Wed noche dreary
Mi noche triste (dt. My sad night ) is considered to be the beginning of the Tango Canción , the sung tango song. With the music by Samuel Castriota (1885–1932) and the text by Pascual Contursi (1888–1932) it is the first tango of Carlos Gardel , besides Flor de fango , of which there is a record .
history
Mi noche triste was originally composed as an instrumental tango by Samuel Castriota in Buenos Aires in 1915 . Shortly afterwards, Pascual Contursi wrote his text in Montevideo . The original title of the piece (still without text) was Lita . The world premiere was in 1916 by the trio of pianist Castriota in the Café El Protegido in Buenos Aires. It is not certain when the first performance with text took place. Some tango researchers suspect that it was the lyricist Contursi himself who sang the tango for the first time at the Cabaret Moulin Rouge in Montevideo around the turn of the year 1916/1917 . Others date the world premiere to January 1917 at the Teatro Urquiza in Montevideo by Carlos Gardel and his partner José Razzano. Still other sources mention Gardel and January 3, 1917 in the Teatro Esmeralda in Buenos Aires. It was undoubtedly the first tango with sung lyrics. Gardel's record for Odeon with his guitarist José Ricardo was dated May 1917. Another recording followed in April 1930 for the same label.
Mi noche triste cultivated an elementary theme of Tango Argentino : a man's complaint to the mistress who has left him. The lyrics were sentimental, nostalgic, melodramatic and sad. This was nothing new, but it went hand in hand with the establishment of a new language: the Lunfardo . It was the common language of common people, even if this jargon was still associated with crooks and pimps at the time. Contursi used words like percanta ('bitch'), amurar ('leave'), catrera ('bed'), cabrera ('grim, angry') or cotorro ('shack'). He had thus successfully hit the language of the people, even if the text was long considered indecent in better circles. For Contursi the song meant the final breakthrough. He took up the lament of the abandoned macho in the text for La Cumparsita , which he wrote together with Enrique Pedro Maroni in almost identical wording.
Exemplary recordings
- 1917: Carlos Gardel and José Ricardo (Odeon)
- 192 ?: Roberto Diaz and the Cayetano Puglisi Orchestra (Victor)
- 1930: Carlos Gardel (Odeon)
- 1932: Alberto Gómez (Victor)
- 1948: Francisco Florentino and the Orchestra José Basso (Victor)
- 1949: Floreal Ruiz and the Francisco Rotundo Orchestra (Odeon)
- 1949: Jorge Casal and the orchestra Florindo Sassone (Victor)
- 1949: Edmundo Rivero and the Orchestra Aníbal Troilo (Victor)
- 1961/1964: Julio Sosa and the Orchestra Leopoldo Federico (Columbia)
- 1965: Armando Laborde and the Orchestra Juan D'Arienzo (Victor)
literature
- Dieter Reichardt: Tango. Suhrkamp Taschenbuch, Frankfurt am Main 1984.
- Arne Birkenstock, Helena Rüegg: Tango. dtv, Munich 1999, ISBN 3-423-24182-9 .