La Cumparsita
La Cumparsita (Spanish for “little street parade”) is the name of the musical masterpiece by the Uruguayan architecture student and composer Gerardo Hernán Matos “Becho” Rodríguez (1897–1948). In the international tango scene, La Cumparsita is superlatively referred to as “el tango de los tangos”, “the tango of all tangos”.
Along with Villoldo's El Choclo , Edgardo Donatos A media luz and Sanders Adiós muchachos , La Cumparsita is “the most famous, most played and most widespread worldwide” Rioplatan tango .
The young Uruguayan Gerardo Matos Rodríguez composed this piece of music in 1917, initially as an instrumental carnival march for a student street parade, for a Murga .
In the same year, the Argentine pianist and orchestra director Roberto Firpo arranged this composition by Rodríguez and gave the original march a tango rhythm. For this he used a fragment from one of his own works, the tango La gaucha Manuela . Firpo performed his tango arrangement of La Cumparsita in the Gran Café La Giralda ( Montevideo ) for the first time in public that same year.
In the following years, the Tango La Cumparsita was accompanied by five different lyrics. Only two of them were able to prevail. On the one hand the musical plagiarism of the tango poets Pascual Contursi and Enrique Pedro Maroni under the new title "Si supieras" from 1924 and on the other hand the demanding, tragic poetry that the composer Gerardo Matos Rodríguez wrote in response to the plagiarism Si supieras in 1925 himself wrote: “La Cumparsa De miserias sin fin Desfila” .
The plagiarized version of Contursi / Maroni from 1924 was made known internationally by Carlos Gardel via Paris and under the new title "Si supieras" with a different musical arrangement. In these mischievous picaresque verses at the end, a man who is left sitting expresses his depressive, nostalgic feelings and complains about a general loss of love, and not only that of his partner:
V21 Y aquel perrito compañero
V22 Que por tu ausencia no comía,
V23 Al avoid solo, el otro día
V24 También me dejó.
And that lap dog
That no longer ate because of your absence,
When it recently found me alone,
It also left me.
This piece of music has a very special meaning for the Uruguayan identity, because this smaller neighboring country of Argentina claims to be in no way inferior to its larger neighbor Argentina in tango history:
“Whether the first tango was danced in Buenos Aires or in Montevideo has long been the subject of local patriotic polemics, which it is not advisable to join. In general, the Uruguayan contribution to this musical genre seems to be far more significant than previously known. "
Uruguayans feel offended by the name Tango Argentino and instead speak of the Tango Rioplatense , because the Tango owes its origin to both Río de la Plata states. It flatters Uruguayan national pride that the composer of the world's most famous tango is a Montevidean. In 1998, for example, La Cumparsita was made a national and cultural anthem, the "Himno Popular y Cultural" of the Republic of Uruguay . For the centenary of the “Tango de los tangos”, big festivities took place in Uruguay all year round in 2017.
On milongas comes Cumparsita , the to "tango of all tangos," a ritual significance. Traditionally, La Cumparsita - in all possible arrangements - is played as the last tango and thus heralds the approaching end of the tango dance event.
Meaning of the title "La Cumparsita"
Cumparsita is the diminutive of the Lunfardo - Cocoliche word cumparsa , which corresponds to the word comparsa in standard Spanish :
«(Del italiano comparsa , German extra ). Reunión de personas que van en group por la calle, para divertirse, por ejemplo en carnaval »
“(From Italian). Group of people who roam the streets to have fun, e.g. B. in carnival. "
Such cumparsitas , small street parades , as Murga have a tradition in the Carnival of Montevideo . Gerardo Matos Rodríguez composed the tango on a piano in the house of the Federación de estudiantes del Uruguay . The cover picture of the original score shows such a street parade by Uruguayan students.
