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Ignacio Corsini is removed from the artistic activity in 1949

passes the final retirement years with his family and surrounded by the memories of fans who greet him on the street recognize

In the interesting biography that will leave us posted on Dr. Ignacio Corsini (h), tells how it took the last years of the life of singer Knight.

Never again sing professionally since his last farewell performance before the microphones of Radio Belgrano, on May 28, 1949.

At that time he said goodbye forever to his audience, singing "The cowherd", "I come to tell my troubles," I am a pilgrim gaucho, "" The little store in Santa Lucia "and" By the way " .

This year will mark exactly 60 years after that latter end recital radio. We wonder if they ever appear any acetate that last season that allows us to rescue those exciting moments. The

exception was made in 1959, when she appeared on the television program "Back to live", which was then led the multifaceted "Blackie" and Carlos D'Agostino. We recall that at that time almost all television programs were performed live, so that hardly any copies have survived. Not rule out that a fan in a particular way could be recorded on a tape recorder open the application, but so far not detected any copies.

However, survived a lot of photographs that document that presentation and show a Ignacio Corsini haired, elegant, yet sleek and elegant in his appearance. For the time was 68 years old.

happened On that occasion a historic event for all fans of the gentleman singer Blackie to the accompaniment of the piano, sung for the last time in public, although not professionally, "the first stanzas of" The little store in Santa Lucia. " His son recalls that touching moment by pointing out that the interpretation aroused a standing ovation in the study, although "certainly a great veil of nostalgia and sadness" Corsini engulfed at that time ".
was
an exciting program where participants also old friends who were reunited with the singer. His grandson, Dr. Eduardo Corsini, told us at some time that this time he accompanied his grandfather as a boy-a study of the former Channel 7, where the transfer took place and witnessed that event, playing behind the decorations were stationed there.

His son remembers those years of retirement saying artistic Corsini forgotten and began to believe that his life had come in isolation and in memory of the past: "seemed unable to let go of his dead partner and other friends and happenings times " .

recall that his wife, actress Victoria Pacheco, died in 1948, and that was one reason that more weighed to determine their distance from the edge. On one occasion, during his long retirement, he remembered his wife with these words: "I note that much of my success I owe to my unforgettable wife, lifelong companion, she encouraged me in uncertain times, and keep it more deeply the love of a lifetime ... "

While it is a fact that Ignacio Corsini left the artistic activity in strict form, do not give way to potential returns, however, many testimonials of people who treated him in those years tell us that it was not unusual, that at the request of a friend or fan, singing a short verse a cappella. Many times until even he did by telephone.



Other references show us Corsini getting in the door of his home fans salute that, even over the years, concurred to say hello and ask them to bestow on any autographed photo, or you can download some of his records. The stories say that Corsini was always generous in this regard. Corsini

He wrote these autobiographical references in his last years in 1964: "I live for my memories. This is only my point location to look back without sadness, but with a sweet and deep nostalgia ".

On the left you can see a commentary published in 1954 where he discussed the reissue of albums that even then they were exhausted. It is noteworthy that even his last recordings were found also out of print. The commentary was published in the journal "La Cumparsita" on June 3, 1954.

collector Angel Olivieri recalled that on one occasion while visiting at the home of collector Sanfino Pascual, were listening to tango "to stop the dance" performed by Ignacio Corsini, on a computer had a very good gain and excellent speakers for the time. Corsini, who was a neighbor of Sanfino, and was at the door of his house, heard the recording from the street and approached the residence of the collector. Great was the surprise of two friends when they met with Ignacio Corsini, who was very interested to hear that recording. They began to talk and Corsini Olivieri tells he admired very much his interpretation of the tango "Chiqué"

- "It nearly killed me. He would not talk about some issues "

As is known Corsini was not very fond of the issues related to the slang. Olivieri recalled that then heard in silence "The Goodbye" and then express Corsini "with a tinge of sadness that was reflected in his face" :

- "That golden age ...! gave me many satisfactions that issue ... "

Other anecdotes remind many opportunities to visit specialist collectors in their discography, who had given his friend, asking to make him listen to some of his creations, and often times even surprised to rediscover who he believed had recorded works have not played before. Is that the catalog of recordings Ignacio Corsini is almost as vast as that of Carlos Gardel and embracing the thirty-four years of work, not counting the significant repertoire of the last decade of work that was never recorded on disk, and even contained a considerable amount of extra pieces composed by Blomberg and Maciel.

