Pasquale Taraffo and His
Fourteen-Stringed Harp-Guitar
Win Over Worldwide Audience
About the character, background, and international success and decline of a great guitarist undeservingly neglected.
Chapter 5:
by Giorgio De Martino
translation by Silvia Minas
edited by Gregg Miner
At right: Still from 1928 film Taraffo should be considered as a modern artist. Though certainly not personally a brilliant communicator, he clearly saw the point of exploiting the media of the time. He might well be the Italian guitarist who had the highest number of records being produced during the late 1920’s with major Italian, English, German and American companies, though without actually keeping to any systematic sound recording criteria, as the idea must have been more one of money making both on the basis of the recording companies requirements and possibly Taraffo’s own profit. This meant that, though in an amateurish and practical way, he had managed to gain advantage on the side of both profit and publicity by having dozens of 78 rpm disks recorded, and sometimes even the same piece under different companies’ labels. Unfortunately an accurate review of his work or even a chronology of it has been made almost impossible so far owing also to the fact that as Taraffo had refused to sit for his admission exam, his name had never been entered in the Italian Authors and Publishers Association (Socetà Italiana degli Autori ed Editori). Luckily, quite a number of disks have been found that he had recorded with Homocord, Columbia, Odeon, and Polydor - a direct way for him to be appreciated in every home, make people wonder about him, and gain fame. He also saw very well how important the new world of movies was. He burst in the bright wake of the 20th century’s New Art with a clip of his fourteen-stringed guitar masterly played by him. Nobody knows how many of these clips were shot. This most precious one in our hands shows him playing his very popular hit “Stefania”. The set is in New York, shot on December 19, 1928, just a week before his triumphant concert held at the Gallo Theater (details about which will be given later on in this article). This clip lasting just a few minutes might well have been projected just before or after some longer movies in theaters as they used to do at the time. Taraffo also took part in radio broadcasting programs. We know this was true in Argentina at “Radio Cultura” and “Radio Fenix” where he played together with his fellow citizen Mario Cappello. |
- Giorgio De Martino (2011) with the precious collaboration of Franco Ghisalberti and Enrico De Filippi, translation by Silvia Minas |
Giorgio
De Martino,
born in Genoa (Italy) in 1964, is a musician, journalist and
writer. Since 1989 he has collaborated with the newspaper “Il
Secolo XIX”. Since 1993 he has collaborated with the Teatro
Carlo Felice in Genoa, presenting over a thousand lectures and meetings
at schools, universities and associations. He
published “Giuseppe Gaccetta e il segreto di Paganini” (De Ferrari,
2001), “Cantanti, vil razza dannata” (Zecchini, 2002), “Attività
lirica e musicale a Lavagna e nel Tigullio” (De Ferrari, 2003),
“L’utopia possibile” (Zecchini, 2004), “All’Opera!” (Frilli,
2007), “Notte illuminata” (Almud, 2010), and “Andrea Bocelli live
in Central Park” (2011).
In
February, 2010 he wrote the book "Chi è di scena" for the
Fondazione Teatro Carlo Felice in Genoa. He
also published the narrative volumes "Il suono della farfalla"
(Microart's, 1990), "Incinto" (De Ferrari, 1999), "Notturno
a Genova" (De Ferrari, 2002), "Acconti brevi" (Eumeswil,
2008), and "Racconti dal finestrino" (Liberodiscrivere, 2010).
In
2001 he founded "Il Cantiere Musicale”, the magazine of the
Paganini Conservatory of music in Genoa, which he directed for ten
years. He is the author of the official promotional biography of
the tenor Andrea Bocelli. |
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