Nu sunt un fan al tangourilor romanesti interbelice. Chiar deloc. Daca le aud pe undeva cantand prefer sa parasesc incinta sau sa ocolesc zona pana trece “pericolul”. Insa cautand pentru articolul anterior despre Cristian Vasile si Zaraza, mi-am adus aminte de o alta apasare, facusem mai demult o conexiune: “Iubesc femeia” si “Gitana Rusa”. Si daca tot e o tara libera in care constitutia iti garanteaza libera exprimare, ma voi exprima.
*** Notam ca: In perioada sa de glorie, Cristian Vasile inregistra in 1933 tango-romanta compusa de romanul Ionel Fernic “Iubesc Femeia” cu acompaniamentul orchestrei Frank Fox Tanzorchester; disc de ebonită, single, 25 cm,
Apoi tot Wiki povestea despre sfarsitul carierei lui Cristian Vasile ca dupa o perioada in care a avut probleme de sanatate si a fost obligat sa se retraga din cariera artistica la Sinaia, “a plecat din nou la Bucureşti. N-a putut să găsească însă nici un contract. S-a înrolat pe front în echipele artistice. A ajuns până la Don, dar dezastrul militar l-a adus din nou în ţară.
A plecat apoi pe Frontul de Vest. A revenit la Bucureşti şi a fost angajat la un mic restaurant de lângă Cişmigiu. - e fain de citit toata povestea vietii lui pe care am gasit-o la Wiki.
*** De notat aici ca: Cristian Vasile a ajuns pana la Don, inrolat in primul razboi mondial. Iar melodia "Iubesc Femeia" o canta deja din 1933.
Pe de alta parte, Todo Tango povesteste povestea de mai jos:
“What made that a tango called “Tus ojos”, written in Ucrania in 1940 by a certain Saverio Sadán dedicated to his brand-new daughter-in-law in Buenos Aires, finally became the biggest hit of the orchestra led by the bandoneonist Juan Sánchez Gorio, who recorded it as his own under the name “Gitana rusa” (Russian gypsy)?
«I have something amazing for you, that I shall deliver to you in Buenos Aires», Juan Carlos Cáceres told me on the phone, from Paris. Some days later he displayed before me, on a table at the Tortoni, five yellowish music sheets, written in black ink. It was a tango, dated on August 10, 1940 at the small Ucranian town named Umañ, halfway between Kiev and Odessa. The texts were in Russian. It had as title, “Tus ojos” (Your Eyes), and a dedication «to dear Celia». Its music belonged to a certain Saverio Sadán, and on the last page there is a long lyric signed by D. M. Glinberg. But those notes handwritten by someone unknown do not result strange at all. They are those of a tango which reached great accclaim in Argentina after 1942 and was the greatest hit by the orchestra of the bandoneon player Juan Sánchez Gorio and his singer, the Uruguayan Luis Mendoza: “Gitana rusa”. Until the time when Cáceres put the worn-out original on the table there was no reason to doubt if Sánchez Gorio had composed it, even though it was his only lasting piece. But the story of this tango is no less exotic than its theme, and can be told like this.
The red-headed Demetrio Sadán, who became head of the Cables section at the Crítica newspaper, was born in Ucrania in 1910. His mother abandoned him when he was a few months old when she separated from his father, Saverio, a Jew that, as usual, was a violinist. Meanwhile, she emigrated to Buenos Aires turned into the wife of an Argentine diplomat. After the Russian Revolution and the ensuing civil war, Demetrio was sent to Argentina to meet his mother, for what he had to face all by himself, he was just eleven, a never-ending journey by train and by ship. Eight years later here he graduated from the Liceo Internacional at Olivos, and he entered Crítica. In 1938 he married his secretary, Celia Piva, and two years later from Ucrania his father sent as a gift for his unknown daugther-in-law, a melodic tango in European style that Saverio —who had married again, this time, a Jewish-Polish opera female singer— had composed, and to which a friend of his had added a very romantic lyric, that evoked a love rendezvous in spring, among trees and under the stars.