Once, we referred a friend recalled that during the years of artistic retreat, Corsini one time was interested in hearing a recording his own in particular, and had learned that a collector had in his possession a copy of the disc in question . One morning, he presented to the house of the collector, who did not know, and hit the door. The wife answers the door and stays in one piece Knight saw the singer asking for her husband. The collector could not believe his eyes to see a cordial Ignacio Corsini, who was a fervent admirer, who came to his private collection to "listen to interpret a work."

The photograph illustrating this short commentary, may be the last taken Ignacio Corsini posing in a photo studio, and shows Don Ignacio at 73 years of age. There may be other subsequent photographs taken in the privacy of his family. Sources


- "Ignacio Corsini, My Father" - Dr. Ignacio Corsini h. - It's all history.
1979 - "The history of tango. The voices of the tango. Ignacio Corsini "- Roberto Ruben Selles and Pesce - Editorial Corregidor.1978
-" Historias de tango "- Angel Olivieri. Foreword by Juan Carlos Esteban - Arrabal Editions Aql. 2005

Mastrabating On The Toilet

foreign editions

Ignacio Corsini recordings published in the ext igh

As in the case of recordings of Carlos Gardel and Augustin Magaldi, a lot of recordings of Ignacio Corsini were published abroad. The case of Carlos Gardel is very special, as well as recording in Buenos Aires, it was in Barcelona, \u200b\u200bParis and New York. Ignacio Corsini Agustin Magaldi, only recorded in the city of Buenos Aires.

have been reported original record releases Ignacio Corsini
in Brazil, Chile and the United States. Fabio

Cernuda is developing a valuable and unique research and analysis on the discography of Ignacio Corsini, analyzed shot by shot, and day by day record, according to reports recorded in the record books Glücksmann Max. We recommend that you do not miss his blog, and find that the excellent information. (ENTER HERE )

Ignacio foreign editions Corsini, unlike Carlos Gardel, contain only footage recorded in Buenos Aires.

However, in many cases is different from the published versions of his time in Argentina, and in any case, even in subjects who had no market penetration in the country.

illustrate this brief commentary with tags of two albums released in Brazil that we consider interesting.

The first of them is the hard Odeon No. 1244. In your face A, containing the tango "Silent Night", recorded on Friday, July 8, 1927, matrix number 1000. Fabio Cernuda points in his interesting analysis that that statement was never published in Buenos Aires. In fact, we only know the matrices: a) 1000-1, recorded on the same date as above, b) 2355 (04/04/1928) and c) a new array 1000-1 (6/24/1930 ) mistakenly design ada with such numbers, since it corresponds to the published in 1927. Refer to the work of Fabio Cernuda which explains in detail the present situation.

In the second side, containing the Tango "grumbling", matrix 414, recorded on Tuesday, February 22, 1927, and that is the same circle in Argentina disk No. 18488.

The second album released in Brazil we present Odeon disc is No. 1355. It contains in its side A, one takes very little spread of the song "Footprint Footprint ..." sung in duet by Ignacio Corsini and his son, Dr. Ignacio Corsini h. This is the 2029 matrix II, which was recorded on Saturday, February 25, 2008. We recall that making more widely is that corresponding to the array 2029, it was recorded on Thursday, February 9, 1928 and original circular disk No. 18534 B, 1928 and the replacement disk Criollo N º 18671 A, 1934.
Remarkably, the matrix 2029 I recorded the same February 25, 1928, corresponds to a version of "Footprint Footprint ..." sung only by Ignacio Corsini. So far there has been no issue with that decision.

