At various times participate in sessions recording as a solo and accompanying other performers
As outlined in a previous posting on this blog in April last year, there is an interesting number of recordings where you can listen to the guitarists Ignacio Corsini playing guitar solos. 
Notwithstanding that the labels do not indicate those who accompany him in his later recordings is known that the pianist was Paulownia, and that among the four guitars Armando were accompanying Pages and Rosendo Weigle. Enrique Maciel recall that the group had devinculado by 1943, but remained always within the circle of friends of the singer. In fact, so much so that in the 50 verses musicalized "That singer of my people" whose verses were written by Corsini.
In this brief comment, we recall that Rosendo Pessoa and Rafael Iriarte, both guitarists Knight singer, performed a series of recordings for the Victor company in 1927. By then, Rafael Iriarte was already doing time Corsini disconnected. However, integrated weight at the time along with Jose Maria Aguilar's guitar ensemble accompanying the singer and which recorded in the studios of Max Glücksmann.
labels "National Disco" Corsini of that time when they testify the accompanying note: "Aguilar and weight."
Subsequently, weight and Armando Iriarte Pages conformed with the "Odeon Trio, which made notable interpretations printed for Glücksmann Max.
The album illustrates this solo performance weight and Iriarte is:
The album illustrates this solo performance weight and Iriarte is:
79994 A - Montecristo - Vals - Weight-Iriarte
79994 B - Forever - Tango - Weight-Iriarte
Similarly, in the same year 1927, he recorded another duet recordings of guitarists on the same label Corsini Victor.
These José María Aguilar and Armando Pagés.
Jose Maria Aguilar, as we indicated previously, at that time Rosendo Pesoa integrated with all accompanying Corsini guitars in their performances and recordings for Glücksmann. Notwithstanding these recordings they made with the future member of the famous trio of guitars singer Knight.
chosen to illustrate this brief comment on the performance of the duo Aguilar-Pagés with the next album:
79884 A - Manos brujas - Fox Trot - Aguilar - Pages (Take 2)
79884 A - Manos brujas - Fox Trot - Aguilar - Pages (Take 2)
79884 B - honeysuckle - Zamba - Aguilar - Pages (Take 3)
recall that the guitar duo that accompanied Ignacio Corsini at the time, joined as a third guitarist Enrique Maciel and for a short time the trio consisted of 
Aguilar, Weigle and Maciel.
Aguilar, Weigle and Maciel. In 1928, José María Aguilar is organized by Carlos Gardel to integrate the guitar trio with José Ricardo and Guillermo D. Barbieri to accompany him to Paris. It is highly likely that the same Aguilar, who had also accompanied Corsini in his first set of discs to Glücksmann In 1920, Corsini recommend to the young talent at that time was Armando Pagés, to fill the void left after his departure with Gardel. The dates on which each guitarist joins the group are concerned about matching so this hypothesis could be viable.
is also very likely that the brief introduction of Armando Pagés the ranks of Gardel after untying José Ricardo, has been maintained through José María Aguilar, who already knew well Pagés and had recorded a duet with him .
Pagés recall that tested for a month with Carlos Gardel, with Barbieri and Aguilar, while it operated in parallel with Ignacio Corsini, until finally the time to disengage from Corsini, the singer matches the supply of Gardel and Pagés opts to stay with the singer Knight. 
h. Dr. Ignacio Corsini, tells us that the guitarists of his remuneration Corsini charged throughout the year, was in season or whether they were in recess.
From the data available from vintage publications and testimonies of the characters from the artistic world who were interviewed by various media, we see that it was an exceptional event that the band set an interpreter accompany another during recess periods, as happened on several occasions with Gardel's guitarists. Indeed, in 1932, Barbieri, Aguilar and Riverol Falcon Adelma accompanied a recording for the Brunswick company to undertake the Waltz "shortest path", while the thrush was in Joinville ending its series of French films. A curious fact is that the stable of guitars trio had left Gardel in Buenos Aires from France, was composed by Barbieri, Riverol and Vivas, as Aguilar had been detached from the set by the singer in 1931, unhappy with his behavior.
However, to accompany Adelma Falcon The trio joins again with Aguilar and so indicated on the label of the disk.
Regarding the guitars of Corsini, we note that for the last recordings made by the Knight singer, no indication as to the accompaniments in the only two albums he recorded on 19 June 1946.
From the data available from vintage publications and testimonies of the characters from the artistic world who were interviewed by various media, we see that it was an exceptional event that the band set an interpreter accompany another during recess periods, as happened on several occasions with Gardel's guitarists. Indeed, in 1932, Barbieri, Aguilar and Riverol Falcon Adelma accompanied a recording for the Brunswick company to undertake the Waltz "shortest path", while the thrush was in Joinville ending its series of French films. A curious fact is that the stable of guitars trio had left Gardel in Buenos Aires from France, was composed by Barbieri, Riverol and Vivas, as Aguilar had been detached from the set by the singer in 1931, unhappy with his behavior.
