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Quentin Jerome Tarantino (/ˌtærənˈtiːnoʊ/; born March 27, 1963)^[1] is an American filmmaker, actor, film programmer, and cinema owner. His films are characterized by nonlinear storylines, satirical subject matter, aestheticization of violence, extended scenes of dialogue, ensemble casts, references to popular culture and a wide variety of other films, soundtracks primarily containing songs and score pieces from the 1960s to the 1980s, and features of neo-noir film.

In the early 1990s, he began his career as an independent filmmaker with the release of Reservoir Dogs in 1992, which was funded by money from the sale of his script True Romance. Empire deemed Reservoir Dogs the 'Greatest Independent Film of All Time'. His second film, Pulp Fiction (1994), a black comedy crime film, was a major success both among critics and audiences.^[2][3] Tarantino paid homage to the blaxploitation films of the 1970s with Jackie Brown (1997), an adaptation of Elmore Leonard's novel Rum Punch.

Kill Bill, a highly stylized 'revenge flick' in the cinematic traditions of kung fu films, Japanese martial arts, spaghetti westerns and Italian horror, followed six years later, and was released as two films: Volume 1 in 2003 and Volume 2 in 2004. Tarantino next directed the exploitationslasher film Death Proof in 2007, as part of a double feature with Robert Rodriguez, released in the tradition of grindhouse cinema of the 1970s under the collective title Grindhouse. His long-postponed Inglourious Basterds, which tells an alternate history of Nazi Germany, was released in 2009 to positive reviews. After that came critically acclaimed Django Unchained (2012), a Western film set in the Antebellum South. His eighth film, The Hateful Eight (2015), was released in its roadshow version in 70 mm film format, with opening 'overture' and halfway-point intermission. His ninth film, Once Upon a Time in Hollywood, was released in 2019.

Tarantino's films have garnered both critical and commercial success as well as a dedicated cult-following. He has received many industry awards, including two Academy Awards, two BAFTA Awards, two Golden Globe Awards and the Palme d'Or, and has been nominated for an Emmy and Grammy. In 2005, he was included on the annual Time 100 list of the most influential people in the world.^[4] Filmmaker and historian Peter Bogdanovich has called him 'the single most influential director of his generation'.^[5] In December 2015, Tarantino received a star on the Hollywood Walk of Fame for his contributions to the film industry.^[6]

• 2Career
• 3Influences and style of filmmaking
• 4Controversies

Early life[edit]

Tarantino was born on March 27, 1963, in Knoxville, Tennessee, the only child of Connie (McHugh) and Tony Tarantino, an actor and producer.^[1] His father is of Italian descent, and his mother has Irish and Cherokee ancestry.^[7] Quentin was named for Quint Asper, Burt Reynolds' character in the CBS series Gunsmoke. Tarantino's mother met his father during a trip to Los Angeles, where Tony was a law student and would-be entertainer. She married him soon after, to gain independence from her parents, but their marriage was brief. After the divorce, Connie Tarantino left Los Angeles and moved to Knoxville, where her parents lived. In 1966, Tarantino and his mother moved back to Los Angeles.

Tarantino's mother married musician Curtis Zastoupil soon after arriving in Los Angeles, and the family moved to Torrance, a city in Los Angeles County's South Bay area.^[8][9] Zastoupil encouraged Tarantino's love of movies, and accompanied him to numerous film screenings. Tarantino's mother allowed him to see movies with adult content, such as Carnal Knowledge (1971) and Deliverance (1972). After his mother divorced Zastoupil in 1973, and received a misdiagnosis of Hodgkin's lymphoma,^[10] Tarantino was sent to live with his grandparents in Tennessee.^{[citation needed]} He remained there less than a year before returning to California.^{[citation needed]}

Career[edit]

Late 1970s to 1988: Education, first jobs, and early projects[edit]

At 14 years old, Tarantino wrote one of his earliest works, a screenplay called Captain Peachfuzz and the Anchovy Bandit, based on Hal Needham's 1977 film Smokey and the Bandit starring Burt Reynolds. The summer after his 15th birthday, Tarantino was grounded by his mother for shoplifting Elmore Leonard's novel The Switch from Kmart. He was allowed to leave only to attend the Torrance Community Theater, where he participated in such plays as Two Plus Two Makes Sex and Romeo and Juliet.^[10]

At about 15, Tarantino dropped out of Narbonne High School in Harbor City, Los Angeles.^[11][12] He then worked as an usher at an adult movie theater in Torrance, called the Pussycat Theater.

Later, Tarantino attended acting classes at the James Best Theatre Company, where he met several of his eventual collaborators. While at James Best, Tarantino also met Craig Hamann, with whom he later collaborated to produce My Best Friend's Birthday.

Throughout the 1980s, Tarantino worked a number of jobs. He spent time as a recruiter in the aerospace industry, and for five years, he worked at Video Archives, a video store in Manhattan Beach, California.^[13][14] Former Buffy the Vampire Slayer actor Danny Strong described Tarantino as 'such a movie buff. He had so much knowledge of films that he would try to get people to watch really cool movies.'^[14]

After Tarantino met Lawrence Bender at a Hollywood party, Bender encouraged him to write a screenplay. His first attempted script, which he described as a 'straight 70s exploitation action movie' was never published and was abandoned soon after.^[15] Tarantino co-wrote and directed his first movie, My Best Friend's Birthday, in 1987. The final reel of the film was almost completely destroyed in a lab fire that occurred during editing, but its screenplay later formed the basis for True Romance.^[16]

In 1986, Tarantino got his first Hollywood job, working with Roger Avary as production assistants on Dolph Lundgren's exercise video, Maximum Potential.^[17]

The following year, he played an Elvis impersonator in 'Sophia's Wedding: Part 1', an episode in the fourth season of The Golden Girls, which was broadcast on November 19, 1988.^[18]

1990s: Breakthrough[edit]

Tarantino received his first paid writing assignment in the early 1990s when Robert Kurtzman hired him to write the script for From Dusk till Dawn.^[19][20][21]

In January 1992, Tarantino's neo-noir crime thriller Reservoir Dogs—which he wrote, directed, and acted in as Mr. Brown—was screened at the Sundance Film Festival. It was an immediate hit, with the film receiving a positive response from critics. The dialogue-driven heist film set the tone for Tarantino's later films. Tarantino wrote the script for the film in three-and-a-half weeks and Bender forwarded it to director Monte Hellman. Hellman helped Tarantino to secure funding from Richard N. Gladstein at Live Entertainment (which later became Artisan, now known as Lionsgate). Harvey Keitel read the script and also contributed to the funding, taking a role as co-producer and also playing a major part in the picture.^[22]

Tarantino's screenplay True Romance was optioned and the film was eventually released in 1993. The second script that Tarantino sold was for the film Natural Born Killers, which was revised by Dave Veloz, Richard Rutowski and director Oliver Stone. Tarantino was given story credit and in an interview stated that he wished the film well, but later disowned the final film.^[23][24][25] The film engendered enmity, and the publication of a 'tell-all' book titled Killer Instinct by Jane Hamsher—who, with Don Murphy, had an original option on the screenplay and produced the film—led to Tarantino physically assaulting Murphy in the AGO restaurant in West Hollywood, California in October 1997.^[26] Murphy subsequently filed a $5M lawsuit against Tarantino; the case ended with the judge ordering Tarantino to pay Murphy $450.^[27][28] Tarantino was also an uncredited screenwriter on both Crimson Tide (1995) and The Rock (1996).^[29][30]

Following the success of Reservoir Dogs, Tarantino was approached by Hollywood and offered numerous projects, including Speed and Men in Black, but he instead retreated to Amsterdam to work on his script for Pulp Fiction.^[31]

Tarantino wrote, directed, and acted in the black comedy crime film Pulp Fiction in 1994, maintaining the estheticization of violence for which he is known, as well as his non-linear storylines. Tarantino received the Academy Award for Best Original Screenplay, which he shared with Roger Avary, who contributed to the story. He also received a nomination in the Best Director category. The film received another five nominations, including for Best Picture. Tarantino also won the Palme d'Or for the film at the 1994 Cannes Film Festival. The film grossed over $200 million^[32] and was met with critical acclaim.^[33][34]

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In 1995, Tarantino participated in the anthology film Four Rooms, a collaboration that also included directors Robert Rodriguez, Allison Anders, and Alexandre Rockwell. Tarantino directed and acted in the fourth segment of 'The Man from Hollywood', a tribute to the Alfred Hitchcock Presents episode 'Man from the South'. He re-teamed with Rodriguez later in the year with a supporting role in Desperado, while in 1996 From Dusk till Dawn was finally released with Rodriguez directing and Tarantino starring alongside Keitel, George Clooney, and Juliette Lewis.

Tarantino's third feature film was Jackie Brown (1997), an adaptation of Elmore Leonard's novel Rum Punch. A homage to blaxploitation films, it starred Pam Grier, who starred in many of the films of that genre in the 1970s. It received positive reviews and was called a 'comeback' for Grier and co-star Robert Forster.^[35] Leonard considered Jackie Brown to be his favorite of the 26 different screen adaptations of his novels and short stories.^[36]

In December 1999, Tarantino was slated to write and direct a film adaptation of Iron Man for New Line Cinema. Nothing came about the project.^[37]

Throughout the 1990s, Tarantino had a number of minor acting roles, including in Eddie Presley (1992),^[38]The Coriolis Effect (1994),^[39]Sleep With Me (1994),^[40][41]Somebody to Love (1994),^[42]All-American Girl (1995), Destiny Turns on the Radio (1995),^[43]Desperado (1995),^[44]From Dusk till Dawn (1996), and Girl 6 (1996).^[45] He also starred in Steven Spielberg's Director's Chair, a simulation video game that uses pre-generated film clips.^[46]

2000s: Subsequent success[edit]

Tarantino had next planned to make Inglourious Basterds, as it was provisionally titled, but postponed this to write and direct Kill Bill, a highly stylized 'revenge flick' in the cinematic traditions of Wuxia (Chinese martial arts), Jidaigeki (Japanese period cinema), spaghetti westerns and Italian horror. It was originally set for a single theatrical release, but its 4-hour plus running time prompted Tarantino to divide it into two movies. Volume 1 was released in late 2003 and Volume 2 was released in 2004. It was based on a character called The Bride and a plot that he and Kill Bill's lead actress Uma Thurman had developed during the making of Pulp Fiction.

From 2002–2004, Tarantino portrayed villain McKenas Cole in the ABC television series Alias.^[47]

In 2002, while in negotiations with Lucy Liu for Kill Bill, the two helped produce the Hungarian sports documentary Freedom's Fury.^[48] When Tarantino was approached about a documentary surrounding the Blood in the Water match he said, 'This is the best story I've ever been told. I'd love to be involved'.^[48]

In 2004, Tarantino attended the 2004 Cannes Film Festival, where he served as President of the Jury.^{[citation needed]} Although Kill Bill was not in competition, Vol. 2 had an evening screening, and was also shown on the morning of the final day in its original 3-hour plus version, with Tarantino himself attending the full screening. Tarantino went on to be credited as 'Special Guest Director' in Robert Rodriguez's 2005 neo-noir film Sin City, for his work directing the car sequence featuring Clive Owen and Benicio del Toro.^{[citation needed]}

In May 2005, Tarantino co-wrote and directed 'Grave Danger', the fifth season finale of CSI: Crime Scene Investigation. For this episode, Tarantino was nominated for the Primetime Emmy Award for Outstanding Directing for a Drama Series at the 57th Primetime Emmy Awards.^[49]

Tarantino's next film project was Grindhouse, which he co-directed with Rodriguez. Released in theaters on April 6, 2007, Tarantino's contribution to the Grindhouse project was titled Death Proof. It began as a take on 1970s slasher films,^[50] but evolved dramatically as the project unfolded.^{[citation needed]} Ticket sales were low despite mostly positive reviews.^{[citation needed]}

Tarantino's film Inglourious Basterds, released in 2009, is the story of a group of Jewish-American guerrilla soldiers in Nazi-occupied France during World War II. Filming began in October 2008.^[51] The film opened on August 21, 2009, to very positive reviews^[52] and reached the #1 spot at the box office worldwide.^[53] It went on to become Tarantino's highest-grossing film until it was surpassed by Django Unchained three years later.^[54] For the film, Tarantino received his second nomination for the Academy Award for Best Director and Academy Award for Best Original Screenplay.

