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Orquesta Típica Osvaldo Pugliese

*02.12.1905 +25.07.1995

Status

The Saint
Avantgarde

Number of recordings:

about 700

To buy:

www.tangotunes.de provides the best transfers for the period from 1943 to 1947. For Pugliese's 100th birthday, the 'Edición Aniversario' was published. These four CDs offer a great selection of 100 pieces in good quality for little money.

To read

Michael Lavocah's Monographie
"Tango Masters - Osvaldo Pugliese"

Style

dramatic, subtle, enchanting, passionate, contradictory

Typical

Yum-Ba, rapid change in speed and energy, in tension and relaxation

Important recordings:

- La Yumba
- Negracha
- Recuerdo
- Pasional

Important singers:

- Roberto Chanel (1943- 1948), sensible, with a nasally voice
- Alberto Morán (1945 – 1954), Fresh and soulful phrasing singer, favourite of the women
- Jorge Maciel (1954 – 1968)
- Abel Córdoba (1964 – 1995)

Important musicians:

Bandoneon:
- Osvaldo Ruggiero
- Emilio Balcarce
Violin
- Enrique Camerano

Introduction

Tango is a tree that will always bear fruit, because it grows and thrives on fertile soil: the soul of the people. (Osvaldo Pugliese).

His music inspires and confuses. It is among the richest and most varied within Tango Argentino. In Argentina, some revered San Pugliese, who was known for his benevolence and gentleness, like a saint. Pugliese and his musicians had a decisive influence on the development of tango for decades and were the only major orchestra to experience the new tango boom since the 1980s.

A Pugliese tanda played at the right time is the highlight of a milonga for many dancers. Let's take a look at this extraordinary person and his music.

Early years

Coming from a poor family of musicians, Osvaldo grew up in the workers' quarter Villa Crespo amidst factories and conventillos, a quarter, where tango was present. His passion for the piano awoke at the tender age of nine. Soon after, he supported the small family budget not only as a shoeshine boy and newspaper boy, but also with the money he earned as a pianist in cafés and silent movie theatres. Like many of his generation, he enjoyed little schooling. Still half a child he dived into neighbourhood's nightlife as a musician.

Around 1921 he played in the orchestra of the only successful bandoneonist, Paquita Bernardo. Dressed in a masculine outfit with suit and tie, she caused a sensation.

In the city's cafés Pugliese admired his idols Juan Carlos Cobián and Francisco De Caro and educated himself in classical music and composition.

In 1922, the 17-year-old got a slot with a classical ensemble on one of the newly founded radio stations. Only two years later, the 19-year-old composed one of the most important tangos:

Recuerdo

The unionist

Before Pugliese founded his own famous Orquesta Típica in 1939, we find him as a pianist with Pedro Maffia, Pedro Laurenz (1934) and Miguel Caló (1936). Together with progressive musicians like Elvino Vardaro, Alfredo Gobbi or Ciriaco Ortiz, he tried several times to found orchestras.

But there were too few opportunities to earn money, and so the formations soon disbanded. In the economically difficult years after 1930, many musicians survived only with difficulty and often under exploitative conditions. Musicians had to work seven days a week from 6 p.m. to 6 a.m. the next morning, usually only interrupted by a meal break.

Argentina and its governments were mostly pro-business. President Yrigoyen had workers' resistance shot down by the army in the semana tragica of 1919, 700 people died.

In 1920-1922, a strike among farm workers cost 1500 lives. However, Pugliese's political views were shaped by the military coup of 1930, which ushered in the decada infamia.

But Pugliese became active. He believed in the power of the collective and of acting together in solidarity. Therefore, he founded a musicians' union, organised strikes and achieved improvements.

From now on, he was an agitator. Work was even harder to find. Osvaldo was a consistent person who always stood by his convictions. And so it is not surprising that he joined the Communist Party in 1936, on the occasion of the Spanish Civil War.

In the same year he married his first wife Mariá Concepción Florio. His daughter Beba Pugliese, who was also closely associated with him musically throughout his life, is still active today as a tango musician.

The orchestra

After four failed attempts to start with his own orchestra (1936, 1937, 2x1938), it finally worked out in 1939. Only five days before he was released from political prison. The debut was in August 1939 at the Café Nacional, then known as La Catedral del Tango.