However, to accompany Adelma Falcon The trio joins again with Aguilar and so indicated on the label of the disk.
Regarding the guitars of Corsini, we note that for the last recordings made by the Knight singer, no indication as to the accompaniments in the only two albums he recorded on 19 June 1946.
Ignacio Corsini (h) states that for "reasons that would be unpleasant comment," Knight singer had a very restricted access to the wax during the last decade as a professional singer. It is very likely that commercial reasons, the record company did neglect Diha situation, which unfortunately prevented us to all fans of Ignacio Corsini to recover the repertoire that grew during the 40's, repertoire that message gave great significance to folk.
were lost among other interpretations of "Toast of Blood," "My poncho Tucuman", "Aurora Pilgrim," "Nostalgia," "Along the way," "Song of the carrier of fire," "The carrier "" I come to tell my troubles, "I am a pilgrim gaucho", etc.
Notwithstanding that the labels do not indicate those who accompany him in his later recordings is known that the pianist was Paulownia, and that among the four guitars Armando were accompanying Pages and Rosendo Weigle. Enrique Maciel recall that the group had devinculado by 1943, but remained always within the circle of friends of the singer. In fact, so much so that in the 50 verses musicalized "That singer of my people" whose verses were written by Corsini.
data recordings mentioned are:
18692 A - Mama vieja - Zamba (C-15 599) - 19/6/1946
18692 B - Milonga triste - Milonga (C-15 600) - 19 / 6 / 1946
18692 A - Tristeza criolla - Vals (C-15 602) - 19/6/1946
18692 B - Brother gaucho (Samba) (C-15 601) - 19/6/1946
Alongside this activity, the information contained on the labels of the series corresponding to the recordings of the duo "Ruiz-Gallo", we found that Pagés and weight up Irala and a harpist with not mentioned-which could be Felix Perez Cardoso, the accompanying
a series of recordings by the number of matrix are older, contemporary and post made with Corsini in 1946. As an example we mention the following:
18692 A - Mama vieja - Zamba (C-15 599) - 19/6/1946
18692 B - Milonga triste - Milonga (C-15 600) - 19 / 6 / 1946
18692 A - Tristeza criolla - Vals (C-15 602) - 19/6/1946
18692 B - Brother gaucho (Samba) (C-15 601) - 19/6/1946
Alongside this activity, the information contained on the labels of the series corresponding to the recordings of the duo "Ruiz-Gallo", we found that Pagés and weight up Irala and a harpist with not mentioned-which could be Felix Perez Cardoso, the accompanying
a series of recordings by the number of matrix are older, contemporary and post made with Corsini in 1946. As an example we mention the following: 10559 A - Nostalgia Santiago del Estero - Zamba (C-14 361) 10559 B
- The humahuaqueño - carnival (C-14363)
10560 A - The dove - Tonada (C-15 020) 10560
B - located dancing - Escondido (C-15 021) 10566
A - As the cock crows - Zamba (C-18 973) 10566 B
- Hearts games - Cueca (C-18 976)
- The humahuaqueño - carnival (C-14363)
10560 A - The dove - Tonada (C-15 020) 10560
B - located dancing - Escondido (C-15 021) 10566
A - As the cock crows - Zamba (C-18 973) 10566 B
- Hearts games - Cueca (C-18 976)
numbering of the latter disk arrays, it is likely that these two compositions have been recorded contemporaneously to the withdrawal of Ignacio Corsini of artistic activity, or even later. Listening
these recordings, we see the characteristic shape of playing Weigle and Pages, and even in the knock-kneed, the foot to the start of the song ( "In!" ), is said by a voice very similar to that given the same foot in the sambas recorded by Corsini in 1946.
is very likely to be Rosendo weight, which is on the other hand who whistled in the recordings of singer Knight, "many times 
with Corsini himself", as shown in the movie "Idolos radio "when interpreting the samba" By the way. "
with Corsini himself", as shown in the movie "Idolos radio "when interpreting the samba" By the way. " In the sample that is to the left of this paper, we illustrate the comments above, with fragments of the following topics: Forever (Tango), by weight and Iriarte; Honeysuckle (Zamba) and Manos brujas (Foxtrot) by Aguilar and Pagés, Mama vieja (Zamba) and Brother gaucho (Zamba) by Ignacio Corsini, and finally the full version of the samba "As the cock crows", the duo Ruiz-Gallo with accompanying Irala, Pagés and Weigle.
0 comments:
Post a Comment