Tango Icons: Osvaldo Pugliese

Another amazing icon of the Tango in Buenos Aires, and Argentina is the “Maestro” Osvaldo Pugliese.

He was born on December 2, 1905, in the neighborhood of Villa Crespo in Buenos Aires, into a family of musicians. His father, Adolfo Pugliese, played the flute in neighborhood ensembles, primarily in quartets. Two of his older brothers, Vicente Salvador and Alberto Roque, were also musicians.

Adolfo, his father, helped him take his first steps in music, buying him a violin with which he was sent to the Odeón Conservatory in the neighborhood of Villa Crespo. But it was there that he found the instrument that would become part of his life and distinguish him above many others: the piano.

He studied with great masters like Vicente Scaramuzza and Pedro Rubione, with whom he became an extraordinary pianist.

The Osvaldo Pugliese´s Orchestra

At the age of fifteen, he was already part of a trio with the bandoneonist Domingo Faillac and the violinist Alfredo Ferrito, with whom he made his debut in front of the public at a neighborhood bar called Café de la Chancha, a name given by the regulars due to the poor hygiene of its owner and the place.

Later on, he managed to reach the Big City, Buenos Aires, where he debuted by joining a group that had, as a particularity, the first female bandoneonist in the country: Francisca Cruz Bernardo, better known as “Paquita,” “The Flower of Villa Crespo,” director of that typical orchestra, who accepted his departure for a better economic future.

Later, with much more experience and skill, he became part of Enrique Pollet’s quartet (1924), and then of another famous contemporary, Roberto Firpo’s orchestra. By 1926, he was the pianist of the orchestra led by the great bandoneonist Pedro Maffia, continuing his ascent in the world of tango and gaining more and more prestige every day.

But Osvaldo Pugliese’s dream was to have his own orchestra. That’s why he parted ways with Pedro Maffia’s orchestra in 1929, along with the violinist Elvino Vardaro, to form his own group. Both made their debut at Café Nacional with great success, which led them to tour the country. However, the tour was an economic failure, and they had to pawn part of their instruments to get back home. Upon his return, he joined Alfredo Gobbi’s orchestra and later accompanied Daniel Héctor Álvarez, Roberto Firpo, and Miguel Caló.

But Pugliese never abandoned his dream, and so in 1936, he created a sextet with Alfredo Calabró, Juan Abelardo Fernández, and Marcos Madrigal (bandoneons), Rolando Curzel and Juan Pedro Potenza (violins), Aniceto Rossi (double bass), of which he was the director. They debuted on the famous Avenida Corrientes, at the Germinal. This was the starting point of his orchestra, which was presented at Café El Nacional on August 11, 1939, with Pugliese directing from the piano and Enrique Alessio, Osvaldo Ruggiero, and Eduardo Raimundo Armengol on bandoneons, Enrique Camerano, Julio Carrasco, and Jaime Tursky on violins, Aniceto Rossi on double bass, and, as a singer, Amadeo Mandarino, an orchestra that, although with the expected changes, accompanied him for 55 years. For example, in late 1943, Oscar Herrero joined as second violinist and was in the orchestra for 25 years, working alongside Emilio Balcarce (who replaced Tursky) and Francisco Sammartino (viola).

During that period, Don Osvaldo composed more than 150 songs, some very famous such as Recuerdo, La Beba, Negracha, Malandraca, and his anthem La yumba. He also recorded more than 600 songs by other authors.

His orchestra was graced by singers of the caliber of Roberto Beltrán, Roberto Chanel, Alberto Morán, since 1944, Jorge Vidal, Jorge Maciel, Miguel Montero, Alfredo Belusi, Adrián Guida, and Abel Córdoba, the latter of whom sang for 30 years in Pugliese’s orchestra.

Such was the artistic stature of this man that in 1985 he achieved what no one had done before: on December 26 of that year, to celebrate his 80th birthday, his orchestra performed at the renowned Teatro Colón in the City of Buenos Aires, a venue almost exclusively reserved for classical music and opera. Obviously, the theater was packed with an audience watching the maestro perform pieces from his then 46 years of uninterrupted activity.

Pugliese was also a socially engaged citizen. In 1935, he promoted the Argentine Musician’s Union, of which he was the 5th member to affiliate. He began a struggle “…where work is a personal dignity and not a punishment.” In 1936, he joined the young Argentine Communist Party (his affiliation number being 108). This, along with his ideas, led to persecution, censorship, and imprisonment during Juan Domingo Perón’s government – he even spent six months in jail in 1948. However, during these detentions, his orchestra continued to play, and red carnations on his vacant piano symbolized his situation. In his first radio appearance after Perón’s fall, he performed the tango “Ya no cantás, Chingolo”. During the Liberating Revolution, the persecutions were not as systematic, but in April 1957, he was detained along with other communists in the context of Operation Cardinal.

