Canaro in Berlin
An interview with Francisco Canaro, the composer of “Cara Sucia” and “¡Sufra!” [Conducted by Ernesto de la Fuente, Buenos Aires, 1928]
Who does not remember „Cara Sucia“, the tango by Francisco Canaro that became so exceptionally popular some 12 years ago? Who did not at some point hum its cheerful music or repeat some of the cheeky and daring lines that came with it? Possibly only few indigenous tangos achieved the sensational success of this piece by Canaro, the tireless composer who today enjoys the favors of fortune in all its aspects. Still young, he lives happily and quietly in his residence in Belgrano where—sitting in front of a small harmonium in nights of inspiration—he writes down on staves the harmonious notes of his new pieces.
—“Are you a happy man?“ we ask him as he offers us an excellent Havana cigar.
—“Absolutely,” he responds. “I think that in my profession I cannot ask for more. I believe it is luck that has always accompanied me, and I would be an ungrateful person if I denied it or tried to ask for more. ”
—“Which one of your pieces brought you the most flattering result?”
—“'Cara Sucia', which then, around 1916, had a success I did not expect, even though I had achieved a triumph before with 'El Chamuyo'. That one was performed first in 1914 at the Nacional Norte, located where the Gran Splendid stands today.
—“Financial success as well?“
—“So much that more that 40,000 records were pressed and some 28,000 copies of the sheet music were sold—at a time when counterfeiting was not as developed as today and the prices set were truly remunerative.”
Canaro then recalls an interesting incident brought about by 'Cara Sucia'. It led to court proceedings in which he was accused of having plagiarized the music. The matter went before court, which confirmed his copyright after some interesting musical expert testimony had been obtained. It was the first time that the judiciary had to deal with a case of artistic property.
—“How many tangos have you published until today?” we ask him then.
—“More than a hundred ...”
—“And which were, in your opinion, the most successful ones?”
—„'Sentimento Gaucho', which won an award, 'Nobleza de Arrabal', '¡Sufra!', 'Se Acabaron los Otarios', 'Federación', 'Pollito', 'Matasanos' and many more.
—“And as an artistic success, which one was your greatest triumph?”
—“In my judgement, it was 'El Pajaro Azul' which I have recently published and in which I carried out a revolutionary attempt within the regular forms. I believe that the moment has come to give our popular music new aspects. I tried to impress on my last piece, which I call a tango fantasy, a certain classical character. I avoided the association with a text that possibly would not match a composition of this kind.”
—“Do you think there exists no immediate danger that popular enthusiasm could diminish, causing the decline of that aspect of our national music?”
—“Absolutely. And, on the other hand, tango is conquering many countries in Europe in which it was nothing less than opposed before.”
—“Except in Paris.“
—“Of course. There, tango is something indispensable for the life and happiness of Paris, the city that enjoys itself. One could say it is a necessity. But in Germany, for example, it is finding more and more admirers every day. Proof of it is that I was asked to set up a real orquesta típica 'de gauchos' that soon is to perform in the most important halls of Berlin.”
—“Do you have interesting memories of your stay abroad as a leader of the orchestras you assembled?”
—“Many, especially from France, where I even became a popular personality. Of course, within this special world of those who make life a source of almost inexhaustible happiness and well-being ... ”
—“Perhaps an anecdote of your stay in Europe?”
Canaro muses and smiles.
—“Anecdotes, many, every day; but perhaps none is so interesting as an incident that occurred to me in Berlin. The same day I arrived in the city, a stout theater impresario, who only spoke German, invited me to hear a “criollo” singer that performed argentine tangos every night with great success in a well-known cabaret. As agreed we went there and eventually the anticipated number came up. A gaucho with bolas, spurs, and everything a gaucho must have did his presentation to impressive applause. The man began his task singing tangos that were greatly celebrated. But even though I tried to listen very carefully, I could only understand a word now and then. Stung by curiosity, I had him invited to our table and the 'gaucho argentino' approached shortly thereafter.”
—“'¿Cómo le va, mi amigo, de qué pagos es Usted?' I asked him, padding him on the back. The man turned pale and responded with a pleading expression: 'Pardon, ne dites rien; d'argentain je n'ai que des vêtements...'. He was a Frenchman, dressed up as a gaucho, who put on 'America' in Germany. As you see, tango is a real industry in Europe which will soon become a gold mine for those with the spirit and desire to exploit it.”
Today Canaro is a wealthy man. As we talk about him as a private person he does not try to deny it. He invests his wealth in real estate. He owns already a considerable number of properties. The rental income alone would allow him to live in luxury and comfort.
Recording sound discs is his favorite occupation, perhaps because it is more lucrative. The moment a tango reaches popularity a good 100,000 copies can be pressed.
—“Is there perhaps a secret, Canaro, to being successful in a musical career?” we ask.
—“There is one,” he responds; —“to idealize the popular sentiment.”
Translation by Wolfgang Freis. ©2017. All rights reserved.
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