2010s[edit]

In 2011, production began on Django Unchained, a film about the revenge of a former slave in the U.S. South in 1858. The film stemmed from Tarantino's desire to produce a spaghetti western set in America's Deep South. Tarantino called the proposed style 'a southern',^[55] stating that he wanted 'to do movies that deal with America's horrible past with slavery and stuff but do them like spaghetti westerns, not like big issue movies. I want to do them like they're genre films, but they deal with everything that America has never dealt with because it's ashamed of it, and other countries don't really deal with because they don't feel they have the right to'.^[55] The film was released on December 25, 2012. During an interview with Krishnan Guru-Murthy about the film on Channel 4 News, Tarantino reacted angrily when, in light of the Sandy Hook Elementary School shooting, he was questioned about an alleged link between movie violence and real-life violence, and informed Guru-Murthy he was 'shutting [his] butt down'.^[56] Tarantino further defied the journalist, saying: 'I refuse your question. I'm not your slave and you're not my master. You can't make me dance to your tune. I'm not a monkey.'^[57]

In November 2013, Tarantino said he was working on a new film and that it would be another Western. He stated that it would not be a sequel to Django.^[58] On January 12, 2014, it was revealed that the film would be titled The Hateful Eight. Production of the western would most likely have begun in the summer of 2014, but after the script for the film leaked in January 2014, Tarantino considered dropping the movie and publishing it as a novel instead.^[59][60] He stated that he had given the script to a few trusted colleagues, including Bruce Dern, Tim Roth and Michael Madsen.^[61][62]

On April 19, 2014, Tarantino directed a live reading of the leaked script at the United Artists Theater in the Ace Hotel Los Angeles. The event was organized by the Film Independent at LACMA, as part of the Live Read series.^[63] Tarantino explained that they would read the first draft of the script, and added that he was writing two new drafts with a different ending. The actors who joined Tarantino included Samuel L. Jackson, Kurt Russell, Amber Tamblyn, James Parks, Walton Goggins, and the first three actors to be given the script before the leak, Bruce Dern, Tim Roth and Michael Madsen.^[64] In October 2014, Jennifer Jason Leigh was in talks to play the female lead in the film.^[65] Leigh, Channing Tatum, and Demián Bichir joined the cast in November.^[66]

The Hateful Eight was released on December 25, 2015, as a roadshow presentation in 70 mm film format theaters, before being released in digital theaters on December 30, 2015.^[67] Tarantino narrated several scenes in the film. He edited two versions of the film, one for the roadshow version and the other for general release. The roadshow version runs for three hours and two minutes, and includes an overture and intermission, after the fashion of big-budget films of the 1960s and early 1970s; the general release is six minutes shorter and contains alternate takes of some scenes. Tarantino has stated that the general release cut was created as he felt that some of the footage he shot for 70 mm would not play well on smaller screens.^[68] The film has received mostly positive reviews from critics, with a score of 74% on Rotten Tomatoes.^[69]

On July 11, 2017, it was reported that Tarantino's next project would be a film about the Manson Family murders.^[70] In February 2018, it was announced that the film's title is Once Upon a Time in Hollywood and that Leonardo DiCaprio would play Rick Dalton, a fictional star of television westerns, with Brad Pitt as Dalton's longtime stunt double Cliff Booth.^[71] Tarantino wrote the screenplay for the film. Margot Robbie also starred as real life actress Sharon Tate, portrayed as Dalton's next-door neighbor. Among the film's supporting cast were Timothy Olyphant,^[72] Kurt Russell, Michael Madsen and Al Pacino.^{[73][74][75][75][76][77]} Filming took place in the summer of 2018.^[78] In wake of the Harvey Weinstein sexual abuse allegations, Tarantino severed ties to The Weinstein Company permanently and sought a new distributor after working with Weinstein for his entire career. The film first officially premiered at the 2019 Cannes Film Festival, where it was in competition for the Palme d'Or.^[79] It received positive reviews at the Festival, with praise directed at the performances of DiCaprio, Pitt and Robbie, although reactions were mixed regarding the ending of the film. It received a seven-minute standing ovation, although it did not win in any category. Sony Pictures distributed the film, which was theatrically released on July 26, 2019.^[74][80]

As producer[edit]

In recent years, Tarantino has used his Hollywood power to give smaller and foreign films more attention than they might have received otherwise. These films are often labeled 'Presented by Quentin Tarantino' or 'Quentin Tarantino Presents'. The first of these productions was in 2001, with the Hong Kong martial arts film Iron Monkey, which made over $14 million in the United States, seven times its budget. In 2004, he brought the Chinese martial arts film Hero to U.S. shores. It ended up having a No. 1 opening at the box office and making $53.5 million.^[81] In 2006, another 'Quentin Tarantino presents' production, Hostel, opened at No. 1 at the box office with a $20.1 million opening weekend.^[82] He presented 2006's The Protector, and is a producer of the 2007 film Hostel: Part II. In 2008, he produced the Larry Bishop-helmed Hell Ride, a revenge biker film.

In addition, in 1995, Tarantino formed Rolling Thunder Pictures with Miramax to release or re-release several independent and foreign features. By 1997, Miramax had shut down the company due to poor sales.^[83] The following films were released by Rolling Thunder Pictures: Chungking Express (1994, dir. Wong Kar-wai), Switchblade Sisters (1975, dir. Jack Hill), Sonatine (1993, dir. Takeshi Kitano), Hard Core Logo (1996, dir. Bruce McDonald), The Mighty Peking Man (1977, dir. Ho Meng Hua), Detroit 9000 (1973, dir. Arthur Marks), The Beyond (1981, dir. Lucio Fulci), and Curdled (1996, dir. Reb Braddock).

Unproduced and potential films[edit]

Early on in his career, Tarantino considered filming comic book adaptations. In the early 1990s, while fresh from his critical success with Reservoir Dogs, Tarantino came to Constantin Productions with a script for a Silver Surfer film, but was turned away.^[84] Following the release of Reservoir Dogs, Tarantino considered making a film adaptation of Luke Cage, but chose to make Pulp Fiction instead.^[85] In the late 1990s, he was offered to direct a film adaptation of Green Lantern before there was even a script, but Tarantino declined the offer.^[86] In 1999, Quentin Tarantino was also linked to a live-action Iron Man film, as director and writer.^[87]

Before Inglourious Basterds, Tarantino had considered making The Vega Brothers. The film would have starred Michael Madsen and John Travolta reprising their roles of Vic (Mr. Blonde) from Reservoir Dogs and Vincent from Pulp Fiction. In 2007, because of the age of the actors and the onscreen deaths of both characters, he claimed that the film—which he intended to call Double V Vega—is 'kind of unlikely now'.^[88]

In 2009, in an interview for Italian television, after being asked about the success of the two Kill Bill films, Tarantino said, 'You haven't asked me about the third one', and implied that he would be making a third Kill Bill film with the words, 'The Bride will fight again!'^[89] Later that year, at the Morelia International Film Festival,^[90] Tarantino announced that he would like to film Kill Bill: Volume 3. He explained that he wanted ten years to pass between The Bride's last conflict, in order to give her and her daughter a period of peace.^[91] In a 2012 interview for the website We Got This Covered, Tarantino said that a third Kill Bill film would 'probably not' happen. He also said that he would not be directing a new James Bond film, saying that he was only interested in directing Casino Royale at one point.^[92]

In a late 2012 interview with the online magazine The Root, Tarantino clarified his remarks and described his next film as being the final entry in a 'Django-Inglourious Basterds' trilogy called Killer Crow. The film will depict a group of World War II-era black troops who have 'been fucked over by the American military and kind of go apeshit. They basically – the way Lt. Aldo Raine (Brad Pitt) and the Basterds are having an 'Apache resistance' – [the] black troops go on an Apache warpath and kill a bunch of white soldiers and white officers on a military base and are just making a warpath to Switzerland.'^[93]

A long-running rumor in the industry is that Tarantino is interested in filming a new version of Bret Easton Ellis's 1985 novel Less Than Zero. His friend Roger Avary adapted The Rules of Attraction, another novel by Ellis, to film in 2002, and since both he and Tarantino like the works by Ellis, Tarantino has been eyeing the possibility of adapting Less Than Zero. Ellis confirmed in a 2010 interview that Tarantino had been 'trying to get Fox to let him remake it'.^[94] In 2012, when asked whether Less Than Zero would be remade, Ellis once again confirmed that Tarantino 'has shown interest' in adapting the story.^[95] At the San Diego Comic-Con in 2014, Tarantino revealed he is contemplating a possible science-fiction film.^[96] In November 2014, Tarantino said he would retire from films after directing his tenth film.^[97]

In November 2017, Tarantino and J. J. Abrams pitched an idea for a Star Trek film with Abrams assembling a writers room. If both approve of the script Tarantino will direct and Abrams will produce the film.^[98]Mark L. Smith was hired to write the screenplay the same month.^[99]

In June 2019, Tarantino had picked Jerrod Carmichael to co-write a film adaptation based on the Django/Zorro crossover comic book series.^[100]

Influences and style of filmmaking[edit]

Early influences[edit]

In the 2012 Sight & Sound directors' poll, Tarantino listed his top 12 films: Apocalypse Now, The Bad News Bears, Carrie, Dazed and Confused, The Great Escape, His Girl Friday, Jaws, Pretty Maids All in a Row, Rolling Thunder, Sorcerer, Taxi Driver and The Good, the Bad and the Ugly, with the latter being his favorite.^[101] In 2009, he named Kinji Fukasaku's violent action film Battle Royale as his favorite film released since he became a director in 1992.^[102] He is also a fan of the 1981 film Blow Out, directed by Brian De Palma, which led to his casting of John Travolta in Pulp Fiction.^[103] Tarantino praised Mel Gibson's 2006 film Apocalypto, saying, 'I think it's a masterpiece. It was perhaps the best film of that year.'^[104] Tarantino has also cited the Australian suspense film Roadgames (1981) as another favorite film.^[105] Tarantino is also a noted fan of Elaine May's 1987 film Ishtar, despite its reputation as being a notorious box-office flop and one of the worst films ever made.^[106]

In August 2007, while teaching in a four-hour film course during the 9th Cinemanila International Film Festival in Manila, Tarantino cited Filipino directors Cirio H. Santiago, Eddie Romero and Gerardo de León as personal icons from the 1970s.^[107] He referred to De Leon's 'soul-shattering, life-extinguishing' movies on vampires and female bondage, citing in particular Women in Cages; 'It is just harsh, harsh, harsh', he said, and described the final shot as one of 'devastating despair'.^[107] Upon his arrival in the Philippines, Tarantino was quoted in the local newspaper as saying, 'I'm a big fan of RP [Republic of the Philippines] cinema.'^[108]

Style[edit]

Tarantino's films often feature graphic violence, a tendency which has sometimes been criticized.^{[109][110][111]} His film Reservoir Dogs was initially denied United Kingdom certification because of his use of torture as entertainment.^[112] Tarantino has frequently defended his use of violence, saying that 'violence is so good. It affects audiences in a big way'.^[113]

Tarantino has also occasionally used a nonlinear story structure in his films, most notably with Pulp Fiction. He has also used the style in Reservoir Dogs, Kill Bill, and The Hateful Eight.^[114][115] Tarantino's script for True Romance was originally told in a nonlinear style, before director Tony Scott decided to use a more structured approach.^[116][117] Critics have since referred to the use of this shifting timeline in films as the 'Tarantino Effect'.^[118]

Actor Steve Buscemi has described Tarantino's novel style of filmmaking as 'bursting with energy' and 'focused'.^[119] According to Tarantino, a hallmark of all his movies is that there is a different sense of humor in each one, which gets the audience to laugh at things that are not funny.^[120] However, he insists that his films are dramas, not comedies.^[121]

Tarantino has stated that the celebrated animation-action sequence in Kill Bill (2003) was inspired by the use of 2D animated sequences in actor Kamal Haasan's Tamil filmAalavandhan.^[122][123] He often blends esthetic elements, in tribute to his favorite films and filmmakers. In Kill Bill, he melds comic strip formulas and esthetics within a live action film sequence, in some cases by the literal use of cartoon or anime images.^[124][125]

Tarantino often creates his own products and brands that he uses across his films to varying degrees.^[126] His own fictional brands, including 'Acuña Boys Tex-Mex Food', 'Big Kahuna Burger', 'G.O. Juice', 'Jack Rabbit Slim's', 'K-Billy', 'Red Apple cigarettes', 'Tenku Brand Beer' and 'Teriyaki Donut', replace the use of product placement, sometimes to a humorous degree.^[127][125]

On the biopic genre, Tarantino has said that he has 'no respect' for biopics, saying that they 'are just big excuses for actors to win Oscars. .. Even the most interesting person – if you are telling their life from beginning to end, it's going to be a fucking boring movie.'^[128] However, in an interview with Charlie Rose, he said, 'There is one story that I could be interested in, but it would probably be one of the last movies I [ever make] .. My favorite hero in American history is John Brown. He's my favorite American who ever lived. He basically single-handedly started the road to end slavery and .. he killed people to do it. He decided, 'If we start spilling white blood, then they're going to start getting the idea.'^[129]

Tarantino has stated in many interviews that his writing process is like writing a novel before formatting it into a script, saying that this creates the blueprint of the film and makes the film feel like literature. About his writing process he told website The Talks, '[My] head is a sponge. I listen to what everyone says, I watch little idiosyncratic behavior, people tell me a joke and I remember it. People tell me an interesting story in their life and I remember it. .. when I go and write my new characters, my pen is like an antenna, it gets that information, and all of a sudden these characters come out more or less fully formed. I don't write their dialogue, I get them talking to each other.'^[128]

Tarantino is also known for his use of music in his films,^[130] including soundtracks that often use songs from the 1960s and 70s.^{[131][132][133]} In 2011, he was recognized at the 16th Critics' Choice Awards with the inaugural Music+Film Award.^[134][135]

In 2013, a survey of seven academics was carried out to discover which filmmakers had been referenced the most in essays and dissertations on film that had been marked in the previous five years. It revealed that Tarantino was the most-studied director in the UK, ahead of Christopher Nolan, Alfred Hitchcock, Martin Scorsese and Steven Spielberg.^[136]

Controversies[edit]

Gun violence[edit]

Tarantino has stated that he does not believe that violence in movies inspires acts of violence in real life.^[137] After the Sandy Hook Elementary School shooting in 2012, NRA Chief Executive Wayne LaPierre accused him of being insensitive to the event.^[138] In an interview with Terry Gross, he expressed 'annoyance' at the suggestion that there is a link between the two, saying, 'I think it's disrespectful to [the] memory of those who died to talk about movies .. Obviously the issue is gun control and mental health.'^[139] Soon after, in response to a Hollywood PSA video titled 'Demand a Plan', which featured celebrities rallying for gun control legislation,^[140] a pro-gun group used scenes from Tarantino's film Django Unchained to label celebrities as 'hypocrites' for appearing in violent movies.^[141]

Racial slurs[edit]

In 1997, Spike Lee questioned Tarantino's use of racial slurs in his films, especially the word 'nigger', and particularly in Pulp Fiction and Jackie Brown.^[142] In a Variety interview discussing Jackie Brown, Lee said, 'I'm not against the word .. And some people speak that way. But Quentin is infatuated with that word. What does he want to be made—an honorary black man?'^[143] Tarantino responded on Charlie Rose by stating:

As a writer, I demand the right to write any character in the world that I want to write. I demand the right to be them, I demand the right to think them and I demand the right to tell the truth as I see they are, all right? And to say that I can't do that because I'm white, but the Hughes brothers can do that because they're black, that is racist. That is the heart of racism, all right. And I do not accept that .. That is how a segment of the black community that lives in Compton, lives in Inglewood, where Jackie Brown takes place, that lives in Carson, that is how they talk. I'm telling the truth. It would not be questioned if I was black, and I resent the question because I'm white. I have the right to tell the truth. I do not have the right to lie.^[144]

