Vals (Tango)

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Tango-vals , Vals criollo , Vals porteño or also called Vals cruzado , is a Rioplatensian variant of the waltz , which in Argentina and Uruguay has been "crossed" (cruzado) with elements of the Viennese and Parisian musette waltzes . The name Tango-vals for this variant of the waltz comes from the fact that the Rioplatensian Vals criollo is danced with selected steps and figures of Tango Argentino .

The Vals criollo gets its importance from its popularity at tango dance events, the so-called milongas . In addition to tango tandas and milonga tandas , the Valsecito criollo , the creole roll , as the third tanda, the vals tanda , must not be missing on any tango dance evening.

History

Couples dancing Viennese waltzes

“By 1810 the European waltz is danced in Buenos Aires and in Montevideo, especially in the higher social classes, replacing the old dances and coexisting with other new forms: polkas, schottis and habaneras. When the people began to express themselves with this beat the vals criollo was born. At the beginning it was heard on the strings of the itinerant singers and was polished later with the contribution of the immigrants. The mythic José Betinotti is an example with his waltz “Tu diagnóstico”, recorded by Carlos Gardel in 1922 and refurbished by Aníbal Troilo with Francisco Fiorentino on vocals in 1941. ”

Presumably, dancers who helped tango flourish for the first time in Paris brought the French musette waltz with them to Argentina and Uruguay and “crossed” it there with the Viennese waltz .

Carlos Gardel made the Rioplatensian Vals criollo known internationally in 1922 with the record Tu diagnóstico . The title Desde el alma , a Valsecito criollo , which the Uruguayan composer Rosita Melo (1897–1981) created in 1911 at the young age of fourteen, achieved worldwide fame . The well-known first stanza of the lyrics was only composed in 1948 by the tango poet Homero Manzi :

V01 Alma, si tanto te han herido
V02 ¿Por qué, te niegas al olvido?
V03 Por qué prefieres
V04 Llorar lo que has perdido,
V05 Buscar lo que has querdido
V06 Llamar lo que murió.

Soul when you've been hurt so
bad , why do you refuse to forget?
Why would you rather
weep for what you have lost,
search for what you have loved,
call out what has died?

In various Latin American countries, variants of the waltz that differ from the Rioplatensian vals criollo emerged , for example in Mexico the Vals ranchero or in Peru the Vals peruano with shorter steps. In some Latin American countries (Paraguay, Peru, Ecuador, Venezuela, Nicaragua, Honduras, El Salvador and Dominican Republic) there is also the two-syllable word form valse in addition to vals .

Character and style of dance

Jürgen Bieler writes about the characteristics of the Vals:

“In 'Vals' the tango soul looks upwards [...] The gaze is directed towards the transcendent and the tango soul begins to float. Many Vals texts and titles have to do with the sky and the stars ( Pedacito de cielo , Bajo un cielo de estrellas , Visión celeste , Esa noche ). Others dream of ideal or idealized landscapes ( Francia , Paisaje ). This dreamy, transcendent mood in 'Vals' possibly explains the pure beauty of many Vals melodies. "

Steps and figures of the Valsecito criollo rioplatense are selected from the movement repertoire of Tango Argentino . In contrast to the tango, with the Vals criollo you do without stops and pauses and instead dance with swing in a continuous flow.

"Hug each other tightly, feel the beating of your heart, turn right and left and let your body dance along, because the whole body is dancing, not just the legs."

In contrast to the Viennese and Musette waltzes, the dancers in the Valsecito criollo rioplatense do not take three steps to the three beats, but less. Usually only one step is taken per cycle. Two steps can also be taken, in the case of experienced dancers even opposite to the dance partner, in order to make the dance more rhythmic and technically sophisticated. The steps then take place on beats 1 and 3 or 1 and 2, depending on the music.

Example: Luna de arrabal

Verse 09 & Verse 20: «La serenata  », evening serenade in front of the balcony

Composer: Julio César Sanders
Lyricist: Enrique Cadícamo
Singer: Hugo del Carril (1936)

The melody of this Vals criollo goes straight into the hearts of the milongueros , into the hearts of the tango community. The romantic lyrics typical of Valses criollos surround the motif of a serenade, an evening serenade in the moonlight, in front of the beloved's balcony, as a means of seduction.

For the music see.

