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A la gran muñeca

A la gran muñeca is a Tango written by Jesus Ventura and recorded by Carlos di Sarli in 1951. Carlos di Sarli has recorded A la gran muñeca as an instrumental Tango.
“A la Gran Muñeca,” or “To the Great Doll,” is a vibrant tango that invites listeners into a world of elegance and allure. The name suggests a tribute to a captivating figure, perhaps a muse or a symbol of beauty, around whom everything seems to revolve. This piece captures the essence of celebration and admiration, evoking a dance of grace and spirited dynamics.

Tango

Style

Carlos di Sarli

Orchestra

Instrumental

Singer

Miguel Osés

Author

Jesus Ventura

Composer

1951/5/9

Date

Instrumental
Instrumental
Carlos di Sarli
Carlos di Sarli

Discover Other Orchestras

Carlos Gardel – Duelo criollo – 1931/10/11
Carlos Gardel – Yo también como tú – 1929/7/10
Carlos Gardel – Aquel tapado de armiño – 1929/6/20
Carlos Gardel – Bandoneón arrabalero – 1928/10/20
Carlos Gardel – No te engañes corazón – 1928/12/15
LOS SEÑORES DEL TANGO – Milonguero viejo – 1962/10/8
Francisco Rotundo – Una copa nada más – 1949/1/1
Francisco Rotundo – Bien pulenta – 1950/12/29
Francisco Rotundo – Esclavas blancas – 1950/12/29
Francisco Rotundo – Al fin de cuentas – 1957/1/22
Francisco Rotundo – Justo el 31 – 1953/12/14
Osvaldo Fresedo – Si de mi te has olvidado – 1961/6/7
Osvaldo Fresedo – Vampiresa (Atorranta) – 1927/3/15
Osvaldo Fresedo – Mi piano – 1944/12/28
Osvaldo Fresedo – Solo tu – 1941/5/13
Osvaldo Fresedo – La sanata – 1966/6/24

Recommended

These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.

A la gran muñeca recorded by other Orchestras

A la gran muñeca recorded by other Orchestras

1951/5/9 – El Incendio – Carlos di Sarli
1951/5/9 – El opio – Carlos di Sarli
1951/5/9 – Germaine – Carlos di Sarli
1951/5/9 – Negro el veinte – Lucio Demare
1951/5/9 – Bailongo de los domingos – Lucio Demare
A la gran muneca – 1945/8/29 – Carlos di Sarli – Instrumental
A la gran muneca – 1951/5/9 – Carlos di Sarli – Instrumental
A la gran muneca – 1954/6/30 – Carlos di Sarli – Instrumental
A la gran muneca – 1963/12/17 – Juan D-Arienzo – Instrumental
A la gran muneca – 1948/5/1 – Miguel Calo – Roberto Arrieta
A la gran muneca – 1950/4/13 – Rodolfo Biagi – Instrumental
A la gran muneca – 1961/7/28 – Alfredo De Angelis –
A la gran muneca – 1970/1/1 – Jose Basso –
A la gran muneca – 1964/5/21 – Hector Varela – Instrumental
A la gran muneca – 1951/5/28 – Hector Varela – Instrumental
A la gran muneca – 1966/3/8 – Florindo Sassone – Instrumental
A la gran muneca – 1974/1/1 – Florindo Sassone – Instrumental
A la gran muneca – 1973/1/1 – Francini-Pontier – Instrumental
A la gran muneca – 1957/6/25 – Armando Pontier – Instrumental
A la gran muneca – 1964/1/1 – Quinteto Real (Horacio Salgan) – Instrumental

Letra del Tango A la gran muñeca

Yo te he visto pasar por la acera
con un gesto de desolación
y al cruzar no miraste siquiera,
que entendía tu desilusión.
Te ha dejado, lo sé, la malvada
y al calor de otros ojos se va;
ya lo ves cómo no queda nada
de ese amor que matándote está.

Volvé, jamás otras manos
cual las de tu mujercita
harán por la tardecita
los mates que cebo yo.
Que en su espuma te contaba
que además de su dulzura
allí estaba la ternura
de aquella que lo cebó.

Y por mucho que te quieran
siempre serán artificios,
nadie hará los sacrificios
que hizo por vos tu mujer.
En mis noches de vigilia
acongojada no duermo
sabiendo que estás enfermo
sin poderte socorrer.

Allá en la noche callada
te veo triste y burlado
por aquella que ha llevado
mi vida y mi corazón.
Volvé que aquí has de olvidarla,
mi pecho siempre te espera,
ya sabrá tu compañera
cicatrizar tu pasión.

English lyrics of the Tango "A la gran muñeca"

I have seen you pass by on the sidewalk
with a gesture of desolation,
and when crossing you didn’t even look,
for I understood your disillusionment.
She has left you, I know, the wicked one
and in the warmth of other eyes she goes;
you see now how nothing is left
of that love that is killing you.

Come back, no other hands
like those of your little woman
will make, in the afternoon
the mate that I brew for you.
In its foam, it told you
that besides its sweetness
within it was the tenderness
of the one who prepared it for you.

And no matter how much they love
it will always be superficial,
no one will make the sacrifices
your woman made for you.
In my nights of wakefulness
I stay awake and anguished
knowing you’re unwell
without being able to help you.

There in the silent night
I see you sad and mocked
by the one who has taken
my life and my heart.
Come back, for here you will forget her,
my heart always waits for you,
your companion will know how
to heal your passion.

A la gran muñeca by (author)

A la gran muñeca is a Tango written by (author) and composed by Jesus Ventura.

Story behind the Tango A la gran muñeca

This tango delves into the depths of heartache and betrayal, expressing the sorrow of a love that’s been forsaken. The narrative recounts an instance of abandonment where the subject is left to grapple with lost affection as a beloved turns away for another’s warmth. The tango’s speaker, presumably carrying a personal connection to the subject, offers solace and a promise of healing, highlighting the importance of genuine, unwavering love contrasted with artificial allure.

Symbolism of A la gran muñeca

The lyrics are rich with symbolic imagery, such as the “gesture of desolation,” evoking a vivid portrayal of abandonment and longing. The “mates” serve as a metaphor for domestic comfort and emotional nourishment, representing the tender efforts put forth by a dedicated partner. The phrase “allí estaba la ternura de aquella que lo cebó” underscores the personal touch and care, symbolizing the intimate connection between the subject and the speaker. The recurring plea “Volvé” emphasizes a yearning for reconciliation and redemption.

A la gran muñeca in historic Context

Set in Buenos Aires during 1951, the tango reflects the cultural landscape where personal relationships were intertwined with societal values of loyalty and companionship. Buenos Aires, being a vibrant hub for tango culture, imbues the lyrics with a sense of place, mirroring the city’s reputation for expressing complex emotions through music and dance. This era was marked by post-war sentiments and a return to traditional values, which resonate through the themes of dedication and sacrifice in the lyrics.

Jesus Ventura was a renowned composer known for his contributions to the tango genre in Buenos Aires, bringing to life passionate and evocative expressions of human experiences through his music.