History of origin
Different versions revolve around the genesis of this emblematic tango:
“The café 'La Giralda' in Montevideo in Uruguay has a very special place in tango history. Here, in 1917 , the then 20-year-old Gerardo Matos Rodríguez is said to have given the Argentine tango musician Roberto Firpo, who was also there that afternoon, a sheet of music on which he wrote a tango with the name 'in a small, simple own composition without naming it. La cumparsita '[…] In the afternoon Roberto Firpo played the tango' La Cumparsita ', and the tango was performed publicly for the first time […] Gerardo sold the rights to his composition for a - at that time quite respectable amount - of 30 pesos and 50 printed copies to the Breyer publishing house in Buenos Aires. "
In an interview, the Uruguayan tango musician Miguel Villasboas tells the version that his mentor and friend Roberto Firpo himself told him:
“The real story of 'La Cumparsita' begins in March or April 1916. Roberto Firpo, who was already a respected composer by then, used to play in the pastry shop 'La Giralda'… The Spanish music entrepreneur Barca gave Firpo a score, which he from the young Matos Rodríguez. After Firpo read it, he said: 'But this is a march, far too lame for a tango.' ... For the third part [of the arrangement] he drew inspiration from the Miserere of the opera The Troubadour by Giuseppe Verdi ... The person who betrayed La Cumparsita was Matos Rodríguez when he sold it in 1918 to the Breyer publishing house in Buenos Aires for 50 Pesos . He put that amount on a horse and lost everything. "
In the “Magazine of the Tango Argentino Scene in Vienna”, Tango-Blog.at, Bernhard Siegl writes:
“La Cumparsita 'was spread through the tango musician Roberto Firpo and his Orquesta Típica. The written sheet of music produced by Rodríguez was still quite elementary. Firpo asked pianist Carlos Warren to rearrange “La Cumparsita”. According to Firpo himself, “La Cumparsita” was only harmonious in its first section. Therefore he borrowed an excerpt from his tango “La gaucha Manuela” and put it for the trio third in a sequence of the opera “Miserere” by Giuseppe Verdi. Today's version of “La Cumparsita” thus combines the music of Matos Rodríguez, Roberto Firpo and Guiseppe [sic!] Verdi. "
Without the composer's permission, the lyric poets Enrique Pedro Maroni and Pascual Contursi added a lyrics to the tango La Cumparsita and gave it the new title “Si supieras” (If you only knew). They turned to Carlos Gardel , who sang La Cumparsita under the new title Si supieras in 1924 and made it famous in Paris.
The composer Gerardo Matos Rodríguez, who came away empty-handed, therefore led several copyright disputes that ended twenty years later, in 1942, with a compromise.
Around 1925 the orchestra leader Francisco Canaro brought La Cumparsita to Paris in the instrumental version of the composer Gerardo Matos Rodríguez. Just like the vocal version Gardels Si supieras, it became a worldwide success.
Lyrics and musical arrangements
The tango, which was originally composed as pure instrumental music, was accompanied by several song texts, whereby the music was also arranged in order to adapt it to the respective verse.
Two text versions were able to prevail:
- Si supieras ( La Cumparsita , 1924, Contursi / Maroni). Without permission from the composer Rodríguez, the tango poets Contursi and Maroni gave the tango La Cumparsita a new title, renaming it Si supieras , which led to a decade-long legal dispute over author's rights.
- La Cumparsita (1925, Gerardo Matos Rodríguez, 1925) - La Cumparsa De miserias sin fin Desfila , the song text composed by the composer himself.
Three other Spanish text versions are known, none of which were able to prevail:
- Allá viene alegre Y muy bullanguera La Cumparsita callejera (Alejandro Del Campo, 1926)
- Cumparsita, Emoción de la infancia (Augusto Mario Delfino)
- Me atormenta (Roberto Selles translated the original English title The Masked One (Olga Paul) into Spanish).
Si supieras (Contursi / Maroni, 1924)
The lyrics of the song Si supieras by the tango poets Pascual Contursi and Enrique P. Maroni recite the pathetic-nostalgic lament of a man abandoned:
"The feeling of being alone is transferred to all areas and ultimately dominates the entire life."
