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Genaro Espósito’s life in Argentina
by Claude R. Esposito
Genaro Espósito was born in the barrio de San Telmo, Buenos Aires, February 17, 1886 at 350 calle Carlos Calvo. This house does not exist anymore, instead stands a newish 3 storey apartment building. His parents were Italian immigrants from the suburbs of Naples. In San Telmo, they opened a kind of grocery store cum bar, called an Almacen, in association with a certain Antonio Solari, himself a very early pioneer of the bandoneon. Maestro Solari was my father’s very first mentor, the one who revealed some of the secrets of this strange instrument and its haunting sounds. As history goes, the bandoneon was invented in Germany by Mr. Heinrich Band as a portable organ to follow religious processions.
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Orchesta Típica Genaro Espósito
Circa 1912 - 1913 José Dionisio Fuster (Flute ), Genaro Espósito (Bandoneón), Julio Doutry 'El francés' (Violín), 'El Tuerto' José Camarano (Guitar ). |
But first young Genaro had to work at his parents’ business and on the side learn different instruments like guitar and piano, besides the bandoneon under the guidance of Antonio Solari. As Genaro became more proficient at his instrument of choice, he communicated his enthusiasm to his younger brother, Carlitos, who also became a professional musician. At that stage of his musical education, making a living at it was still a dream. Genaro had to take a job at an importer of hardware and machinery located in San Telmo.(2)
The beginning of his professional career as a musician started around 1908 with a trio including a guitarist by the name of Torres and Federico Lafémina, a good violinist who would pursue his trade later on in Montevideo with great success.
In 1910, there was the birth of Genaro’s first son, my half brother, by his first wife Ernestina, who bore the name of Teodoro. He was to become a pianist whose claim to fame was to have alternated with Luis Riccardi in the orchestra of Francisco Canaro.
In the same year, Genaro was playing with another trio in the Café La Marina in la Boca at the address of 275 Suarez, almost at the corner of Necochea. The trio comprised Genaro together with a famous guitarist “El Tuerto Camarano” and also a youngster, a violinist, who was making his first steps into Tango; he was known by the nickname of “El Chino” Agustín. A short time later he would transform himself into the legendary Don Agustín Bardi. The last musician of this quartet was the flautist José Fuster whose instrument can be seen at the museum of the S.A.D.A.I.C. (Society of Music Authors and Composers of Argentina. (3)
The beginning of his professional career as a musician started around 1908 with a trio including a guitarist by the name of Torres and Federico Lafémina, a good violinist who would pursue his trade later on in Montevideo with great success.
In 1910, there was the birth of Genaro’s first son, my half brother, by his first wife Ernestina, who bore the name of Teodoro. He was to become a pianist whose claim to fame was to have alternated with Luis Riccardi in the orchestra of Francisco Canaro.
In the same year, Genaro was playing with another trio in the Café La Marina in la Boca at the address of 275 Suarez, almost at the corner of Necochea. The trio comprised Genaro together with a famous guitarist “El Tuerto Camarano” and also a youngster, a violinist, who was making his first steps into Tango; he was known by the nickname of “El Chino” Agustín. A short time later he would transform himself into the legendary Don Agustín Bardi. The last musician of this quartet was the flautist José Fuster whose instrument can be seen at the museum of the S.A.D.A.I.C. (Society of Music Authors and Composers of Argentina. (3)
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Orquesta Eduardo Arolas
Foto año 1919 en El parque Rodo de Montevideo Arriba: Julio González (Violín) y Admiral (Violoncello). Centro: José María Rizzuti (Piano), José Quevedo (Bandoneón) y Julio De Caro (Violín) Abajo: Rafael Tuegols (Violín),Eduardo Arolas (Bandoneón) y "El Tano" Genaro Espósito (Bandoneón) |
At the same time as Genaro Espósito performed at the Café La Marina, Francisco Canaro played almost next door at the “ Royal” and there is an amusing anecdote related by “ Pirincho” a.k.a Canaro. Next door to the Café La Marina, there was a political committee of some sort on the floor above. Some gambling went on there and they also served empanadas and a drink called Cana. No doubt, animated political discussions took place, fuelled for a good part by liberal doses of Cana, the root cause of what was to follow. An argument seemed to have started with betting on a game called Taba played with small bones. Apparently a bone with a life of its own struck a spectator who was a bit tipsy, therefore altering the outcome of the game. The two hostile gamblers heated by the game and the Cana decided to settle their differences outside. Barely outside, and to prove their manhood, out came the pistols and they started to pump a hail of bullets in the street. One of those went through the glass front of La Marina where Genaro was playing at that moment a very popular Tango called “Tirale Manteca Al Gringo”. Roughly translated it means “Shoot the fat of the Gringo”! This bullet ended its trajectory into the bellows of the bandoneon of El Tano Genaro! Not knowing exactly what was to follow, Genaro dropped his bandoneon and quickly dove under a table nearby. Minutes later, there were whistles of the police and the gunmen and everyone around them were arrested. Miraculously no one was seriously hurt. Just a little flavor of La Boca around 1912 ! (4)
It was also in the same year my father started recording, initially for the company “Sello Víctor” under the name of “Orchesta Típica Genaro Espósito”. It was a quartet composed of bandoneon, clarinet, guitar and violin. (5) His second record had on one side, one of Genaro’s tangos, “ El Crack Larrea” and on the reverse side, “Sueno Magnífico”, written and sung by Ignacio Corsini.
