Aníbal Troilo (Buenos Aires, 11th of July 1914, 18th of May 1975), is known both as one of the best Tango orchestra director and one of the best bandoneonist. Among all Argentine Tango orchestras, he directed one of the most versatile and histrionic. During his long career and his many recordings, his style varied a lot, from rhythmic, to melodic, to more dramatic and sophisticated. His greatest merit has been to have composed always high-quality music, but at the same time understandable by ordinary people who craved to dance tango. Before forming his own orchestra he played with some major orchestras of the time: in 1931 briefly with Juan Maglio, later with Julio de Caro, and for a short period with Juan D’Arienzo, Angel D’Agostino, Luis Petrucelli, Tipica Victor, Feliciano Brunelli, Elvino Vardaro and Juan Carlos Cobian.
Aníbal Troilo and his orchestras.
“Everybody to Marabù, the night club of highest level, where Pichuco and his orchestra will make you dance beautiful tangos”: this was the notice at Marabù in 1937, the first club where Troilo played with his orchestra. Troilo’s nick name was El Pichuco, probably given by a friend of him during his early youth.
1937 – 1941, Troilo with Fiorentino and instrumental.
During this first period Troilo followed the trend started with D’Arienzo and played rhythmic and powerful tango, although adding already his own signature, with interesting rhythmic variation and an original sound, that is very adapt for dancing the same tango in many different ways.
Best Tangos od the first period:
Te aconsejo que me olvides, 1941, Fiorentino
Milongueando en el cuarenta, 1941, instrumental
El bulin de la calle Ayacucho, 1941, Fiorentino
Guapeando, 1941, instrumental
En Esta tarde gris, 1941, Fiorentino
No le digas que la quiero, 1941, Fiorentino
Tinta Roja, 1941, Fiorentino
1942 – 1949: Troilo’s evolution
As all other orchestras, also Troilo started to slow his Tango, adding nuances and embellishment to the music. Music was still composed for the dancers and the compás was always present, but Troilo started playing less staccato, and to make the link between phrases more sophisticated; furthermore there are more variation in the intensity of the music.
Best Tangos of this second phase:
Pa que bailen los muchachos, 1942, Fiorentino
Barrio de tango, 1942, fiorentino
Cuando tallan los recuerdos, 1943, Alberto Marino
Garua, 1943, Fiorentino
Tal vez será su voz, 1943, Alberto Marino
A bailar, 1943, Francisco Fiorentino
Cristal, 1944, Marino
Quejas de bandoneon, 1944, Instrumental
La noche que te fuiste, 1945, Floreal Ruiz
From 1951 : Troilo’s experimental period
After a couple of years without recording, Troilo started a new phase of his career, more experimental, in line with the evolution of Tango and, later on, from 1955, with the decline of milongas and tango danced. Although some great tango for milongas are composed in this period, the music of this phase is more avant-garde, very sophisticated, sometimes not with a clear compás, and this is why, even if absolutely beautiful, is not heard too much in milongas.
Best Troilo’s Tangos after 1951
Inspiración, 1952, Instrumental
Quejas de Bandoneon, 1952, Instrumental
Danzarin, 1958, Intrumental
Troilo’s valses and milongas
Troilo was perfectly able to compose and play rhythmic and energetic music and it is no surprise that in his discography there are many valses and milongas often played for the pleasure of the dancers.
Troilo’s best Valses
Tu diagnostic, 1941, Fiorentino
Valsecito amigo, 1943, Francisco Fiorentino
Palomita Blanca, 1944, Alberto Marino and Floreal Ruiz
Flor de lino, 1947, Floreal Ruiz
Romance de Barrio, 1947, Floreal Ruiz
Troilo’s best milongas:
Mano brava, 1941, Francisco Fiorentino
Con toda la voz que tengo, 1941, Francisco Fiorentino,
Ficha de oro, 1942, Francisco Fiorentino
Cimarron de Ausencia, 1945, Alberto Marino and Floreal Ruiz