On the flip side, we find the beautiful tango "Bandoneon" which was recorded on February 9, 1928, matrix number 2030, which circulated in Argentina as A-side disc 18534.

regard to 18534 disk, we must also warn Interestingly, the same circle in two different editions with different couplings on his face A. Indeed, in a first edition almost undiscoverable, since it was withdrawn from circulation, containing the Tango "Bandoneon" and the song "Footprint Footprint ..." (Matrix 2029) and a later one containing the style "Nightfall" (Matrix 1789, recorded on Saturday November 19, 1927), with the coupling of "Footprint Footprint ..." (matrix 2029). Illustrated with the labels in this latest edition of the disc above and N ª 18671.

All these versions have the support of Aguilar and weight, with the exception of taking the "silent night" in 1928 and 1930 that were recorded with the guitarists Pagés, Weigle and Maciel.

Regarding the last topic of interest at issue in this brief commentary, we refer to the album released in the U.S. by Decca under number 21053 of his "Hispanic Series." This is the tango criollo Tale "and corresponds to the array 5544, having been recorded on Tuesday, May 13, 1930, Pages, Weigle and Maciel on guitars. That decision was never published in Argentina. We have heard references would also have been published in Chile.

not know why it was decided not to publish this work and yet it was sent overseas to its dissemination. One possible hypothesis is that the authors have not given consent for publication. This presumption could be seen by the fact that the tango was edited by the company Victor and that the complainants were given the exclusivity to that record label. A fact that could bolster this assumption is the existence of a version of such works Alberto Vila held in the said seal. It would be a case similar to the case with issues of Carlos Gardel's tangos "Sons" and "My Mocosita" that because it exclusive titles Victor catalog could not be published in Argentina, without prejudice to which published two separate copies of the first in Brazil (matrix 3171) and Spain (matrix 3171-1) and in the case of "My Mocosita" was the only edition of the original matrix is \u200b\u200bknown. However, we recognize that not more conjecture. Another possibility to consider is that you dismiss Corsini himself for not being consistent with their interpretation. However, if that were so good I could have recorded again, as it did at the same time with other interpretations such as "Yira ... Yira", "The woman died in Paris," "Violet", etc. However, the registered version is masterfully played, which makes us the first tip of the hypotheses. However, we must admit that this is in the realm of mere conjecture and speculation, and we do not have strong elements that allow us to reach a categorical conclusion about it.

add

A curious fact that the side A of the disc contains Enrique Rodriguez Orchestra, performing "The charcoal-burner."

Finally we note that the version that illustrates this comment was not published in its original matrix, as we are unaware of the characters printed on the cover of the album, with proof of this statement that when the rematrizaron disk (almost certainly in the U.S.), cut the sound signal before the final chord of the guitars. Thus, Ignacio Corsini end interpretation and, where it is expected the usual resolution of the guitars, which no doubt was recorded in the original array Argentina- hear only silence. However, we note that the technicians did a remarkable job of rematrización, since the work is heard with excellent sound and clarity. Although the work was recorded in 1930, editing the disc would be about 1939, information that we infer from the number of the matrix of the other side (9791), which has also been rematrizada.

The sample posted on the left, we illustrate these brief reflections with fragments of the foreign editions mentioned, restored and remastered.

-

-

Fuentes - "On the first electrical recordings made by Ignacio Corsini" - Fabio Cernuda - www.ignaciocorsinigrabaciones.blogspot.com
- "Study of the discography of Ignacio Corsini" - S. Nicholas Lefcovich - Author's Edition. 1996

- "Ignacio Corsini, my father" - Dr. Ignacio Corsini h. - Editorial Todo es Historia - 1979

Cervical Mucas Day 23/30

Ignacio Corsini Ignacio Corsini represents the stumbling block in

In 1918 the company presented the herman you Podesta in "stumbling block" and "The farm of Don Lorenzo "Martin Coronado works

season in 1918, Ignacio Corsini makes some appearances at the Teatro Politeama acting company member of the Podesta brothers, starring roles in the plays" The stumbling block "and" The farm of Don Lorenzo " Martin Coronado, and "hidden law" by Claudio Martínez Payva.

