“De puro guapo” by Pedro Laurenz y su Orquesta Típica with Juan Carlos Casas in vocals, 1940 (English translation).
Music: Pedro Laurenz. Lyrics: Manuel Meaños.
Between cortes y quebradas, I softly grumbled in your ear all my flowery verb that my love told you.
You showed in your smile all your flirtation, and I, my manhood defeated … I, who always knew how to win.
To get your love I want to bet my life to the card that I liked … It is not the first game in which my rest I have gambled … And if in the end I take over and win, —valiant I am in the situation— there is a knife, brave hand, courage and bravery to assert myself.
I have what I want, and that for valiant and for brave … It is enough that in one arm I have the rag and in another the knife … If my deeds are not enough I put my courage to the test. No one advantages my lead when your love is at stake!
“Alma de bohemio” by Pedro Laurenz y su Orquesta Típica with Alberto Podestá in vocals, 1943.
Pianist, composer and leader. (10 May 1884 – 14 June 1969)
Firpo was at his time one of the most recognized and celebrated composer of Tango, and for that reason, the recording company Lepage Odeón, of Max Glücksmann, summoned him to make their first recordings.
At the time, recording the piano with other instruments presented challenges because the overwhelming sound of the piano would drown out the other instruments.
Firpo was able to resolve the problem by simply placing the instruments in an order that is still kept at the orquestas típicas.
In 1914 came his greatest success: “Alma de bohemio”, which he composed for a play of the same name, at the request of the brilliant actor Florencio Parravicini.
“Orgullo criollo” by Pedro Laurenz y su Orquesta Típica, 1941.
Bandoneon player, director and composer (10 October 1902 – 7 July 1972)
A great tango personality, basically as bandoneon player and composer. Relatively less though still significant was his influence as orchestra director. He was a bandoneon player of great techniques, skilful with both hands (high and low-pitches), superb in sound, energetic in performances and vehement in phrases. He was the founder of a performance school.
As a composer —one of the greatest in the tango history— his work mingled with those of Pedro Maffia and the brothers Julio and Francisco De Caro, but then it flew on his own. Among his best compositions, now classic tangos, is “Orgullo criollo” (with the cooperation of Julio De Caro).
que me recuerde en sus notas
la canción que abrigó
mis noches de arrabal.
Yo quiero cantar un tango,
un tango sentimental,
para acunar en sus versos
la ilusión de ese amor
que no he de ver jamás…
llegando por el callejón,
con el rumor entre sus labios
de una música de amor.
Y toda la sensación
que secreta puso en mi alma,
se aviva en mi interior…
que aquel encuentro de arrabal,
vino a calmar con sus encantos
mi dolor sentimental.
mal rumbeado por mis penas,
así, sin razonar,
me alejé sin verla más…”
I want to sing a tango,
a sentimental tango
that reminds me in its notes
the song that sheltered
my nights in the suburbs.
I want to sing a tango,
a sentimental tango,
to cradle in its verses
the illusion of that love
that I will never see…
I saw her…
arriving through the alley,
with the rumor between her lips
of a love music.
And all the feeling
that secretly puts in my soul,
it lights up inside me …
That meeting in the outskirts,
came to calm down with its charms
my sentimental pain.
bad cursed by my sorrows,
so, without reason,
I walked away without seeing her anymore…
Music: José Nieso / Miguel Nijensohn.
Lyrics: José María Suñé.
Oigo tu voz
engarzada en los acordes de una Iírica guitarra…
Sos milonga de otros tiempos… Yo te vi crecer
prendida en las polleras de un bailongo guapo y rompedor
como jamás ha de volver.
Nadie, tal vez,
comprendió mejor las penas y el sentir de mi barriada…
Sin embargo te olvidaron y en el callejón
tan sólo una guitarra te recuerda, criolla como vos,
y en su gemir tiembla mi ser.
Vuelvo cansado de todo
y en mi corazón lloran los años…
Mi vida busca tan sólo
la tranquilidad del viejo barrio…
Y encuentro todo cambiado menos tu canción, milonga mía…
El progreso ha destrozado toda la emoción
de mi arrabal.
y tus notas van llenando de tristeza el alma mía…
He cruzado tantas veces ese callejón,
llevando entre los labios un silbido alegre y tu cantar
emborrachando el corazón.
entregado a las caricias de la única sincera
que acunó una primavera que no floreció…
Milonga, ya no puedo continuar… El llanto me venció…
Quiero olvidar… y pienso más.
Music: Pedro Laurenz.
Lyrics: José María Contursi.
I hear your voice
set in the chords of an Iyric guitar…
You are milonga of other times… I saw you growing up
stitched in the skirts of a brave and groundbreaking dancing
as never to return.
No one but me, perhaps,
understood better the sorrows and the feeling of my neighborhood…
However, they forgot you, and in the alley
only a guitar remembers you, criolla like you,
and in my groan, my whole being trembles.
I return tired of everything
and in my heart the years cry…
My life seeks only
the tranquility of the old neighborhood …
And I find everything changed except your song, my milonga…
Progress has shattered all the emotion
of my suburb.
I want to forget
and your notes fill my soul with sadness…
I’ve crossed that alley so many times,
bringing a happy whistle between my lips and your singing
getting my heart drunk.
I was happy
committed to the caresses of the only sincere one
that cradled a spring that didn’t bloom…
Milonga, I can no longer continue… The crying beat me…
I want to forget … and I think more.