In addition, Tarantino retaliated on The Howard Stern Show by stating that Lee would have to 'stand on a chair to kiss [his] ass'.^[145] Samuel L. Jackson, who has appeared in both directors' films, defended Tarantino's use of the word. At the Berlin Film Festival, where Jackie Brown was being screened, Jackson responded to Lee's criticism by saying, 'I don't think the word is offensive in the context of this film .. Black artists think they are the only ones allowed to use the word. Well, that's bull. Jackie Brown is a wonderful homage to black exploitation films. This is a good film, and Spike hasn't made one of those in a few years.'^[146]

Tarantino has defended his use of the word, arguing that black audiences have an appreciation of his blaxploitation-influenced films that eludes some of his critics, and indeed, that Jackie Brown was primarily made for 'black audiences'.^[147]

Django Unchained was the subject of controversy because of its use of racial slurs and depiction of slavery. Reviewers have defended the use of the language by pointing out the historic context of race and slavery in America.^[148][149] Lee, in an interview with Vibe magazine, said that he would not see the film, explaining, 'All I'm going to say is that it's disrespectful to my ancestors. That's just me .. I'm not speaking on behalf of anybody else.'^[150] Lee later tweeted, 'American Slavery Was Not A Sergio LeoneSpaghetti Western. It Was A Holocaust. My Ancestors Are Slaves. Stolen From Africa. I Will Honor Them.'^[151] Writing in the Los Angeles Times, journalist Erin Aubry Kaplan noted the difference between Tarantino's Jackie Brown and Django Unchained: 'It is an institution whose horrors need no exaggerating, yet Django does exactly that, either to enlighten or entertain. A white director slinging around the n-word in a homage to '70s blaxploitation à la Jackie Brown is one thing, but the same director turning the savageness of slavery into pulp fiction is quite another'.^[152]

At the 73rd Golden Globe Awards in 2016, Tarantino received criticism after using the term 'ghetto' while accepting the Golden Globe Award for Best Original Score on behalf of composer Ennio Morricone, saying, 'Wow, this is really cool. Do you realize that Ennio Morricone, who, as far as I am concerned, is my favorite composer – and when I say 'favorite composer', I don't mean movie composer, that ghetto. I'm talking about Mozart. I'm talking about Beethoven. I'm talking about Schubert.'^[153] His use of the word seemed to be taken as a racial slight by award presenter Jamie Foxx, who, after Tarantino left the stage, walked up to the microphone and sternly said, 'ghetto?'^[154]

Harvey Weinstein[edit]

On October 18, 2017, Tarantino gave an interview discussing sexual harassment and assault allegations against producer Harvey Weinstein. Tarantino admitted to knowing about accusations against Weinstein since the mid-1990s, when his then-girlfriend Mira Sorvino told him about her experience with Weinstein. Tarantino confronted Weinstein at the time and received an apology.^[155] Tarantino said: 'What I did was marginalize the incidents.' He said he was ashamed he did not take a stronger stand, saying, 'I knew enough to do more than I did.'^[155]

On February 3, 2018, in an interview with The New York Times, Pulp Fiction and Kill Bill actress Uma Thurman revealed that Harvey Weinstein sexually assaulted her, which she reported to Tarantino. Tarantino confronted Weinstein, as he had previously when Weinstein made advances on his former partner, demanded he apologize and banned him from contact with Thurman for the rest of production.^[156]

Uma Thurman's car accident[edit]

Thurman described how she had been in a serious automobile accident on the set of Kill Bill because Tarantino had insisted she perform her own driving stunts. Thurman was told by a crew member that the car had been reconfigured and may not be safe to drive. Thurman strongly objected to doing the stunt but Tarantino would not accept her objections. The stunt resulted in Thurman's legs being jammed under the car, and her neck being violently whipped backwards from the force of the crash causing permanent injuries to her neck and knees. Two weeks later, Thurman tried to get the footage of the crash from Tarantino, but Miramax, the company that oversaw the production, said they would only hand it over to her if she signed a document 'releasing them of any consequences of [her] future pain and suffering.' She did not sign the document and it was only in 2018, that Tarantino handed over the footage: 'Quentin finally atoned by giving it to me after 15 years, right? Not that it matters now, with my permanently damaged neck and my screwed-up knees.'^[157] Tarantino defended himself saying that he did not force her to do the stunt herself, having checked the car by driving down the road of the shoot then assuring her it was safe, upon which she agreed to do so.^[156][158] Though Thurman found the incident 'negligent to the point of criminality' she did not believe Tarantino had 'malicious intent' and that Tarantino expressed regret; rather she placed the blame on Weinstein and other producers.^[159]

Roman Polanski[edit]

In February 2018, audio resurfaced of a 2003 interview on The Howard Stern Show during which Tarantino defended Roman Polanski over his 1977 sexual abuse case. Tarantino told Howard Stern: 'He didn’t rape a 13-year-old. It was statutory rape. That’s not quite the same thing .. He had sex with a minor, all right. That’s not rape. To me, when you use the word rape, you’re talking about violent, throwing them down.' He said that the victim, Samantha Geimer, was 'down to party with Roman” and 'wanted to have it'.^[160]

After the statements drew international attention, Tarantino issued an apology, stating, 'Ms Geimer was raped by Roman Polanski. When Howard brought up Polanski, I incorrectly played devil's advocate in the debate for the sake of being provocative .. So, Ms Geimer, I was ignorant, and insensitive, and above all, incorrect.'^[161]

Personal life[edit]

Tarantino has said that he plans to retire from filmmaking when he is 60, in order to focus on writing novels and film literature. He is skeptical of the film industry going digital, saying, 'If it actually gets to the place where you can't show 35 mm film in theaters anymore and everything is digital projection, I won't even make it to 60.'^[162] He has also stated that he has a plan, although 'not etched in stone', to retire after making his tenth movie: 'If I get to the 10th, do a good job and don't screw it up, well that sounds like a good way to end the old career.'^[163]

In February 2010, Tarantino bought the New Beverly Cinema in Los Angeles. Tarantino allowed the previous owners to continue operating the theater, but stated he would make occasional programming suggestions. He was quoted as saying: 'As long as I'm alive, and as long as I'm rich, the New Beverly will be there, showing films shot on 35 mm.'^[164]

On June 30, 2017, Tarantino became engaged to Israeli singer Daniella Pick, daughter of musician Svika Pick. They met when Tarantino was in Israel to promote Inglourious Basterds in 2009.^[165] They married on November 28, 2018 in a Reform Jewish ceremony in their Beverly Hills Home.^[166][167] On August 21, 2019, it was announced that the couple was expecting their first child.^[168]

In an interview with AXS TV at the time of The Hateful Eight's release, Tarantino was asked if he had religious beliefs and his response was, 'I think I was born Catholic, but I was never practiced .. As time has gone on, as I've become a man and made my way further as an adult, I'm not sure how much any of that I believe in. I don't really know if I believe in God, especially not in this Santa Claus character that people seemed to have conjured up.'^[169]

As a child, Tarantino was a fan of the early eras of Marvel comics, particularly those who were written by Stan Lee and Jack Kirby.

Filmography[edit]

Recurring collaborators[edit]

Tarantino has built up an informal 'repertory company'^[174] of actors who have appeared in multiple roles in films that he has directed.^[175] Most notable of these is Samuel L. Jackson,^[176] who has appeared in six films directed by Tarantino, and a seventh that was written by him, True Romance.^[177] Other frequent collaborators include Uma Thurman, whom Tarantino has described as his 'muse';^[177][178]Michael Madsen, James Parks, and Tim Roth, who respectively appear in five, four, and three films; and Zoë Bell, who has acted or performed stunts in seven Tarantino films.^[179] Other actors who have appeared in multiple films by Tarantino include Michael Bacall, Michael Bowen, Bruce Dern, Harvey Keitel, Michael Parks, Kurt Russell, and Craig Stark, all of whom appear in three films each. Leonardo DiCaprio and Brad Pitt have each appeared in two Tarantino films, the second of which, Once Upon a Time in Hollywood, they appear in together.^[180][181] Like Jackson, Pitt also appeared in the Tarantino-penned True Romance.

Several actors have been nominated for Academy Awards for their roles in Tarantino's films. Samuel L. Jackson, Uma Thurman, and John Travolta were each nominated for Pulp Fiction (for Best Supporting Actor, Best Supporting Actress and Best Actor, respectively); Robert Forster was nominated for Best Supporting Actor for his role in Jackie Brown and Jennifer Jason Leigh earned a nomination for Best Supporting Actress for her role in The Hateful Eight. Christoph Waltz won Best Supporting Actor in 2010 for Inglourious Basterds and again in 2013 for Django Unchained.

EditorSally Menke, who worked on all Tarantino films until her death in 2010, was described by Tarantino in 2007 as 'hands down my number one collaborator'.^[182][183] Editing duties since her death have been taken over by Fred Raskin.

Tarantino has also had a long partnership and collaboration with Lawrence Bender, who produced all his directorial efforts from Reservoir Dogs through Inglourious Basterds, except for Death Proof. Robert Richardson has been director of photography for all films from Kill Bill: Volume 1 through Once Upon a Time in Hollywood, except for Death Proof.

†: as stuntwoman

Awards and accolades[edit]

Throughout his career, Tarantino and his films have frequently received nominations for major awards, including for five Academy Awards, seven BAFTA Awards, seven Golden Globe Awards, two Directors Guild of America Awards, and sixteen Saturn Awards. He has four times been nominated for the Palme d'Or at the Cannes Film Festival, winning once for Pulp Fiction in 1994. In addition to his recognition for writing and directing films, Tarantino has received four Grammy Award nominations and a Primetime Emmy Award nomination.

In 2005, Tarantino was awarded the honorary Icon of the Decade at the 10th Empire Awards.^[184] He has earned lifetime achievement awards from two organizations in 2007, from Cinemanila,^[185] and from the Rome Film Festival in 2012.^[186] In 2011, Tarantino was awarded the Honorary César by the Académie des Arts et Techniques du Cinéma.^[187]

See also[edit]

• Quentin Tarantino Film Festival, a film festival in Austin, Texas, United States, hosted by Tarantino

References[edit]

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Further reading[edit]

• Greene, Richard; Mohammad, K. Silem, eds. (2007). Quentin Tarantino and Philosophy. Chicago: Open Court Books. ISBN978-0-8126-9634-9.
• Waxman, Sharon, ed. (2005). Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System. New York: Harper Entertainment. ISBN978-0-06-054017-3.

External links[edit]

• Quentin Tarantino on IMDb
• Quentin Tarantino at AllMovie
• Quentin Tarantino at Rotten Tomatoes

Discos Qualiton was a record label, published by the extinct recording studio Fonema S.A. A garage experiment born in Rosario, Argentina in 1961, Qualiton would later become a major independent record label influencing a generation of artists, writers, musicians, poets and filmmakers.

• 3Catalogue

Early days[edit]

The first attempts by Nelson Montes-Bradley and Ivan Cosentino to produce and publish vinyl records in Argentina was made under the umbrella of Fondo Cultural, a firm based in Rosario, and incorporated in Buenos Aires.^[1] Fondo Cultural later adopted the name Qualiton, which eventually led to a close relationship with the homonymous state-owned record company in Hungary during the Communist years.

Joaquín Rodrigo's 'Cantares de los pajes de la nao' by Coro Estable de Rosario, conducted by Cristián Hernández Larguía, was Qualiton's first recording in 1961. Soon, the idea of producing other choruses became a perfect venue to establish the company in the local arena. Limited editions, of no more than 300 units, were quickly absorbed amongst the members of the chorus ensemble and their relatives.^[2] By 1965, the early catalog of Discos Qualiton produced by Fondo Cultural, was beginning to develop into a greater ordeal. Fondo Cultural became extinct and Fonema incorporated thus allowing Nora Raffo and Carlos Melero, newest members of the Qualiton team, to join in the corporation.^[3][4]

The following years were mostly dedicated to produce classical music with a particular emphasis in baroque and colonial periods in Latin America. Also worth mentioning are the recordings of ethnographic music harvested in the field and gathered under the label Serie del Conocimiento and the unique recordings of literary works known as Juglaría.

The 1970s[edit]

By the late 1960s the record label had already relocated from Rosario to Buenos Aires, and expanded its catalog. New investors were seduced by the idea of creating a major independent label. Curt von Simpson and Gertrudis Moser joined Fonema executive leadership providing the needed contacts with local banks (namely Banco Oddone).^[5] During this period of expansion Take One, a state-of-the-arts 24-channel recording studio was built to specs.^[6] The console was manufactured by Solidyne and the studio acoustics was designed by Oscar Bonello. Take one, which would eventually become a landmark of the record industry was located at Fonema's HQ on Perú 375 in Buenos Aires historical district known as Monserrat^[7] The original concept of a small and family orientated garage experiment born in Rosario, had grown out of proportion. However, by 1976, a military putsch, led by Jorge Rafael Videla, ousted Argentine president Isabel Perón making life quite difficult for the arts at large, and in particular for domestic labels linked to the previous years of social unrest. The final days of Discos Qualiton came about in 1978.^[8]

Only a few complete collections of Discos Qualiton, and other labels associated to Fonema and Fondo Cultural, have survived and are available in a handful of libraries, private collections, and research institutes throughout Europe and the US. It is worth noticing that up to 1977, the artistic direction of Discos Qualiton was mostly the result of the expertise of Ivan Cosentino as a musician and recording engineer, while the publishing, editorial presentation, production and marketing was carried out by Nelson Montes-Bradley.^[7][9]

Catalogue[edit]

According to what has been reconstructed from catalogues,^[10][11] newspaper articles^[12] and vinyl records available from private collectors and currently being sold at auctions or through internet services. Qualiton was one of five labels published by Fonema in Buenos Aires, Argentina. Other labels released by Fonema were: Colección privada (Private Stock), Serie del conocimiento (Knowledge Series), Archivo Colonial de América Latina (The Latin American Colonial Archive) and Juglaría. Each new album released by Fonema was identified with an alphanumeric code in one of the five labels. Some of the sequences in the catalog are interrupted and this is perhaps due perhaps to the fact the albums were either pending release or that we have not yet been able to identify its contents. In order to facilitate research we present each album (LP) in the following categories.

