Roberto Firpo and Giuseppe Verdi, the ignored authors of La Cumparsita

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Roberto Firpo and Giuseppe Verdi, the ignored authors of La Cumparsita

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Sheet music for La Cumparsita. Author Gil Matos Rodriguez.

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On these two banks of the Río de la Plata, The Cumparsite It is, like people, more than just your resume. In addition to being intertwined with the stories of its creators, including Giuseppe Verdi, it is the symbol of two people (two cities, if we rotate properly) who express their most recognizable feelings in that music.

It all started with the carnival of 1916, in Montevideo. Gerardo Matos Rodríguez, who is still unfamiliar with music, wrote a withered for The troops, the stone student of which he became a part. The title was given by an Italian waiter who laughed at the importance of The troops and “comparsita” cannot be pronounced. And it is Cumparsita, to dry, as a first name. “La” was added, about the great divas, by those who spoke about her.

In the fall of that year, Roberto Firpo performed at La Giralda, in Montevideo, and on April 19, a group of students, representing Matos Rodríguez, asked him to arrange music for the marchita because they believed it could the nod came out.

Firpo looked at the starting compasses and saw that they were not enough for a nod. He took the parts of the two to himself, The gaucho Manuela Y Whole Curdinserted them into the withered, and added some of the Miserere of opera The Finder, from Verdi. Ganyan the cumparsita this happened with three composers: Matos Rodríguez, Firpo and Verdi.

Leaving Verdi aside, Firpo told Matos Rodríguez it would be fair for the two of them to sign as authors, but because Matos Rodríguez refused, he did not insist. And he regretted it all his life.

He premiered it that same night and recorded it in September.

Francisco Canaro, who was born in Uruguay, included it in his repertoire with great success, but after a few years it was completely dead and forgotten: the time of the tango song had come, and it could not be sung.

Pascual Contursi and the resurrection

Mateando: a well -known image of Pascual Contursi.  He began writing lyrics for his own tango and others in 1914, such as a famous version of

Mateando: a well -known image of Pascual Contursi. He began writing lyrics for his own tango and others in 1914, such as a famous version of “La cumparsita”.

Pascual Contursi put lyrics to it, in 1924, and saved it from oblivion. And it’s only fair that she, who is no longer the novice singer ten years ago passed her hat around the tables in cabarets in Montevideo to eat. He became, as Discépolo points out, the poet who presided “the nod from foot to mouth”to the inventor of the tango song, one who, as Placido Domingo said, can tell in three minutes what it takes three hours in an opera.

The miracle of change in her life was wrought by Lita, who was not a woman, but an instrumental nod by Samuel Castriota, for which Contursi wrote the lyrics in 1915, renaming it. my sad night and released it at the Moulin Rouge. In Montevideo, of course.

Huge success. In 1918, they included him in the sainete dog teethand the public crowded into the doors of the Buenos Aires theater to buy Contursi’s lyrics, which sold for ten cents.

Theatrical production generated very good economic expenditure for Contursi. And on June 6, 1924, he preceded the sainete a cabaret showwhere it was sung the cumparsita with your letter. The task failed, but the nod became immortal. Gardel recorded it that year with subtitles If you knowand thus found his extraordinary fortune, despite the fact that he could not prevent Julio Iglesias from singing it.

Matos Rodríguez, furious in Paris

Matos Rodríguez, the creator of La Cumparsita.

Matos Rodríguez, the creator of La Cumparsita.

Because of his profession as a journalist, Matos Rodríguez lived for many years in Europe, where he learned what was happening in Buenos Aires in his withered state.

In a hurry, he made a letter and forbade anyone other than him to sing it.

In 1932, after Contursi’s death, his widow, Hilda Briano, and Enrique P. Maroni filed a lawsuit against Matos Rodríguez for damages, which was resolved by an arbitration award in 1948. Eighty percent of the benefits for copyright remained for the heirs of Matos Rodríguez and twenty, for Contursi and Maroni.

Matos Rodríguez died five months earlier. He left a legacy of more than seventy tango, many of them first class, and in 1931 he collaborated on the musicalization of The Lights of Buenos AiresGardel’s first sound film, with whom, after conflicts over the recording of Contursi’s lyrics, he maintained a great friendship.

In his moment of greatest fame, Contursi went to Europe, and in Paris, in 1928, he wrote his last lyric for a tango that had only music, perhaps the most exciting, where the theme of abandonment was takes on the dimension of a metaphor. : Suburban bandoneon.

Cumparsita without a word

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Source: Clarin

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