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# You don't hov* to odr if S«nor Madriguera ha$ a good time when h* 90M out to Monte Cario.
music He organized an orchestra and with it was one of the pioneers of that form of music in this country. He played at the Biltmore, at the Casino in Havana, at the Commodore, at the ultrasmart Place Pigalle, at Pierre's. Wherever he played, music lovers flocked to hear him. On the radio he brought his silvery interpretations of the music of his native land to hundreds of thousands who were beginning to weary of the mechanical 1-2-3-4— 1-2-3-4 of early jazz music.
For a while he was happy — happy in the knowledge that he was helping to spread a new musical art, helping to teach his hotel and radio audiences that music could be dance-y and yet be beautiful. But soon they were playing tangoes, rumbas, dozens of other orchestras danzons — and most of them because it meant nothing to them, were ruining the music that was so dear to Madriguera, so filled with memories of his happy b9yhood on the large Madriguera estate in sunny Spain.
With rare wisdom he foresaw the trend of broadcast music; he decided to lead that trend, instead of following along. He decided — and this was the great plan we mentioned— to spend a year or maybe even two years in re
# Here he is retting at the feet of a score of beauties who seem to like his company
tirement with his orchestra, making of it something never heard on the radio before — a small dance-symphony. At the same time he wanted to augment his already large accumulation of original dance compositions in his own smart, modem manner — compositions like his famous "Adios" which he uses as a radio signature, and his "May I Have This Waltz With You, Madame?"
Then he would return to radio with an entirely new school of modern dance rhythms based on the technique of such great modern composers as Debussy, Vaughan Williams, Lecuona, Ravel, and De Falla. But first he wanted to bid his last farewell to the concert stage. In 1927 he disbanded his sftiall dance orchestra and toured Europ>e and the United States, playing in the concert halls where first he had attained his great fame. As he toured he studied the situation, and when he returned to New York his mind was fully made up. Despite the ovation he had been met with everywhere, he could see that the concert stage, as a medium for bringing great music to the {Continued on page 75)
BY SPANISH, MANE
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