Qualiton[edit]

QH-2006: Roberto Lara, guitarra. Guitarist Roberto Lara plays from a repertoire of Argentine composers: Carlos Guastavino, Pelaia, A. Alemann, Julián Aguirre, Gómez Carrillo and Abel Fleury. Roberto Lara, guitar; Eduardo A. Alemann, recorder.^[13]

• QH-2008: Música para niños, Vol.1. (Music For Children, Vol. 1) This is the first in a series of four volumes. Each volume incorporates a repertoire exhibiting a wide variety of cultural traditions, and languages. Performer: Conjunto Pro-Musica de Rosario. Conductor: Christián Hernández Larguía.
• QH-2009: Canto 4. Canto 4 being the title of the album, and the name by which the vocal quartet originated in Rosario was known. Canto 4 was produced by Nora Raffo, founding member of Discos Qualiton. Cover photo by OKY. Cover Design by José Luis Bollea also a member of Canto 4. The album included a compilation of Negro spirituals and other popular themes from the Americas such as: 'Cap´n Go Side Track Your Train'; 'Maracatú'; 'Entraña de árbol'; 'Go Tell It on the Mountain': 'Cançao para ninar meu bem'; 'All My Trials'; 'Black Girl'; 'Lord If I Got My Ticket'; 'Creciente de nueve lunas'; 'Berimbao'; 'Chacarera del fusilado'; 'It isn't nice'; 'José Junco'.
• QH-2010: Brahms: Marienlieder. Vocal Works by Johannes Brahms: Marienlieder 'Songs For Mary', for mixed chorus Op. 22 (1860) ; Sieben Lieder (Seven Songs), for mixed chorus Op. 62 (1874). Coro de Cámara de Córdoba. Conductor: César Ferreyra.
• SQH-2011:El habitante del silencio. Remo Pignoni, piano. Includes the following works for piano by Remo Pignoni: 'Pa´la Dorita'; 'Triunfo nochero'; 'Por el Sur'; 'Pa´que más'; 'Mi quena te llama'; 'Llegándome a ella'; 'De angora'; 'Pa´zurdo y La siguiente'; 'La cromática'; 'Pal´Ñato; Pa´la Lilucha'; 'Como queriendo'; 'Pa´su apero'; 'Coyita mía'; 'En séptima'; 'Herencia'; 'Chumbeao'.^[14]
• QH-2012:El canto de Rolando Valladares. Rolando Valladares by himself. Includes: 'Canto a la Telesita'; 'Vidala del lapacho'; 'Zamba del carrero'; 'Vidala del llanto'; 'Tarco viejo'; 'Canción de las cantinas'; 'Zamba del romero'; 'Por Amaicha'; 'Subo'; 'Coplas de la luna'.
• SQH-2013:Canciones para Don Quijote. Spanish Popular songs inspired in the classic novel by Miguel de Cervantes, Don Quixote. Poems by: María Paseyro. Music by: Tomás Luzian. Performed by: María Gondell, soprano; Ulises Castelli, baritone; Eduardo Frasson, guitar.
• SQH-2014: Quinteto Huayna Sumaj. Huayna Sumaj Quintet. Perla Estequín (soprano) Elba Estequín (mezzo-soprano) Ricky Acosta (tenor) César Sotelo (barítono) Luis Gentilini (bajo, arreglos y dirección)Popular South American folk tunes by various artist from Latin America. 'Días de Mayo'. 'Guarden la luna'; 'Para cantarle a mi gente'; 'La navidad de Juanito Laguna'; 'Tonadas de Manuel Rodríguez'; 'Vidala del último día'; 'Malambo'; 'Juanito Laguna remonta un barrilete'; 'Ramón el potrerizo'; 'El camino del pueblo'; 'Fiesta de guardar'; 'Canto a la Telesita'.^[15][16]
• SQH-2015:Los 4 de Chile, Quartet with Héctor and Humberto Devauchelle. A selection of Chilean popular songs: 'Por la calle del Rey arriba'; 'Romance de barco y junco'; 'Sencillas palabras de mi madre'; 'Pequeña elegía'; 'Palabras al hijo futuro'; 'Para que no me olvides'; 'Del cielo a tu corazón'; 'Remordimiento'; 'Despedida'; 'Poema de la tierra'. Under License from Discos Asfona, Santiago, Chile.
• QH-2016:Canciones desde una prisión. Rolando Alarcón (voice and guitar). Protest songs during the times of deposed president Salvador Allende: 'Coplas del oficio'; 'La pregunta'; 'Coplas del toro vuelto'; 'El verde no muere solo'; 'Canciones desde un calabozo'; 'Coplas del pié'; 'Ha muerto Elba Susana'; 'He venido desde lejos'; 'Pobrecita la llave'. Under License by Discos Hemisferio, Montevideo, Uruguay.
• QH-2017: El camino hacia la muerte del Viejo Reales. Soundtrack album of the homonymous documentary film by Gerardo Vallejos, member of Grupo Cine Liberación.
• QH-2018: La fuerza del diálogo. Norma Peralta (voice) and Naldo Labrín (guitar). Latin American folk songs: 'Pacundina'; 'Irene'; 'José Dolores'; 'Carcará'; 'Oh, pajarillo que cantas'; 'El Fiero'; 'Zamba de la pena'; 'Alegres eran mis ojos'; 'A una paloma'; 'Sirilla de la Candelaria'; 'Zamba del indio Serapio'; 'Canción del Centauro'.
• SQH-2019: De aquí y de ahora. Palermo Trío (tango): 9 de Julio; Corralera; Sentimiento tanguero; Jogo bonito; Sensitivo; El choclo; Canaro en País; De aquí y de ahora; Flores negras; Imaginación; Mi redención; Responso.
• SQH-2020: Ayer me dijeron Negro (Just Yesterday I was called a Negro) by Roberto Darvin (voice and guitar). Includes the following songs: Canoero; Ayer me dijeron Negro; Zamba de tu piel; Por casualidad; Barlovento; Noctuno de amor y playa; Jacinto Vera; Tema de la Pimpa; Canto marinero; Guitarra. Estereofónico. Published by Qualiton under license from Hemiferio Records, Montevideo, Uruguay.
• SQH-2021: Música para niños, Vol. 2. (Music For Children, Vol. 2) Conjunto Pro-Musica de Rosario. Conductor: Christián Hernández Larguía.
• SQH-2022: Canción por Nicolás. (A Song for Nicolás) by the Quintet Huayra Puka. Includes: Canción por Nicolás; Canto isleño; Ashpa Sumaj; Te vas de mi; Duérmase lucerito; Que se vengan los chicos; La amorosa; La cancionera; Sueño y charango; Vidala doble; Corrientes cambá; Cuyana; El gato de la calesita.
• SQH-2023: Corazón del país. (Country's Heart) by Contracanto (ensamble). Includes: Estudiantes de Mayo; Mama Angustia; A la mina no voy; Canción por Nicolás; Cuando un amigo se va; Me matan si no trabajo; Canción de un peso; Tania; Canción del Jacinto; Canción para el fusil y la flor; Sabatina; Me digo a veces pensando.
• SQH-2024: América canta, Vol.1. Doce canciones latinoamericanas y un poema.;^[17] Quinteto Huayra Puka; Trío de 4; Rolando Alarcón; Isidro Contreras; Norma Peralta; Contracanto; Quinteto Huayna Sumaj; Canto 4; Yamandú Palacios; Roberto Darvin. Estereofónico.
• SQH-2025: Cantar de pájaros. Trío de 4. Canción para el fusil y la flor; Sabás; Ay, Mama Inés; Zamba vieja; Ay, Tituy; Sóngoro cosongo; Juancito caminador; Canción de Pablo; Ay, Soledad; Te recuerdo Amanda; Cuento de aquella tarde; Canción (de la Cantata Popular Santa María de Iquique). Estereofónico.
• SQH-2026: ¡Viva Chile, mierda!. Eleven Latin American Songs and One Poem. Includes compositions by Violeta Parra, Ángel Parra, Carlos Puebla, Daniel Viglietti, Roberto Darvin, Rolando Alarcón and others. Includes Fernando Alegría's poem 'Viva Chile, mierda!'. Published under license from Hemisferio Records, Montevideo, Uruguay.
• SQH-2027: Del amor y la libertad (Love and Liberty) by Taco Muñoz (Voice and Guitar). Taco Muñoz embodied a fusion of protest and revolutionary song with a soft rock approach. Includes: La rosa roja; Está herido en la guerrilla; Lucha compañero; Vamos, Patria; Tema de la Libertad; Rojo amanecer; Juan Libertad; Yo era un tipo amargado; La dulzura; Lo que pasará; Candombe libre; De cómo hicieron el amor por primera vez. Estereofónico, editado bajo licencia de Hemisferio/ Uruguay.
• SQH-2028: Tawantinsuyu. The album title corresponds to the name of a native Bolivian ensemble produced by Luis María Cosenza. Engineered by Jorge DaSilva. Recorded at Take One Studios. Cover design by Pablo Barragán. Some of the tracks are in native Quechua, others in Spanish. The album includes the songs: 'Chojñapata de yungas'; 'Moxeñada'; 'Cacharpa-ya del indio'; 'Esperanza del indio': 'Cuando salí de Bolivia'; 'Procesión'; 'Zampoñas'; 'Cueca a Bolivia'; 'Tarkeada'; 'De Bolivia a la Argentina'.
• SQH-2029: Canciones para hacer pensar a los chicos'’ (trad. Songs to Help the Children Think) by Mirta Ciliberti. Seventeen Songs for children. This album was instrumental in the final days of Discos Qualiton. The military regime ruling Argentina, ordered the destruction of the master, and authors Mirta and Vico Ciliberti were forced into exiled in Italy.^[18]
• SQH-2030. Para el tiempo de cosecha.. (trad. For Harvest Time) Quintet Huayra Puka. Includes: 'Póngale por las hileras'; 'Cofre de sueños'; 'Debajo de la morera'; 'Mi abuelito tenía un reloj'; 'Vaya pa'que sepa'; 'Por un viejo muerto'; 'Romance en Taragüi'; 'Si supieras tu'; 'Remolinos'; 'Yo tengo una copla riojana'. Foreword by Luis María Cosenza. Cover design by Pablo Barragán.
• SQH-2031: Budapest by Night Sándor Lakatos y su orquesta gitana. In Stereo. Published under License Agreement with Qualitonof Hungary.
• SQH-2032. Homenaje (Tribute). Conjunto Contracanto. The ensable was born in Rosario with a repertoire of mostly protest songs. This LP included the following tracks: 'Que se vayan ellos'; 'Niño yutero'; 'Arana'; 'Porqué los pobres'; 'Las estaciones'; 'Coplas de mi país'; 'Homenaje'; 'La muralla'; 'Historia simple'; 'Ayer me dijeron negro'; 'Un niño en cada hombre'; 'La amanecida'. Cover design by Oscar Díaz.
• SQH-2033: El sorprendente Moog. (The unbelievable Moog) Ben Callaghan & Co. La gaviota infelíz; Otra vez solo; Sundust y otros temas melódicos. Estereofónico, editado bajo licencia de Qualiton Hungría.
• SQH-2034: El cuarteto del Chivo Borraro. Live Blues con amague; Minor Key; Lover Man; Africa. Horacio Chivo Borraro, saxo tenor; Fernando Gelbard, piano; Jorge López Ruiz, contrabajo; Carlos Pocho Lapouble, batería. Técnico de grabación: Osvaldo Acedo; producción: Fernando Gelbard. Grabado el 3 de noviembre de 1970.
• SQH-2035: Música para niños, Vol.3. (Music For Children, Vol. 3) Conjunto Pro-Musica de Rosario. Conductor: Christián Hernández Larguía.
• SQH-2036: El Trío + Tango. Guitar Trio. Includes: El último organito; El viejo ciego; Quedémonos aquí; Recuerdos; Nieblas del Riachuelo; Los mareados; Tú; Garúa; Boedo; A Homero; Mi refugio; La última curda. Néstor Gabetta, voz; Carlos Padula, guitarra; Mario Travesaro, guitarra; Justino Distéfano, contrabajo; Alfredo Llosá, flauta y violín.
• SQH-2037: Locomotiv GT. Locomotiv was a Hungarian rock and roll emerging in Budapest during the Communist era. Published under License Agreement with Qualitonof Hungary
• SQH-2038: Criollo sudamericano. Isidro Contreras (voice and cuatro). Includes: La vida envuelta en el aire; Criollo sudamericano; Rosalinda; La noche que yo robé; A Simón Bolivar y otros temas. Isidro Contreras, voz y cuatro; R. Fernández Braque, guitarra; Dany Boy, órgano; F. Della Maggiore, percusión; R. Heinz, bajo. Estereofónico.
• SQH-2040: Canción para mi madre tierra. (A Song For Mother Earth) by Tito Segura. Segura was a folk singer from Patagonia plays and sings several tunes of his native Argentina. Includes: Chupar y cantar; Con el alma por Santiago; Mi casi tonada; Por un ratito; Un adiós a Pablo; Allá en las Orcadas; Criollita santiagueña; Sueño de un niño tren; Milonga para pensar; Hilachita del Norte; Felina Mercedes Luna; Viene clareando.
• SQH-2041: América Libre: El país de la verdad. 'Free America: A Nation of Truth'. Includes: No es América; Duerme, negrito; Tema 40; Natalio Ruiz, el hombrecito de sombrero gris; El país de la verdad; A veces to do es así de simple; Gaby toca el saxo; Canción de cuna sin niño; Caramelos de miel y pan de ayer; Vamos llegando; Una canción más de amor. Carlos Piégari, voz y guitarra; Ricardo Bruno, voz; Irene Canggiano, voz; Rolando Fortich, bajo, guitarra y piano; Horacio Mica, guitarra y voz; Miguel Fiannaca, percusión; Jorge Fortich, píano; Luis María Cosenza, guitarra. Producción: Luis María Cosenza.
• SQH-2042: Los folkloristas. Música de América Latina. Eleven traditional tunes from Chile, México, Perú, Cuba, Bolivia, Venezuela, Argentina and Ecuador. Los Folkloristas was a popular ensemble of traditional music from México whose members were; Rubén Ortiz, Leonor Lara, José Ávila, René Villanueva, Gerardo Támez, María Elena Torres y Adrián Nieto. Published by Qualiton under license from Difusora del Folklore (Discos Pueblo), Mexico.
• SQH-2045: Situaciones. Rodolfo Haerle. Rare inclusion in Discos Qualiton catalogue of a rock performer. The album was engineered by Jorge DaSilva and Litto Nebbia. Associate producer Luis María Cosenza. Published under license from Serie Melopea. Rodolfo Haerle, guitar and vocals. Litto Nebbia, Fender piano, Moog, drums, bass, organ, harmónica, whistle and choir. Néstor Astarita, drums. Daniel Homer, bass. Jorge González, electric bass. Alejandro De Michelle and Miguel Angel Erauskin, choruses. The album included the tracks: Natural, es natural; Lugares comunes; El héroe; La clave de hoy, cierre; Crónicas de la madrugada; Respuesta: Otra vuelta fugaz; Estar lejos no es igual; Situaciones. Cover design by Pablo Barragán.
• SQH-2046: Canto y clarificación. by Rodolfo Alchourrón. Produced by Luis María Cosenza. The album was engineered by Jorge Da Silva and recorded at Netto Studios in Buenos Aires. Cover designed by Pablo Barragán. Includes the tracks: Con mis juguetes saldré a vivir; Al fin entendí; Y componer una canción: Retrosprección; Argentina 75; Furia del amanecer; Del to do vos; Chacarera TV; Telelito; Compongamos la mentira; Me quedo aquí; Aquí y ahora; Flores, colores y rayos de sol. Adicional performing by Marcelo San Juan, Rodolfo Mederos, Manuel Manolo Juarez, Norberto Minichilo, Emilio Valle, Patricia Clark, Raúl Parentella. Engineered by Jorge DaSilva at Estudios Netto. January 1976.
• SQH-2047: Mensaje a la ciudad. Alberto Garralda. Alberto Garralda, bandoneón; Bartolomé Palermo, guitar; Rodolfo Almar, vocals and orchestra. Engineered by Jorge Da Silva. Recorded at Take1 Studio. Cover design by Pablo Barragán. Included the tracks: Mensaje a la ciudad; Caminito; Ninguna; Danzarín; La reja; Cafetín de Buenos Aires; Trenzas; Mimí Pinzón; Mi redención; Vieja luna; Uno; Latido de Buenos Aires. Alberto Garralda, bandoneón; Bartolomé Palermo, guitarra; Eduardo Walczak, Reynaldo Michele, Fernando Suarez Paz, Mario Abramovich, Tito Besprovan, y Nito Farace, violines; Abraham Selecson, viola; José Bragato, cello; Osvaldo Tarantino, piano; Kicho Díaz, bajo. Canta Rodolfo Almar. Técnico de grabación: Jorge DaSilva. 1977. Estereofónico.
• SQH-2048: Los folkloristas. Música de América Latina, vol.2. Twelve traditional tunes from Bolivia, México, Paraguay, Argentina, Brasil, Perú y Ecuador. Grabación: Ing.Víctor Rapoport. Recorded in Mexico. Published by Qualiton under license from Discos Pueblo.
• SQH-2052: Música para niños, Vol.4 (Music for Children, Vol. 4) Conjunto Pro-Musica de Rosario. Conductor: Christián Hernández Larguía.

