Fresedo recordings in 1932

Bandoneons: Osvaldo Fresedo, Pascual Storti, Juan Salvatore, then Ángel Farina, later replaced by Luis Petrucelli and there was also a brief performance by Eduardo Del Piano.
Violins: Adolfo Muzzi, Pedro Desrets and José Lorito.
Piano: Sebastián Lombardo
Double-Bass: Alfredo Corleto
Drum-Set: Saly S. Nisguritz
Saxophone: Tomás Fumo
 
“- We made the first symphonic orchestra, with orchestrations by Sebastián Lombardo and Ramón Alejandro del Barrio.
Because De Caro also said that he had made the first symphonic orchestra, but I keep the programs where we announced "the first symphonic orchestra" with which we opened the Astor cinema".
The artistic event took place on May 3, 1932, in the aforementioned cinema at 746 Corrientes Street."

In his authobiography “El tango en mis recuerdos” (1964) De Caro mentions that he formed an Orquesta Sinfónica in 1932, sadly, I couldn’t find an exact date… Luis Adolfo Sierra said that Fresedo already made a Symphonic Orchestra to perform tangos in 1932. Julio De Caro did it in 1934. De Caro in his memorias remembers the bad attitude of the academic musicians for making them play “Lesser music”. Unfortunately, De Caro never mentions their names and there’s no photographic material of such symphonic orchestra. Neither mentions about his symphonic orchestra in 1934, or more precise dates of his symphonic orchestra of 1932…
Francisco Canaro also formed an Orquesta sinfónica in 1929 and did some recordings until 1933 with it. But it was just an extended Típica with the addition of a flute, trumpet and drum-set.
Who made the first orquesta sinfónica to perform tangos?
We lean to Fresedo because of the following extract. In a program provided by Maestro Fresedo, we can read:

"For the first time in Buenos Aires, Osvaldo Fresedo and his Orquesta Tipica and singer Roberto Ray", and the repertoire includes:
"Happy day" - which is something to open with joy, said Fresedo. "Inspiración", "Rapsodia en tango" -written based on "Tango mío".
 
"Tango sinfónico humorístico", written based on "El espiante", where there are a series of effects, voices and they announce that "primer turno a comedor" bit that can be listened in the 1932 Brunswick recording. The mentioned program also specifies: Harmonization and arrangements: Ramón Gutiérrez del Barrio. Instrumentation: Sebastián Lombardo.
The numerous orchestral group in charge of these experiences, due to the innovative intention that Maestro Fresedo always showed, incorporated into the basic instrumental set-up of the Orquesta Tipica all the usual families of instruments that make up a symphonic orchestra (complete and numerous string line, woodwind, brass, percussion, etc.)
This important orchestral body was made up of 27 professionals chosen from among the most highly qualified elements in our musical sphere. Then it went to the Politeama and later this formation was presented in the month of June in the "Cine Florida" on Florida 275 and in the cinema theater "Rose Marie", of Lavalle 750, and in the month of November, fulfilling radial performances on LR3 Radio Belgrano. Logically, to maintain a formation of such magnitude, means a considerable expense, that could not be maintained for much more time, forcing Fresedo to leave his ambitious project aside.

At the end of 1932, Fresedo complained to the Brunswick label that they were imposing the estribillistas of his orchestra. He wanted to have "the boy that sings with me at the cabaret", which was no other than Roberto Ray. Ray was recommended to Fresedo by Luis Rubistein, and Emilio Fresedo gave him the stage name Ray, an abbreviation of his surname Raimondi.

Roberto Ray, according to his colleague Osvaldo Arana, was the one who "invented" the way in which one should sing in Fresedo's orchestra. Some changes were made to the stuff of Fresedo's Orquesta Típica, particularly the bandoneon section:

Bandoneons: Osvaldo Fresedo, Pascual Storti, Juan Salvatore, then Ángel Farina, later replaced by Luis Petrucelli and there was also a brief performance by Eduardo Del Piano.
Violins: Adolfo Muzzi, Pedro Desrets and José Lorito.
Piano: Sebastián Lombardo
Double-Bass: Alfredo Corleto
Drum-Set: Saly S. Nisguritz
Saxophone: Tomás Fumo

Translation and compilation: Camilo Gatica

Bibliography: “El bandoneón y sus intérpretes - Generación 1910" (First part) Zucchi, Oscar. (Ed. Corregidor, 2001).
https://www.todotango.com/historias/cronica/541/Orquesta-Tipica-Francisco-Canaro/
http://tangosalbardo.blogspot.com/2016/09/la-orquesta-sinfonica-de-de-caro.html
“El tango en mis memorias”, De Caro, Julio. (Ed. Centurión, 1964.)
“La historia del tango Vol.7 – La época Decareana”, Various authors (Ed. Corregidor, 1977, page 1083)


 























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