The coming of the bandoneon was one of the major events in the evolution of tango music. Around 1865, among the crews and immigrants who arrived in Buones AiresÕ harbour was a sailor carrying a strange instrument. The identity of the man remains a mystery. What we do know is that this musical instrument came from Germany and that it's name originated from its inventor: Mr. Band. Historians tell us that the instrument was used to accompany preachers while giving their speeches in the country's poor churches. It had the colours and the sustain of the organ and had the advantage of being portable; one could wear it around his neck and lead the procession.

Once in Argentina, the bandoneon blended with tango music and quickly replaced the flute in orchestras. The instrument completely changed the musical format of tango. With it, the tango lost its light hearted ans rowdy characteristics and gained rythm as well as a more severe tone. Freed of its fioritura, the music could now fully express itself and become the storyteller of the people of Buenos Aires, singing their melancholy and bitterness.

From the bellows of the bandoneon, spring forth melodies from wich radiate generosity, kindness, a day to day way of life, a fulfilling romance. Like the blues of the Afro-americans, it tells the story of a broken man, the hard-times and social protest. It is the chant of whom cannot see the sun set for his woman has let him down. But it is also the parade of the coq who wants to dominate the female, a burst of chauvinism, the macho man who imposes himself, orders around, brushes aside his opponents.

Inspite of the reprobation from the upper middle class, the tango grew and had became the voice of the people of Argentinia, who were not yet a nation. The first bandoneonists Domingo Santa Cruz and Pedro Avila appeared after 1870. With the coming of the bandoneon in typical tango orchestras, the history of the tango begins, history that is in fact the story of its many stars, shinning or dimmed.

Most of these men were born in the second half of the 19th century and have produced their greatest works between 1890 and 1920. Here are some of the pionners of tango

Angel Villoldo
Vincente Greco
Eduardo Arolas
Francisco Caro

"Like the Afro-Americains, the portenos of Buenos Aires have created, more or less instinctively, a musical language of their own, expressing very strong and intense emotions. Of course, these feelings were not those of the worthy".

The "good society" of Buenos Aires reacted vigoursly against the coming of the tango. It looked upon it as a menace to the social order and the upholding of its privileges. Those belonging to good society could sense that this music and dance reflected their unkindness, lack of generosity and their refusal to share the land's riches and political power.

In the fifties, Argentina opened up to immigration and foreign investment (mainly British). As the country was concerned with increasing its wealth, changes brought about by the massive arrival of immigrants were not foreseen. At the same time, the "gauchos" refused to be enslaved, invaded the capital's suburbs, mixing with the newly arrived immigrants, and thus creating a whole new character in the population. The upper classes, characterized by the rigid and conservative ethics of the Spanish, and full of Victorian puritanism, steadfastly resisted the tango. With this resistance they closed themselves to real democracy.

Two events would shake the refusal by the upper classes to recognize tango as being the official music of Argentina. These two events occurred concomitantly. The first was the invention of the grammophone and the record in 1907. Before the coming of this new technology, in order to listen to tango music, one had to visit the cafés or dance halls which were blacklisted by high society. With these new inventions, the tango reached the people in their homes. It soon became impossible to restrain it's dissemination from becoming a trend. The record also allowed the musicians to be known outside of Buenos Aires.

The other event was Paris' love for this "flower of exotic dances". As Léo Ferré puts it, for "guincher" means "to dance" in parisian slang. In the next chronicle, we will take a look at how the tango gained recognition through its popularity in Paris.

Here are the lyrics in Spanish and French of one of the most popular tangos from that era...

Amongst the great of the old guard, we find as many Uruguayens as Argentinians. Francisco Caro was born in Uruguay in 1888. He was the son of a poor Italian immigrant. The Caro family tried their luck in Buenos Aires and the young Francisco, like most of his contemporaries, held many jobs before devoting himself to his true passion, music.

He started by joining the Vicente Greco ensemble which gave him the experience and confidence that he needed to put together his own band and perform in the most renowned cabarets of the time, such as the Royal Pigale and the Armenonville.

Critics accused him of having sold the soul of the tango for his own benefit. Nonetheless, we pay our respect to such great works as Sentimento gaucho (the cattle market, bridille (twig), sweet talk and Blue bird.

Eduardo Arolas was born in 1888 and was quickly nicknamed the "Bandonneon tiger". A virtuoso, prolific composer, accustomed to all types of arrangements, he was a hero and his legend grew all the more, dying at the young age of thirty-two, after being acclaimed in Paris, the envy of every Argentinian. He graced us with splendid tango music such as the famous Una Noche de Garupa (evening of java). The memory of this one colourful man who did not go unnoticed has inspired many composers since his time