Choral recordings[edit]

• CM-1015 Cantares de los pajes de la Nao. (1964) Coro Estable de Rosario. Director: Christián Hernández Larguía. Original artwork (cover and pamphlet) by Mele Bruniard.
• CM-1016: Música popular Argentina (Argentine Popular Music). (1964) Coral Femenino de San Justo. Director: Roberto Saccente. Portada y grabado interior de Luís Seoane.
• CM-1017: Gloria, Vivaldi. Coro Polifónico de San Justo, órgano y conjunto instrumental de cámara. Conductor: Roberto Saccente. Original artwork (cover and pamphlet) by Mario Loza.
• CM-1018; Claudio Monteverdi: Lagrime d'amante al sepolcro dell´amata (Sestina) [Lover's tears at the tomb of the beloved]. All'ora i pastori tutti. Coro de Cámara del Collegium Musicum de Buenos Aires. Conductor: Juan Schultis. Original artwork (cover and pamphlet) by Víctor Rebuffo.
• CM-1019: Coro Esloveno Gallus. Ciclo de música sacra eslovena. Conductor: Dr. Julio Savelli. The cover portrays a traditional Slovenian motif.
• CM-1020: Coro Femenino de la Escuela del Magisterio. Songs and Romances from Germany and Argentina. Conductor: José Felipe Vallesi. Original artwork (cover and pamphlet) by de Ricardo Scilipoli.
• CM-1021: Coro de Cámara de Córdoba. Missa Quarti Toni de Tomás Luis de Victoria y Misa de William Byrd (fragmentos). Conductor: César Ferreira. Cover Designed by Luis Saavedra.
• CM-1022: 'Coral Femenino de San Justo'. Traditional and popular songs from Argentina and around the world. Conductor: Roberto Saccente. Cover designed and original artwork within by Isaías Nougués (h).
• CM-1023: Coro de Cadetes de la Escuela Naval Militar. Canciones marineras y populares del repertorio universal. Conductor: Rafael Urbiztondo. Cover designed by Emilio Biggeri.
• CM-1024: 'Folklore musical esloveno'. Coro Esloveno Gallus. Conductor: Dr. Julio Savelli. Portada, diseño tradicional esloveno.
• CM-1025: Coral Femenino de San Justo. Misa en Si bemol Mayor de Antonio Lotti; Tres madrigales Op.8, de Alicia Tercian; Sainte Marie Magdelaine, de Vincent d'Indy. Conductor: Roberto Saccente. Iris Fabrizzi, órgano; Eduardo Calcagno, piano y solistas vocales.
• SCM-1026: Vivimos en nuestras montañas. Niños y jóvenes cantores de Bariloche. Canciones populares del repertorio universal. Grabado en el Centro Atómico de San Carlos de Bariloche. Conjunto de flautas dulces. Conductor: Luck Kralj de Jerman.
• CM-1027: Coro Popular Universitario 'José Luis Ramírez Urtasun. Vintage live recordings of works by Gabrielli, Jannequin, Guerrero, Debussy, Häendel and other popular tunes from Catalonia, the U.S.A., Galicia, Argentina, and the Basque Country. Made possible through a grant from the Fondo Nacional de las Artes. Conductor: José Luis Rodríguez Urtasun.
• CM-1028: Gianmbattista Pergolesi: Stabat Mater. Coro Juvenil de Haedo, del Instituto Alte. Guillermo Brown. Grabación documental del señor Héctor Burd realizada en la Catedral de San Carlos de Bariloche el 30 de marzo de 1972. Órgano, Oscar Alessi. Solistas: Adriana Burt, soprano; Silvia Cambiaso, contralto; María Eva Felini, mezzo. Conductor: Edgardo Aradas.
• QI-4000: Irma Costanzo, guitarra. Works by Heitor Villa-Lobos; Héctor Ayala; Abel Carlevaro. Irma Costanzo, guitar.
• QI-4001: Música argentina contemporánea. Works by César Franchisena; Luis Zubillaga; Rodolfo Arízaga; Silvano Picchi. Héctor Rubio, piano; Adelma Eva Gómez, organ.
• QI-4002: Música Argentina. Presencia N°6 “Jeromita Linares” by Carlos Guastavino; “Triste pampeano” by Alberto Ginastera; “Cifra y malambo” by Abel Fleury; “Canción N°2” by Julián Aguirre; “Norteña” by Jorge Gómez Crespo; “Metamorfosis romántica” by Iván Rene Cosentino. Roberto Lara, guitar and the Arcangelo Corelli String Quartet.
• QI-4003: Música medieval y renacentista. Conjunto Pro Musica de Rosario. Conductor: Cristián Hernández Larguía.
• QI-4004: Martirio de Santa Olalla and two other works by Rodolfo Arízaga: 'Cantatas humanas' and 'Sonetos de la pena'. The Qualiton Ensemble. Conductor: Teodoro Fuchs. Contralto: Noemí Souza.
• QI-4005: Alberto Soriano.'Cuatro rituales sinfónicosand 'Tres esquemas sinfónicos sobre la vida de Artigas' by Alberto Soriano. Symphony Orchestra of the Romanian State Radio and Television. Conductor: Iosif Conta.^[19] Premio América. ARC de la Universidad de la República. Montevideo, Uruguay.^[20]
• QI-4006: Ginastera-López Buchardo-Guastavino. 'Sonata para piano', 'Danza de la moza donosa' and 'Malambo' by Alberto Ginastera; 'Campera' and 'Bailecito' by Carlos López Buchardo and 'Bailecito' by Carlos Guastavino. Pía Sebastiani, piano
• QI-4008: Música Española del Siglo de Oro (Music from the Spanish Golden Age). Works by Juan del Encina; Enrique de Valderrábanos; Luis de Milán; Cristóbal Morales; Mateo Flecha; Francisco de la Torre; Diego de Ortiz; Alonso Lobo; Juan Vásquez; Juan Ponce and various anonymous works. Conjunto Pro Musica de Rosario, Conductor: Cristián Hernández Larguía.
• QI-4009: Tríptico de Praga (Prague Triptych). Side A: Suite para orquesta. 1. Antífonas del puente Carlos; 2. Schertino en la calle de los alquimistas y Canto a las torres; 3. Ronda infantil para un Viejo Castillo. By the Berlin Radio Symphony Orchestra. Conductor: Kurt Masur. Side B: 'Sonata for violin and piano' 1. Allegretto expresivo; 2. Cantabile; 3. Rondó-Scherzo. Francisco J. Musetti (piano) and Celia Rocce de Musetti (violin). 'Tiempo Sinfónico a los Caídos en Buchenwald', Leipzig Symphony Orchestra. Conductor: Adolf Fritz Guhl. Cover design by: Pablo Barragán. Dated 1970.
• SQI-4010: Schumann-Szymanowski Sonata op. 22 by Robert Schumann; Preludio Op. 1 by Karol Szymanowski. Pía Sebastiani, piano
• SQI-4011: Luis Gianneo. Three works by Luis Gianneo: 'Sonata para violin y piano (1935); 'Cinco piezas para violín y piano' (1942) and 'Música para niños. Diez piezas para piano'. Brunilda Gianneo, violin; Celia Gianneo, piano
• SQI-4012: Johannes Brahms: Sonata en Fa Menor, Op. 5 by Johannes Brahms. (1971) Pía Sebastiani, piano. Allegro Maestoso; Andante Espressivo; Scherzo; Intermezzo; Allegro Moderato (Sonata in F Minor, Op. 5) (J. Brahms)^[21]
• SQI-4013: Robert Schumann. 'Sonata Op. 16' Kreisleriana' by Robert Schumann. Manuel Rego, piano
• SQI 4014: Roberto Lara interpreta a Abel Fleury. Short pieces for guitar by Abel Fleury. Roberto Lara, guitar. Album licensed by Qualiton to Lyrichord Discs, US.
• SQI-4015: Cánticos para el caminante. Construcciones sonoras. Maestro Alberto Soriano recorded the sounds of Nature. It was a life-time experience: frogs, birds and wind. These sounds were later organized and edited to create a remarkable piece of music. Premio América. ARC de la Universidad de la República. Montevideo, Uruguay.
• SQI-4016: Béla Bartók: The Wooden Prince. Complete version of Béla Bartók's 'The Wooden Prince' Op. 13. (1913). Budapest Philharmonic Orchestra. Conductor: János Ferencsik. Published under license from Qualiton, Hungary.
• SQI-4017: Albinoni-Vivaldi-Mozart-Leng. 'Sonata in G Minor, Op.2 No.6 ' by Tomaso Albinoni; 'Concerto In A Minor For Oboe And Orchestra' by Antonio Vivaldi; 'Divertimento in D Major KV 136' by Wolfgang Amadeus Mozart; 'Andante for strings' by Alfonso Leng. Orquesta de Cámara de la Universidad Católica de Chile. Conductor: Fernando Rosas. Enrique
• SQI-4018: Música Argentina. Contemporary works from various Argentine composers. 'Presencia N°6 'Jeromita Linares' by Carlos Guastavino. Roberto Lara, guitar; 'Contemplación y Danza' by Astor Piazzolla. Martín Tow, clarinet; 'Milonga' by Alberto Williams; 'Lamento quichua' and 'Criolla' by Luis Gianneo; 'Impresiones de la Puna' by Alberto Ginastera. Domingo Rullo, flute. Solistas de Buenos Aires. Conductor: Alberto Epelbaum.
• SQI-4019: Navidad del barroco-Antiguos noëls franceses-Corales alemanes de Navidad. Conjunto Pro Arte de Flautas Dulces; Coro Nacional de Niños, Conductor: Vilma Gorini; The Qualiton Ensemble; Coro Arsis, Conductor: Eduardo Alonso Stier. Mario Videla, organ and harpsichord.
• SQI-4020: La flauta dulce. Historia y música. The Recorder: History and Music. Medieval, baroque and contemporary tunes for recorder. Conjunto Pro Arte de Flautas Dulces.
• SQI-4021: Guitarra. Short pieces for guitar, from the 16th Century to contemporary. Roberto Lara, guitar
• SQI-4022: 'Schuman-Schubert-Arizaga'. 'Märchenerz'hlungen, Op. 132' (Fairy Tales, Op. 132) by Robert Schumann; 'Sonata in A minor for Arpeggione and Piano, D. 821' by Franz Schubert and 'Ciaccona for Viola' by Rodolfo Arízaga. Tomas Tichauer, viola; Mónica Cosachov, piano and Luis Rossi, clarinet. Recorded in 1972.
• SQI-4023: William Byrd. Three compositions by William Byrd: 'Misa a cinco voces'; 'Obras para órgano', 'Danzas para clave'. Interpreter: Coro de Cámara de Córdoba. Mario Videla, clave.
• SQI-4024: 'Vivaldi-Danzi-Mozart'. Works by Antonio Vivaldi, Franz Danzi, Wolfgang Amadeus Mozart. Quinteto de Vientos del Mozarteum Argentino.
• SQI-4025: 'Suite Hispana'. Several pieces for guitar and string quartet by Spanish composers: 'Suite Hispana' by Manuel Del Olmo; 'Mallorca' by Isaac Albéniz; 'Lamento' by Eduardo Lopez-Chavarri; 'Tiento antiguo' by Joaquín Rodrigo; 'Boceto andaluz' by Regino Sainz de la Maza. All but 'Suite hispana' were played by Roberto Lara, guitar; 'Suite Hispana' was recorded with Roberto Lara in guitar and The Buenos Aires String Quartet.
• SQI-4026: Franz Liszt, 'Requiem' by Franz Liszt. The Hungarian People's Army Chorus and Soloists. S. Margitay, organ. Conductor: János Ferencsik.
• SQI-4027: La guerra doméstica. Der Häusliche Krieg (Die Verschworenen), Singspiel, also known as 'The Conspirators ' or 'The Domestic War' by Franz Schubert. Akademie Kammerchor and Wiener Simphoniker Orchestra. Conductor: Ferdinand Grossmann.
• SQI-4028: 'Música para dos guitarras'. Music for two guitars by Francis B. Cutting; Fernando Sor; Christian Scheidler; Mario Castelnuovo-Tedesco. Duo Pujadas – Labrouve.
• SQI-4029: 'Schumann-Poulenc'. 'Fantasy Pieces, Op. 12' by Robert Schumann; 'Napoli'; 'Three Perpetual Movements' and 'Two Novelettes,' by Francis Poulenc. Manuel Rego, piano.
• SQI-4030: 'Antiguos aires y danzas inglesas'. Works for clave by Giles Farnaby; Peter Philips; Martin Peerson; Thomas Morley; John Dowland; William Byrd; John Bull; J. Monday and anonymous. Arnolda Hirsch, clave.
• SQI-4031: 'Música en la casa del Marqués de Sobremonte', is the first on a series of recordings at the museum known as the House of the Marqués de Sobremonte by the Coro de Cámara de Córdoba conducted by César Ferreyra; the Conjunto de Instrumentos Antiguos del Goethe Institute conducted by Raúl Alvarellos, Mario Videla organ and harpsichord, and soloists in guitar, viola, viola da gamba, clave and espineta.^[22]
• SQI-4032: Galuppi-Clementi-Scriabin.'Dodici sonate per cembalo' by Baldassare Galuppi; 'Sonata en F Minor, Op. 26 No. 12' by Muzio Clementi and Preludes Op. 11: 'Prelude No. 4 in E minor', 'Prelude No. 6 in B minor', 'Prelude No. 10 in C sharp minor', 'Prelude No. 17 in A-flat mayor' 'Prelude No. 20 in C minor'; 'Two Poems Op. 69, No.1 and 2', 'Two Poems Op. 71' and 'Five Preludes Op.74' by Alexander Scriabin. Manuel Rego, piano.
• SQI-4033: Domenico Zipoli. Complete Works for Organ by Domenico Zipoli from the book Sonate d'intavolatura per organo e cimbalo (cymbal). Includes only the first part (Per Organo) of the Sonata d'Intavolatura. Recorded on time period pipe organ, one located in the Buenos Aires Metropolitan Cathedral, and a second located at the Museum-House of the Marqués de Sobremonte, where 'Música en la casa del Marqués de Sobremonte' had previously been recorded (SQI-4031). This album was recorded on the colonial pipe organ at the Buenos Aires Metropolitan Cathedral and at the Museo Sobremonte, in Córdoba using also a colonial pipe organ. Mario Videla, organ.^[23]
• SQI-4034: Música en la Edad Media. Music in the Middle Ages. Conjunto Pro Musica de Rosario
• SQI-4035: Mendelssohn.Songs Without Words by Felix Mendelssohn. Manuel Rego, piano
• SQI-4036: Joseph Haydn. 'Missa Solemnis' 'Harmoniemesse' by Joseph Haydn. Akademie Kammerchor and Vienna State Opera Orchestra. Conductor: G. Barati. Album licensed to Qualiton by Lyrichord Discs, US.
• SQI-4037: Schubert, 'Mass No. 4 in C major, D452.'. Akademie Kammerchor. Viena State Opera Orchestra. Conductor: George Barati. Album licensed to Qualiton by Lyrichrd Discs, US.