The abandoned man wonders if the ex would come back to him if she knew that he still loves her. The Tangolyrists underline the expression of the emotional catastrophe of being abandoned by using the stylistic device of the apostrophe . The depressed abandoned person addresses his ex directly in an imaginary appeal : "Si supieras (if you only knew)":
“The tango texts are not populated by radiant victorious figures who note their conquests in their notebooks every morning. Loser types introduce themselves… If the secretly feared separation finally takes place, one mourns the relationship afterwards, which cannot be continued because the partner has refused. (La cumparsita) "
In verses 21-24, in the scene of the lap dog refusing to eat and also leaving the tango protagonist, the authors pull the register of comedy, of self-irony.
This text version was sung in 1924 by the famous song thrush ("zorzal") Carlos Gardel to the guitar. The burgeoning record industry Odeon and RCA Victor contributed to this text version being able to spread worldwide.
V01 ¡Si supieras
V02 Que aún dentro de mi alma
V03 Conservo aquel cariño
V04 Que tuve para ti!
V05 ¡Quién sabe, si supieras
V06 Que nunca te he olvidado!
V07 Volviendo a tu pasado
V08Te acordarás de mí.
V09 Los amigos ya no vienen
V10 Ni siquiera a visitarme;
V11 Nadie quiere consolarme
V12 En mi aflicción
V13 Desde el día que te fuiste
V14 Siento angustias en mi pecho,
V15 ¡Decí, percanta, qué has hecho
V16 De mi pobre corazón!
V17 Al cotorro abandonado
V18 Ya ni el sol de la mañana
V19 Asoma por la ventana
V20 Como cuando estabas vos
V21 Y aquel perrito compañero
V22 Que por tu ausencia no comía,
V23 Al avoid solo, el otro día
V24 También me dejó.
V25 ¡Si supieras
V26 Que aún dentro de mi alma
V27 Conservo aquel cariño
V28 Que tuve para ti!
V29 ¡Quién sabe, si supieras
V30 Que nunca te he olvidado!
V31 Volviendo a tu pasado
V32 Te acordarás de mí.
If you knew
that I still
keep that love in my soul that I
felt for you
Who knows, if you knew
that I have never forgotten you.
When you
travel back to your past you will remember me.
The friends no longer come
to visit me;
Nobody wants to comfort me
In my grief
Since the day you left
I feel tightness in my chest,
Say, woman, what have you
done with my poor heart?
The
morning sun doesn't even come
through the window to the abandoned room,
just like when you were there.
And that lap dog that
ate nothing because of your absence,
When it recently found me alone,
it also left me.
If you knew
that I still
keep that love in my soul that I
felt for you
Who knows, if you knew
that I have never forgotten you.
When you
travel back to your past you will remember me.
Ricardo Ostuni, member of the Academia Nacional del Tango de la República Argentina , commented on the poor quality of these lyrics in an article as follows:
«A sido una constant, al menos hasta los años cuarenta, que las letras adosadas a los tangos fueron muy inferiores a la calidad de la música… En el caso de La Cumparsita, bien podemos afirmar que, felizmente, ha perdurado a pesar de sus letras. "
“It was a constant, at least until the 1940s, that the tango texts were of much inferior quality than those of the music. In the case of the Cumparsita , we can fortunately find that it has survived despite its texts. "
La cumparsa De miserias sin fin (Rodríguez, 1925)
The demanding lyrics by the composer Rodríguez, La Cumparsita par excellence, tells a tragic incident: a street procession circles around the bed of a dying man who lies there sobbing because he is aware of a great deal of guilt. In winter he abandoned his sick, "holy, old" mother (verse 27: "su viejita santa" ) because of a slut , and the mother finally died because of the cold:
"One of the typical oppositions in tango is that between the wicked unfaithful woman and the 'holy' mother ( santa viejita ) ..."
Here is the lyrics as it was sung by Alberto Gómez in 1931, accompanied by the Orquesta típica Victor :
V01 La cumparsa
V02 De miserias sin fin
V03 Desfila
V04 En torno de aquel ser
V05 Enfermo
V06 Que pronto ha de morir
V07 De pena.
V08 Por eso es que en su lecho
V09 Solloza acongojado
V10 Recordando el pasado
V11 Que lo hace padecer.