During the 1950s, Pugliese’s orchestra enlivened the milongas of the Club Atlético Palermo, which at the time was an opposition stronghold to the government’s official policies, as his orchestra was banned from broadcasting.

The death of Osvaldo Pugliese

Finally, on July 25, 1995, after a brief illness, he passed away at the age of 89 in Buenos Aires, his city. His remains were laid in state at the City Council of Buenos Aires and then taken to the Chacarita Cemetery along the emblematic Avenida Corrientes against the traffic. There, he rests in an imposing mausoleum built with contributions from tango lovers from many countries around the world, thanks to the work of a Friends Commission and the perseverance and drive of his widow and life partner, Lydia Elman. To the joy of those who admired him, his lineage lives on in another great pianist: Beba Pugliese, his daughter, and Carla Pugliese, his granddaughter, also a pianist and a great innovator of tango.

Maestro Pugliese received well-deserved recognition during his lifetime, performing on December 26, 1985, at the prestigious Teatro Colón just a few days after turning 80, accompanied by singers Adrián Guida and Abel Córdoba and an orchestra consisting of Roberto Álvarez, Alejandro Prevignano, and Fabio Lapinta (bandoneons); Osvaldo Monterde, Fernando Rodríguez, Diego Lerendegui, and Gabriel Rivas (violins); Merei Brain (viola); and Amílcar Tolosa (double bass).

Moreover, his name is invoked by musicians who have turned him into a synonym for good luck. The myth arose before a Charly García concert when the sound failed and was resolved after playing a tango record.

Since then, the holy card of San Pugliese has been present in dressing rooms accompanied by the following prayer: “Protect us from those who do not listen. Shield us from the jinx of those who insist with the national chicken foot. Help us to enter into harmony and enlighten us so that disaster is not the only cooperative action. Lead us with your mystery towards a passion that does not break bones and does not leave us silently watching a bandoneon on a chair.”

“I never consider myself an artist, but rather a worker in music. And a rather comfortable worker because those who work are the ones in factories, at the port. But I always felt like one of them,” the maestro defined himself. Thus, he tirelessly worked throughout his long musical career, creating more than 150 songs, including “La Yumba,” “Recuerdos,” “La Beba,” “Negracha,” or “Malandraca,” and recording over 600 pieces by other musicians and authors.

His piano ceased to play on July 25, 1995, when he passed away at the age of 89 in Buenos Aires. Although his daughter Beba and granddaughter Carla, both pianists, continue to uphold the legacy of this music worker who imposed his style on popular music.

Awards

Monument and Plaza dedicated to Osvaldo Pugliese, in Villa Crespo, a few meters from where he was born.

In his honor, a station on Line B of the Buenos Aires subway was renamed “Malabia-Osvaldo Pugliese Station” in 2009. He received countless distinctions. The Cuban government awarded him the Alejo Carpentier Medal, the most important cultural distinction on the island, while the French government appointed him Commandeur de L’Ordre des Arts et Lettres in 1988. Likewise, his city, Buenos Aires, declared him an Illustrious Citizen in 1986. In 1989, the Argentine Society of Authors and Composers of Music (SADAIC) and the Association of Tango Collectors unveiled a plaque on Avenida Corrientes (at 960) commemorating 50 years of the Maestro leading his orchestra. In 1990, he received the title of Honorary Academician of the National Academy of Tango.

He received the Konex Award three times: in 1985 for Typical Orchestra Director (Platinum), in 1995 a special mention, and in 2005 an honorary award.

The Malabia station on Line B of the Buenos Aires subway was renamed Malabia-Osvaldo Pugliese in 2011, following a several-year campaign in which thousands of residents of his native Villa Crespo and admirers everywhere signed a petition for the change.

In popular culture, Osvaldo Pugliese earned the nickname of anti-jinx (meaning, attracting good luck). This is why many say: “Pugliese, Pugliese, Pugliese” as a “charm” for good fortune.