However this was not the first time participating in "The stumbling block," since the end of 1916, the Don Pepe opened the Summer Theater Podesta, said work was performed with the participation of the role Corsini Manuel. The Summer Theatre was built by Peter Podesta on the site of an old corral was outdoors, and was located in San Juan and Entre Ríos, opposite the police station 18 of the Federal Police. The reports

Pepe Podesta (cited by Dr. Ignacio Corsini h.), the father of Circo Criollo recalls this season and refers to the Theatre Summer saying it was "... an entirely local Outdoor Erto, minus the stage. More than once had to defend ourselves from the cold, wind and rain, and the crowd was sometimes the show with umbrellas open, encouraging artists to not to interrupt the "

Ignacio Corsini, at that time was a resident of the neighborhood, and lived in the house on the corner of San Juan and Solis, along with his wife Victoria Pacheco and their young son Ignacio, and met fellow art-cafe in a store that was located in San Juan and Entre Rios.

In 1918, the company Politeama and passed to the March 30 premiere, "The farm of Don Lorenzo" by Martin Coronado, which is a continuation of "stumbling block", where once again Ignacio Corsini, plays the role of Manuel. The work was well received by the audience cheered the opening night the author and the performers. Originally paper was offered by Martin and Pepe Coronado to the great actor Paul Podesta Podesta, who had released "The stumbling block" in 1902 and had given life to the role of Manuel, but Paul was at that time conducting a successful season in modern theater, and thus he offered to replace Ignacio Corsini the role originally intended for Paul Podesta, which undoubtedly proves the acting chops of singer Knight.

In his "Memoirs of a theater man, Enrique García Velloso, recalls the figure of Martin Coronado and the details surrounding the creation of" stumbling block "and the circumstances of their subsequent screening. Remember

García Velloso, the original manuscript of the work - which was written in verse, was read for the first time in a meeting at the home of Rafael Obligado around 1891.

were present at that meeting "... Calixto Oyuela, the Mexican diplomat novelist Federico Gamboa, minister at the time in Buenos Aires, Leopoldo Diaz, slender, elegant, pointed black beard and mustache of a musketeer, the Chilean poet Puelma Tuper, recently married a Viola Navarro, Ernesto Quesada, whose i mponente stature came from a group formed by Juan Antonio Argerich, Carlos Vega Belgrano and D iego Fernández Spiro, and in an angle the room, talking and Domingo Soto y Calvo Martinto.

The manuscript was taken by García Velloso, who by then a teenager, on behalf of his father's house Rafael Obligado to the time set for the gathering: half past nine p.m.. The trip was made by tram horses, from the Canyon Santa Lucia to the street Alsina, which gave him time to read and act through the work, being most interested in knowing the end of the second act. So, remember that continued reading in the light of stained glass windows of a colonial house that was located on the corner of Alsina and Cambaceres (current Bernardo de Irigoyen), where he was an old shop that sold ponchos and clothing for country people .

At that gathering, was read in the presence of Don Martin Coronado "The stumbling block." The young Garcia Velloso, who watched the scene through the windows of an adjacent desk remembers the highlight of the meeting:

"Suddenly there was silence and my father, who had a right to Don Martin Coronado, began reading the dimension of the scene for the first act of The Stone of scandal. Came to my verses rounded, easy, surround music, saw the faces of the listeners denoting an interest without fatigue, I saw my father stac ar moments of overflowing emotion or romantic, I saw Don Martin, staring at the carpet, stroking his goatee nervously and white ... When he finished reading the first act, all surrounding the grateful poet in monosyllables, with that nasal voice over and those children's gestures, congratulations from the audience ... "

However, the original manuscript of" The stumbling block, however remained returned to the same father's desk drawer Enrique García Velloso, where he remained eleven years awaiting their fate. There was a failed attempt to perform it in 1896, but this was unsuccessful.

By 1902, the company of the Podesta brothers performed a successful season at the Apollo Theater. Don Pepe Podesta had rented a room that paltry sum, which by then was in a complete state abandonment. Enrique García Velloso

offers "The stumbling block" to Pepe Podesta and Ezequiel Soria-director of the Podesta brothers' company, "but if the consent of the author.