V12 Abandonó a su viejita
V13 Que quedó desamparada,
V14 Y loco de pasión
V15 Ciego de amor
V16Corrió tras de su amada,
V17 Que era linda, era hechicera
V18 De lujuria era una flor,
V19 Que burló su querer
V20 Hasta que se cansó
V21 Y por otro lo dejo
V22 Largo tiempo después
V23 Cayo al hogar materno,
V24 para poder curar su enfermo
V25 Y herido corazón
V26 Y supo
V27 que su viejita santa ,
V28 La que él había dejado
V29 El invierno pasado
V30 De frío se murió
V31 Hoy ya solo, abandonado
V32 A lo triste de suerte,
V33 Ansioso espera a la muerte
V34 Que bien pronto ha de llegar,
V35 Y entre la triste frialdad
V36 Que lenta invade el corazón,
V37 Sintió la cruda sensación
V38 De su maldad
…
(V38a) Entre sombras
(V38b) Se le oye respirar
(V38c) Sufriente
(V38d) Al que antes de morir
(V38e) Sonrie
(38f) Porque una dulce paz
(38g) Le llega
V39 Sintió que desde el cielo
V40 La madrecita buena ,
V41 Mitigando sus penas
V42 Sus culpas perdonó!
The street parade of
endless misery
circles
in those people
who are sick
and will soon die of
suffering.
In his bed he
sobs sadly
remembers his past
what makes him suffer.
He left his old mother in the lurch, who
remained stunned
and mad with passion
blind with love, he
ran after his lover who was
pretty and beguiling
a blossom of lust that betrayed
his love
until she was fed up
and left him for others.
Much later after that he
came back to the maternal hearth
to heal
his sick
and wounded heart
and learned
that his old holy mother that
he had abandoned had
died of the cold
last winter
.
Today, alone,
devoted to his sad fate,
he longingly
awaits the death
that will soon come
And while the sad, deathly cold
slowly takes possession of his heart,
he felt
his wickedness in full severity .
.
In the darkness
you can hear him breathing
suffering
Before he dies he
smiles at death
So that he
can find a sweet peace
He felt that from heaven
The good mother
alleviated his suffering
By forgiving him his guilt.
While Contursi / Maroni use the stylistic device of the comedy in their text Si supieras in the "lap dog scene" (verses 21–24), Rodríguez melodramatizes his lyrics. He takes up the image of the Cumparsa , the original Cumparsita , of a street parade. La Cumparsita , the small parade in the chapels, becomes a symbol of the sisyphean hopelessness of all human endeavors: the parade revolves around a dying person (verses 01-07). In Rodríguez's text version, the tango begins with the end of life (verse 06) «Que pronto ha de morir», «who must soon die». The Argentine psychoanalyst Diana Braceras writes about this in her essay: The tragedy in 'La Cumparsita'. About tango and pessimism :
«La tragedia tiene un sello común con la melancolía: la culpa, el detrimento físico y la desesperanza. El héroe trágico no lucha contra la muerte, se la entrega mansamente, la apura, ' ansioso espera la muerte ' (V33), le ' sonrie' (V38e), pretende con ella Finderar ' una dulce paz ' (V38f)… Algo de de lo sagrado roza al hombre que soporta el contacto con lo trágico. La interpretación del tango lo transmite en su música, en sus letras, en su baile. "
“Tragedy has a lot in common with melancholy: guilt, physical decline and hopelessness. The tragic hero does not fight death. He calls him obediently, hastening his entry. “He longingly awaits death” (v. 33), “He smiles at death” (v. 38e). He pretends to find a sweet peace in him. He wants it ... Something sacred touches people who endure contact with the tragic. Tango lets this resonate in its music, in its texts and in its dance. "
This symbolism of the sure end ("la certeza del fin") explains why La Cumparsita is the last piece to be played on Miolongas:
"En nuestras milongas, aún hoy, La Cumparsita tiene el indiscutido privilegio de anunciar el final ... El tango es amargo como nuestro mate ."
"Even today, La Cumparsita enjoys the undisputed privilege in our milongas of announcing the end ... Tango is bitter as our mate ."
