San Pugliese
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San Pugliese
Born on December 2, 1905, in Buenos Aires’ Villa Crespo neighborhood, Osvaldo Pugliese became a pivotal figure in popular tango milonga.
Despite hailing from a family of musicians, young Pugliese initially resisted following in their footsteps, even though his father gifted him a piano.
In 1918, Pugliese had already left primary school to work in graphic printing. Nevertheless, he preferred playing guitar and bandoneon by ear with his friends. Eventually, his father persuaded him to take piano lessons from Antonio D’Agostino, marking the beginning of his unstoppable career. His early works, like “Recuerdo” and “Suckers,” were composed, leading to professional gigs at “Café de la Chancha” and forming his first sextet with Pedro Maffia. In 1939, he finally established his own orchestra.
However, his journey wasn’t without challenges. The rise of talkies and the Great Depression in 1929 forced many musicians, including Pugliese, to form a union to combat unemployment. Pugliese’s commitment to improving musicians’ working conditions led to significant strikes and union victories. His affiliation with the Communist Party in 1936 brought him numerous challenges, including censorship and jail time in the ’40s and ’50s.
Pugliese remained critical of cultural policies during the dictatorships of the ’60s and ’70s but remained optimistic about tango’s future. In 1985, during a democratic era, his orchestra performed at the prestigious Teatro Colón. On July 25, 1995, at 89 years old, Pugliese passed away, leaving behind a rich legacy. Below is an interview from May 1981, where Pugliese shared insights on his life and music.
Osvaldo Pugliese: “National Sovereignty Also Defends Culture”
More than 60 years after his foray into tango, Osvaldo Pugliese remains a steadfast advocate for Argentina’s most representative music. At 75, he reflects on the musicians’ hard struggles and laments the decline from tango’s golden era. Tango has mirrored Argentina’s turbulent history, enduring ups and downs, controversies, and cultural shifts.
Despite the challenges, Pugliese believes in tango’s resilience. He criticizes how cultural policies have marginalized tango, overshadowed by the influx of foreign music. Yet, he holds onto the hope that the rich tradition and spirit of tango will prevail.
Q: How did you start in music?
Pugliese: “I began with classical music, influenced by my father and brothers. My friends and I played guitar and bandoneon by ear. I left school after fourth grade to work in printing. One day, my father gifted me a piano, insisting I learn. Reluctantly, I started lessons with Antonio D’Agostino.”
Q: When did you write your first tango?
Pugliese: “I composed ‘Recuerdo’ while studying with D’Agostino, finishing it in 1924. Other early works include ‘Suckers’ and ‘Senderos.’ My father took me to dances, which helped me gain practical experience.”
Q: How did the advent of talkies affect you?
Pugliese: “It led to widespread unemployment among musicians. We formed the first union of popular music in 1935, fighting for better working conditions. Our first strike was in cabarets, securing rest days and fair wages.”
Q: Has the situation for musicians improved since then?
Pugliese: “Unfortunately, many gains have been lost due to political intervention and economic instability. Musicians still face job insecurity and inadequate compensation.”
Q: What can be done to improve the situation?
Pugliese: “We must unite and fight for our rights. We need to address issues like tape recordings replacing live performances, reducing opportunities for musicians.”
Q: How do you view the current state of tango?
Pugliese: “Tango has evolved musically but lost some of its popular roots. The absence of social dances has hurt its growth. However, there’s hope in young musicians who continue to innovate.”
Q: What are your thoughts on SADAIC (Argentine Society of Authors and Composers)?
Pugliese: “SADAIC has become bureaucratic and detached from the needs of musicians. We need democratic leadership that truly represents us.”
Q: What impact has the media had on tango?
Pugliese: “Media support for tango is minimal. Programs dedicated to tango are scarce, overshadowed by other genres.”
Q: How have you managed to keep your orchestra going for 42 years?
Pugliese: “It’s been tough, but our cooperative structure and collective effort have kept us strong. We’ve faced many challenges, but our commitment to tango has never wavered.”
Q: What’s the secret to your success?
Pugliese: “Unity and consistent artistic vision. I’ve always studied and adapted, maintaining a balance between tradition and innovation.”
Q: Do you believe in the future of tango?
Pugliese: “Absolutely. Tango has a rich heritage and emotional depth that resonates with people. It will continue to thrive as long as we preserve its essence and adapt to changing times.”
Q: What advice do you have for young musicians?
Pugliese: “Study the history and roots of tango. Embrace innovation but stay true to its core values. Tango is more than music; it’s a reflection of our culture and identity.”
Q: Any final thoughts?
Pugliese: “National sovereignty is defended not just with arms, but with culture. Tango is an integral part of Argentina’s cultural heritage, and we must cherish and protect it.”
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Source: [El Historiador](http://www.elhistoriador.com.ar)
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