Rescue and the manuscript was still in her father's desk and brought it to Don Pepe. However, the fact that the work was not written in prose genre objections by Podesta, who felt that his players did not have enough versatility for verse drama.

But Garcia insisted hairy enough to pass the reading Soria: "Start reading, to read, nothing is lost; enterémonos first what is the work and then discuss whether they can oo represent the actors in this company. "

It goes without saying that reading was a success and that Don Pepe that evening read the most important parts to his brothers Antonio, John and Paul. The latter was so impressed with the character of Manuel, and the lines indicated that the work should be sung by the character in Act II, which immediately began to compose music that would become known to name of "style of scandal."

Remember García Velloso, who heard him sing permanently Paul Podesta quietly while the composition I was given shape. In short, the work had begun to be tested, had already set a date, and Garcia Velloso had not informed his father that he had taken the manuscript, much less to Don Martin Coronado completely ignored the situation.

So the young Garcia Velloso prefer to deal directly to the author, before admitting the situation to his father, and without saying that the work already being tested, Soria concurs with the clerk that Coronado was in a dilapidated building Alsina Street, opposite the Church of San Ignacio, where the author found sitting at his desk "as ancient as the ceiling beams that threatened ruin ..."

When Coronado was comical take notice of his work Creoles represent the response was: "- Unable to impossible ...!!!". ..!!! He said this by clicking on the wooden desk with an awl to pierce the paper. Soria

then offers to Don Martin to allow testing of the work without announcing to the public, and without any obligation, to attend a trial, so that if the construction looks good, grant the permit, and if he thought, would forbid and "such good friends as ever" . Don Martin

Ignorant that the work already being tested, García Velloso says that the only extant manuscript was that his father had saved on the desktop, since the original itself retaining the author was blurred and unreadable. The copy held by García Velloso had been copied "in two colors" by the author.

Upon leaving the clerkship, Garcia Velloso and Soria was sworn maintain absolute silence about what happened, in order to prevent Podesta or father found out.

Finally, when the work was almost ready for the premiere, attended Don Martin, who after witnessing the admirable and careful interpretation, could not deny the permit. The work was premiered on June 16, 1902 and is one of the theater's initial attempts to Argentine start adult stage. The work presented to a generational conflict which also underlies the presence of a strain of social nature. The main roles in this release were made by:

- Don Lorenzo Antonio Podesta
- Don Pedro: John Podesta
- Pascual, José J. Podesta
- Elijah: Humberto Scotti
- Leonor: Herminia Mancini
- Carlos: José Petray
- Rosa: Read Conti
- Manuel: Pablo Podesta
- Alejo, Arturo Navas
- Matea: Esther Podesta
-Ciriaco Humberto Coronado Torterolo

Martin (6/4/1850 to 2/20/1919) was born in Buenos Aires and died Caseros, Buenos Aires, in the town that bears his name, where he owned a farm where he lived the last years of his life, held for health reasons. There he received the brief visits from his friends.

Pablo Podesta (11/22/1875 to 4/23/1923) was born in Montevideo and died in Buenos Aires. Remember Pablo José Antonio Saldías making dramatic and tragic leading roles in a stunning realism and unsurpassed comic performances, being temperamental person of character. Without having studied music, composed and played guitar "remarkably clean tap and fairness." Two of his most transcendent are inspired styles: "The stone of the Scandal" and "Santos Vega".

style "the stone of scandal" was very popular in the early twentieth century. These data above we can say that the letter was written by Martin Coronado around 1891 and the music composed by Paul Podesta to 1902.