Function on milongas
La Cumparsita , labeled superlatively worldwide as “El tango de los tangos”, tango of all tangos, has a permanent place in most milongas with its many musical arrangements .
This piece of music is traditionally played last at tango dance events to show the tango dancers that the event is nearing its end:
«La Cumparsita, ce morceau, dans les bals, encore aujourd'hui, est souvent le dernier, celui qui annonce la fin du rituel. »
"La Cumparsita, this piece of music is often the last played on balls these days , which announces the end of the ritual."
Foreign language lyrics
- German: The Italian singer Milva sings La Cumparsita with German lyrics
- Italian: Milva sings an Italian text for La Cumparsita .
- French: Line Renaud are a French text for La Cumparsita .
- Polish: Janusz Poplawski sings a Polish text.
Rhythmic transpositions
The Si supieras version of the tango La Cumparsita has also been transposed into other rhythms:
- in the romantic bolero style
- in the salsa style
- in the cha-cha-cha style
literature
In German
- Raimund Allebrand : Tango: Nostalgia and Farewell. Psychology of Tango Argentino , 2nd edition Horlemann Verlag Bad Honnef 1999, ISBN 3-89502-088-5 .
- Peter Echevers H .: Tango complex. On the way to the heart of the tango. CreateSpace Independent Publishing Platform 2012, ISBN 978-1-5147-3761-3 , limited preview in Google Book Search.
- Daniel A. Kempken: Schlaglichter Uruguay , Books on Demand 2013, ISBN 978-3-8482-6314-1 , limited preview in the Google book search.
- Egon Ludwig: Tango Lexicon. The tango ríoplatense - facts and figures of the famous Latin American dance . Schwarzkopf & Schwarzkopf Verlag Berlin 2002, ISBN 978-3-89602-294-3 .
- Karen Saban: Maestro Villasboas. A lost link in tango. Interview in Tangodanza. Tango Argentino magazine, 4/2011 , p. 9/10: Música - Maestro Villasboas. Karen Saban visited the famous pianist in Montevideo.
- Sabine Zubarik (editor): Tango Argentino in literature (science) . Verlag Frank & Timme, Berlin 2014, ISBN 978-3-7329-0001-5 , limited preview in the Google book search
In French
- Remi Hess: Le tango (Que sais-je? N ° 3100), 2nd revised edition, Presses Universitaires de France , 1999, p. 67, ISBN 978-2-13-047571-2 .
In Spanish
- Alberto Domingo Alonso: La cumparsita, historia del famoso tango y de su author. Verlag Mosca, Montevideo 1966.
- Juan Montero Aroca: La cumparsita: vida y derecho en el tango más universal. Tirant Publishing House, Valencia 2014, ISBN 978-84-15731-63-4 .
- Héctor Ángel Benedetti: Las mejores letras de tango. Antología de doscientas cincuenta letras de tango, cada una con su historia. Planeta Publishing House , Madrid 2012, ISBN 978-987-580-514-9 . - Historically annotated collection of 250 tango texts.
- Diana Braceras: La Cumparsita Trágica. Ensayo sobre the Tango and the Pesimismo . (Psychoanalytic interpretation of the lyrics of the song La cumparsa De Miserias sin fin Desfila ): Full text of the essay in Spanish .
- Rosario Infantozzi Durán: De Matos Rodríguez, La cumparsita. Doble Clic Editoras, Montevideo 2004, ISBN 978-9974-670-29-7 .
- Francisco García Jiménez: Así nacieron los tangos. - Comentarios de Pedro Ochoa. , Corregidor Publishing House, Buenos Aires 2018, ISBN 978-950-05-3160-3 .
- Alberto Magnone Ibarburu: La Cumparsita. El Tango Universal , Palabrasanta Publishing House (Uruguay) 2017, ISBN 978-9974-8474-9-1 .
- Oscar del Priore and Irene Amuchástegui: Cien tangos fundamentales , 2nd edition, Aguilar Verlag, Buenos Aires 2008, ISBN 978-987-04-1123-9 , pp.68-71, limited preview in the Google book search.
