Buscando otros horizontes, Juan Vicente Torrealba volvi\u00f3 a Caracas en 1948 y, a pesar de que solo sab\u00eda escribir y leer por haber acudido a la escuela hasta el quinto grado de educaci\u00f3n primaria, se emple\u00f3 como fiscal de una empresa l\u00e1ctea. Comenz\u00f3 a presentarse en la emisora de radio estatal Radio Nacional de Venezuela como ejecutante de guitarra, tocando m\u00fasica venezolana y conoci\u00f3 a la relacionista p\u00fablico de la emisora, la compositora y concertista de piano Mar\u00eda Luisa Escobar. Ella aconsej\u00f3 al \u00abProfesor Torrealba\u00bb, como sol\u00eda llamarlo, para que diera a conocer su m\u00fasica. Para ello, le regal\u00f3 un disco maestro en blanco de 12 pulgadas, de los que sol\u00edan usar las emisoras de radio en esa \u00e9poca para grabar programas o discos comerciales y dio la orden para que en la noche de ese d\u00eda, el estudio de la estaci\u00f3n fuese habilitado para que el joven Torrealba realizar\u00e1 su primera sesi\u00f3n de grabaci\u00f3n. Convoc\u00f3 entonces a su hijo Santana Torrealba Le\u00f3n, de 7 a\u00f1os y a su hermano Arturo Torrealba P\u00e9rez para tocar las maracas y el cuatro venezolano respectivamente. Al concluir las grabaciones, Torrealba escuch\u00f3 repetidamente el disco terminado en su residencia, hasta horas de la madrugada. Este hecho dar\u00eda origen al conjunto del int\u00e9rprete denominado “Los Torrealberos”.<\/div>\n
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Wikipedia in English<\/strong><\/div>\n <\/p>\n
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Date of Birth:<\/strong> February 20, 1917<\/div>\n <\/p>\n
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Date of Died:<\/strong> May 2, 2019<\/div>\n <\/p>\n
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Biography<\/strong><\/div>\n <\/p>\n
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He was the third son of the marriage of Santana Torrealba Silva and Mar\u00eda Esperanza P\u00e9rez, born on the corner of Rosario in Caracas, at that time, an area surrounded by haciendas and in the vicinity of the New Circus of Caracas. His childhood and adolescence were spent in his family’s herd called Banco Largo, near the town of Camagu\u00e1n (Gu\u00e1rico State). There he performed various tasks typical of farm workers and, due to lack of time, he was never able to formally attend primary school. As an anecdote from his adolescence, it should be noted that he met and spoke several times with the dictator Juan Vicente G\u00f3mez. It is during this period that his musical concerns were born and he learned to play the guitar, in addition to receiving some basic notions of the harp. At 18 years of age, he made his first appearance as a guitarist in the town of La Uni\u00f3n (State of Barinas) playing the melody Cuidadito Compay Gallo by the Cuban composer \u00d1ico Saquito.<\/div>\n
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Seeking other horizons, Juan Vicente Torrealba returned to Caracas in 1948 and, despite the fact that he only knew how to write and read for having attended school up to the fifth grade of primary education, he was employed as a prosecutor for a dairy company. He began to appear on the state radio station Radio Nacional de Venezuela as a guitar player, playing Venezuelan music and met the station’s public relations officer, the composer and piano soloist Mar\u00eda Luisa Escobar. She advised “Professor Torrealba”, as she used to call him, to make his music known. To do this, he gave him a blank 12-inch master disc, one of those that radio stations used to use at that time to record programs or commercial discs, and gave the order that on the night of that day, the station’s studio was enabled for the young Torrealba to make his first recording session. She then summoned his son Santana Torrealba Le\u00f3n, 7 years old, and his brother Arturo Torrealba P\u00e9rez to play the maracas and the Venezuelan cuatro, respectively. At the end of the recordings, Torrealba repeatedly listened to the finished album at his residence, until the wee hours of the morning. This fact would give rise to the group of the interpreter called “Los Torrealberos”.<\/div>\n
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Discography<\/strong><\/div>\n <\/p>\n
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\n\n\nTemas Folclor Nacional<\/strong><\/td>\nEscuchar tema<\/strong><\/td>\n<\/tr>\n\n| 1<\/td>\n | Sabaneando<\/td>\n<\/tr>\n | \n| 2<\/td>\n | Valencia<\/td>\n<\/tr>\n | \n| 3<\/td>\n | Maraquero<\/td>\n<\/tr>\n | \n| 4<\/td>\n | Guayanesa<\/td>\n<\/tr>\n | \n| 5<\/td>\n | Junto Al Jaguey<\/td>\n<\/tr>\n | \n| 6<\/td>\n | La Guayaba<\/td>\n<\/tr>\n | \n| 7<\/td>\n | Aguacerito<\/td>\n<\/tr>\n | \n| 8<\/td>\n | El Tranquero<\/td>\n<\/tr>\n | \n| 9<\/td>\n | Rosa Angelina<\/td>\n<\/tr>\n | \n| 10<\/td>\n | Desilusi\u00f3n<\/td>\n<\/tr>\n | \n| 11<\/td>\n | Solito Con Las Estrellas<\/td>\n<\/tr>\n | \n| 12<\/td>\n | Muchacha De Ojazos Negros<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n <\/p>\n \n Cr\u00e9ditos tomados de Wikipedia:<\/div>\n | | |
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