Uruguay's Raúl Courau was a very solid pianist, bandleader and composer who tirelessly plied his trade for thirty-five years and achieved some very real success, yet is virtually unknown today. That's Courau at the piano, above, and dig that crazy drumkit—maybe the very one that got him kicked out of the stodgy Pianists' Association (see below for that story). And dig also that Afro-Uruguayan drummer, unnamed, who couldn't be a day over fifteen, and who appears to be sitting on top of the world. How delightful! Be sure to listen below to Courau's beautiful composition, "Mientras llora el tango" as recorded by the Eldorado Tango Band in 1930.
The following biography of Courau is from todotango.com, and was written by Uruguayan tanguero, photographer, and historian Horacio Loriente. It's a bit long and detailed, but I translated it in full because it gives such a good idea of Corau's varied accomplishments. Translation by Tango Decoder, Copyright © 2014. (Foto: Museo y Centro de documentación AGADU)
Raúl Courau (15 October 1896 - 11 June 1956) was born right in the center of Montevideo, at Buenos Aires and Ituzaingó. A scholarly pianist, he had solid training with the maestros Martín Lopez and Tomás Mujica.
His professional debut as an orchestra director with a classical repertoire took place in the Cine Doré, a charming little room that operated at Mitre 1376, although before that he was informally the pianist of a small conjunto típico in the Café Liropeya, a few steps from the Doré, at the corner of Sarandi. These things happened over the course of five years, ending at the beginning of 1920.
Contracted by Max Glücksmann’s firm, he gave performances in almost all the cinemas operated by that great company. Upon including a drum kit in his group and getting himself banned by the Pianists’ Association, he had to distance himself from that organization. In the cinemas, interchangeably with the orquestas típicas or classical, he played an extraordinary role and accompanied the tenor Enzo Fusco and Libertad Lamarque, among other famous artists. (Keep reading below the video...)
Spurred by the rise of the of the repertoire of Uruguayan authors promoted by the agents of the Victor label, Bernardo Glücksmann offered Raúl Courau a paid position, in exchange for exclusive rights to his output (as related to us by Víctor Soliño).
In the year 1927, Courau presented two tangos in the contests put on by the Disco Nacional label. In the Buenos Aires contest, it was “En silencio,” fourth prize, performed in the Palace Theatre, and in Montevideo it was “Canchero Viejo” (not to be confused with the tango of the same name by Ricardo Brignolo) performed at the Teatro Urquiza, distinguished by special mention. Both tangos had lyrics by Víctor Soliño.
The following year saw a link between the composer and the Montevideo carnaval, writing the music for the repertoire American Dancing troupe, with the outstanding tango “Artículo de lujo,” that won the first prize offered by the Municipal Festival Commission. The recordings of Ignacio Corsini and the orchestra of Francisco Canaro with refrain sung by Agustín Irusta, meant Courau’s first great popular success. And so, in those days, he made his debut in CX20 Radio Montecarlo and in the Stella d’Italia cinema.
In the carnaval of 1929 he provided the music for the Black Bottom dance troupe, from which we emphasize “Mientras llora el tango” with lyrics by Esteban Barabino which was performed by the singer Amadeo Violante. The work, presented in the second contest of Disco Nacional, won the first prize upon being performed by the Francisco Canaro orchestra with the singer Charlo.
For the Glücksmann contest in Buenos Aires, Courau saved a work with a difficult structure that, on being played by Roberto Firpo’s orchestra, won the highest distinction. It was the tango “Rancho emrujao,” with lyrics by Francisco García Jimenez.
In the carnavals of 1930, probably already under contract with Disco Nacional, the songs and sheet music of Courau began to appear on the Victor label, but with the name “Carlos” Courau. In this carnaval as usual collaborating with the Black Bottom troupe, he achieved one of his greatest successes: the tango “Marquesita de arrabal” wth lyrics by Raúl de Castro, and the vals “Florcita primaveral” with verses by Luis Viapiana. The tango won first prize and the vals, special mention. The following year he debuted his tango “Dulce gitana,” again with Raúl de Castro.
In a musician of his category it’s not surprising that he was successful in other genres. These include his maxixas “Cascarita” and “Che, Antenor hacé el favor,” the ranchera “Trago amargo,” and Venganza de Pierrot,” a beautiful unsigned tango recorded by the Roberto Firpo orchestra, the fado “O ninho dos passarinhos,” popularized by the Uruguayan voice of Luis Díaz, and a rumba, “Cubanita flor.” More than 60 titles are on file with AGADU (Asociación General de Autores de Uruguay).
Courau was closely linked for many years with CX30 Radio Nacional, where he headed several groups and also was the station’s artistic director. In 1935 he formed a classical quartet, giving it the name of Pérez Méndez, in homage to the great violin master Patricio Méndez Pérez. He also had a jazz group called Harry.
He was a tireless diffuser of and contributor to music and was known for his good nature and his honesty. We note that his final work registered with AGADU is a polka titled “El coronel” with a date of 16 April 1956. That very same year his obituary would appear, just two months after the listing of the polka in his file.
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