At the beginning of 1913, Genaro Espósito was prominent enough to integrate two well regarded musicians into his orchestra: the violinist “Tito” David Roccatagliatta, and another famous celebrity of tango, the pianist Roberto Firpo. This same quartet also recorded with < Columbia Records > in 1913. One of these records was “La Picarona” from Juan Pardal,and on the other side, “La Montura” from Genaro Espósito, one of the most popular tangos of this epoch, and which a little later was recorded live in the bar “Iglesias” 1425 calle Corrientes, facing El Teatro Nuevo, today called Teatro Municipal San Martin.
At the time, the Cabaret Armenonville was looking for a permanent group of musicians. Genaro and his quartet were among the candidates, as well as Juan “Pacho” Maglio and most of the hierarchy of tango from Buenos Aires. Armenonville didn’t choose Espósito and instead chose his pianist, Roberto Firpo, although at the time he was unknown. Much later, in an interview, Firpo declared during an interval, El Tano said to me: “It doesn’t bother me, it’s your chance, go for it”. (7) A nice demonstration of Genaro’s unselfishness and his proverbial generosity.
Shortly after this, a young pianist arrived from Bahía Blanca, a newcomer to Buenos Aires, supporting himself by playing in movie theaters to accompany silent films. Somehow this youngster came to the attention of Eduardo Arolas (the Piazzolla of his time) and Arolas passed his name on to his friend and colleague, Genaro Espósito. Since Firpo had left his orchestra, Genaro decided to give this young man a chance, and this was the start of the fabulous artistic trajectory of Juan Carlos Cobián! Author of so many successes, amongst them “Nostalgias”.
Whilst Firpo was still playing for “El Tano Genaro”, another violinist was incorporated in this formation, Ernesto Zambonini, author of the tango “La Clavada”, a talented musician of his time, but controversial and argumentative, a man who was easily offended. A well known incident was over a minor dispute with Roberto Firpo in which Zambonini slashed Firpo in the face and furthermore wrote a tango about it called “Recuerdos de Zambonini” in case Firpo forgot!
Later in 1913, “El Cuarteto de Genaro Espósito” started to record for the company “Sello Fonográfico Era”. Also Genaro Espósito would record his first bandoneon solo, and the first recorded in the history of tango, although it would be disputed by the claim of Juan Maglio.
Whilst Firpo was still playing for “El Tano Genaro”, another violinist was incorporated in this formation, Ernesto Zambonini, author of the tango “La Clavada”, a talented musician of his time, but controversial and argumentative, a man who was easily offended. A well known incident was over a minor dispute with Roberto Firpo in which Zambonini slashed Firpo in the face and furthermore wrote a tango about it called “Recuerdos de Zambonini” in case Firpo forgot!
Later in 1913, “El Cuarteto de Genaro Espósito” started to record for the company “Sello Fonográfico Era”. Also Genaro Espósito would record his first bandoneon solo, and the first recorded in the history of tango, although it would be disputed by the claim of Juan Maglio.
Genaro Espósito probably felt he needed a change of scenery, because in 1915 he travelled to Cordoba where he played with great success at the elegant Bar Victoria and the Tallarin Club with the violinist Eduardo Monelos and “El Gallego” Peréz at the piano, but the association with Peréz didn’t last long, to confirm Genaro’s predicament with pianists.