The Work of Osvaldo Pugliese

1943

• ★ EL RODEO (July 15, 1943)
• ★ FAROL (July 15, 1943) sung by Chanel
• ★ MALA JUNTA (August 27, 1943)
• ★ MUCHACHOS COMIENZA LA RONDA (August 27, 1943) sung by Chanel
• ★ MILONGA DE MI TIERRA (October 21, 1943) sung by Jorge Rubino
• ★ QUE BIEN TE QUEDA (October 21, 1943) sung by Chanel

1944

• ★ RECUERDO (March 31, 1944)
• ★ SILBAR DE BOYERO (March 31, 1944) sung by Chanel
• ★ EL REMATE (June 1, 1944)
• ★ TORTAZOS (June 1, 1944) sung by Chanel
• ★ EL DÍA DE TU AUSENCIA (July 6, 1944) sung by Chanel
• ★ TIERRA QUERIDA (July 6, 1944)
• ★ LA ABANDONÉ Y NO SABÍA (July 20, 1944) sung by Chanel
• ★ TU CASA YA NO ESTÁ (July 20, 1944) sung by Chanel
• ★ EL ARRANQUE (August 22, 1944)
• ★ EL TANGO ES UNA HISTORIA (August 22, 1944) sung by Chanel
• ★ ADIÓS BARDI (October 17, 1944)
• ★ CORRIENTES Y ESMERALDA (October 17, 1944) sung by Chanel
• ★ AMURADO (November 24, 1944)
• ★ NADA MÁS QUE UN CORAZÓN (November 24, 1944) sung by Chanel
• ★ MALA PINTA (December 12, 1944)
• ★ PUENTECITO DE MI RÍO (December 21, 1944) sung by Chanel

1945

• ★ YUYO VERDE (January 25, 1945) sung by Morán
• ★ EL TAITA (Raza criolla) (January 25, 1945)
• ★ EL PALADÍN (March 20, 1945)
• ★ EL SUEÑO DEL PIBE (March 22, 1945) sung by Chanel
• ★ DERECHO VIEJO (May 28, 1945)
• ★ MALEZA (May 28, 1945) sung by Morán
• ★ EL MONITO (June 12, 1945)
• ★ PELELE (June 12, 1945)
• ★ RONDANDO TU ESQUINA (July 18, 1945) sung by Chanel
• ★ EL ABROJITO (July 24, 1945) sung by Morán
• ★ FLOR DE TANGO (August 28, 1945)
• ★ POR QUÉ (August 28, 1945) sung by Chanel and Morán
• ★ LA CACHILA (September 24, 1945)
• ★ MENTIRA (September 24, 1945) sung by Morán
• ★ GALLEGUITA (November 6, 1945) sung by Chanel
• ★ LAS MARIONETAS (November 6, 1945)
• ★ DANDY (December 3, 1945) sung by Chanel
• ★ POR QUÉ NO HAS VENIDO (December 3, 1945) sung by Morán
• ★ HOY AL RECORDARLA (December 18, 1945) sung by Morán
• ★ TINY (December 18, 1945)

1946

• ★ CONSEJO DE ORO (February 27, 1946) sung by Chanel
• ★ DEMASIADO TARDE (February 27, 1946) sung by Morán
• ★ FUIMOS (March 28, 1946) sung by Chanel
• ★ PRÍNCIPE (March 28, 1946) sung by Morán
• ★ DOS OJOS TRISTES (May 27, 1946) sung by Morán
• ★ SIN LÁGRIMAS (May 27, 1946) sung by Chanel
• ★ EL TÁBANO (June 13, 1946)
• ★ VAYAN SALIENDO (June 21, 1946)
• ★ NO ME ESCRIBAS (July 31, 1946) sung by Morán
• ★ TIEMPO (July 31, 1946) sung by Chanel
• ★ LA YUMBA (August 21, 1946)
• ★ MAL DE AMORES (August 21, 1946)
• ★ LA MASCOTA DEL BARRIO (November 8, 1946) sung by Chanel
• ★ UNA VEZ (November 8, 1946) sung by Morán
• ★ MIRANDO LA LLUVIA (December 20, 1946) sung by Chanel and Morán

1947

• ★ SIN PALABRAS (January 2, 1947) sung by Morán
• ★ ILUSIÓN MARINA (January 28, 1947) sung by Morán
• ★ OJOS MAULAS (January 28, 1947) sung by Chanel
• ★ CAFETÍN (March 27, 1947) sung by Morán
• ★ YO TE BENDIGO (March 27, 1947) sung by Chanel
• ★ DESILUSIÓN (April 28, 1947) sung by Morán
• ★ N. N. (April 28, 1947)
• ★ AMIGA (June 10, 1947) sung by Chanel
• ★ ESCUCHAME MANÓN (June 10, 1947) sung by Chanel
• ★ EN SECRETO (August 19, 1947) sung by Morán
• ★ JUEVES (August 19, 1947)
• ★ CABECITAS BLANCAS (October 14, 1947) sung by Chanel
• ★ EL MAREO (October 14, 1947) sung by Chanel and Morán
• ★ ANDÁ QUE TE CURE LOLA (December 1, 1947) sung by Chanel
• ★ EL BUSCAPIÉ (December 1, 1947)
• ★ BOLERO (December 16, 1947) sung by Chanel
• ★ ENTRADA PROHIBIDA (December 16, 1947)

