Fabrice Knecht Tango DJ

A la gran muñeca

A la gran muñeca is a Tango written by Jesus Ventura and recorded by Carlos di Sarli in 1954. Carlos di Sarli has recorded A la gran muñeca as an instrumental Tango.
“A la gran muñeca” translates to “To the Great Doll” in English. This evocative title invites listeners into a world of elegance and charm, where the allure of the doll symbolizes beauty and perfection. The music captures the spirit of a grand dance, celebrating the enchanting presence that captivates every heart with grace and mystery.

Tango

Style

Carlos di Sarli

Orchestra

Instrumental

Singer

Miguel Osés

Author

Jesus Ventura

Composer

1954/6/30

Date

Instrumental
Instrumental
Carlos di Sarli
Carlos di Sarli

Discover Other Orchestras

Carlos di Sarli – Corazón – 1955/2/2
Carlos di Sarli – Ensueños – 1943/9/7
Carlos di Sarli – La baguala – 1931/6/23
Carlos di Sarli – De qué podemos hablar – 1957/5/24
Carlos di Sarli – El distinguido ciudadano – 1952/12/12
Armando PONTIER – Verdemar – 1960/7/21
José Basso – María la del portón – 1958/12/3
José Basso – Qué habrá sido de Lucía – 1967/1/1
José Basso – La cumparsita – 1961/4/28
José Basso – Corazón no le hagas caso – 1967/1/1
José Basso – Una lágrima tuya – 1961/5/5
José De Alto (Dir. José Basso) – Yo no sé por qué te quiero – 1959/9/14
José De Alto (Dir. José Basso) – Nunca tuvo novio – 1959/9/14
José De Alto (Dir. José Basso) – Milonguita (Esthercita) – 1959/9/14
José De Alto (Dir. José Basso) – Rosicler – 1959/9/14

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

1954/6/30 – No me pregunten por que – Carlos di Sarli
1954/6/30 – El choclo – Carlos di Sarli
1954/6/30 – Por que le llaman amor – Carlos di Sarli
1954/6/29 – Cielito mio – Rodolfo Biagi
1954/6/29 – Sangre de mi sangre – Rodolfo Biagi
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’ve seen you pass by on the sidewalk
with a look of desolation,
and when you crossed, you didn’t even glance,
understanding your disillusion.
She left you, I know, that wicked one
and has gone to the warmth of other eyes;
you see now how there’s nothing left
of that love that is killing you inside.

Return, for no other hands
like those of your little wife
will make in the evening
the mate tea that I brew.
In its foam she would tell you
that besides its sweetness,
there was also the tenderness
of the one who brewed it for you.

And no matter how they love you,
they will always be pretense,
no one will make the sacrifices
that your woman made for you.
In my wakeful nights,
distressed, I can’t sleep
knowing you are ill
and I can’t help you.

In the silent night,
I see you sad and mocked
by the one who has taken
my life and my heart.
Return, you’ll forget her here,
my chest always waits for you,
your companion will know how
to heal your passion’s scar.

A la gran muñeca

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

Story behind the Tango A la gran muñeca

The tango “A la gran muñeca” reveals a poignant story of love, betrayal, and emotional desolation. The narrator observes someone they deeply care for, caught in a state of despair. The subject of the song has been left by a treacherous lover for another person, and this abandonment lays bare the emptiness of a once-passionate love. The narrator implores the subject to return to them, promising a warmth and tenderness that no other can offer. The imagery of “mates” (a traditional Argentine drink), symbolic of shared intimacy, flavors the plea with cultural depth, offering comfort and a sense of belonging.

Symbolism of A la gran muñeca

Symbolism permeates the lyrics, particularly through the metaphor of “mates,” depicting a nurturing bond laced with personal sacrifice and devotion. The phrase “las manos de tu mujercita” (the hands of your little woman) signifies the tenderness and care that the other person provided—elements absent after their departure. This adds to the themes of emotional voids and artificial relationships (“siempre serán artificios”), contrasting genuine sacrifices with superficial affections. The lyrics create a powerful contrast between the hurtful betrayal and the healing promise offered by the narrator.

A la gran muñeca in historic Context

Composed in Buenos Aires in 1954, “A la gran muñeca” emerges from a period marked by social changes and urbanization in Argentina. Tango, inherently a dance of immigrant neighborhoods, reflects a cultural integration and a mixture of emotions from longing to resilience. Set in this timeline, the song’s themes also resonate with the economic uncertainties and emotional turbulence of post-Perón Argentina. The cultural specificity—highlighted by mentions of Argentine customs like “mates”—reinforces the profound connection to the city’s working-class sensibilities and their lives.

“A la gran muñeca” was crafted by Jesus Ventura, who skillfully embedded deep emotional narratives into the tango’s rich tradition, blending expressive music with heartfelt lyrics.