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Author: Tarantino Luis Eduardo Rovira was a underestimated artist not only
of its generation but also of the following one. Its work became
a work worship for a reduced core of initiates in arts of the urban
culture of Buenos Aires.
Bandoneonist and pianist born in 1925, Rovira integrates musical
formations of reputation. ' Gamin' (at the 9 years age) it forms
already part of the Orchestra of Francisco Alessio; one finds it
thereafter at Florindo Sassone, Orlando Goņi, Miguel Calo,
Omar Maderna, Basso and, later, with Alfredo Gobbi. He
was not only a one excellent instrumentalist but also a type-setter
and an arranger.
Rovira was a person of a great humility, which kept a '
profile bas'.
Of introspective nature and always attracted by the studies, it
was found in the medium of a group of type-setters, badly-named ' the
classiques'. It is familiarized then with the harmony, the
running away, the counterpoint and the dodecaphony.
Rovira will intčgra the orchestra of Maestro Alfredo Gobbi
where he was a bandoneonist, arranger and type-setter, and a splendid
tango El engobbiadohomage to its director and Maître delivered to us. After the
dissolution of the orchestra of Gobbi, in 1957, Rovira made some
projects with the singer Alfredo LED Rio or the orchestra of Atilio
Stampone. Then it started a very creative stage within the
"Agrupacion de Tango Moderno".
Its rage for the studies was going to lead it to study the oboe
and the cor anglais. It created for these musical instruments of
room. At this time Rovira decided to put at work the ideas that
it fed since a score of years.
Like Piazzolla, it knew that it was from now on impossible to
make the same things in the same way. It commenca to create
works which looked further into its spirit by a serene melancholy and
which gave the tone of this new period when inhabitants of Buenos
Aires was guided rather by the watch that by the heart.
The musics of Piazzolla are the faithful painting of this time
of transition which were the years ' 60.
Rovira, nearer to Bach or Haendel, Piazzolla de Bartok and
Stravinsky: both marked their time, Piazzolla extraverti and
brawler, introverted Rovira and melancholic person. It was
associated to musicians of great talent like the pianist Osvaldo
Tarantino, who played with Piazzolla. Rovira leaves us an
inheritance of an astonishing beauty, without false-noises, in
conformity with the spirit even of the tango, even if some still
affirm the opposite.
One day, fateful and sad, Rovira died. But its music
remains always alive, like then. It touches us deeply, faithful
one time testimony artistically rather poor and in which the work of
Rovira shone particularly.
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