1948

• Leave Me Alone (6-4-1948) sung by Morán
• Pathetic (6-4-1948)
• Negra (24-6-1948)
• Boedo (14-7-1948)
• Semicolon (13-9-1948)
• Two Who Love Each Other (15-9-1948) sung by Morán

1949

• Skewers (4-5-1949)
• In Front of a Glass (4-5-1949) sung by Morán
• Rascal (31-5-1949)
• And We Fall in Love Again (31-5-1949) sung by Morán
• Brave Strokes (22-8-1949)
• Alsina Bridge (22-8-1949) sung by Jorge Vidal
• Good Mate (27-9-1949)
• The Blind Girl (27-9-1949) sung by Jorge Vidal
• Heartless (25-10-1949) sung by Morán
• Canaro in Paris (28-11-1949)
• Catuzo (7-12-1949)
• Testament of the Suburb (7-12-1949) sung by Jorge Vidal

1950

• I Want to See You Once More (7-3-1950) sung by Morán
• Little Window of the Slum (7-3-1950) sung by Jorge Vidal
• Of Floristry (29-3-1950)
• Do It for the Old Lady (29-3-1950) sung by Morán
• Pastoral (3-5-1950)
• Old Market (3-5-1950) sung by Jorge Vidal
• Chains (30-6-1950) sung by Morán
• Because I Sing the Tango (30-6-1950) sung by Jorge Vidal
• Don Aniceto (26-7-1950)
• And You Lie Still (26-7-1950) sung by Morán
• Cowardice (24-10-1950) sung by Morán
• The Tobiano (24-10-1950)
• Dear Bar (16-11-1950) sung by Jorge Vidal
• A Benefit Dance (16-11-1950) sung by Jorge Vidal
• Call Me (24-11-1950) sung by Morán
• Take Everything (24-11-1950) sung by Morán

1951

• Mud (22-5-1951) sung by Morán
• Back to the Lodging (22-5-1951) sung by Morán
• Don Atilio (27-6-1951)
• The Bitter Mate (27-6-1951) sung by Morán
• Very Milonga (31-7-1951)
• Passionate (31-7-1951) sung by Morán
• The Sky in Hands (2-10-1951) sung by Morán
• The Saying (2-10-1951)
• May I Never Lack (6-12-1951) sung by Morán
• Olivero (10-12-1951)

1952

• Anything (28-1-1952) sung by Morán
• The Night You Wait for Me (version 1) (28-1-1952) sung by Morán
• Entrador (6-5-1952)
• For Two (6-5-1952)
• Now You Don’t Know Me (27-6-1952) sung by Morán
• The Tupungato Girl (version 1) (27-6-1952)
• For Sinner (9-10-1952) sung by Morán
• If You’re a Wizard (9-10-1952)
• The Embroil (13-11-1952)
• The Yumba (13-11-1952)
• N. N. (13-11-1952)
• The Tupungato Girl (version 2) (13-11-1952)
• Beloved Hands (18-11-1952) sung by Morán
• The Cachila (24-11-1952)
• Passionate (24-11-1952) sung by Morán
• Bad Company (29-11-1952)
• Mud (3-12-1952) sung by Morán
• The Night You Wait for Me (version 2) (3-12-1952) sung by Morán

1953

• Sunny Little Path (28-5-1953) sung by Morán and Juan Carlos Cobos
• Chique (28-5-1953)
• Milonguera (14-7-1953) sung by Juan Carlos Cobos
• San José de Flores (14-7-1953) sung by Morán
• Forgotten (16-8-1953) sung by Juan Carlos Cobos
• Unveiling (16-8-1953) sung by Morán
• The Last Drink (6-10-1953) sung by Morán
• Follow Me If You Can (6-10-1953)
• You Must Go Away (25-11-1953) sung by Juan Carlos Cobos
• The Hopscotch (25-11-1953)