The band played daily from 1pm to 7pm. Engagements followed in the Bar Germinal as well as in Pugliese's home barrio Villa Crespo.

In general, the band was quite popular among young people from the working class. These gangs (=barras) paraded through the city on the flatbeds of trucks in workers' Sunday dress (=zoot suit). Rioting with other barras was not out of the question.

One of the barras consisted of Afro-Argentine women, to whom Pugliese dedicated the emplematic Tango Negracha.

Nationwide fame finally came with a slot on Radio el Mundo.

The singers of this first phase were first Amadeo Mandarino, who moved to Troilo in 1941, then August Gauthier. He moved on to José García at the end of 1943.

Working as a collective

Pugliese was a communist, and so he organised his orchestras as a collective.

Payment was based on a points system. Awards were given for performances, of course, but also for composition, arrangement and length of stay. Points were deducted for unpunctuality, for example. This ensured quality and innovation and appealed to outstanding musicians who remained loyal to the orchestra for decades.

For example, at times Osvaldo Ruggiero, the most important bandoneon player, earned more than the maestro himself because of his numerous compositions and arrangements.

...arranging together

The work on the music was also done collectively. New pieces were arranged together, the soloists contributed their own ideas. All this welded the band together, so that it survived even times of political persecution.

...together against the dictatorship

The maestro himself was repeatedly imprisoned for months because of his communist orientation and was repeatedly banned from performing and recording by the authoritarian, right-wing military juntas.

If Osvaldo himself was not allowed to perform, a rose on the piano always reminded him of his absence; other musicians in the band occasionally took over the piano part.

Often enough, the whole band had to flee from the police or were taken into police custody for the exact time of the performance as harassment.

One evening, an organiser negotiated with the police and managed to get them to wait until the next tango was over. The musicians then played La Cumparsita until the police left.

The military dictator Peron had subjected all radio stations to state control until 1948. As a communist, Pugliese was banned from performing and from all radio stations until 1953, with interruptions.

However, the number of recordings from the period are impressively intense, such as Patetico, Negracha (1947), Malandraca or Canaro en Paris (1949). The band only managed to perform in part, sometimes only without their leader and pianist San Pugliese.

In 1955, Pugliese finally was six months in prison as a political prisoner. He kept his fingers fit by doing dry runs on the table. His wife provided for him daily. She herself was supported by the neighbourhood. San Pugliese was a revered man.

The first tango the band recorded after his release is programmatically titled Emancipación (1955) and these beautiful beats seem to trickle quiet jubilation through every phrase, culminating in the intense Variación.

The five-day, extremely humiliating internment on a prison ship in 1957 so weakened Pugliese that Osvaldo Manzi and later Ernesto Romero became part of the band as second pianists.

The political conditions were volatile: In 1959 on the one hand he had to hide from police for a few months, on the other hand, he appeared on television for the first time at the beginning of May.

In the 70s, Pugliese was also banned from TV for a few years. Only from 1980 on, when the tango was only a marginal phenomenon, was Pugliese allowed to perform again without restrictions.

Emancipación

Clarisa Aragon and Jonathan Saavedra - Stuttgart - 2018

The music

The first years

Although the orchestra started in 1939, it was not until 1943 that a recording contract was signed. Michael Lavocah traces the genesis towards the Pugliese sound in these four seemingly undocumented years on the basis of preserved radio recordings. Subsequently, the 74 recordings made up to 1947 document the steady development.

The repertoire and structure of the tangos initially followed the tradition of Julio De Caro, but were more softly and less edgy.

The core of the repertoire was formed by tangos of the De Caro school such as Mala Junta (1943), Tierra querida, El arranque, Amurado (1944), El monito, Tiny (1945) and Boedo (1948).

Recuerdo, Adiós bardí or Las marionetas, all compositions by Pugliese, fit in here. But also El taita or Derecho viejo (with wild, sometimes cascading violin runs) are demanding, subtle and very sensitively recorded. In their structure all these tangos still correspond to the common pattern.

La yumba

With La yumba (1946), Negracha (1948) and Malandraca (1949), the orchestra went its own way.

Extremely rhythmic passages in yum-ba phrasing, pounding like a machine, alternate with melodious sections, hardly underlaid with a beat. Tension and drama are constantly built up and released again.

From now on, the onomatopoeic yum-ba was Pugliese's trademark.

