Bandleader Ebe Bedrune, "The Lady in White," interviewed Maestro Roberto Firpo for the weekly magazine "Cantando" in 1945. Translation by Michael Krugman for Tango Decoder. Photo source: Tango Time Machine Archives.
Roberto Firpo. "Alma de Bohemio" would be enough to define him. We know well the exquisite musicality of his compositions and it's really a shame that he who composed "El Amanecer" and "El Rápido," didn't compose more; he has no right to leave us without his inspiration which produces music so full of color and emotion.
Ebe Bedrune: Why is that, maestro?
Roberto Firpo: It's because I've worked a lot and now I'm feeling a bit of nostalgia for the peace and quiet of home, and that's why I've abandoned in part my artistic activities.
Ebe: It's true, you have said in part, because I believe you continue with the quartet that has given you such satisfaction.
Firpo: As a matter of fact, Ebe, I've signed contracts to record with the quartet.
Ebe: You always record with Odeon, right?
Firpo: Yes, it's been more than thirty years that I've been with the label, where I feel very much at home. I remember that when I tried recording in the year '14, the piano wasn't accepted as part of the típica; but even so we gave it a go. There wasn't much enthusiasm, but by chance a client heard it and took an interest, and the label saw that it was marketable.
Ebe: And then?
Firpo: Then they offered me an exclusive recording contract that let me devote myself to ranching.
Ebe: When did you return to tango?
Firpo: In the year '30, when I resumed my radio appearances with renewed energy and enthusiasm.
Ebe: Don Roberto, how did the song "Alma de Bohemio" come to be?
Firpo: It was back in '14. Florencio Parravicini, the magnificent Parravicini (Argentine film actor, 1876-1941) was playing a role in which he was to appear playing the violin. He asked me for something very melodic, and when he heard what I'd composed, he threw his arms around me and said it was everything he had imagined. What pals we were! And what times those were! Listen, Ebe, let me tell you a story that I'm just now remembering: I was playing back then at the famous Cafe Hansen with a trio that included Juan Carlos Bazán and (violinist Francisco) Postiglione. Can you image what they were paying us? Three pesos a night, one peso for each of us! Ay! And the majority of the songs had to be improvised! That was in the year 1907, more or less.
Ebe: But, Don Roberto, why don't you perform or compose more frequently?
Firpo: I might return with the orchestra next year. I'm actually preparing a few things and I'm going out a bit.
Indeed, Roberto Firpo lives in the tranquility of his home, instructing his children in the mysteries of that same emotion. He is constructing a chalet in Don Torcuato in order to live closer to the sun and to his memories.
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