«I have something amazing for you, that I shall deliver to you in Buenos Aires», Juan Carlos Cáceres told me on the phone, from Paris. Some days later he displayed before me, on a table at the Tortoni, five yellowish music sheets, written in black ink. It was a tango, dated on August 10, 1940 at the small Ucranian town named Umañ, halfway between Kiev and Odessa. The texts were in Russian. It had as title, “Tus ojos” (Your Eyes), and a dedication «to dear Celia». Its music belonged to a certain Saverio Sadán, and on the last page there is a long lyric signed by D. M. Glinberg. But those notes handwritten by someone unknown do not result strange at all. They are those of a tango which reached great accclaim in Argentina after 1942 and was the greatest hit by the orchestra of the bandoneon player Juan Sánchez Gorio and his singer, the Uruguayan Luis Mendoza: “Gitana rusa”. Until the time when Cáceres put the worn-out original on the table there was no reason to doubt if Sánchez Gorio had composed it, even though it was his only lasting piece. But the story of this tango is no less exotic than its theme, and can be told like this.
The red-headed Demetrio Sadán, who became head of the Cables section at the Crítica newspaper, was born in Ucrania in 1910. His mother abandoned him when he was a few months old when she separated from his father, Saverio, a Jew that, as usual, was a violinist. Meanwhile, she emigrated to Buenos Aires turned into the wife of an Argentine diplomat. After the Russian Revolution and the ensuing civil war, Demetrio was sent to Argentina to meet his mother, for what he had to face all by himself, he was just eleven, a never-ending journey by train and by ship. Eight years later here he graduated from the Liceo Internacional at Olivos, and he entered Crítica. In 1938 he married his secretary, Celia Piva, and two years later from Ucrania his father sent as a gift for his unknown daugther-in-law, a melodic tango in European style that Saverio —who had married again, this time, a Jewish-Polish opera female singer— had composed, and to which a friend of his had added a very romantic lyric, that evoked a love rendezvous in spring, among trees and under the stars.
With the intention of finding some useful destiny to it, Demetrio handed his father´s work to a friend of his, Horacio Basterra, who by then was beginning his career as successful lyricist. Signing as Horacio Sanguinetti he wrote tangos so cherished as “Nada”, “Tristeza marina”, “Barro” or “Los despojos”, among many others. Demetrio had allowed him to do what he wished with those pages. And, as we now know, Horacio decided to trust them to Sánchez Gorio, and add them new lyrics, in Spanish, that would become a good sample of kitsch. Its protagonist is a Russian gypsy woman looking after her man in the taverns, but she will be unable to find him because he committed suicide by drowning in the Don.
Sánchez Gorio changed slightly the music notes and with Sanguinetti filed the piece as his own. Singers like Orlando Medina and Oscar Serpa contributed to the sudden success of the easy listening tango with Oriental-Slavonic flavor. Many years later, Cáceres, then married to Demetrio´s daughter, played on piano Saverio´s original composition for his father-in-law. But El Colorado did not liked it: he had forever in his heart the rhytmical and striking Juan Sánchez Gorio´s rendition. About Saverio, the violinist we never knew anything else, except that he was killed by the nazis.”
Sánchez Gorio changed slightly the music notes and with Sanguinetti filed the piece as his own. Singers like Orlando Medina and Oscar Serpa contributed to the sudden success of the easy listening tango with Oriental-Slavonic flavor. Many years later, Cáceres, then married to Demetrio´s daughter, played on piano Saverio´s original composition for his father-in-law. But El Colorado did not liked it: he had forever in his heart the rhytmical and striking Juan Sánchez Gorio´s rendition. About Saverio, the violinist we never knew anything else, except that he was killed by the nazis.”
