Julio de Caro (December 11, 1899 – March 11, 1980) was an
Tango
genre.
Life and work
His father opened a
San Telmo district, in 1913, soon becoming one of the city's best known sources for music, instruments, parts, and lessons. He and his brother, Francisco, were both taught the piano and violin, respectively; though their father ultimately granted them their wish to exchange instruments (a third brother, Emilio, learned the violin). Against his father's wishes, Julio obtained a spot as a second violinist at the Lorea Theatre for a 1915 performance of a zarzuela. Despite his father's punishment and objections, the brothers began attending Buenos Aires' popular tango recitals. Some of these early influences included bandleaders Eduardo Arolas, Juan Carlos Cobián, and Roberto Firpo
.
At his friends' prompting, de Caro rose to the stage during a tango performance at the Palais de Glace, an elegant multi-purpose venue, in 1917. Granted an instrument by Firpo's violinist, de Caro's performance elicited a standing ovation, as well as Eduardo Arolas' offer for a permanent spot in his orchestra. The elder de Caro (who disdained popular music generally) resisted it, and the talented young musician resorted to stealth to join Arolas' orchestra, for which he wrote his first tango, Mon beguin.
Eventually, his father forced the 18-year-old out of the house, a drastic move that pushed Francisco to join his brother. The two traveled with Arolas' orchestra, a success in both Argentina and neighboring Uruguay. The brothers contributed greatly to its fortunes, composing - among other standards in tango: Mala pinta (Shady Look), Mi encanto (My Charm), Pura labia (All Words), Don Antonio, A palada (In Spades), Era buena la paisana (She Was a Good Country Girl), Percanta arrepentida (Lamentful girl), Bizcochito (Lil' Biscuit), Gringuita (Blondie) y La cañada (The Brook).
A business disagreement led de Caro and pianist José María Rizzuti to leave Arolas' group in 1919. They formed a
Argentine Supreme Court. The group separated in 1920, however, and de Caro and Rizzuti joined bandleader Osvaldo Fresedo, with whom they would tour in the United States. De Caro relocated to Montevideo, where he married and joined Minotto Di Cicco's orchestra (1922). He was then reunited with Maffia in Buenos Aires under Juan Carlos Cobián
's direction, in 1923. His marriage ended, shortly afterwards.
Cobián's decision to follow a love interest to
RCA Victor and, in April 1925, performed for Edward, the Prince of Wales. U.S. jazz bandleader Paul Whiteman introduced de Caro to the Stroh violin, later that year. The device (a violin with a cornet horn at one end) had been invented for radio performances for its ability to project sound above the rest of the orchestra, and the conductor soon found it an indispensable tool. The renowned bandleader composed numerous pieces in honor of some of the prominent figures in Argentine life that attended his performances, notably chief surgeon Enrique Finochietto and President Marcelo Torcuato de Alvear
.
Old friends, Ernesto Sábato, Ben Molar and Julio de Caro together in 1977
(1936), where they presented a comprehensive "Evolution of the Tango" - leading listeners through its development from 1870, onwards. A surprise visit by the brothers' aging parents following one of these performances led to the family's reconciliation.
His orchestra continued its prominence among tango fans for years, introducing young talent such as vocalist
Other notable relatives include his cousin, the poet Julia de Caro (July 11, 1917 - June 26, 2009) and his grand-niece, the American fencer Natalie Julia Vie (b. April 19, 1986).
