Julio de Caro

Julio de Caro (December 11, 1899 – March 11, 1980) was an Argentine composer, musician and conductor prominent in the Tango genre.

His father opened a conservatory in the 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 eleicited 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).

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