• SQI-4038: Música Colonial Latinoamericana. Works by Ignacio Celoniat; Juan de Araujo (Sucre, Bolivia); F. Gómez da Rocha (Minas Gerais, Brazil); Anónimo (Cusco, Peru); Tomás de Torrejón y Velasco (Cusco, Peru): Hernando Franco (Mexico); Juan de Llenas (México) y Emerico Lobo de Mesquita (Minas Gerais). Recorded in 1973 at the Buenos Aires Metropolitan Cathedral. Coro de la Fundación Ars Musicalis, Orquesta de Cámara y solistas. Conductor: Pbro. Jesús Gabriel Segade.^[22][23]
• SQI-4039: János Vitéz.. A musical by Pongrác Kacsóh adapted fragments from the poem 'János Vitéz' by Sándor Petőfi. Coro de la Radio y Televisión Húngara. Conductor: Cecilia Vajda. Orquesta de la Opera del Estado Húngaro y cantantes solistas. Conductor: Ervin Lukács. Published under license from Qualiton, Hungary.
• SQI-4040: Manuel Rego, piano. “Aquel Buenos Aires” (tango, vals criollo and milonga) by Pedro Sáenz; “Tangos” (1942): “Evocación”, “Llorón”, “Compadrón”, “Milonguero” y “Nostálgico” by Juan José Castro. “Fantasía Bética” by Manuel de Falla; “Impresiones íntimas”: No.5, “Pájaro Triste”, N°7 “Cuna”, N°8 “Secreto” and N°9 “Gitano”. Int. Manuel Rego, piano
• SQI-4041: King Stephen, Hungary's first Benefactor, Op.117 and The Ruins Of Athens, Op.113. Text by August von Kotzebue, Score by Ludwig van Beethoven. Coro de la Radio y Televisión Húngaras. Soloists: Margit László (soprano) y Sándor Nagy (barítono), Maestro de Coro: Ferenc Sapszon. Orquesta Filarmónica de Budapest, Conductor: Géza Oberfrank. Published under license of Qualiton, Hungary.
• SQI-4042: Obras vocales I. By Ferenc Liszt. 'Hymne de l'enfant a son réveil'; 'Tantum ergo': 'O salutaris hostia I'; 'Salmo 137'; 'Sanct Christoph Legende' 'O heilige Nacht' 'Quasi cedrus (Mariengarten) and 'Pater Noster'. Gábor Lehotka, organ; Eva Andor, soprano; Hédi Lubik, arpa; Margit Lászlo, soprano; Péter Komios, violin; György Miklos, piano and József Réti, tenor. Coro Femenino de Györ. Coro de la Agrupación Folklórica del Estado Húngaro. Conductor: Miklos Szabo. Published under license of Qualiton, Hungary.
• SQI-4043: Arias para tenor. By Wolfgang Amadeus Mozart. '¡Misero! ¿O sogno o son desto? K.431'; 'Rondó: Per pietá non recercarte. K.420'; 'Sí mostra la sorte. K.203'; 'Sí al labbro mio non credi. K.295'; 'Con cossequío, con rispeto. K.210'. József Réti, tenor. Orquesta de la Asociación Filarmónica de Budapest. Conductor: Antal Jancsovics. Published under license of Qualiton, Hungary.
• SQI-4044: Cesar Frank. Serguei Rachmaninoff. 'Variaciones Sinfónicas para piano y orquesta' by César Franck; 'Concierto N°2 en do menor, for piano and orchestra, Op.18'. Orquesta Filarmónica de Budapest. Conductor: Miklos Lukács. Gábor Gabos, piano. Published under license of Qualiton, Hungary.
• SQI-4045/4046: Vivaldi, Juditha Triumphans. 'Juditha Triumphans', Oratorio by Antonio Vivaldi. Coro Madrigal de Budapest, Maestro de Coro: Gy. Czigány. Cantantes solistas. Orquesta del Estado Húngaro. Conductor: Ferenc Szekeres. Two records set in a box with notes. Published under license of Qualiton, Hungary.
• SQI-4047: Ferenc Liszt, Symphonic Poems. 'Symphonic Poem N°2: Tasso, Lamento E Trionfo' and 'Symphonic Poem N°2 R.420 Hungaria' by Franz Liszt. Hungarian State Orchestra. Conductor: János Ferencsik. Published under license of Qualiton, Hungary.
• SQI-4048: Haydn. 'Concierto para piano y orquesta en re Mayor, Hob: XVIII: 11' and 'Sinfonía en mi bemol Mayor N°43, Mercurio', by Joseph Haydn. Orquesta de Cámara Húngara. Conductor: Vilmos Tátrai. Gábor Gabos, piano. Publish under license of Qualiton, Hungary.
• SQI-4049: Michel Blavet, Four Sonata for flauta & contínuo by Michel Blavet. Sonata No. 1 in G major 'L'Henriette' (adagio, allegro, aria I and 2, presto); Sonata No. 2 in D minor, 'La Vibrai' (andante, allemande, gavote –Les caquete-, sarabande, finale); Sonata No. 3 in E minor, 'L'Dhérouville' (adagio, allemande, rondeau –L'insinuante–, tambourin I and II –Le Mondorgue–gigue); Sonata No. 4 in G minor, 'La Lumagne' (adagio, allemande, sicilienne, presto, allegro vivace –Le Lutin–). Enzo Giecco (flute); Mario Videla (harpshichord); Leo Viola (violoncello).^[24]
• SQI-4050: Miguel Angel Estrella, piano. 'Six short preludes'. Chorale from the Notebook for Anna Magdalena Bach, (Wer nur den lieben Gott läßt walten), by Johann Sebastian Bach. 'Prelude and Fugue No.2 C minor' from The Well-Tempered Clavier Vol. II by Johann Sebastian Bach; 'Fantasy and Sonata in C minor: a- Fantasy K.475; b- Sonata K.457 (molto allegro, adagio, allegro assai) ' by Wolfgang Amadeus Mozart
  Title page of Das Wohltemperierte Klavier
• SQI-4051: Muzio Clementi. Complete Piano Works, vol. 1. Previously unpublished sonata in A flat major; Sonatas del Op.1, No. 1 to 6. Aldo Antognazzi (piano).
• SQI-4052: El niño Mozart. (The Early Sonatas) Six sonatas for flute and harpsichord. Violin Sonata No. 5 in B flat major, K10, Violin Sonata No. 6 in G major, K11, Violin Sonata No. 7 in A major K12, Flute Sonata No. 4 in F major, K13, Violin Sonata No. 9 in C major, K14, Flute Sonata No. 6 in B flat major, K15. This set of six sonatas was written in 1764. From April of that year until August 1765 the eight-year-old Mozart was in London with his family. Enzo Giecco (flute); Mario Videla (harpsichord). Includes an insert brochure with commentary by Lic. Julio Palacio.
• SQI-4053:'English Renaissance Music' (Música inglesa del Renacimiento). Conjunto Pro Musica de Rosario. Conductor: Cristián Hernández Larguía. Madrigals, Ballets, Airs and Dances. Includes the following themes: 1. My bonnie lass she smileth/ Thomas Morley; 2. Now is the month of maying/ Thomas Morley; 3. Fire, fire my heart/ Thomas Morley; 4. Flow my tears/ John Dowland; 5. Kemp's gigue/ Anónimo s. XVI-XVII; 6. Of all the birds/ John Bartlett; 7. Rest sweet nimphs/ Francis Pilkington; 8. Adieu, sweet Amaryllis/ John Wilbye; 9. See, see the shepherd's Queen/ Thomas Tomkins; 10. Hey, trolly lolly lo!/ Anónimo s. XV-XVI; 11. My lady Carey's dompe/ Anónimo c. 1500; 12. A Robin/ Robert Cornysh; 13. Pastime in good company/ Anónimo s. XV-XVI; 14. Lullaby, my sweet little baby/ William Byrd; 15. The carman's whistle/ William Byrd; 16. Four-Part Mass (fragments)/ William Byrd. Cover design: Pablo Barragán.
• SQI-4054: Tomás Luis de Victoria, Francisco Guerrero y obras de Cristóbal Morales, F. de las Infantas y Juan Esquivel. 'Misa Quarti Toni' by Tomás Luis de Victoria; 'Magnificat (Modus 1) ' by Francisco Guerrero; 'Gloria in excelsis Deo' and 'Veni, Domine' by Juan Esquivel; 'O Crux ave, spes unica' by Cristóbal Morales and 'O patriarcha pauperum' by F. de las Infantas. Coro de Cámara de Córdoba. Conductor: César Ferreyra.
• SQI-4055: The Recorder in France. Tunes from the Middle Age, Renaissance and Barroque, by Adam de la Halle, Johannes Ghiselin, Josquin des Prez, Clément Janequin, F. Attaignant, François Caroubel and other anonymous tunes. Conjunto Pro Arte de Flautas Dulces. Carlos López Puccio, viola da gamba. Antonio Spiller, violón. Oscar Bazán, basson. Gabriel Pérsico, recorder soloist. Mario Videla, harpsichord. Notes by Mario Videla.
• SQI-4057: Música cortesana en Polonia, Alemania y España, de los siglos XVI y XVII. Works by Nicolaj de Cracovia, Antonio Scandellus, Heinrich Isaac, Alonso de Mudarra, Antonio de Cabezón, Nicolaus Gombert and anonymous as well as from the Song Book of Upsala and the Song Book of Palacio. Conjunto Pro Musica de Rosario. Conductor: Cristián Hernández Larguía. Assistant conductor: Susana Imbert. Notes by Gerardo V. Huseby
• SQI-4059: Doménico Zipoli. 'Misa en fa Mayor para coro, solistas, cuerdas y bajo contínuo' (Kyrie, Gloria, Credo, Sanctus). Coro de la Fundación Ars Musicalis. Qualiton Ensemble. Conductor: Pbro. Jesús Gabriel Segade. 'Sonata en la Mayor para violín y bajo contínuo'. Haydée Francia, violín; Mario Videla, organ. 'Cantata para solista y bajo contínuo, Dell'offese a vendicarmi'. Margarita Zimmermann, contralto. Claudio Baraviera, violoncello. Mario Videla, clave. Notes by Francisco Curt Lange.^[23][24]
• SQI-4060: The Recorder in England. Tunes by John Dunstable, Henry VIII, Thomas Morley, William Byrd, John Dowland, John Baston, Benjamin Britten and anonymous. Conjunto Pro Arte de Flautas Dulces from Buenos Aires. Carlos López Puccio, viola da gamba. Gabriel Pérsico, flute and percussion. Antonio Spiller, violin. Osvaldo D'Amore, violin. Leo Viola, violoncello. Eva Cantor, lute. Notes by Mario Videla.
• SQI.4062: Domenico Zipoli. Complete works for harpsichord. 'Suite I, in B minor' (harpsichord). 'Suite II, in G minor (clavichord). 'Suite III, in C Major' (harpsichord). 'Suite IV, in D Minor' (clavichord). 'Partite, in la menor' (harpsichord). 'Partite in C Major' (harpsichord). Mario Videla, harpsichord and clavicord (Both instruments manufactured by Kurt Wittmayer, luthier Germany). Notes by Francisco Kurt Lange
• SQI-4065: Mónica Cosachov-Tomás Tichauer-Luis Rossi. 'Sonata in G Minor for viola y clive' by Henry Eccles. 'Sonata in B Flat Major for clarinet and harpsichord, by Johann Baptist Wanhal. Two of the 'Eight Pieces for Clarinet, Viola and Piano, Op.83' by Max Bruch. 'Three Pieces for Clarinet solo' and 'Elegía (1944)' by Igor Stravinsky. Tomás Tichauer, viola. Mónica Cosachov, harpsichord y piano. Luis Rossi, clarinet. Notes by Alberto G. Bellucci.
• SQI-4066/4067: Tenores wagnerianos del pasado. 'Wagnerian Tenors of The Past' Registros de Ernest van Dyck, Ernst Graus, Francisco Viñas Doral, Jacques Urdus, Erik Anton Julius Schmedes, Karel Burian, Heinrich Knote, Giuseppe Borgatti, Otto Wolf, Leo Slezak, Charles Rousselière, Fritz Soot, Walther Kirchhoff, Richard Schubert, Rudolf Laubenthal, Gotthelf Pistor, Lauritz Melchior, Isidoro de Fagoaga, Franz Völker, Torsten Ralf, Max Lorenz and Set Svanholm. Two-LP set. Selection and notes by Eduardo Arnosi.
• SQI-4068: Música de la Catedral de Lima. Recorded at the Cathedral of Lima. Ancient works by Pedro Durán, Manuel Gaytán y Arteaga, José de Orejón y Aparicio, Estacio Lacerna, Fabián García Pacheco, Joseph de Torres y Martínez Bravo and Martín Francisco de Cruzelaegui. Coro de la Fundación Ars Musicalis. The Qualiton Ensemble. Conductor: Pbro. Jesús Gabriel Segade. Ana María González, soprano. Roberto Britos, tenor. Leo Viola, violoncello. Mario Videla, harpsichord and organ. Notes by Carmen García Muñóz.^[24][25]
• SQI-4076: The Little Book of Anna Magdalena Bach. Twenty-two vocal and instrumental pieces from The Little Book ofAnna Magdalena Bach. Coro Bach, Conductor: Antonio Russo. Ana María González, soprano. Mario Videla, harpsichord, clavichord and organ. Notes by Juan Pedro Franze.
• SQI-4077: Historia temática de la guitarra, vol. 1. Works by Adrian Le Roy, Francisco Tárrega, Jean-Baptiste Bésard, Carlo Calvi, Domenico Pellegrini, Francis Poulenc, O. Rosatti, Johann Sebastian Bach, E. Sand, Niccolò Paganini, Fernando Ferandiére, Johann Kaspar Mertz, Fernando Sor, Matteo Caracassi, Federico Moreno Torroba, Ramón Noble O. and anonymous. Roberto Lara, guitar.
• SQI-4079: 'Oscar Vetre, piano'. Robert Schumann, Estudios sinfónicos Op.13; Juan José Castro, Tocata; Sergei Prokofiev, Sonata #3 Op.28 (1917). First Prize 'Juan José Castro 1977'. Produced by the Goethe Institute of Buenos Aires in association with Qualiton-Fonema. Sponsored by Lufthansa. Cover design by Pablo Barragán.
• SQI-4080: Jorge Bergaglio, piano. Ludwig van Beethoven. Sonata #31 Op.110 in A flat Mayor; Claude Debussy: La isla alegre; Sergei Prokofiev: Sonata #7 Op.33 (1942). Third Prize 'Juan José Castro 1977'. Produced by the Goethe Institute of Buenos Aires in association with Qualiton-Fonema. Sponsored by Lufthansa. Cover design by Pablo Barragán.
• DPE-002: Discos Qualiton used the initials DPE (departamento de Productos Especiales) to signal a new series of especial products catering institutions and organizations. DPE-002 was made to order for the 'Premio Fundación Gillette para jóvenes concertistas de guitarra clásica'. The winners of that particular contest were each assigned a different side of the LP. Side A: Eduardo Elías Isaac, guitar: Carlos Guastavino, Sonata #1 for guitar; Johann Sebastian Bach: Prelude for lute from Suite #4; Alexandre Tansman: Prelude from the Suite Cavatina. Side B: Hugo Abel Enrique, guitar. M. Castelnuovo Tedesco: Sonata. Engineered by Amilcar Gilavert. Cover design by Pablo Barragán. (Published by Departamento de Productos Especiales de Fonema S.A.)
• SQI-4082: Navidad con el Pro Musica. Twenty-one Christmas themes from around the world. Conjunto Pro Musica de Rosario. Conductor: Cristián Hernández Larguía. Conductor Ass., Susana Imbern.^[26]