During 1916 began the climb to fame of another pianist of tango who would be better known under the nickname of “Kalisay”. His real name was Vicente Gorrese later on pianist of “La Típica Víctor”. Genaro went to invite Gorrese to join his formation following the success of “El Tano Genaro” in Cordoba. El Kalisay accepted the proposition. (10) The new café where they played was situated in the calle Rivadavia, at the time a zone of prostitution! But due to the small turnout of customers, they played there only three months. Meanwhile, Gorrese disappeared, always the same problem with pianists!
With the prospect in the offing of being hired in a much better establishment, the café “España” in Tucumán, Gorrese rejoined the “Cuarteto Genaro” along with the violinist Mariano Alfonsín, the father of Abelardo Alfonsín, bandoneonist in the Troilo orchestra along with the then very young Astor Piazzolla. The Cuarteto experienced much success in Tucumán for several months.
During 1916 began the climb to fame of another pianist of tango who would be better known under the nickname of “Kalisay”. His real name was Vicente Gorrese later on pianist of “La Típica Víctor”. Genaro went to invite Gorrese to join his formation following the success of “El Tano Genaro” in Cordoba. El Kalisay accepted the proposition. (10) The new café where they played was situated in the calle Rivadavia, at the time a zone of prostitution! But due to the small turnout of customers, they played there only three months. Meanwhile, Gorrese disappeared, always the same problem with pianists!
With the prospect in the offing of being hired in a much better establishment, the café “España” in Tucumán, Gorrese rejoined the “Cuarteto Genaro” along with the violinist Mariano Alfonsín, the father of Abelardo Alfonsín, bandoneonist in the Troilo orchestra along with the then very young Astor Piazzolla. The Cuarteto experienced much success in Tucumán for several months.
In the winter of 1918, the year the snow covered Buenos Aires, Genaro Espósito received another offer to play in Cordoba and so, the quartet of Genaro, Kalisay, Alberto Canisaro violin and Amado Simone, second violin, performed night after night with great success for six months. After their return to Buenos Aires, Espósito required once more the services of Kalisay, this time to play in the teatro “Roma” located in calle 25 de Mayo, with two bandoneons, Genaro and his younger brother Carlitos, Alcidez Palavecino violin and Vicente Gorrese piano. Also in 1918, the “Orchesta Típica Genaro Espósito” started to record again, this time with the label “Telephone” with two tangos of Genaro, “Eulogia” and “La Pelada”.
We are now in 1919, and with all his experience as a leading director of tango orchestras, Genaro Espósito was invited to join a select group of musicians to perform for the Montevideo (Uruguay) Tango festival. This legendary orchestra featured bandoneons Eduardo Arolas, Genaro Espósito, and “El Negro” José Quevedo, violins Rafael Tuegols, Julio González “El Loco Julio” and another Julio, still almost a child, the quiet Julio De Caro! At the piano “El Bacancito” José María Rizzuti and on cello José Almirall.
But then 1920 was just around the corner, and a life changing encounter from which the repercussions have not quite faded ! Manuel Pizarro, a bandeonist and disciple of Juan Maglio, who played off and on with Arolas, received a proposition through Canaro to form an orchestra to perform in France! (11) In an interview in a magazine of the 40’s, Manuel Pizarro was quoted saying: “I don’t remember who, but someone told me that Genaro Espósito was back in Buenos Aires from Cordoba. After looking for Genaro’s whereabouts, I finally found him in an apartment on 1400 Rivadavia. When I got there, El Tano was busy hanging a picture on the wall of a staircase, perched precariously on a stepladder!”
After a few standard greetings, Manuel Pizarro bluntly asked Genaro if he would be interested in forming an orchestra with him to perform in France. Espósito almost fell from his stepladder! After being speechless for a minute or two, he decided to throw his lot in with Pizarro. The problem of forming an orchestra was relatively easy. In Bar Maipú, there was a cabaret where some French musicians played, so recruiting should be easy, but in reality only one was interested,Víctor Jachia, who hadn’t seen his family for twelve years. They hired him, probably thinking he would come in handy for any dealings they would face in France.
After a few standard greetings, Manuel Pizarro bluntly asked Genaro if he would be interested in forming an orchestra with him to perform in France. Espósito almost fell from his stepladder! After being speechless for a minute or two, he decided to throw his lot in with Pizarro. The problem of forming an orchestra was relatively easy. In Bar Maipú, there was a cabaret where some French musicians played, so recruiting should be easy, but in reality only one was interested,Víctor Jachia, who hadn’t seen his family for twelve years. They hired him, probably thinking he would come in handy for any dealings they would face in France.
Baptism Certificate for Genaro Espósito. The date is wrong – it should be 1886