Web links
- History of Tango La Cumparsita - website of the Museo del tango de Montevideo - with many links and bibliographies
- La Cumparsita 100 years later. The story of a tango - Spanish-language article in the Uruguayan daily El Observador from April 11, 2018
- Ricardo García Blaya: La Cumparsita - on Todo Tango (in English)
- La Cumparsita (Si supieras) - on Todo Tango (in Spanish)
Scores
- Sheet Music : La Cumparsita (version Gerardo Matos Rodríguez), arranged and played by Alejandro Cremaschi.
- Partitura - Score on todotango.com
Musicology
- Estilos de tango - Tango styles - At the piano, the Argentine pianist and musicologist Mario Marzán vividly explains the origins and evolution of tango rhythms.
Dance examples
- Juan Martin Carrara and Stefania Colina - dance to Si supieras (Contursi / Maroni) Video on YouTube - Arranged and played by Tango Harmony in the Danube Palace (Budapest), 2012.
- Amy Teuchert and Jairo Sanchez Rivera dance to La Cumparsita (Rodríguez) video on YouTube - accompanied by the Orquesta típica ConTangoOz .
- Graciela & Osvaldo dance La Cumparsita (Rodríguez) Video on YouTube - Canyengue style.
Audio samples
Si supieras ( contursi / chestnuts )
Instrumental music
- Alfredo de Ángelis, 1944 - Alfredo de Ángelis , ODEON 13831 3775-A
Vocal music
- Carlos Gardel: Si supieras (La Cumparsita), 1924 on YouTube - lyrics by Contursi / Maroni - remastered.
- Hugo del Carril: Si supieras (La Cumparsita), 1950 on YouTube - lyrics by Contursi / Maroni. Atilio Bruni Orchestra.
La cumparsa De miserias sin fin (Rodríguez)
Instrumental music
- Roberto Firpo, 1917 - you can hear the clarinet
- Cuarteto Alonso Minotto, 1917 - The straw violin dominates for technical reasons.
- Franscisco Canaro, 1924
- Julio De Caro y su Orquesta Típica, 1930
- Orquesta típica Victor, around 1931
- Juan D'Arienzo, 1961 - cult video
Vocal music
- La cumparsita, Ángel Vargas, 1925 - Ángel Vargas sings the first verse, accompanied by the Orquesta típica Angel D'Agostino .
- La Cumparsita, Tito Schipa, 1930 Video on YouTube - the Italian tenor Tito Schipa sings , accompanied by the Orquesta típica Victor.
- La Cumparsita, Roberto Díaz, 1931 video on YouTube - Roberto Díaz sings, accompanied by the Orquesta típica Los Provincianos
- La Cumparsita, Alberto Gómez, 1931 Alberto Gómez sings, accompanied by the Orquesta Típica Victor.
- La Cumparsita, Nestor Nodi, 1944 - chants , Alfredo De Angelis y su orquesta típica.
Record label
- La Cumparcita (sic!) Disco Rob. Firpo , ODEON 483 B, (misspellings: Cumparcita written with C instead of S) - recorded in the Max Glückmann studio.
- Odeon 19038 A - Carlos Gardel: La Cumparsita , 1924.
- 78 RPM record, Odeon OT 117 - Francisco Canaro, La Cumparsita, 1924.
La Cumparsita in court - copyright dispute
- Juan Montero Aroca: La Cumparsita: a source of lawsuits ( La Cumparsita: una fuente de pleitos ). In: Ius et Veritas , Núm. 53 (2016); 268-287. Contursi y chestnuts vs. Matos Rodríguez - downloadable PDF.
- Juan Montero Aroca: La cumparsita: vida y derecho en el tango más universal . Tirant Publishing House, Valencia 2014, ISBN 978-84-15731-63-4 .
- Juan Montero Aroca, Juan Luis Gómez Colomer, Silvia Barona Vilar, María Pía Calderón Cuadrado: El derecho procesal español del siglo XX a golpe de tango . Tirant lo Blanch publishing house, Valencia 2012, ISBN 978-84-9004-850-4 .