The orchestra plays the first and third beats (Yum) extremely heavy, broad and powerful with a brute arrastre (=intonation swelling just before the beat), while the second and fourth beats (Ba) respond with a lighter rumble lurking deep in the bass. This is the force of the big city, the pounding of a machine, the pulsation of the streets and factories.

The mature style

Pugliese developed this style further and further. After 1950, the music became denser and more intense. Harsh, attacking, sweet, quiet and melodic intertwine more harmoniously.

In De floreo (1950), the alternation, the change between tension, drama, even aggression with soft, airy passages becomes more subtle, the harmonies are more complex.

Pastoral with intense variaçion leaves more space for melodies and small solos, the whole class of Jorge Vidal shines in Puente alsina (1951).

Alberto Morán's hits include Cobardía (1950), Pasional or even finer, Barro (1951). Highlights for dancers are La tupungatina (1952) and Chiqué (1953).

Polyrhythmic and polyphonic structures

Pugliese and his musicians layered sound groups and rhythm patterns on top of and into each other and increasingly overcame the typical construction principle of tango.

Since the mid-fifties, they have created radiant, luminous, rich tangos that are still easy to dance to, some of them overplayed, such as the instrumentals Nuevo de Julio, Gallo ciego, Emancipación,
Zum, Pata ancha, Nochero soy, but also great vocal pieces with Maciél, above all Remembranza, El pañuelito and the even more intense El adiós.

But the orchestra also transforms Piazzolla's Verano porteno (1966) or Zum (1973, grandiose) into danceable pieces.

Playing without notes

The character of this music often cannot be written down in notes. The rubatos, i.e. delays and accelerations, as well as the constant changes in dynamics, i.e. volume, were only possible because the most important musicians played together intensively for decades and rehearsed long and intensively, because Pugliese insisted on playing without notes on stage.

Playing like Pugliese

Most of the well-known orchestras of the 1980s and 1990s, such as the Sexteto Mayor or Color Tango, played mostly in the stlye of Pugliese, but rarely reached his depth and maturity. Pugliese was a perfectionist; his musicians report that they often worked for hours on a single phrase.

A new record label

In 1960, Pugliese tried to found a record company himself; as a nationally-minded communist, he wanted to be independent of the "imperialist-capitalist" RCA Victor and Odeon.

The project failed because the premises together with the recording masters were destroyed by the secret police in the same year.

Pugliese switched to Polygram (Philips), whose sound is more brilliant but also slightly laced with reverb.
It is impressive that the orchestra continued to record successfully, even though tango had hardly any significance any more, and it continued to develop musically.

Verano porteño (1966)

Cécile Rouanne et Rémi Esterle - Gent 2017

A really outstanding Choreo. Cécile is a Choregrapher .....

Tierra querida

Cecilia Acosta and Levan Gomelauri - Berlin 2020

Negracha

Gianpiero Galdi & Lorena Tarantino - Krakus Aires Tango Festival 2019

Malandraca

Jonathan Saavedra and Clarisa Aragon - Lodz - 2016

A mis compañeros

Fausto Carpino y Stephanie Fesneau - Belgrade Tango Encuentro 2017 -

Pasional (1952 - Moran)

Cecilia Piccini & Dominic Bridge - 2015

Quejumbroso

Silvina Tse and Michael Nadtochi – Quejumbroso – Kiev 2021

Nueve de julio

Moira Castellano y Javier Rodriguez - Tango Salta Festival (2019)

El adiós

Juan Cantone and Sol Orozco - San Francisco - 2012

Gallo ciego

Javier Rodrigues & Moira Castellano - NZTF 2017

The musicians

From 1939 to 1958, Osvaldo Ruggiero, Enrique Camerano and Ancieto Rossi, together with Pugliese, formed the hard core of the troupe.

Osvaldo Pugliese

Pugliese's piano playing reflected his nature: He never wanted to shine on the stage with his abilities, he gave his musicians plenty of space - but everything he played was essential.

As a small, delicate person, he touched people with his sensitive playing, but he could also persistently hammer the deep yum-ba chords into the piano with impressive brute force, which are so crucial for the massive, pounding parts.

Osvaldo Ruggiero

Osvaldo, a self-taught bandoneon virtuoso, was only 17 when he joined the orchestra in 1939. His style contributed significantly to the development of the Pugliese sound.