Luna de arrabal
V01 Muchachos, hoy que es noche clara y estival
V02 Invito a todos, la barriada a recorrer,
V03 Hay mucha luz y es que la luna de arrabal
V04 Nos acompaña por las calles como ayer.
V05 Es medianoche, ella duerme y su balcón
V06 Entornado me espera que llegue,
V07 Junto al gemir del diapasón
V08 Yo quiero alzar, sentimental
V09 La serenata de mi amigo, el corazón

V10 Y entonces al oír, la introducción
V11 Del valsec pasional,
V12 Dormida su belleza angelical
V13 Nombrándome, despertará
V14 Su pecho de emoción ha de latir
V15 Sus ojos de otro azul se vestirán,
V16 Y se pondrá la noche
V17 Sus galas embrujadas
V18 Y tú, mi dulce amada, temblarás.

V19 Muchachos, vamos que la luna quiere oír
V20 La serenata pintoresca de arrabal
V21 La noche es tibia, duerme el barrio y es zafir
V22 El cielo lleno de estrellitas de cristal
V23 ¡Muchachos pronto! que es tan bello saludar
V24 A la novia que duerme inocente
V25 Los dedos en el diapasón
V26 Con un allegro arrancarán
V27 Y entonces mi alma subirá a su balcón.

V28 Y entonces al oír, la Introducción
V29 Del valsecito criollo y pasional,
V30 Dormida su belleza angelical
V31 Nombrándome, despertará
V32 Su pecho de emoción ha de latir
V33 Sus ojos de otro azul se vestirán,
V34 Y se pondrá la noche
V35 Sus galas embrujadas
V36 Y tú, mi dulce amada, temblarás.

Suburban
moon boys, today, when the night is clear and summery,
I invite you all to roam the neighborhood.
There is a lot of light because the suburban
moon accompanies us through the streets as it used to.
It is midnight, she is sleeping and her balcony,
which is half open, awaits me.
With the sigh of the fingerboard
I would like to
serenade my heart with feeling

And when she
hears the beginning of the passionate creole waltz ,
she will
call my name asleep in her angelic beauty and wake up.
Your chest will shake with excitement,
your eyes will shine.
The night will
throw itself into an enchanting gala
And you, my sweet beloved, will tremble.

Boys, let's go because the moon wants to hear
The picturesque suburban serenade
The night is mild, the neighborhood sleeps and shines like a sapphire .
The sky is littered with crystal stars
guys, hurry up! It is so beautiful
to greet the bride who sleeps innocently
The fingers on the fingerboard
Will begin with an allegro
And then my soul will ascend to her balcony.

And when she then
hears the beginning of the passionate Creole waltz ,
she will
call my name asleep in her angelic beauty and wake up.
Your chest will shake with excitement,
your eyes will shine.
The night will
throw itself into an enchanting gala
And you, my sweet beloved, will tremble.

Birthday Vals tradition

At tango dance events it is a beautiful custom to dance one or more Valses criollos with a “birthday child” on an empty dance floor , with the dance partners of the “birthday child” “clapping” on the fly.

literature

  • Jürgen Bieler: Tango - what is it all about? A contribution to the phenomenology of tango. In: Tangodanza. Magazine for Tango Argentino 4/2008, p. 70 f.
  • Catherine Funk: Alberto Dassieu . In: Tangodanza. Magazine for Tango Argentino. 1/2010, p. 30 f.
  • Gerhard Riedel: The even bigger milonga leader. An amusing satirical guide to Argentine tango. Books on Demand 2016, ISBN 978-3-7322-6187-1 .

Web links

Dance styles

Audio samples

Individual evidence

  1. ↑ In the Río de la Plata states one speaks of vals criollo ( creole waltz ), or valsecito criollo (creole waltz), vals porteño ( Buenos Aires waltz , because the inhabitants of Buenos Aires are called porteños ) or vals cruzado ( crossed waltz). The plural of vals is valses , e.g. B. los valses criollos .
  2. ↑ a b Ricardo García Blaya: The vals criollo todotango.com (English)
  3. ↑ a b The translation into German comes from the author of this article
  4. ↑ Diccionario de la lengua española of the Real Academia Española : valse
  5. ↑ Jürgen Bieler: Tango - what is it anyway? A contribution to the phenomenology of tango , p. 75.
  6. ↑ Catherine Funk: Alberto Dassieu . In: Tangodanza, magazine for Tango Argentino, 1/2010, p. 31.
  7. ↑ Gerhard Riedel: The even bigger milonga leader. An amusing satirical guide to Argentine tango. Books on Demand 2016, ISBN 978-3-7322-6187-1 , p. 288
  8. ^ Tango Vals, Vals Cruzado, Vals Criollo
  9. ↑ Hugo del Carril - Biography - Gaspar Astarita on todotango.com.ar
  10. ↑ Luna de arrabal video on YouTube - Hugo Del Carril. Music and score on todotango.com.
  11. ↑ Example of a vals de cumpleaños (birthday vals): Video on YouTube . They dance to El vals soñador , orquesta típica Miguel Caló .