The great acceptance by audiences of these recordingsВ propitiated theВ appearance of numerous recording labelsВ competing for the market. In 1910 the first recordings of an orchestra with the bandoneon, directed by Vicente Greco, were released by Columbia Records. Other compositions of remarkable inspiration followed although they are not as well known today as they should be: вЂњNarizвЂќ, dedicated to his вЂњamiguitaвЂќ Delia LГіpez вЂњRey de los bordoneosвЂќ, dedicated to his musicians вЂњMaturangoвЂќ вЂњChГєmbaleвЂќ and the vals вЂњNotas del corazГіnвЂќ, dedicated to his mother. His first composition, published in 1912, was an immediate great success. While on this tour he met Delia LГіpez вЂњLa ChiquitaвЂќ, and started a relationship that became a source of great inspiration for him as well as the likely trigger of theВ unfortunateВ choices that accelerated his demise.Д«ack in Buenos Aires, he worked mostly in his own neighborhood of Barracas, in various venues, including his own, вЂњUna noche de garufaвЂќ, that he opened with his friend, the industrialist Luis Bettinelli. Upon his return from this trip, he started formal musical studies with JosГ© Bombig, conductor of the National Penitentiary band, who had a conservatory on Avenue Almirante Brown, in La Boca neighborhood.Дuring those three years at the conservatory, he made an extensive and very profitable tour of the provinceвЂ™s brothels, with violinists Ernesto Zambonini and Rafael Tuegols.

At this gig, Arolas played a bandoneon of standard 71 buttons. In 1911, at 19 years old, he played in Montevideo for the first time, which will become his home when, broken-hearted, he exiled himself voluntarily from Buenos Aires. In 1910 he played with Tito Roccatagliatta, the most important violin player of that era Leopoldo Thomson, who established the double bass in the orquestas tГpicas, and Prudencio AragГіn, pianist and composer, author of вЂњSiete palabrasвЂќ. That same year he went to present his first composition to Francisco Canaro. In 1909 he played a 42-buttons bandoneon, accompanied by Graciano De Leone in guitar. On the record sheet of his neighborhood police station, he appeared classified as вЂњcompadritoвЂќ.

Arolas, known as вЂњel Pibe EduardoвЂќ, and his brother played Waldteufel waltzes to entertain the clientele, which was very in vogue at the time.ДЄfter finishing third grade, he quit school and began working different jobs to help his family: busboy, delivery boy,В an apprentice at a print workshop,В manufacturing commercial signs, illustrator, decorator andВ cartoonist, which became another of his passions, as seen in the drawings and artwork covers of his own published music compositions and for some colleagues. He acquired a small one with 32 notes and began learning from Muchila.ДЄfter selling merchandise on the streets for many years, his parents opened a wholesale store and bar in front of the train station. The sound of this instrument exerted a strong attraction on Arolas. He accompanied Ricardo GonzГЎlez вЂњMuchilaвЂќ, who played the bandoneon. Arolas was regarded as a skillful and versatile player. Until 1906 he played this instrument with friends in informal settings and eventually began playing gigs at CafГ©s and Dancings of his neighborhood. He was born on February 24, 1892, in the nascent industrial neighborhood of Barracas, on the southern edge of Buenos Aires, where he grew up playing among workshops, construction sites, warehouses, deposits, workers, cart drivers, cuarteadores, payadores, and herdsmen.ДЄt 6 years old, he started learning to play the guitar from his brother JosГ© Enrique. ArolasвЂ™ works have such advanced characteristics, that they will keep forever surprising Tango lovers wondering how, what inspiration, and from which source Arolas extracted them. None of his colleagues had a defined style during their first compositions and would need many years to develop it. This quality cannot be attributed to any other Tango composer. Still, in his first composition, all the elements of his style are present, bursting out into the world, for the amusement of all of those who, like us, love Tango. In 1909, when Eduardo Arolas composed вЂњUna noche de garufaвЂќ, he had not yet acquired a formalized musical education.

1960 tango instrumental performance