In the mid-1940s, people spoke of the Orchestra of the Two Osvaldos. Many compositions and arrangements go back to him. Together with Jorge Caldara, he led the fila de banondeón musically, energetically and sometimes wildly flinging his long hair.

His style lived on dynamics, surprise, alternating between the sweet and the rough. He switched effortlessly between right and left hand.

Jorge Caldara (1924-1967)

composed Patético (1948), Pastoral (1950) and Pasional (1951) and left the orchestra after 10 years due to political pressure and fear of the dictatorship in 1954. He later led the accompanying orchestra of the Japanese star voice Ranko Fujisawa for a year in Japan, only to continue with his own orchestra in the Pugliese style in 1956. The build-up of tension from to El Guri (1959) to an incomparable variaçion is magnificent.

Enrique Camerano (1939-1958)

violin, was nicknamed El Gitano - the Gypsy.

He had a fantastic tone in all registers. He played softly and melodically, had a wonderful vibrato and such an accomplished bowing technique that he could phrase every single note with its own emphasis.

Pugliese's demanding, complex, varied style demanded appropriate musicians. They played the sweet and lyrical just as loosely as the attacking, aggressive sounds. Only in this way could the manifold tensions and contrasts be realised.

Emilio Balcarce (1918 - 2011)

Jaime Tursky left the collective in 1947. He was an organiser, speaker, violinist and had been there from the beginning, organising the first performances.

Balcarce replaced him and stayed for over 20 years.

He is not as famous as the well known bandleaders like D'Arienzo, but he shaped the developement of tango over decades in many ways as a violinist, pianist, composer, orchestra leader, arranger and trainer of a new generation of musicians since the turn of the millennium.

After his time as a violinist with Edgardo Donato around 1940, he led the accompanying orchestras of the great soloists of the forties, such as Alberto Castillo and Alberto Marino. He arranged for Troilo, Francini-Pontier, Basso and of course for Pugliese.

He condensed his collected tango knowledge and feeling into outstanding compositions such as La bordona (Pugliese, 1959) or Bien compadre (1949) and since 2000, inspired by Ignacio Verchausky, has passed it on to the young generation of musicians of the current tango wave in two-year courses as director and conductor of the Orquesta Escuela de Tango on the basis of original scores.
He was supported by still living greats such as Julián Plaza, Ernesto Franco, Horacio Salgán, Leopoldo Federico, Néstor Marconi, José Libertella, Atilio Stampone, Rodolfo Mederos or Raúl Garello.

The singers

Roberto Chanel (1943-1947)

He was long, thin, with a huge nose, which earned him the nickname El Turco (the Arab). He was not very attractive. But he captivated people with his delicate, somewhat nasal singing, which he trained at home with the guitar. He wanted to phrase like his idol Gardel. I personally don't like his voice that much.

Important tangos are Farol, Muchachos comienza la ronda,(1943), Corrientes y Esmeralda (1944), or El mareo (1947, in duo with Morán).

Alberto Morán (1945 - 1954)

when he started in the orchestra in January 1945 at the age of 23, could not only sing beautifully. He was also quite a womaniser. On stage he dramatically experienced all the emotions of the lyrics. women loved him therefor.

His performances gained many new fans. In the following carnival the band had moved from the suburbs to the Club Huracán, one of the biggest football clubs of the city.

In 1954, Morán, not entirely at peace, left San Pugliese, who had demanded a lot, perhaps too much, from his singer. Morán started his solo career. Armando Cupo led the ensemble assembled for this purpose. Of the 46 recordings, the Valses Quema esas cartas and Yo no se que me han echo tus ojos are particularly pleasing.

Jorge Vidal - The second Gardel (1949-1951)

After Gardel's death, many a voice was billed as the second Gardel, Vidal was one of them.

Pugliese's musicians discovered him in a bar where he sang 24/7 accompanied by guitars. His honest, powerful voice beguiled. After two years Vidal left the orchestra. He preferred, like Gardel, singing to guitars which offered more freedom of interpretation and more focus on the singer.

His biggest hit is certainly Puenta Alesina, even more danceable is the vals Tu vieja ventana sung in duet with Moran.

Jorge Maciel (1954-1968)

Pugliese recruited him from Alfredo Gobbi. Maciel is certainly one of the most mature, technically radiant voices, he fits perfectly with the subtle demands of the Pugliese sound and left behind pearls like Remembranza (1956) or Cascabelito (1955).