He was known by various names: "The stone of scandal", which is the name of the play, "Rock of Scandal," "The stone of scandal", etc.

test of its popularity is the remarkable number of recordings of the est ilo were recorded from the prince of the century to the latest version it was recorded by Ignacio Corsini on Friday March 20, 1931. This version was published in Disco Nacional Odeon No. 18638, and again on different occasions. Etiquedas this commentary illustrates the edition of 1934. Corsini previously had made a sound recording of that style is retained in a sample disc. Those who had the opportunity to listen to the sample considered that the interpretation of Corsini was extraordinary.

way of enumeration, which is not exhaustive, of the occasions on which this work was carried wax, we can mention the following recordings: Angel Villoldo


- Columbia Disc No. T17 - The stone Scandal - Matrix 08767-1-5 - Accompanied by piano. Buenos Aires. Circa 1907
- Disco Odeon No. 41570 - The stone of scandal - Matrix Xba78 - Accompanied by piano. Buenos Aires.
1908 - Disco Victor N º 62195 A - The stone of scandal - accompanied with orchestra. - Matrix F-6 - Buenos Aires. 12/23/1907 (Published also in disk Victor 98304)

Flora Rodriguez de Gobbi Hortensia
- Bell Edison Cylinder No. 9032 - The Stone of Scandal - (Matrix 2M-9032). London. July 1906
- Edison cylinder N ° A 7019 - The Stone of Scandal - (4M Matrix-7019). New York. 1909. (Published also in Edison Blue Amberol Cylinder No. BA 22 163)
- Disco Victor N ° 3185 - The stone of scandal - (Matrix B-3574) - Philadelphia. Pennsylvania - USA - 24/7/1906
- Disco Relsie Record No. 168 - Scandal Stone - (matrix 20029) - Served with orchestra.


Ignacio Corsini - Sample Disc Acoustic - The Stone of Scandal (Matrix and date unknown. Circa 1920) - Accompanied by guitars. (Possibly José María Aguilar)
- Disco Nacional Odeon - No. 18638 A - The stone of Scandal (Matrix 6350) - Buenos Aires. 20/3/1931 - Accompanied by Pagés, Weigle and Maciel.

Diego Munilla
- Gramophone Disco No. 62250 - Stone Escandalo - Matrix 4751st - Paris. 1905. (Published also in Victor record album No. 3116 and Victor 62175)
- Gramophone Disco No. 62278 - a stumbling block - Matrix 2035e - London. 17/4/1905 - Accompanied by the Banda Real Militar. (Published also in Victor album - N ° 3124 and Victor 62183 Disc)

Carlos M. Pacheco
- Grand Disco Era Record No. 60131 - The Stone of Scandal - Adaptation cocolichesca with guitar accompaniment. Buenos Aires. Circa 1910
- Disco Victor No. 62861 - The Scandal of the Stone: sung by a gringo - (Matrix R - 521) - Carlos M. Pacheco and Eugenio Lopez. Buenos Aires. 4/3/1910

The sample
to the left of this text can hear the restored and mastered the style interpretations made by Angel Villoldo (columbia Disco / Disco Victor), by Flora Hortensia Rodriguez Gobbi (Disco Relsie Record) and finally an excerpt from the version that Ignacio Corsini conduct of the work in 1931.

A curious fact in the first version of Villoldo recorded for Columbia that can be seen in the sample posted, is that after the middle of interpretation, we see an acceleration in the speed of recording, and toward the end becomes more pronounced until the final chords of the piano which greatly accentuated. This actually is because during the recording process, the mechanism of the recording machine on which turned the wax matrix, began to fail and slow down increasingly, more and more accentuated until the end of the shot. The last line is recorded with the speed almost completely diminished.

Once printed the disc, when it plays at a constant speed, the parties recorded a lower angular velocity, we hear "more accelerated," meaning that the "default" speed reduction recording, produces an "effect" in reproduction opposite.

recall that the equipment used for burning discs at the time was recorded making Villoldo for Columbia Records, were not driven by power or by wind-up mechanism, as they could produce vibrations that distort the recording and decreased quality. Actually used a system of checks and balances that produced the motion needed to drive the mechanism spinning the plate where the plate was wax. Sources


