We hope you enjoy them!
Tango-Meister: Osvaldo Pugliese (the German translation of Tango Masters: Osvaldo Pugliese) was successfully launched at TangoFest Dresden 2017. Michael once again gave the pre-festival workshops, and naturally this year one of the seminars presented the life and music of Osvaldo Pugliese, including how to dance to this powerful music. He then then presented the book to a crowd of over 100 people on the opening night of the Festival. If you haven’t yet got your copy, head on over to the milonga press website!
Tango-Meister: Osvaldo Pugliese (die deutsche Übersetzung) wurde beim TangoFest Dresden 2017 erstmals vorgestellt. Michael gab vor dem Festival wieder Workshops. Und natürlich war dieses Jahr eines der Themen das Leben und die Musik von Osvaldo Pugliese und wie man auf diese kraftvolle Musik tanzt. Er stellte das deutsche Buch über Osvaldo Pugliese mehr als 100 Gästen in der Eröffnungsnacht des Festivals vor. Falls du noch kein Buch hast, geh auf die milonga-press Website und bestell es dir!
Okay people, there are now more than 300 copies of the Pugliese book in circulation – and still not a single review anywhere. Like it? Hate it?! (Pugliese sometimes divides opinion…)
I’ve opened the comments section below so you can leave a review. I’d love to have your feedback
During the presentation of The Pugliese Story at Steve & Debbie Morrall’s studio, I was asked a question I could not answer. The question arose when I was talking about Pugliese’s semi-retirement in 1957. Osvaldo Manzi was hired as a replacement pianist. I showed a photograph of a publicity card from October 1957, in which Manzi’s image has been overprinted.
Well, that was the image I had meant to show. I showed this image by mistake:
A keen eyed audience member pointed out that Manzi’s picture was not the one overprinted: he is second from the left, and is named. What’s going on?
Well, this second image comes from a publicity card from May 1958. Compare the two cards, and look whose picture was where Manzi’s is now: it’s that of Enrique Camerano, Pugliese’s first violin.
It’s known that Camerano retired in 1958 for personal reasons, but the exact date was not known. (Oscar del Priore says November). It’s thought that Camerano played on the recording session of 23rd July, but this card suggests that in May he was already not playing in the band’s public performances.
And the identity of the new man? It’s probably the cellist Adriano Fanelli. Camerano’s tone was so full and rich that the band managed without a cello as long as he was playing. (The viola players unfortunately were not famous enough to be included; perhaps they only played on the recordings).
So, please keep those awkward questions coming – they’re really helpful.