Individual evidence
- ↑ Becho y un tango - "Becho" was the nickname of Gerardo Matos Rodríguez
- ↑ El tango de los tangos - Article on the Spanish-language BBC website from November 24, 2017 on the centenary of the Cumparsita
- ↑ A media luz Edgardo Donato - Horacio Lagos sings, 1941.
- ^ Adiós Muchachos Carlos Gardel, 1927.
- ^ Egon Ludwig: Tango Lexicon. The tango rioplatense - facts and figures of the famous Latin American dance . Schwarzkopf & Schwarzkopf Verlag Berlin 2002, ISBN 978-3-89602-294-3 , p. 148.
- ^ Leslie Bethell: The Cambridge history of Latin America . Cambridge university Press 1995, ISBN 978-0-521-49594-3 , p. 361 ( limited online copy in Google Book Search - USA )
- ↑ La gaucha Manuela
- ↑ Héctor Ángel Benedetti: Las mejores letras de tango. Antología de doscientas cincuenta letras de tango, cada una con su historia. Planeta publishing house , Madrid 2012, ISBN 978-987-580-514-9 , p. 484
- ↑ La Giralda, Gran Café y Confitería, historical photo - article in the Uruguayan daily newspaper El País
- ↑ Entry at Todo Tango (Spanish) and entry at Todo Tango (English)
- ↑ Terceto Roberto Firpo: La cumparsita, 1917
- ↑ La Cumparsita in court : Juan Montero Aroca: La Cumparsita: a source of lawsuits ( La Cumparsita: una fuente de pleitos ). In: Ius et Veritas, Núm. 53 (2016); 268-287. Contursi y chestnuts vs. Matos Rodríguez - downloadable PDF file.
- ↑ Si supieras - lyrics on Hermano Tango
- ^ Diana Braceras: La Cumparsita Trágica. Ensayo sobre the Tango and the Pesimismo . (Psychoanalytic interpretation of the lyrics of the song La cumparsa De Miserias sin fin Desfila): Full text of the essay in Spanish , Section V .: La estructura trágica de la 'Cumparsita'
- ↑ La Cumparsita, 1930 video on YouTube - lyrics by the composer Gerardo Matos Rodríguez: "La Cumparsa De miserias sin fin Desfila" . Singer: the Italian tenor Tito Schipa , accompanied by the Orquesta típica Victor.
- ↑ La Cumparsa De miserias sin fin Desfila - Lyrics on Hermano Tango
- ↑ Si supieras , Carlos Gardel, 1924 lyrics of Contursi / Maroni - remastered
- ^ Raimund Allebrand : Tango: Nostalgia and Farewell. Psychology of Tango Argentino , 2nd edition Horlemann Verlag Bad Honnef 1999, ISBN 3-89502-088-5 , p. 42/43
- ^ Raimund Allebrand : Tango: Nostalgia and Farewell. Psychology of Tango Argentino , p. 22.
- ↑ ¿Tango rioplatense o tango argentino? - Article on todotango.com
- ^ Daniel A. Kempken: Schlaglichter Uruguay , Books on Demand 2013, ISBN 978-3-8482-6314-1 , p. 66: limited preview in the Google book search
- ↑ 100 years of the famous tango La Cumparsita - on the website of the Uruguayan embassy in the Federal Republic of Germany
- ↑ Oscar Conde: Diccionario etimológico del lunfardo , Taurus 2014, ISBN 978-987-04-0003-5 .
- ↑ Maria Moliner: Diccionaro de uso del español . 3rd edition. 2007. Verlag Gredos, 2009, ISBN 978-8424928865 .
- ↑ Roberto Firpo La cumparsita, 1917 One hundred years old recording
- ↑ = Peter Echevers H .: Tango complex. On the way to the heart of the tango. P. 149, Google books
- ^ Karen Saban: Maestro Villasboas. A lost link in tango . In: Tangodanza. Tango Argentino magazine , 4/2011, pp. 9/10; interview
- ↑ The magazine of the Tango Argentino scene in Vienna, 2016
- ↑ Carlos Gardel - Si supieras (La Cumparsita) 1924 remastered
- ^ Juan Montero Aroca: La cumparsita: vida y derecho en el tango más universal, Verlag Tirant Valencia 2014, ISBN 978-84-15731-63-4 .