Miguel Montero (1954 - 1959)

did not have an easy start, but made his breakthrough with Antiguo reloj de cobre (1955).

The whole agony of the tango culture, which was in constant retreat in the 1950s, is condensed in Montero's tango Qué te pasa Buenos Aires? (1956)

In 1959 he continued as a solo singer and until his death in 1973 he was present with the greats of the 1960s such as José Libertella (founder of the Sexteto Mayor), Eduardo Corti (co-founder of the Salamanca Orchestra), Aquiles Roggero, Armando Cupo, Ángel Domínguez, Miguel Caló and Mariano Mores.

Abel Cordoba

In 1964 he won a gigantic casting among 300 other candidates and accompanied Pugliese for 31 years until the last performances in 1995.

The late years

Sexteto Tango

Sick and tired, Pugliese had to retire in 1968. He recommended his best people to struggle through as a sextet in the meantime.

But their success was so great that his long-time companions finally made their own business. Julián Plaza put aside his bandoneon and took over the piano part.

Pugliese then set up a new orchestra with the support of his daughter. And it sounded magnificent again.

Al Colón

The Teatro Colón was and is the temple of the muses in Buenos Aires, a meeting place for the upper class, a venue for high culture, comparable to Carnegie Hall in New York or La Scala in Milan.

So it was of course a final satisfaction for the communist, who had been blocked for decades, that he was allowed to give a concert in the hallowed halls on the occasion of his 80th birthday. Then, joke of history, it had to be postponed for a week because of a strike organised by the trade union.

In any case, the 3,500 tickets were sold within a day, and in the end 5,000 people crowded into the concert hall to celebrate the master. Even today, the images and the music (Youtube) are deeply moving and testify to the greatness and restraint of the man and musician Osvaldo Pugliese.

Tours

Music unites, San Osvaldo was convinced of that.
Besides many tours through the provinces of Argentina, we also find Pugliese abroad a lot:

SU and China 1959

In 1959, the orchestra toured for four months through the communist countries USSR (80 cities, up to three shows daily) and China (28 cities) in front of up to 50,000 people (football stadium, Armenia).

The confrontation of the band's communists (Pugliese, Spitalnik) with real socialism caused much discussion within the band.

Japan 1964 and 1979

The Japanese were so enthusiastic in 1964 that the 45 planned shows became 135. In 1979, the orchestra set off on its second tour to Japan with 79 concerts; the waltz enthusiasm of the Japanese led to the legendary arrangement of Desde el Alma. (1979)

Worldwide renaissance of the tango in the 80s and 90s

Due to the political détente in Argentina and the new interest in tango since the 1980s, the orchestra and with it the 80-year-old maestro went on regular tours again.

In 1980, the orchestra toured South America to great acclaim and was greeted directly by the president in Colombia. They were successfull in Cuba (1984), China, Japan (1989), Chile (1990), France (1984), Spain (1985) and the Netherlands, among other places.

Locura tangera (1966)

An intense tango, and an intense choreo

Lorena Tarantino and Gianpiero Galdi - Halle, 2019

Osvaldo Pugliese La yumba en el teatro Colón

San Pugliese

Pugliese was famous for his modesty. He loved people, but he stood up for his convictions, which of course included his music, with absolute consistency.

His rehearsals were often intense, sometimes he acted sternly, but he was also often very funny. And it was clear to every band member: leaving the orchestra was final, there was no going back.

This was also true for the musicians of Sexteto Tango, who had shared all successes, but also all persecutions with Pugliese for decades.

Pugliese's first wife, Maria Conceptión, died in 1971. Together with her, he had a daughter, Beba, who supported Pugliese in his musical work, especially since the 1970s.

The second great partner was Lydia Elmann, whom Pugliese had known since 1949, and who stood by his side until his death.

Pugliese was a big fan of Truco, an Argentine card game. (More info about truco). Osvaldo gambled again and again with great passion, perseverance and cheeky bluffing.

The composer - Recuerdo

Osvaldo shaped the Pugliese sound of the first years with the three emblematic tangos La Yumba, Negracha and Malandraca, pushing the contrast between the pounding beat and the filigree melody lines ever further to extremes. For me, these tangos, just like Flor de Tango, for example, are too harsh and too edgy.

Important compositions by Puglise are El encopao, Recién and ...