1954

• Because I Don’t Have You Anymore (5-1-1954) sung by Morán
• Pickle (5-1-1954) sung by Juan Carlos Cobos
• The Liar (17-3-1954) sung by Morán
• My Lament (17-3-1954)
• No More Than Me (17-3-1954) sung by Juan Carlos Cobos
• I Don’t Want to Lose You (17-3-1954) sung by Morán
• Ninth of July (13-5-1954)
• I Advise You to Forget Me (13-5-1954) sung by Juan Carlos Cobos
• In the Light of the Lantern (14-7-1954) sung by Miguel Montero
• The Little Guitar (14-7-1954)
• Small Song (29-10-1954) sung by Jorge Maciel
• For a Doll (29-10-1954) sung by Miguel Montero
• My Bellows Grumbles (13-12-1954)
• If I Could Forget Her (13-12-1954) sung by Jorge Maciel

1955

• Old Copper Clock (2-9-1955) sung by Miguel Montero
• Emancipation (2-9-1955)
• This Moonlit Night (2-9-1955) sung by Jorge Maciel
• My Serenade (2-9-1955) sung by Miguel Montero and Jorge Maciel
• Little Bell (22-9-1955) sung by Jorge Maciel
• The Love Poncho (22-9-1955) sung by Miguel Montero

1956

• To My Comrades (31-1-1956)
• Don’t Play War (31-1-1956) sung by Jorge Maciel
• To Roberto Peppe (20-3-1956)
• What’s Happening Buenos Aires (20-3-1956) sung by Miguel Montero
• Boys, My Last Tango (30-5-1956) sung by Miguel Montero
• Criollo Pride (21-6-1956)
• And Still I Love You (21-6-1956) sung by Jorge Maciel
• Reminiscences (4-7-1956) sung by Jorge Maciel
• Porteña Silhouette (2-8-1956) sung by Miguel Montero
• I Was Waiting for You (2-8-1956) sung by Miguel Montero
• Girl (26-10-1956) sung by Jorge Maciel
• Suipacha (26-10-1956)
• I Am a Night Worker (28-11-1956)
• And with That, Where Am I Going (28-11-1956) sung by Miguel Montero
• Brown and Blue (26-12-1956)
• Lies (26-12-1956) sung by Miguel Montero and Jorge Maciel

1957

• The Long Ones of the Kid (4-4-1957) sung by Miguel Montero
• And I Keep Waiting (4-4-1957) sung by Jorge Maciel
• The Suburban Bride (13-5-1957) sung by Jorge Maciel
• Broad Paw (13-5-1957)
• The Conscience (24-6-1957) sung by Miguel Montero
• A Tango for the Memory (24-6-1957) sung by Jorge Maciel
• Cacha Trip (10-7-1957) sung by Miguel Montero
• On Other Paths (10-7-1957) sung by Miguel Montero
• Don’t Talk to Me About Her (25-10-1957) sung by Jorge Maciel
• Golden Team (25-10-1957)
• For the Kids (18-12-1957) sung by Miguel Montero
• Fine Pearl (18-12-1957) sung by Jorge Maciel

1958

• Heartthrobbing (2-1-1958)
• Friendly People (2-1-1958)
• Gurisa (16-1-1958) sung by Miguel Montero
• Julie (16-1-1958)
• Good Friend (26-3-1958)
• Who (26-3-1958) sung by Jorge Maciel
• Goodbye Heart (29-5-1958) sung by Jorge Maciel
• Hey Cristobal (29-5-1958) sung by Miguel Montero
• The Three Flags (23-7-1958) sung by Jorge Maciel
• Strong Water (23-7-1958) sung by Miguel Montero
• The Large Rod (6-8-1958)
• What a Beauty (6-8-1958)
• Past Happiness (19-11-1958) sung by Miguel Montero
• Civic Union (19-11-1958)
• Bohemian Soul (10-12-1958)
• Why Do You Mention Her to Me (10-12-1958) sung by Jorge Maciel

1959

• The Handkerchief (23-7-1959) sung by Jorge Maciel
• Blind Rooster (23-7-1959)
• Mommy (23-7-1959) sung by Jorge Maciel
• Whining (23-7-1959)
• One Is Born a Sandal (23-7-1959) sung by Jorge Maciel
• And You Won’t Be Able to Love (23-7-1959) sung by Jorge Maciel
• Sentence (24-7-1959) sung by Ricardo Medina
• And I Didn’t Miss (24-7-1959) sung by Ricardo Medina
• La Cumparsita (6-8-1959) sung by Jorge Maciel and Carlos Guido
• Silence (6-8-1959) sung by Jorge Maciel
• Where Are You (7-8-1959) sung by Jorge Maciel
• For a Fondness (7-8-1959) sung by Jorge Maciel and Carlos Guido

1960

• To Friends (15-7-1960)
• A Lament (15-7-1960) sung by Jorge Maciel