- ↑ La Cumparsita - a source of litigation , Contursi y Maroni vs. Matos Rodríguez - detailed article in Spanish
- ↑ clubdetango.com.ar Ricardo Ostuni: Las Letras de la Cumparsita]
- ↑ La Cumparsita (I), (II), (III), (IV), (V) - five text versions are on Hermano Tango
- ↑ Juan Montero Aroca: La Cumparsita: a source of lawsuits ( La Cumparsita: una fuente de pleitos ). In: Ius et Veritas, Núm. 53 (2016); 268-287. Contursi y chestnuts vs. Matos Rodríguez - downloadable PDF file.
- ↑ Ahí viene La Cumparsita ( Here comes the train ) Alberto Bemposta, 2011.
- ^ Raimund Allebrand : Tango: Nostalgia and Farewell. Psychology of Tango Argentino , p. 43.
- ^ Raimund Allebrand : Tango: Nostalgia and Farewell. Psychology of Tango Argentino , p. 41.
- ↑ Carlos Gardel - Si supieras (La Cumparsita) 1924 remastered
- ↑ 'Percanta' is a Lunfardo word: Percanta in the Lunfardo dictionary on todotango.com According to the dictionary by Luis C. Villamayor (LCV, 1915), Parcanta means: 'woman', 'beloved' '
- ↑ Héctor Ángel Benedetti: Las mejores letras de tango. Antología de doscientas cincuenta letras de tango, cada una con su historia. Planeta publishing house , Madrid 2012, ISBN 978-987-580-514-9 , pp. 127/128
- ↑ The text version on the website hermanotango differs in some places from Carlos Gardel's vocal version: La Cumparsita (II)
- ^ Translation into German by the author of this article
- ↑ Las letras de la Cumparsita . In: Artículo publicado en la Revista Club De Tango , Nro. 43, Julio-Agosto 2000
- ^ Diana Braceras: La Cumparsita Trágica. Ensayo sobre the Tango and the Pesimismo . (Psychoanalytic interpretation of the lyrics of the song La cumparsa De Miserias sin fin Desfila ): Full text of the essay in Spanish
- ↑ Sabine Zubarik: Tango Argentino in literature (science) , p. 18.
- ↑ La Cumparsita, Alberto Gómez, 1931 , accompanied by the Orquesta Típica Victor.
- ↑ Alberto Gómez does not sing the full lyrics. Instead, between verse 38 and verse 39, it hums.
- ↑ The translation into German comes from the author of this article
- ^ Diana Braceras: La Cumparsita Trágica. Ensayo sobre the Tango and the Pesimismo
- ^ Diana Braceras: La Cumparsita Trágica. Ensayo sobre the Tango and the Pesimismo
- ↑ El tango de los tangos: Cien años de La Cumparsita
- ↑ Remi Hess: Le tango (Que sais-je?), P. 35
- ↑ Milva: Set Me Free, 1969 video on YouTube
- ↑ Milva: La Cumparsita (Italian) video on YouTube
- ↑ Line Renaud - La Comparsita (French) video on YouTube
- ↑ La Cumparsita in Polish Video on YouTube
- ↑ Trío los Románticos: Si supieras (La Cumparsita) Video on YouTube - vocal transposition into the bolero rhythm.
- ↑ Jerry Rivera: Si supieras (La Cumparsita) video on YouTube - transposed into the salsa rhythm.
- ↑ Xavier Cugat: Si supieras (La Cumpasita) video on YouTube - instrumental transposition into the cha-cha-cha rhythm.
- ↑ Los Cubancitos: Si supieras (La Cumparsita) Video on YouTube - Cha-Cha-Cha version.
- ↑ "rioplatense" is written without an accent on the "i" - according to the authoritative dictionary of the Spanish language, the Diccionario de la lengua española of the Real Academia Española , the adjective rioplatense is written without an accent.