Eduardo Rovira was a underestimated artist not onlyof 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 musicalformations of reputation. ‘ Gamin’ (at the 9 years age) it forms already part of the Orchestra of Francisco Alessio; one finds itthereafter at Florindo Sassone, Orlando Goñi, 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.
Eduardo 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 intègra the orchestra of Maestro Alfredo Gobbi where he was a bandoneonist, arranger and type-setter, and a splendid tango El engobbiado homage to his director and Maître delivered to us. After the dissolution of the orchestra of Gobbi, in 1957, Rovira made some projects with the singer Alfredo del 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. At this time Rovira decided to put at work the ideas that he 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, and it touches us deeply, faithful one time testimony artistically rather poor and in which the work of Rovira shone particularly.