- "Study of the discography of Ignacio Corsini" - S. Nicolas Lefcovih - edition of the author.
- "The unforgettable bohemian Buenos Aires" - José Antonio Saldías - Editorial Freeland, 1968
- "Ignacio Corsini, my father" - Dr. Ignacio Corsini h. - Editorial Todo es Historia, 1979
- "Circus, theater and tango gaucho" - Raul H. Castagnino - Institute Na tional Theatre Studies, 1981
- "The Circus Creole" - Raul H. Castagnino - Editorial Lajouanne, 1953
- "Memoirs of a man of the theater" - Enrique García Velloso - EUDEBA, 1960
- "The stone of scandal Martín Coronado: generational conflict and typological study" - Guillermo García - Faculty of Science Affairs of the University of Lomas de Zamora. Speculum. Journal of Literary Studies No. 33, 2006. (To see this work enter HERE )
- Encyclopedic Discography of Victor Recordings

Watch Bang Bros Epospdes

Politeama Ignacio Corsini makes his first sound film

Rhapsody Gaucha, is filmed in Buenos Aires in 1932 and for failure to image synchronization the sound never commercially released

In 1932, Ignacio Corsini is convened by the director, Jose A. Ferreyra, to star in a film sound.

The film is called "Rhapsody gaucho" and is shot through the Movietone system, allowing the sound to print directly on a sideband on the same side of the celluloid frames of the film.

Movietone system, had moved the previous sound system called Vitaphone, used by Warner Brothers, which consisted of synchronization of parts or all of the film with large disks. In this system, which became popular after 1926, the engines of the projector and the phonograph were regulated by a single generator. Each film was prepared so that each act of ten minutes we were covered by a disk. For proper synchronization of sound and image match is made the needle of the phonograph from a signal that corresponded to a mark on the film. The sound was sent through amplification system with speakers that allow the sound on the projection room.

However, this system was very flawed, since many times when he cut the ribbon of celluloid and was restored, these breaks result in the loss of frames minimally reduced the duration of the film, which synchronize with the sound was phased out hopelessly. The same happened when for some reason skipped the barb ridges. The film work with synchronization of picture and sound, though was not new, because since the late nineteenth century experienced mixed fortunes with that possibility, even in Argentina where local shorts were produced by Casa Enrique Lepage. Returning

Movietone system, owned by Fox, it came from German patent was in its infancy and exploited commercially in the United States by that film company.


As mentioned above, the sound was recorded optically on the film. In late 1925, William Fox took contact with this system through his brother Jack Leo, who made him watch a film with optical sound. The following year, Fox purchased the Movietone system patent for a million dollars, and invested six million dollars more to engage in research sound and well able to fully develop the system so it can be attached to their movies.

Returning to the film "Rhapsody gaucho ', the film was shot during 1932, probably in Buenos Aires, and was attended by Ignacio Corsini, Miguel Gómez Bao, Irma Córdoba film debut. The script and direction were given by José Agustín Ferreyra.

The film, prior to Tango (1933) by Luis Moglia Barth, may have been the first Argentine film sound sound recorded on the tape itself, but unfortunately, the experiment was not satisfactory. In fact, the dialogues were unintelligible and therefore could never be released. Ignacio Corsini h. only a brief comment about stating that "due to deficiencies in the Movietone sound system never to be released" . But there are other references that indicate that the problem was synchronization between image and sound in the band given optical film. In short, whether for one reason or another Rhapsody gaucho "that could have happened to the Argentine film history as the first sound film, was only an attempt. However, this film inesistente today, has the importance of rescuing at least in the survivors, the image clips and sound when Ignacio Corsini was a contemporary of Carlos Gardel.

Ignacio Corsini, by 1932, but had long since left the table to dedicate himself to singing, was an experienced actor, and also a singer and was consecrated by the public, so there is no doubt that the moments most important of the film should have been those that were interspersed his interpretations.

is said in the film played three compositions: the tango "Pain Gaucho," waltz "My lily" by Eduardo and Eduardo A. Bonessi Mendez and the sad camper "Releasing my sorrows" with music and lyrics Bonessi Eduardo Eduardo E. Mendez and Guillermo Llobet.

discarded then the premiere of the film by the technical deficiencies targeted, these three clips, we know that were exhibited at some time, and could also verify the existence of copies held by some collectors. Amura Osvaldo told us in an opportunity that Alfredo de Angelis, whose orchestra was artistic representatives was a collector of Argentine films and had in his collection of these shorts, which eventually fell off. Amura At one time had the chance to see them in a private screening of the Colorado home of Banfield and we confirmed such Corsini scene singing "Releasing my sorrows" in a cart.

