead of what D’Arienzo and Tanturi were doing at this time. Today it still sounds fresh and exciting.
Whatever the reason, the orchestra left very few recordings. Although he signed a contract with Victor in 1937, they cut just 29 titles over the next six years. He signed to Odeon 1943, recording once again just 29 sides over the next four years. 8 more sides followed with Pampa in 1952/53: a miserly 66 numbers over 16 years. This makes collecting them a pretty easy job.