August is a special month for tango enthusiasts as we celebrate the birth of Pedro Maffia, a pivotal figure in the history of tango and a great innovator of bandoneon technique.
In another post, I discussed Walter Porschmann, a forgotten bandoneon virtuoso. The case of Pedro Maffia is different: he is undeniably one of the seminal figures in tango history, particularly for his contributions to the bandoneon. Despite his pivotal role in transitioning from the tango of the Guardia Vieja to the more sophisticated and mature styles of later decades, Maffia remains quite unknown to the mainstream public outside of Argentina. Maffia holds particular significance to me as a central figure in the inclusion of the bandoneon in academic settings, as we will explore at the end of this post.
From a young age, Maffia exhibited a profound musical talent and an indomitable spirit. Born on August 28, 1899, in Buenos Aires’ Balvanera neighborhood to a family of Italian descent, he began his musical journey at the age of eight with the accordion. Despite the lack of formal teaching materials, Maffia quickly mastered the bandoneon under the guidance of José Piazza, eventually surpassing his mentor. He ingeniously adapted piano books to his instrument, showcasing his innovative approach from the start.
Family strife often forced Maffia to flee home, carrying his bandoneon through Buenos Aires and its outskirts. He played in various venues, from bars to brothels, developing his craft as a street musician. During one such wander, he caught the attention of José Ricardo, guitarist for the Carlos Gardel-Razzano duo. Ricardo recognized Maffia’s extraordinary talent and introduced him to Roberto Firpo, a prominent orchestra leader. Although Maffia played with Firpo for several years, he found the traditional orchestral style too restrictive, eager to introduce syncopated accents, intricate phrasing, and rubato into tango.
The 1920s marked the golden age of tango sextets. In 1922, Maffia joined the legendary Sexteto Orquesta de las Estrellas, which included luminaries like Pedro Laurenz and the De Caro brothers, Julio and Francisco. This group was instrumental in ushering in the “Decarean era,” named after the De Caro brothers, which revolutionized tango.
Maffia’s contributions to tango and the bandoneon were transformative. He integrated advanced techniques, harmonically rich chords, and unique embellishments that became signatures of his style. In 1926, he founded his own sextet, known for its refined, subtle sound and impeccable performance style. Audiences were captivated by their austere yet elegant presentations, with Maffia himself exuding calm and precision.
He was among the first to perform bandoneon solos and establish legendary duets with other greats like Luis Petrucelli, Laurenz, Alfredo De Franco, and Gabriel Clausi. His variations, such as the one immortalized by Aníbal Troilo in “La Maleva,” became iconic.
In 1935, Maffia joined Los Cinco Ases Pebeco, featuring other notable musicians, and in 1936, he was part of the elite quintet Los Virtuosos, chosen by readers of Sintonía magazine. Today, this group would be considered a supergroup.
The 1930s in Argentina were marked by mass industrialization, urbanization, and popular entertainment. Large dance halls replaced intimate music venues, requiring orchestras to amplify their sound to fill these expansive spaces. However, this shift often sacrificed musical finesse for volume.
Preferring a more refined and intricate musical expression, Maffia withdrew from the increasingly bombastic tango scene. He spent the remainder of his life primarily dealing in gold and jewelry. Maffia passed away in 1967, as tango itself was experiencing a decline.
As a composer, Maffia left an indelible mark with timeless tangos like “Pelele,” “Diablito,” “Triste” (with Francisco De Caro), “Tiny” (with Julio De Caro), “Amurado” (with Laurenz), “Taconeando,” “Ventarrón,” and many more.
Maffia’s influence on subsequent bandoneonists was profound. Aníbal Troilo, who performed with Maffia, dedicated the tango “A Pedro Maffia” to him. Astor Piazzolla also paid homage with “Pedro y Pedro,” honoring both Maffia and Laurenz.
In 1966, Maffia appeared in the documentary Fuelle querido by Mauricio Berú, his only known video recording. Though brief, this performance showcases Maffia’s exceptional technique and his mastery of the bandoneon, balancing subtlety with precision.
In the video below you can see an excerpt of the mentioned documentary in which Pedro Maffia plays the tango Heliotropo for bandoneon solo.
Maffia was not only a performer but also a revered educator. In 1954, Cátulo Castillo, director of the Manuel de Falla Conservatory in Buenos Aires, appointed Maffia as the first professor of the newly established bandoneon chair. Maffia taught until 1956, striving to elevate the bandoneon’s status in the academic world.
Maffia and Castillo sought to dignify the bandoneon, an instrument often associated with unsavory venues, by integrating it into the conservatory’s curriculum, modeled after piano studies. They envisioned the bandoneon as a versatile and noble instrument, suitable for both academic and concert settings. Their pedagogical approach emphasized a comprehensive musical education, incorporating history, styles, and the nuanced application of musical language to the bandoneon.
This vision remains influential. The first graduate of the bandoneon chair, Rodolfo Daluisio, continued this legacy, enriching the curriculum with his own insights and passing it on to future generations. Today, this tradition continues, with Maffia’s influence resonating through the halls of the Manuel de Falla Conservatory.
Pedro Maffia’s legacy as a pioneering musician, composer, and educator remains a cornerstone of tango history, inspiring countless musicians and preserving the rich heritage of the bandoneon.
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