Rubén Pesce, noted in "Voices of the Tango 1 - Ignacio Corsini" following on these clips: "Some believe that some or all three interpretations of existing short Corsini Ferreyra belong to the film. These are the tango gaucho pain in the decoration of a store, the waltz My lily, with his guitar under of a wisteria and the sad camper Releasing my sorrows in a cart, while you poked a yoke of oxen "

While doubted that these three films could have been part of" Rhapsody gaucho ", two elements that us to consider that these issues actually were part of that movie.

The first of them, irrefutable, is the original sheet music of the waltz "Mi Azucena", which no doubt leave notes in its heading that the work belongs "to the film Rhapsody gaucho."

The second disc is the Odeon National No. 18668, which contains the waltz "My lily" and the unhappy camper "Releasing my sorrows." Both issues were brought to the wax by Ignacio Corsini on September 28, 1933 and published the same year. The original disk labels mentioned illustrate this work.

This makes us presume that 1933 was the target year for the premiere of the film, although filmed in 1932, it is highly likely that the whole post could bring the release date to 1933. One thing that seems to confirm this presumption is that Ignacio Corsini not record any of the mentioned issues during the year 1932, except of course their interpretation for the soundtrack of the short listed.

At the recording session on Thursday, September 28, 1933, Ignacio Corsinii printed the following records:

7543 - The shot - Song jacket (Eduardo E, Mendez - Eduardo A. Bonessi)

7544 - Trembling - Vals criollo (G. Marquez, A. Acuña Charrúa)

7545 - My Lily - Vals (Eduardo E. Mendez - Eduardo A. Bonessi)

7545-1 - My Lily - Vals (E. Eduardo Mendez Eduardo A. Bonessi)

7546 - Releasing my sorrows - Sad camper (Eduardo E. Mendez - Guillermo Llobet - Eduardo A. Bonessi)

The two issues that were part of the film were edited occupying both sides of the same record (No. 18,668), resulting in striking addition to the fact that the same recording session is printed in wax three Mendez and topics pertaining to Bonessi. We recall that the teacher Eduardo Bonessi also was a teacher of singing and Ignacio Corsini remembered as one of the most used and disciplined students who had had, which speaks of the level of professionalism that is always reconoción in all areas in which served as singer and actor.

When editing the record 18668, is very probable that had already been ruled out the premiere of "Rhapsody gaucho" because on the label there is no mention to that film, unlike the above mentioned score, which must be earlier. As an additional note that the disc is also the last of the series "Disco Nacional Odeon", since the number 18669 from the series goes under the label "Creole Odeon Disco."

Finally, in relation to tango "gaucho Pain", the only record that remains is the soundtrack for the short as Corsini never committed to disc.

Accordingly, under these items, which although rare, are, however inconclusive, we can say that the three short alluded were planned as part of the film Rhapsody gaucho and fortunately survived as a valuable documentary evidence of incalculable value.

Dr. Ignacio Corsini (h) states that between 1929 and 1931 the singer made a short gentleman with tìutulo sound of "Creole Gallery, which performs songs in jackets. It is very likely he was referring to the clips that were part of Rhapsody gaucho.

The sample posted on the left, you can hear the soundtrack mastered and restored the waltz "My lily" and then two pieces of the footage posted on the disc 18668.

Sources

- Ignacio Corsini, my father - Ignacio Corsini (h). Editorial Todo es Historia
SRL-1979 - Studio discography of Ignacio Corsini. Nicholas S. Lefcovich - Author Editing

- The history of Tango - Tango Voices - 1 - Ignacio Corsini. Roberto Selles and RubènPesce - Editorial Corregidor -1978