Osvaldo Fresedo (1897-1984) had a long career, starting as a bandoneonist in the 1910s. During the 1920-early 30s he led a sextet then a larger ensemble from the early 1930s through the late 1960s.
There are several “Fresedos”. The later recordings, from the mid 1950s on, are not his best, in my opinion. But that is true for many orquestas at that time, a function of changing tastes and politics. Late Fresedo tends to be too “large”, a constant big full sound, and too and sweet – cloying at times.
Take a look at this photo of Fresedo’s orquesta. (from Todo Tango.)
We can get a good idea about the sound such an ensemble would create. Strings dominate. Hence the prevalent lyricism in the sound. There is also a piano, a harp, a vibraphone (at the back, beside the bass), and two singers. There are only three bandoneons! Harp and vibraphone are unique to Fresedo. The bell-like ringing tone of the vibraphone is quite noticeable in many of the recordings.
Fresedo recorded Bahia Blanca in 1961. It is representative of his late period. The form is A-B-A-B-A, like Di Sarli’s. Other than that, the two interpretations are strikingly different. The is often beautifully done, at times overdone.
Compare with Di Sarli, here to follow with the music, or audio only, below.
Music that is smooth and connected, with a flowing character, often with a broad sweeping melody and gentle accompaniment.
Orchestration or instrumentation is how the instruments are used; which instruments are playing at any given time and what is their function, such as melodic, accompaniment, creating the pulse, linking phrases (fills).