Estuviste bien, Pirulo (tango, 1930)
Summary This paper analyzes the tango Estuviste bien, Pirulo, composed in 1930 by S. Piana, with lyrics by R. Cordone and C. Goicochea. As a humorous tango it belongs to a long tradition of pieces that exploit a comic style. The lyric is about a woman who reproaches her pa...
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Universidad Nacional del Litoral
2021
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| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/10595 |
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oai:bibliotecavirtual.unl.edu.ar:article-105952021-08-26T14:37:47Z Estuviste bien, Pirulo (tango, 1930) García Brunelli, Omar Summary This paper analyzes the tango Estuviste bien, Pirulo, composed in 1930 by S. Piana, with lyrics by R. Cordone and C. Goicochea. As a humorous tango it belongs to a long tradition of pieces that exploit a comic style. The lyric is about a woman who reproaches her partner for abandonment, in an ironic tone accentuated by the use of lunfardo. Among the three versions that were recorded, one corresponds to A. Maizani and the other two to the singer R. Maida, one as a chorus player in the P. Maffia orchestra, and the other as a soloist accompanied by the A. Castellanos orchestra. When the interpreter is the male singer, we find an additional parodic mechanism that is not present in the female version. And in the Maffia orchestra recording, moreover, the parody tone extends to the very composition of the bandoneon solo of the orchestra director, which is studied in detail in the context of the solos and the role of the bandoneons in the orquesta típica between 1923 and the early 1930s, as well as among Maffia's own solos during the same period. Se analiza el tango Estuviste bien, Pirulo, compuesto en 1930 por S. Piana, con letra de R. Cordone y C. Goicochea. Como tango humorístico pertenece a una larga tradición de piezas que explotan una veta cómica. El yo lírico se encarna en una mujer que le reprocha a su pareja el abandono, en un tono irónico acentuado por el uso del lunfardo. De las tres versiones que se grabaron, una corresponde a A. Maizani y las otras dos al cantor R. Maida, una como estribillista de la orquesta de P. Maffia, y la otra como solista acompañado por la orquesta de A. Castellanos. Cuando el intérprete es el cantor, encontramos un mecanismo paródico adicional que no está presente en la versión femenina. Y en la versión de la orquesta de Maffia, además, el tono de parodia se extiende hasta la conformación misma del solo de bandoneón del director de la orquesta, que se estudia en detalle en el contexto de los solos y la función de los bandoneones en la orquesta típica entre 1923 y principios de la década de 1930, así como entre los solos del propio Maffia durante el mismo lapso. Universidad Nacional del Litoral 2021-08-25 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion artículo Articulo info:ar-repo/semantics/artículo application/pdf https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/10595 10.14409/rism.v0i18.10595 Revista del ISM; Núm. 18 (2021): Revista del ISM; 149-172 Revista del ISM; No 18 (2021): Revista del ISM; 149-172 2362-3322 1666-7603 10.14409/rism.v0i18 spa info:eu-repo/grantAgreement/EC/FP7/ https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/10595/14076 info:eu-repo/semantics/openAccess Derechos de autor 2021 Revista del ISM |
| institution |
Universidad Nacional del Litoral |
| collection |
Publicaciones periódicas |
| language |
spa |
| format |
Artículo revista |
| description |
Summary This paper analyzes the tango Estuviste bien, Pirulo, composed in 1930 by S. Piana, with lyrics by R. Cordone and C. Goicochea. As a humorous tango it belongs to a long tradition of pieces that exploit a comic style. The lyric is about a woman who reproaches her partner for abandonment, in an ironic tone accentuated by the use of lunfardo. Among the three versions that were recorded, one corresponds to A. Maizani and the other two to the singer R. Maida, one as a chorus player in the P. Maffia orchestra, and the other as a soloist accompanied by the A. Castellanos orchestra. When the interpreter is the male singer, we find an additional parodic mechanism that is not present in the female version. And in the Maffia orchestra recording, moreover, the parody tone extends to the very composition of the bandoneon solo of the orchestra director, which is studied in detail in the context of the solos and the role of the bandoneons in the orquesta típica between 1923 and the early 1930s, as well as among Maffia's own solos during the same period. |
| author |
García Brunelli, Omar |
| spellingShingle |
García Brunelli, Omar Estuviste bien, Pirulo (tango, 1930) |
| author_facet |
García Brunelli, Omar |
| author_sort |
García Brunelli, Omar |
| title |
Estuviste bien, Pirulo (tango, 1930) |
| title_short |
Estuviste bien, Pirulo (tango, 1930) |
| title_full |
Estuviste bien, Pirulo (tango, 1930) |
| title_fullStr |
Estuviste bien, Pirulo (tango, 1930) |
| title_full_unstemmed |
Estuviste bien, Pirulo (tango, 1930) |
| title_sort |
estuviste bien, pirulo (tango, 1930) |
| publisher |
Universidad Nacional del Litoral |
| publishDate |
2021 |
| url |
https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/ISM/article/view/10595 |
| _version_ |
1709175200094879744 |
| score |
11.8626 |