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L. Federico – Master of bandonion

Ways of Leopoldo Federico – maestro of the bandonion

The genius of Leopoldo Federico is single among thealive bandoneonists of this long history of the tango.

L Federico syntétise by its artistic trajectory all currents, the traditional ones and evolutionists of the tango. Its phrased, its manner of interpreting, move us beyond his virtuosity recognized as a bandoneonist. Federico reached tops of interpretation as little made a success of.

In its long career, it should be recalled that it starts very young person to study the bandonion, it learns the harmony with professor Felix Lipesker and the large bandoneonist Carlos Marcucci.

It records with the orchestra of the pianist and type-setter Juan Carlos Cobian. It will form part, still young, of the orchestras of the violonist Alfredo Gobbi, Victor D’ Amario and as a first bandonion of this brilliant pianist Osmar Maderna.

Thereafter it integrates the orchestras of Mariano Mores, HectorStamponi, Carlos Di Sarli, Lucio Demare and Horacio Salgan. Little time later, it creates its own orchestra with the pianistAtilio Stampone.

Federico goes, hardly thirty years old, worms of new challenges.In 1955, it is appellé by Astor Piazzolla to replace Roberto Pansera in one of the most revolutionary formations of the history of the tango: Octeto Buenos Aires leaving us interpretations of anthology with the creator of Adios Nonino.

Towards the end of the years ‘ 50, it records with its own orchestra and this time its imposing destiny the met in relation to the singer who will become tallest of the recent history of the tango:Julio Sosa, which it will accompany until accidental death by the singer in 1964.

Then it creates with the guitarist Roberto Grela a four-bit byteof dream which will record memorable versions of tangos like Amurado, El Pollo Ricardo, A San Telmo (from Grela), Danzarin  and A Guardia Nueva …

For forty five years, it has continued its work with its own formation where find themselves remarkable interpreters, cotoyant the strong personality of Maestro Federico.

It formed part of one of the ‘ megagroupes’ tango, with the pianist Osvaldo Berlingieri and the double bass player Fernando Cabarcos:  Federico-Berlingieri-Cabarcos Trio.

As a type-setter let us note Cabulero, Sentimental y Canyengue, Retrato de Julio Ahumada and Preludio Nochero (with Osvaldo Requena), Diagonal Gray, Siempre Buenos Aires, Cautivante …

Leopoldo Federico transmitted the tango in the world, and formed part of one of the most mythical formations Quinteto Real with Horacio Salgan. He is a also President of Argentinian Association Interpreters and continuous until our days with his orchestra where we find young people interprétes soloists the such pianist Nicolas Ledesma and the violonist Damian Bolotin.

Federico is synonime the best and more advanced tango which never forgets its roots, and as an interpreter it can be considered one of largest maestros of the history of the tango.

Conversation with Leopoldo Federico

Luis Tarantino: How Maestro is?How are the fingers ?

Leopoldo Federico: I hope well. For a certain time with the orchestra, we play from time to time but we have the joyof working together.
LT: After 45 years to work from time to time like you, how does one make says to preserve an orchestra of tango thus ?

LF: So that this arrives, it is necessary to have for its sides of the friends like are the guy of the orchestra, alwaysready with répeter and to work by doing other work in addition. They are always with me, when we go up on scene to play with therepetitions necessary. It is a joy of dividing with them to makemusic.
LT: You know that each time we are pleased to listen to you, you always say not to know how that will occur, becauseyou are ‘ except pratique’ but when you start to play, that always surprises us, we are touched and moved as at the time of the first day. How you do that ?

LF: It is not the same thing to work without pause as to do it sporadically. In addition I do not practise tous.les.jours and that must be seen (or to get along), but when I go up on scene the thing changes and my companions reassure me.
If there is something which still goes, it is my head, and I am also very self-criticism with me, therefore when I could not any more make it, I from would go away. For the moment I believe to smellmyself well to continue. There are topics which I played all my life, then I know them very well. What occurs is that sometimes the technical difficulties become, with the age, increasingly important. In all manners, when I commençe to be played, my fingers are heated and the thing leaves.
LT: It would be good that the orchestra records again …

LF: Yes, in fact, it would be well, because it is while recording that one can make things with more artistic control.
LT: What would you say to your public and the young public which will listen you, concerning the future of the tango? Does Y have to you it a hope?

LF: They are youngest which must have hope. The young artists who make very good music. There is always hope. What I say to people, it is that tango, that shouldbe liked the true tango should be listened to. When this faithful public comes, I smell myself very well because their aplaudissements is true.

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