*** De notat ca tangoul “Ochii Tai” pus pe hartie de Saverio Sadán in Uman, orasel la o distanta de numai 270 km de Chisinau (intre Odesa si Kiev), datat 10 august 1940 ajunge prin Paris in Buenos Aires.
*** Pe 5 octombrie 1942 este inregistrat marele hit “Gitana Rusa” de orchestra Ricardo Malerba cu cantador Orlando Medina, iar pe partitura chiar este mentionat "tango europeo"
*** Iar pe 27 noiembrie 1942 este inregistrata aceeasi melodie, Gitana Rusa, in varianta orchestrei Osvaldo Fresedo cu cantador Oscar Serpa.
Initial m-am gandit ca Saverio sa-l fi auzit pe Cristian Vasile chiar in Ukraina, cand trupele romane inaintau spre Don, numai ca Romania intra in razboi in iunie 1941, iar partitura datata august 1940 ajunsese deja in Argentina probabil. Deci aceasta ipoteza cade.
Este posibil ca Cristian Vasile sa se fi intalnit cu Saverio Sadan intre 1933 si 1940? Cert este ca tema melodica a avut timp berechet in sapte ani sa ajunga din Romania in Ukraina. Imi lipseste legatura dintre cei doi desi distanta mi se pare foarte mica... Posibil ca lautarii vremii, care umblau cu carutele cu shatra sa fi transportat aceasta melodie, in varianta proprie, s-o ia de aici si s-o imprastie pana dincolo de Kiev si de Odesa.
Dar ma intreb si care a fost sursa de inspiratie a lui Ionel Fernic, care era si aviator si zbura de colo-colo. De unde s-a inspirat el cand a compus "Iubesc femeia: in 1933...
Initial m-am gandit ca Saverio sa-l fi auzit pe Cristian Vasile chiar in Ukraina, cand trupele romane inaintau spre Don, numai ca Romania intra in razboi in iunie 1941, iar partitura datata august 1940 ajunsese deja in Argentina probabil. Deci aceasta ipoteza cade.
Este posibil ca Cristian Vasile sa se fi intalnit cu Saverio Sadan intre 1933 si 1940? Cert este ca tema melodica a avut timp berechet in sapte ani sa ajunga din Romania in Ukraina. Imi lipseste legatura dintre cei doi desi distanta mi se pare foarte mica... Posibil ca lautarii vremii, care umblau cu carutele cu shatra sa fi transportat aceasta melodie, in varianta proprie, s-o ia de aici si s-o imprastie pana dincolo de Kiev si de Odesa.
Dar ma intreb si care a fost sursa de inspiratie a lui Ionel Fernic, care era si aviator si zbura de colo-colo. De unde s-a inspirat el cand a compus "Iubesc femeia: in 1933...
Ca sa nu mai bat sausa sa priceapa iapa cu povesti frumoase: Este oare posibil ca refrenul tangoului “Iubesc femeia” a lui Cristian Vasile din 1933 sa ajunga un mare hit in Argentina in 1942? De data aceasta sa fi fost firul invers? Sa fi plecat acesta tema melodica din Romania via Ukraina ca sa ajunga in Argentina un mare hit?
Mie aceste trei melodii imi suna foarte apropiat. Mai ales la refren.
Comentarii
Excelent articolul și mulțumiri pentru paralela făcută și pentru ipoteza despre brăileanul Cristian Vasile, care să nu uităm era chemat în Germania pentru a îi fi înregistrate discurile. Așa că este posibil ca Saverio să fi îl ascultat pe un disc pe Cristian Vasile și nu direct. Dar oricum o fi făcut-o, pentru că eu nu cred în coincidențe sau muze clonate de pe un continent pe altul, de ce ne-am îndoi că nu melodia lui Ionel Fernic a fost "muză" lui Malerba?
https://www.youtube.com/watch?v=LxTaHNgFYlU
Ferencz Ibolya, fan La Sastresa.