Carolina Rojo

After composing the theme that gives its name to her second solo album, “Madre baile”, Vivi Pozzebón becomes interested in the ethno-musical origins of the cuarteto and the figure of Leonor Marzano, who knew how to mix the tarantella and the paso doble on her piano to give rise to the characteristic rhythm of Córdoba: the cuartero. From here comes this record about the origin of the cuarteto from the 1940s to the present.

After composing the theme that gives its name to her second solo album, “Madre baile”, Vivi Pozzebón becomes interested in the ethno-musical origins of the cuarteto and the figure of Leonor Marzano, who knew how to mix the tarantella and the paso doble on her piano to give rise to the characteristic rhythm of Córdoba: the cuartero. From here comes this record about the origin of the cuarteto from the 1940s to the present.

After composing the theme that gives its name to her second solo album, “Madre baile”, Vivi Pozzebón becomes interested in the ethno-musical origins of the cuarteto and the figure of Leonor Marzano, who knew how to mix the tarantella and the paso doble on her piano to give rise to the characteristic rhythm of Córdoba: the cuartero. From here comes this record about the origin of the cuarteto from the 1940s to the present.