Notes: Rodolfo Biagi

Era

Biagi’s orquesta is always a 4/5 violin + 4/5 bandoneón formation.

1. 1938, bandoneón Alfredo Attadía, violín Marcos Larroca.

2. 1939, bandoneón Miguel Bonano, violín Marcos Larroca.

3. 1940-41, bandoneón Jorge Argentino Fernández, violín Marcos Larroca.

4. 1942-48, Lead bandoneón uncertain, violín Marcos Larroca(?).

   • We are uncertain exactly when Marcos Larroca left Biagi’s orquesta, given that he died in 1949. Claudio González (violín) might have stayed during this era.

5. 1950-60, bandoneón Juan Migliore, violín Oscar de la Fuente (arranger) + Adolfo Muzzi

   • Adolfo Muzzi and Juan Migliore were surely in all Columbia sessions, and likely joined the orquesta somewhat earlier, maybe in the early 1950s.

   • Roberto Pedevilla (bandoneón) joined Biagi, probably at the beginning of the 1950s, reuniting with his longtime pal Oscar de la Fuente. He left Biagi and established his own OT in 1950.

6. 1961-62, bandoneón Juan Migliore, violín Adolfo Muzzi.

   • Oscar de la Fuente departed for his own orquesta.

Date / Genre

• The date of the first recording session is disputed: some say 1938-08-16 or 1938-08-19.

• Exact Music Hall recording dates are unknown, probably in early 1962.

• Biagi’s OT has only recorded tango, vals, and milonga.

• Two takes of Tu Melodia (1945-05-25) are available on shellac records.

Singer / Masters

• The temperament of Biagi’s orquesta strongly accords with introvert singers, and so were his choices.

• The iconic Biagi singer Hugo Duval dominated in the studio sessions of the 1950s.

• Biagi missed the stereo era with only a tiny gap with Columbia and Music Hall.

Pitch / Speed

• The initial 8 recordings of Biagi were set at 440Hz for piano, a preference that was followed from his final June 1938 sessions with D’Arienzo, who might not have favored it at all.

• Biagi’s fast tempo has gradually moderated since 1942 and remained relatively steady at a slower tempo throughout the 1950–60s.