Colección privada[edit]

Private Stock: A total of five titles were released by Fonema S.A. under Colección Privada (trans. Private Stock). The concept behind the idea of a private stock was to subscribe a limited number of members, initially set at 500 in clear reference to the Fortune 500. The idea of exclusivity was becoming popular in Argentina at the time also through the different programs promoted by credit cards such as Diners Club and American Express. The logo revealed a key and the number 500 in reference to the privacy held by the exclusive members. Colección Privada initially announced it was going to release on LP every month.^[27]

• CP-000 Il Mondo della luna. Opera cómica en dos actos, by Joseph Haydn. Soloists and Chamber Orchestra of München. Conductor: Johannes Weissenbach. Walter Hagner, bass. Kurt Schwert, baritone. Albert Gassner, tenor. Willibald Lidner, tenor buffo. Friedel Schneider, soprano. Hanne Muench, mezzo-soprano. Karl Kreile, tenor. Karl Schwert, baritone. Published under license of Lyrichord Discs, US. Notes by Ernesto Epstein.
• CP-001: Johannes Brahms, motets Op. 29, 74 y 110. 'Motette Op.74 N°2: O Heiland, reiß' die Himmel auf'. 'Motette Op. 29 N°1: Es ist das Heil uns kommen her'. 'Motete Op.29 N°2: Schaffe in mir, Gott, ein reines Herz; Verwirf mich nicht von deinem Angesicht; Tröste mich wieder mit deiner Hilfe'. 'Motette Op. 74 N°1: Warum ist das Licht gegeben dem Mühseligen; Lasset uns unser Herz samt den Händen aufheben; Siehe, wir preisen selig, die erduldet haben; Choral: Mit Fried und Freud ich fahr dahin'; 'Motete Op.110: Ich aber bin elend (SATB-SATB); Ach, arme Welt (SATB-coral; Wenn wir in höchsten Nöten sein (SATB-SATB). The Whikehart Chorale. Conductor: Lewis E. Whikehart. Published under license of Lyrichord Discs, US. Notes by José Antonio Gallo.
• CP-002: Alban Berg. 'Concierto para violín, piano y 13 instrumentos de viento', by Alban Berg. Viennese Wind Ensemble. Conductor: Harold Byrns. Ivry Gitlis, violin. Charlotte Zelka, piano; 'Cuatro canciones Op.2' y 'Siete canciones antiguas'. Catherine Rowe, soprano. Benjamin Tupas, piano. Published under license of Lyrichord Discs. Notes by Margarita Fernández.
• CP-003: John Dowland. Canciones de amor y amistad. Trece canciones by John Dowland para coro, solistas vocales y laúd. The Saltire Singers. Patricia Clark, soprano. Jean Allister, contralto. Edgar Fleet, tenor. Frederick Westcott, bass. Desmond, Dupre, lute. Published under license of Lyrichord Discs, US. Notes by Gerardo B. Huseby.
• CP-005: Arnold Schoenberg.The Book of the Hanging Gardens (:Das Buch der hängenden Gärten) Op. 15' by Arnold Schoenberg (based on poems by Stephan George). Belva Kibler, mezzo-soprano. Gerhard Albersheim, piano. Published under license of Lyrichord Discs, US. Notes by Juan Pedro Franze

Balkanton[edit]

A total of three titles were produced and released by Fonema S.A. parent company of Discos Qualiton, under the label Balkanton. The titles were edited by Planeta S.A. a firm owned by Eduardo Eurnekian and Miguel Levy, under license by Balkanton, Bulgaria.

• BCA -1422: 'Sergei Prokofiev'. Concerts N. 1 and 2 for violin and orchestra. Stoika Milanova, violin. Symphonic Orchestra of the Bulgarian Radio & Television. Conductor: Vassil Stefanov. Cover Design by Adalberto Díaz Domínguez.
• BCA -1493: Johannes BrahmsJohannes Brahms violin sonata No. 1, Op. 78 and Number 2 in A Major Op. 100. Stoika Milanova, violin, and Dora Milanova, piano. Cover Design by Adalberto Díaz Domínguez.
• BCA -1604: Ancient Russian Songs. Bulgarian Choir Svetoslav Obretenov. Conductor: Giorgi Robev. Cober Design by Adalberto Díaz Domínguez.

Juglaría[edit]

Spoken Word: Authors such as Federico García Lorca, Dylan Thomas, Jacques Prévert or local icon Tejada Gómez were either publish in their own voice or read and interpreted by others. At least eleven titles (a total of twelve LPs), were released under this category. Halfway through the series, the ID numbers that identify each title in a catalog were changed. The denomination 'QH' corresponds to the original Qualiton, the following known as the series that begin with 'JC' and 'JQ' were inscribed in the attempt by Fonema to create label exclusively for literary works. The later was known as Juglaría label produced by Nelson Montes-Bradley .

• QH-2000/2001: Federico García Lorca. Canciones y Poemas. Spanish popular songs harvested by Federico García Lorca, performed by Clara Esteves, soprano and Roberto Lara, guitar; and a selection of poems by the same read by Lorenzo Varela. The linen wrapped box containing two LP´s was designed by Luís Seoane and included a 28-page booklet illustrated with xylography works by the Galician master. The box-set also included a fine reproduction of an original and previously unpublished drawing by Federico García Lorca.^[28][29]
• QH-2003: Diego Rivera Speaking (On the social commitment of the artist). Rare interview with Diego Rivera, published under license of Caedmon Audio, USA.
• QH-2004/JQ 001: Poeta de la legua. A selection of poems from and read by Armando Tejada Gómez. Includes poems from the book 'Tonadas para usar'. Notes by Hamlet Lima Quintana. Recorded at Studio Lagos. Cover design by Enrique Sobisch. The LP was presented at the Teatro Payró on Monday September 8.^[30]
• QH-2005: Hamlet Lima Quintana, poemas. ¨Taller del resentido¨ and ¨La muerte y los presagios¨. A selection of poem by Hamlet Lima Quintana in his own voice. Recorded at Instituto Bernasconi. Cover design by Biglione. Foreword by Fernando Alonso.
• QH-2007: Sonopoemas del Horizonte by Armando Tejada Gómez. Includes the poems: 'Antiguo labrador'; 'Doña Florencia Arboleda'; 'Muchacha'; 'La Juana Robles llorando'; 'Tonada de tu piel'; 'La verdadera muerte del compadre'; 'Hay un niño en la calle';'El barco'; 'Coplera del prisionero'; 'Coplera de Juan'; 'Coplera del viento'; 'Nochedanza de la Matilde Luna'; 'Incendio del compadre'. Notes by the author. Cover designed by J. Nougués
• JQ-002 Cantoral de mi país al Sur. Recorded by Armando Tejada Gómez. Moncho Mieres (Guitar). Includes the poems: 'Hombre de gris'; 'Memoria del grillo'; 'Muchacho de setiembre'; 'El himno a una voz'; 'Un grito de ida y vuelta'; 'La barca' 'Cantoral en su sitio'; 'Historia de tu ausencia'; 'Crónica de la lluvia'; 'Manifiesto del horizonte' and 'La creciente'. Preliminary notes by Nira Etchenique. Cover designed by Sigfredo Pastor.
• JC-004: Dylan Thomas Reading. A selection of works by Dylan Thomas read by Dylan Thomas. Includes: 'A Child's Christmas in Wales' (short-story); 'Fern Hill'; 'Do Not Go Gentle into That Good Night'. 'In The White Giant's Thigh'; 'Ballad of the Long-legged Bait'; 'Ceremony After a Fire Raid'. Published under license of Caedmon Audio, USA.
• JC-005: Les fleurs du mal. A selection of works by Charles Baudelaire's classic Les fleurs du mal. In French, read by Louis Jourdan, and Eva Le Gallienne. Published under license from Caedmon Audio, USA.
• JQ-007: Luis Franco. A selection of Luis Franco's works read by the author himself. Includes the following poems: 'Insondable raíz'; 'Suma'; 'Canción del circo del mar'; 'Long ago'; 'Nocturno del duo inmóvil'; 'Falus'; 'Plenilunio'; 'Mar nuestro'; El llora-sangre está llorando'; 'Coplas solitas'; 'El zapatero'; 'Conmemoración sin pausa'; 'Danza del yaguareté'; 'La Cruz del Sur'; 'Conjunción'; 'Madre ceniza'; Indagación del hombre' and 'Primavera de Alicia'.
• JH-008: Greffet dit Jacques Prévert. Greffet dit Jean de La Fontaine. Eight poems from Jacques Prévert´s 'Paroles' and seven fables by La Fontaine read by Phillippe Greffet in its original French version. Published under license of Hemisferio, Uruguay.
• JQ-009: Federico García Lorca. 'Oda a Walt Whitman'; 'Oficina y denuncia' and 'Oda al Rey de Harlem' from 'Poeta en Nueva York' and other poems read by Lorenzo Varela a poet himself exiled in Buenos Aires from the Spanish Civil War. Recorded in 1965.
• JA-010: El Mio Cid. Fragments of the original medieval epic: Cantar de Mio Cid; from a Castilian version written by Pedro Salinas. Read and recorded on the voice of Roberto Parada. Published under license of Asfona, Chile.
• JQ-011: Nuestro paisano José de San Martín. Recording of a compilation of texts by José de San Martín recited by Norberto Bianco. Curator: Luis Alberto Frontera.

