Notes: Rodolfo Biagi

Era

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

1. 1938-39, Bandoneón Alfredo Attadía, violín Marcos Larroca.

2. 1939-41, Bandoneón Jorge Argentino Fernández (1940-41), violín Marcos Larroca.

   • end-1939 lead bandoneón uncertain.

3. 1942-47, Bandoneón Juan Migliore (prob.), violín Marcos Larroca.

   • We are uncertain exactly when Marcos Larroca left Biagi’s orquesta, given that he died in 1949.

4. 1948-61, Bandoneón Juan Migliore, violín/arranger Oscar de la Fuente

   • Adolfo Muzzi was surely in all Columbia sessions, and likely joined the orquesta somewhat earlier.

   4a: Roberto Pedevilla (bandoneón) was dismissed from Francisco Canaro and joined Biagi, reunited with his long-time pal Oscar de la Fuente. He left Biagi and established his own OT in 1950.

5. 1962, Bandoneón Juan Migliore, violín Adolfo Muzzi.

   • Oscar de la Fuente departed. Uncertain about the line-up, but most likely didn’t change much.

Date / Genre

• The dates of the first two recording sessions are disputed - some say 1938-08-16 and 1938-10-16.

• The Music Hall recording dates unknown. Probably early 1962, even late 1961.

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

• There are two takes of Tu Melodia (1945-05-25) available in 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 both 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 1950s–60s.-