t age 12 he began to study his instrument with maestro Antonio Sánchez. At that stage he stood out with two numbers, a tango: “De puro guapo” and the waltz “Suspiros del alma” with music by Carmelo Taverna and words by Adolfo Crosa.

He was also member of the group called Los Niños de Buenos Aires, that appeared for a season on Radio Mitre and which was led by Mr. Cameiro and Mr. Britos. There he came to know a partner named Eduardo Rovira. They became friends, they themselves and their respective families. Rovira persuaded him to continue his studies with his own teacher: Francisco Alessio. According to what Delgado told me, Alessio was not a tango man, instead he was specialized in classical music.

By that time, in 1937-38, he put together a children’s orchestral group. He told me that he noticed a superior quality in the way his friend Rovira played bandoneon. With the above group they appeared at the café Germinal, from 1 pm to 3 pm, and the Aníbal Troilo orchestra, from 3 pm to 7 pm. They had year and a half tenure there.

In 1939 he joined the Ritmos Porteños orchestra, which, the following year, made its debut on Radio El Mundo and on Radio Splendid and also played at the night club La Cigale on 1153 Corrientes Avenue, on the upper story of the Broadway movie theater. They also played at balls in different local clubs, among them, the Juventud de Piaggio in the city of San Martín, province of Buenos Aires.

On LR3 Radio Belgrano he appeared with a music group of his own. When I told my friend, the researcher Héctor Ernié, that I was friends and neighbors with Dionisio, whom he had heard, he requested that I ask him all the information concerning the recordings he had made, as well as the classical pieces he used to play with his orchestra, such as the Ludwig Van Beethoven’s Egmont Overture, Gioachino Rossini’s The Barber of Seville, the Franz von Suppé’s overture Poet and Peasant, and Manuel de Falla’s Danza ritual del fuego and others.

When I had in my hands his folder with clippings of the 40s, I noticed he was connected with the great orchestras of that time and, not only in neighborhoods but also at the cabaret Moulin Rouge, at the La Armonía tearoom, the Richmond on Suipacha Street and the tearoom on Buen Orden Street (now Bernardo de Irigoyen), the Munich on Boedo Street, the Café Argentino on Corrientes Street, in the neighborhood of Chacarita.

In 1948 he appeared in Mar del Plata at the café Ambos Mundos. In 1959 he played at the Bar Ebro and at the Café Benigno, on 2177 La Rioja Street. At the latter with his singer Carlos Salcedo.

In 1961 he returned to LR4 Radio Splendid and, in 1966, he appeared at the Mi Club tearoom.

His repertoire included 120 tangos, and also waltzes, classical pieces, boleros and Paraguayan songs. For the Cancionero label he recorded, among others, Eduardo Arolas’s “Viborita”, “Se muere de amor”, with José Torres on vocals, “Flor del valle” with José Torres, Leo Rosen and Primo Antonio’s “Romance del trovador”, with José Torres, and “Saudades”, a milonga by Alfredo de Ciano.

His own numbers: “Becqueriana” in collaboration with Luis Morán, “La señal roja” and “Si supieran mis amigos”. Ángel Ramos and Jorge Duval were among his vocalists but they did not succeed in recording. When he decided to quit the music profession he devoted himself to trade business.

Note published in Cuadernos de difusión del tango Nº 21.