|Sextetto Fresedo in 1923|
also Leopoldo Thompson and Francisco Ortega left the orquesta the
entire "bass section" of the recorded music was weighted on the left
hand of Rizutti's piano play. We can tell in his play how his style of
playing these typical rhythmical adoracions of the left hand was shaped
by the musical role he took in these days playing with Fresedo and which
we can clearly follow while listening to his recorded play.
|Gracias! Carlos Picchio|
During this stage of his career, they formed his orchestra:
Bandoneons: Osvaldo Fresedo, Alberto Rodriguez and Pastor Trivelli
Violins: Manlio Francia, Adolfo Muzzi and Jean Koller
Piano: José María Rizzuti.
Double bass: Carmelo Mutarelli, alternating with Humberto Costanzo.
Drums: Raúl Fresedo.
"The 11th Internship Dance"
On September 21st of that year '24, Fresedo's orchestra was summoned to play at the eleventh dance of the Internship -which was the last one- and it took place at the Victoria Theatre, where the quoted director presented his tango "El once", whose subtitle was "A divertirse". Fresedo reminded us of that event:
- "I was performing at Florida Dancing -which until recently had been called "Abdullah"- I had been hired for the 11th Internship Dance and it had been agreed that I should compose a tango alluding to that celebration.
With all the other things I had, I completely forgot what had been agreed and with seven days to go, I had not even began the tango.
So, we were playing in the cabaret and I said to the boys of the orchestra: "You are going to accompany me in A Major, and I will start and you follow me and I will tell you the tone. And so the tango "El once" came out, like an improvisation, with the accompaniment of the orchestra.
Then I wrote it, I published it and it could be out on time in four or five days.
The printing house, which was in Bartolomé Mitre and Riobamba, had it ready in two days.
Emilio's lyrics were added later".
In 1924, Prince Humberto of Savoy arrived in the country, before whom Osvaldo Fresedo performed with his orchestra in August. After hearing his congratulations, the Maestro Fresedo thanked him humbly: "Your Majesty, thank you. We do what we can".
Bandoneons Osvaldo Fresedo, Alberto Rodríguez & Pastor Trivelli
Violins Manlio Francia, Adolfo Muzzi & Jean Koller
Piano José María Rizzuti
Double-bass Humberto Costanzo
Fresedo was already at that time one of the three most important
conductors (the others were Roberto Firpo and Francisco Canaro, who
recorded for "Disco Nacional") and the main star of Víctor label and who
consolidated this label in the market of the tango. Its value was of
such magnitude that, beginning the last quarter of 1925, Max Glücksmann
decided to take it to his company Nacional Odeón allocating a
substantial amount of money for it. Once the objective was achieved and
as a welcome, in the first record that Fresedo recorded for his label,
joined the orchestra with the voice of Carlos Gardel.
Now with the cast of Odeón artists, Fresedo inaugurated the series as director with the tangos "Entrá nomás", by Juan Rezzano and Francisco Bastardi and of his own "Perdón viejita", with lyrics by [José Antonio] Saldías, plaque Nº5001, with its corresponding matrixes 3299 and 3302.
The mid 20s started full of work for Maestro Fresedo, Zucchi narrates in his book the following events:
“In 1925 Fresedo performed with his orchestra at the Errazuri’s Palace in front of Edward of Windsor, Prince of Wales.
During his stay in the Victor label the Maestro Fresedo had the chance to accompany the singer Ada Falcón in two acoustic recordings also from the year ‘25, with the tangos "Oro y seda" by Osvaldo Fresedo and Amadeo H. Canale, "Pobre chica" by Osvaldo and Emilio Fresedo on the first one and "Casquivana" by Ferreri and F. Martinelli Massa together with "Risas de cabaret" by José María Rizzuti on the second one, records No. 79592 and No. 79622 respectively.
the switch to Odeón, and judging by the matrix numbers, Fresedo’s very first
recordings in Odeón were made with Gardel. This was a brilliant move by
Odeón. Striking a contract with one of the biggest figures of the Victor label
and making him record with the most successful singer at the time would bring
great success to the newly incorporated, but already established Fresedo. This also might have effected Victor to form the OTV
with Manlio Francia, Julio De Caro, Ciriaco Ortíz, Luis Petrucelli and other
extremely talented musicians. The Orquesta Tipica Victor was under the direction
of Luis Petrucelli first and then later under Adolfo Carabelli's, without even stating the
director’s name in fear that a switch like Fresedo’s could happen again.