Meteo A Cremona

Serie del conocimiento[edit]

(Knowledge Series)World Music:

Matteo Tarantino Discografias 2017

* QF-3000/3005: Folklore Musical y Música Folklórica Argentina. Set containing six LPs with recordings harvested in the fields noting each instrument and its singularities. Record #1. 'Charango, caja y bombo'; Record #2. 'Aerófonos del Noroeste'; Record #3. 'Acordeón y violin'; Record #4. 'Guitarra'; Record #5. 'Conjuntos populares'. A Sixth LP was added to the collection namely 'Música de los aborígenes' introducing the sounds of toba, mataco, chorote, chiriguano and ranquel natives. The recording of the latter on the fields was a work for hire by Jorge Novati e Irma Ruiz^[31] on Fonema's request. The set came with an explanatory literature in the format of a book in Spanish, French and English; with abundant illustrations, index and bibliography. The box also included 36 color slides (35mm) and a handy viewer. The first edition of this set came along with an introductory note by Augusto Raúl Cortazar and was entirely purchased by the National Endowments For The Arts (Fondo Nacional de las Artes).^[32] The set was well received in the academic arena. Frank J. Gillis, Associate Director at the Archive of Traditional Music. Folklore Institute. Indiana University judged this recording in the following terms: 'We know that they are authentic and of high quality, and thus we are very pleased to add them to our collections (..) They are very attractive and very well documented'^[33][34] Awards: 'Primer premio colección documental didáctica en el disco' Sexto Festival del Disco Internacional, Mar del Plata, Argentina (1967).

• QF-3006: Música del Mato Grosso, Brazil. Recordings of Edward M. Weyer, Jr. of music from the camayura, chavante, kayabi, iwalipeti and caboclo peoples. Published under license of Lyrichord Discs, US.^[35]
• QF-3008: The Indians of the Gran Chaco. (Música etnográfica. Grupos Mataco y Chorote). One 12' 33 rpm dic. Field recordings (1975). Published in 1976 with jacket notes by Jorge Novati and Irma Ruiz. Published under Qualiton's license in the US by Lyrichord Discs.^[36]
• QF-3009/10: Los primitivos instrumentos musicales del hombre. (The Early Musical Instruments of Men). Two LPs set with notes. Contemporary recordings of primitive forms of sounds (35 examples) from Asia, Africa, America and Europe Compilation by Curt Sachs. Published in 1976, under license of Lyrichord Discs, US.
• QI-4007: Argentina indígena. Sixteen traditional tunes from the natives of Chaco, Argentina. Toba Ensemble 'Viri Nolká'.
• QF-3013: Música de los Pigmeos de la selva del noroeste del Congo (1976). Recordings and notes by Colin M. Turnbull. Música from the mbutu, lese, bera and nyari people. Published under license of Smithonian Folkways (FW04446). Lyrichord Discs, US.
• QF-3015/16: Documental folklórico de la Provincia de La Pampa. Musical forms of the pampas of Argentina: danzas, cifra, tonada, estilo y milonga, Selections and notes by Ercilia Moreno Chá. Published with the support of the Dirección de Cultura de la Provincia de La Pampa.

Produced for third parties[edit]

The following titles were produced, edited and often distributed by Fonema S.A. through what was called 'Departamento de Productos Especiales de Fonema S.A.' The list includes a variety of musical products relative to the nature of the contracting entity commissioning the recordings.

• SCM-1029: Churrasco, vol.1. Selection of Argentine folk tunes. Produced by Curt von Simson for the German restaurant chain Churrasco. In spite of being labeled as 'vol.1' the series was discontinued and just one volume was produced.
• SCM-1030: Replica edition of LP SQI-4048 commissioned by Verezit S.A.
• SCM-1031: Argentina, Lieder und Tänze Selection of popular works of Argentina by various artists. Produced by Fonema S.A. for Librerías ABC de Buenos Aires. Notes and texts in German.
• SCM-1032: 'Encuentro con el país' (1973) The LP contained eleven popular tunes of Argentina. Produced by Fonema S.A. for Encuentro Nacional de los Argentinos (ENA), a coalition of left-wing parties, which during the early seventies included the Communist Party, Socialists, Social Democrats, Peronists, Christian Democrats, and others.
• SCM-1033/36:Música popular argentina. Ediciones de la Biblioteca Popular Constancio C. Vigil, Colección 2. 4 LPs estereofónicos con registros de temas populares, de intérpretes y autores varios.
• SCM-1037: Navidad con los Niños y Jóvenes Cantores de Bariloche. Villancicos y canciones populares navideñas del repertorio universal. La producción de este registro ha sido auspiciada por la Sociedad Cooperadora del organismo coral. Dirección: Lucka Kralj de Jerman. Portada: vitral de A. Thomas. Estereofónico.
• CM-1038: Coro de Ninos Cantores de Córdoba.Benjamin Britten: A Ceremony of Carols, and works by Emilio Dublanc, Crossman, Gutiérrez del Barrio, Joan Just y Humperdink. María Esther de Videla, órgano. Dirección y piano: Jorge Kohout. Editado con el auspicio del Banco Social de Córdoba.
• SCM-1039/42: Música popular argentina. Popular songs of the Argentine repertoire by various artists. Produced and published by request by the Biblioteca Popular Constancio C. Vigil, Colección 1. Included a total of four LP´s in stereo.
• SCM-1043:Edición especial publicitaria includes the totality of the tracks from Discos Qualiton SQI-4011. The LP was commissioned by Grefar S.A.
• CM-1044: 'La Patagonia canta'. Recorded by Los hermanos Caló (quartet). Popular repertoire from Patagonia. Cover designed included the reproduction of an oil on canvas work by M. Dola. Released in 1974.
• SCM-1045: Fuerza Aérea Argentina. Escuela de Aviación Militar. Cuerpo de Cadetes. Military marches and popular themes. By the Coro de Cadetes. Conducted by César Ferreira; Banda de Música y Guerra. Conducted by D. F. Pillichody; Conjunto de música y canto nativo de los cadetes de la escuela. Narrated by: Oscar Luna; recited by: Aldo Camaño.
• CM-1046: Pequeña antología de música coral. Coro Polifónico de Santa Fe. Selección de temas del repertorio coral, antiguos y contemporáneos. Dirección: Francisco Maragno. Editado con el apoyo de SANCOR y de la Secretaría de Cultura de la Provincia de Santa Fe.
• A-002: Fundación Bariloche. Commissioned by Fate S. A. Included tracks from Los solistas de la Camerata Bariloche. LP de 17 cm, 33 RPM.
• INA-3000: Coro de la Iglesia Nueva Apostólica de Buenos Aires'
• QE-5000: Modelación corporal. A workout aiding tool by Béla Rozemblum.

Awards[edit]

• Premio America 1970. Award presented to Discos Qualiton by the Universidad de la República (Uruguay), Asosiación de Relaciones Culturales. The award was granted in recognition for the recordings of the works Alberto Soriano.^[37]
• First Prize. 'To the singular effort and commitment shown in the recompilation and publishing of the entire works by Domenico Zipoli.'^[38]
• Special Mention. 'Música en la Catedral de Lima'.^[38]
• The 'San Francisco Solano Award' by 'Unión de Compositores de la Argentina'^[38]

Matteo Tarantino Discografias Y

The artwork[edit]

Fonema's distinct catalog was acknowledged not only from its content of original and unusual recordings, but also for its commitment to the visual arts. Each LP jacket was carefully designed with the works of local artists such as Mele Bruniard, Battle Planas, Luis Seoane, Antonio Berni and Mario Loza. The graphic corporate image of Qualiton was created by Oscar Díaz. Díaz was a prestigious local graphic artist who also conceived the unique logo of Discos Qualiton, Juglaría and Colección Privada. Qualiton's logo, a spiral to its center representing the groove in a vinyl record, incorporated the illusion of a human eye. The concept merged the idea of music and the visual arts in one label. Pablo Barragan, also a graphic designer, joined Qualiton as the in-house artist during the last years of Fonema.

Notes[edit]

1. ^Ivan Cosentino. Interview with the author of this note.
2. ^La Prensa, October 30, 1967. Article by Eduardo Lagos. Title: @Tango y Folklore
3. ^Lahiteau, Luciano. 'Carlos Melero y su tesoro privado del jazz local' Diario Clarin, Revista Ñ / Escenarios. Buenos Aires 03/06/2019
4. ^La Nación, Nov. 24, 1967
5. ^Luis Oddone (CEO Oddone Group), interviewed by the author of this article.
6. ^Oscar Bonello. 'La Aventura del sonido' Librería Editorial Alsina. Buenos Aires, 2012. P. 202
7. ^ ^abLuis Maria Cosenza (producer) interviewed by the author of this article.
8. ^Luis María Cosenza (producer), interviewed by the author of this article.
9. ^La Nación, Monday, July 5, 1999. http://www.lanacion.com.ar/nota.asp?nota_id=144699
10. ^Discos Qualiton. Catálogo Numérico. Fonema S.A. Peru 375 1er. piso, Buenos Aires. (1976). 2 pages. 8.5 in X 11 in. Printed in Argentina
11. ^Ediciones Fonema (1973-74). 20 pages printed on both sides. Black and White. Cover in color showing album covers. 7 in X 8.5 in. Printed in Buenos Aires.
12. ^La Nación, November 24, 1967. Buenos Aires, Argentina.
13. ^Recorder Home Page. Argentinian Music Recorder. Compiled by Gonzalo Ariel Juan. 'Archived copy'. Archived from the original on 2011-02-17. Retrieved 2011-03-15.Cite uses deprecated parameter deadurl= (help)CS1 maint: archived copy as title (link)
14. ^Remo Pignoni: El hombre piano. http://www.socavon.net/Archivo/pignoni.htm
15. ^Yerba Buena Virtual. http://www.yerbabuenavirtual.com.ar/musicos/gentilini.htm#discos
16. ^Tucultura. Pato Gentilini. 'Archived copy'. Archived from the original on 2011-07-06. Retrieved 2011-03-15.Cite uses deprecated parameter deadurl= (help)CS1 maint: archived copy as title (link)
17. ^Armando Tejada Gómez
18. ^Luis María Cosenza (producer) interviewed by the author of this article.
19. ^ro:Iosif Conta
20. ^http://cgi.ebay.com/YOSIF-CONTA-ALBERTO-SORIANO-CUATRO-RITUALES-ARGENTIN-LP-/260723668775
21. ^http://cgi.ebay.com/PIA-SEBASTIANI-Argentina-Qualiton-4012-Brahms-Piano-LP-/380275430453?pt=LH_DefaultDomain_0&hash=item588a2e9435#ht_2015wt_907
22. ^ ^abRevista Panorama (Weekly). Año XI – Issue 348. Buenos Aires, Argentina. January 1974.
23. ^ ^abcSamuel Claro Valdés. 'Revista Musical Chilena'. Vol. 31, No. 137 (1977): Enero - Marzo , p.57-61
24. ^ ^abcLa escena del cello en Argentina. Leo Viola: Cellista y Maestro. 'Archived copy'. Archived from the original on 2011-07-06. Retrieved 2011-03-15.Cite uses deprecated parameter deadurl= (help)CS1 maint: archived copy as title (link)
25. ^Academia Musical de Indias. Latin American colonial music: by Mario Ortíz. http://amusindias.free.fr/en/discos/muscolmo.php3
26. ^La Opinion (Newspaper) December 22, 1976. p.29
27. ^According to the text printed in the front a subscription form attached to the membership package. In file with at the AGN, Buenos Aires, Argentina.
28. ^Fundación Luís Seoane. La Coruña, Spain. Fundación Luís Seoane · San Francisco s/n · 15001 A Coruña (España). http://www.luisseoanefund.org/fundacionls/es/publicaciones/poesias
29. ^Dias das Letras Galegas 2005. Exiliados. http://www.culturagalega.org/exilio/avoz.php
30. ^Invitation to the gala at Teatro Payro. AGN.
31. ^May, Elizabeth. Musics of Many Cultures: An Introduction. University of California Press. ©1983
32. ^Brochure, 3 pages. Published by Diners Club International. Description of the work with extensive comments and review.
33. ^Archive of Traditional Music. Folklore Institute. Indiana University.
34. ^Museo de Arte Popular José Hernández. Av. del Libertador 2373, Buenos Aires, Argentina. 'Archived copy'. Archived from the original on 2011-07-06. Retrieved 2011-03-15.Cite uses deprecated parameter deadurl= (help)CS1 maint: archived copy as title (link)
35. ^Smithsonian Folkways. Online Reference. http://www.folkways.si.edu/albumdetails.aspx?itemid=859
36. ^Society for Ethnomusicology. Ethnomusicology, May 1981. Page 346
37. ^Revista Buenos Aires Musical, Buenos Aires, Argentina.
38. ^ ^abc'Buenos Aires Musical', Trade Magazine directed by Pablo Luis Bardín. June–July 1977, Page. 41.

External links[edit]