In 1967 Horacio Ferrer recorded the poems of his "Romancero canyengue" for the Argentine independent label Trova, accompanied by Agustín Carlevaro's guitar. This record made that Piazzolla invited him to write together, what they would intensely do until 1973. So, as a first great blossom, the operita "María de Buenos Aires" sprang up, it was premiered in 1968 at the sala Planeta, in Buenos Aires, Piazzolla with his ten-piece orchestra, the voices of Héctor de Rosas and Amelita Baltar, and Ferrer himself as reciter in the role of El Duende. Trova issued it in two LP's, while the early tangos of the team were appearing, like the already classic "Chiquilín de Bachín" and "Juanito Laguna ayuda a su madre", evidencing a clear social commitment.

Throughout 1969 a series of tangos called baladas sprang out, out of which "Balada para un loco" would result in a resounding boom, the first authentically massive success which Piazzolla enjoyed. Among several works in which Ferrer displays his peculiar imaginary, with a language which absolutely can tell from any other lyricist ("Canción de las venusinas" and "La bicicleta blanca" are examples of that), "Fábula para Gardel" stands out, a touching introduction to the art of the genial singer, with the poetic excuse of a father who tells about him to his child. On its premiere, the poem was recited unsurpassably by Ferrer himself at the Luna Park of Buenos Aires, accompanied by eight bandoneons and a big orchestra conducted by Piazzolla, on a glorious evening. Those productions were shaped on the record "Astor Piazzolla y Horacio Ferrer en persona". Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.