Also in 1925 he had the compliment of accompanying with his orchestra the Maximum Singer (Carlos Gardel) in a 78 rpm disc of 25cms made with the acoustic system that took the Nº18201, with the tangos "Fea" of [Horacio] Petorossi and Alfredo Navarrine, in the side A (matrix 3288) and in the back "Perdón viejita" of Osvaldo Fresedo and José Antonio Saldías (matrix 3289/1).
The opinion of the Maestro Fresedo with reference to his work with Gardel, was the following:
"I would have liked to do something else with the accompaniment, but Carlitos was used to sing with the guitars and with the sung tangos he sped up a lot. I wanted to restrain him a little bit and I could only play the rhythm. At that time you couldn't accompany in any other way".
“In the course of this year 1925 of so much activity for the Maestro Fresedo, his orchestra appeared on stage at the National Theatre, of the businessman Pascual Carcavallo, during the theatrical representation of the sainete of José Antonio Saldías entitled "La muchacha de Montmartre", in which he presented his tango "Muchachita de Montmartre" with lyrics by the same Saldías.”
Until November 1926 the Fresedo Sexteto recorded for the Disco Nacional Odeón record company in Argentina in acoustic recording technic. The switch to the new and better electric recording technic using microphones happened at that time. The first electric recording was on November 16th.
In the summer of 1926, Fresedo returned to his classic presentations in the refined clubs of Mar del Plata, then he performed at the Carnival dances of that year at the San Martín theatre in Esmeralda street, where the audience got to know his tango "Pinturita". Fresedo’s activity was so intense this year, he had to form another orchestra to play in different venues.
The maestro himself told Zucchi about it:
"By the year 26 I was playing in what had been the "Abdullah Club" and
when Lombart took it over it was called "Florida Dancing". Lombart
immediately called me to play there with my orchestra. The manager of
this place was Mr. Eduardo Calvo, who became a close friend of mine. So
close, in fact, that he decided to create a piece with me. One day he
gave me the lyrics and I, as if to get rid of him, made the music; it
was the tango "Arrabalero", which in the end turned out to be famous.
So the "Sexteto" was accomplished to the line-up below and got extremely successful until late 1928 with up to 300 (!) recorded tracks between november 1926 and october 1928 when the Orquesta left for Paris.
This period we could fairly name the peak of the guardia nueva went together with the general cultural "roar" of the famous roaring twenties - where in many cities people were having a good time after the end of Worldwar I. also as a result of rebuilt. In 1926 they also had the tremendous increase of recording technology which made the major step from acoustic to electric recording. These times eclipsed "slowly" from mid 1928 in the huge financial crash over the year 1929 which had a large effect on Argentina that used to be one out of ten of the wealthiest countries in the world before this crash.
And the actual major orchestra line-up that we hear on his Odeón recordings until 1928 was the famous Sexteto Osvaldo Fresedo :
- Bandoneon: Osvaldo Fresedo and Alberto Rodriguez
- Violin: Adolfo Muzzi and Jean Koller
- Piano: José Maria Rizzuti
- Doublebass: Humberto Costanzo
1928 Fresedo recorded many tunes with Ernesto Famá singing and also
many instrumentals. Adolfo Muzzi stays in the orquesta for the first
violin - and also at the end of the year for the tour to Europe.
Altogether Muzzi stayed with Fresedo for twenty years. Also in 1928 Di
Sarli was leading one of Fresedo's Orquestas in Buenos Aires - he had
five at that time! Also Miguel Caló was one of the major musicians in one of these Sextets.