Recuerdo

Already at the age of 15, Osvaldo conceived the characteristic opening melody. Five years later, his father had to publish the masterpiece: Osvaldo was still a minor.

Recuerdo, with its unique musical richness, became a big hit - and Pugliese was a famous man, especially because Recuerdo unfolded its power in the hands of Julio De Caro's avant-garde sextet. Out of gratitude, Pugliese took over De Caro's arrangement almost unchanged for his first and probably best of three recordings in 1944, almost 20 years later.

Dozens of orchestras have been inspired by the multi-layered melodies, the beautiful harmonies and rhythmic gimmicks. Among these versions are traditional ones by the Orquesta Típica Victor (1930), experimental ones by Horacio Salgán (1950), dramatic ones by Color Tango (2007) or romantic versions with vocals by the Pugliese Orchestra himself (1966, voc: Jorge Maciel) or, for me most outstanding, by Fulvio Salamanca (1959, voc: Armando Guerrico and Luis Correa).

The Saint

Throughout his life, San Osvaldo had been persecuted for his political views, but had never betrayed his ideals. This included courage in the face of arbitrary persecutions and the tens of thousands of people who often disappeared without trace during the period of military dictatorship in Argentina.

Watch your hands

his friends warned him again and again, not an unfounded concern in view of the daily torture.

Because he survived the repressive measures unscathed despite his upright attitude, people saw him as a lucky charm and guardian angel, San Pugliese in fact.

Michael Lavocah writes that musicians in Argentina used to call each other Pugliese!, Pugliese!, Pugliese! to wish each other luck for the performance, and since the 80s, holy cards have been printed again and again depicting Pugliese as the patron saint of musicians.

The end

Pugliese suffered increasingly from his poor hearing, but much more from the fact that so many of his old friends and companions were no longer alive.

He died in Buenos Aires in 1995, accompanied by his second wife Lydia. Half the city said goodbye while La Yumba was played. Monuments as well as a metro station named after him keep the memory of this great man alive.

Pugliese for dancers

Pugliese's oeuvre was reflected in almost 700 recordings from five decades. They always offer, but usually also demand, a certain degree of interpretative possibilities from the dancers. Pugliese's repertoire consisted mainly of tangos.

Valses

A tanda with the singer Alberto Morán consisting of Ilusión marina (1947), Dos que se aman (1948) or La noche que me esperes (1952) shows that Pugliese can delight his fans with extremely fine, demanding, unusual and lyrical valses.

Desde el alma (1979)

heartbreaking - just like these dancers!

Simone Facchini & Gioia Abballe - Italien - 2018

La noche que me esperes (1952)

Clarisa Aragon and Jonathan Saavedra - Stuttgart - 2018

Instrumentals of the forties

In the hands of the orchestra, Julio de Caro's instrumental classics blossomed anew. Pugliese interprets them less sharply, more finely and with a steadier beat. These include Mala junta (1943), Tierra querida (1944), El monito, Boedo (1948-a hymn to de Caro's hometown) or Chuzas (1949). They are joined by Pugliese's composition Recuerdo (1944) and the absolutely exceptional piece La tupungatina (1952).

Hits with Roberto Chanel

like Farol (1943), Corrientes y Esmeralda (1944) oder Rondando tu esquina (1945) already contain many of the typical musical elements for Pugliese, but they still correspond to the tango-typical pattern just as the

Gems ofAlberto Moráns

like Yuyo verde (1945), El abrojito (1945) Quiero verte una vez más or the fantasticUna vez (1946) with a magical rhythmisation in sixteenth notes or Sin palabras (1947).

Recuerdo

Noelia Hurtado and Carlitos Espinoza - 2018 - Belgrad

Mala junta

Sabrina Masso and Federico Naveira - San Francisco - 2018

Una vez

Noelia Hurtado and Gaston Torelli - Berlin 2018

The mature sound and the late style

Pugliese's oeuvre is too extensive to even hint at its diversity here.

Listen, for example, to Patético (1948), De Floreo, Canaro en París (1949) with a sensitively played bass solo, Tierra querido with its violin solo, Cascabelito (1955) and Remembranza (1956), sensitively interpreted by the great Jorge Maciel, or the classics Nochero soy (1956), La mariposa (1966) or Zum (1973). Gallo ciego (1959) became famous before 2000 as a show number by Ricardo and Nicole.