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A la gran muñeca

A la gran muñeca is a Tango written by Jesus Ventura and recorded by Juan D’Arienzo in 1963. Juan D’Arienzo has recorded A la gran muñeca as an instrumental Tango.
“A la gran muñeca,” which translates to “To the Great Doll” in English, evokes a sense of elegance and grandeur. This title suggests a tribute to someone or something with captivating beauty and grace, perhaps a muse that inspires vibrant energy and passion. The music twirls and sways like a dancer, bringing life to the enchanting form of the “great doll.”

Tango

Style

Juan D'Arienzo

Orchestra

Instrumental

Singer

Miguel Osés

Author

Jesus Ventura

Composer

1963/12/17

Date

Instrumental
Instrumental
Juan D'Arienzo
Juan D’Arienzo

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Francisco Canaro – Paramount – 1923/1/1
Francisco Canaro – Madame Pompadour (Shimmy de José y Josefa) – 1924/1/1
Francisco Canaro – Barba de choclo – 1926/1/1
Héctor Varela – Guardia vieja – 1973/1/1
Héctor Varela – Noches de cabaret – 1952/5/23
Héctor Varela – Tiempos viejos (Te acordas hermano) – 1974/1/1
Héctor Varela – Guapeando – 1964/5/7
Héctor Varela – La trilla – 1950/12/15
Enrique Francini – Inspiración – 1970/8/27
Enrique Francini – Fueron tres años – 1956/7/27
Enrique Francini – Muriéndome de amor – 1956/11/14
Enrique Francini – Chiqué – 1970/5/20
Enrique Francini – Caminito – 1977/1/1
Carlos Gardel – Cuando tú no estás – 1933/3/17
Carlos Gardel – Alicia (b) – 1929/10/23
Carlos Gardel – La danza de las libélulas (Gigolette) – 1923/1/1
Carlos Gardel – Fea – 1925/1/1
Carlos Gardel – Viejo rincón – 1930/12/5

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

1963/12/17 – Pimienta – Juan D-Arienzo
1963/12/17 – A media luz – Juan D-Arienzo
1963/12/17 – Nada – Juan D-Arienzo
1963/12/10 – La punalada – Juan D-Arienzo
1963/12/10 – La catrera – Juan D-Arienzo
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 walk by the sidewalk
with a gesture of desolation
and when crossing you didn’t even look,
understanding your disillusion.
She has left you, I know, the wicked one
and she goes towards the warmth of other eyes;
you see how nothing remains
of that love that is killing you.

Come back, never other hands
like those of your little woman
will make in the evening
the mates that I prepare.
Which in its foam told you
that apart from its sweetness
there was the tenderness
of the one who prepared it for you.

And no matter how much they love you
they will always be mere pretenses,
no one will make the sacrifices
that your woman made for you.
In my nights of vigil
anguished I do not sleep
knowing that you are sick
without being able to assist you.

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

A la gran muñeca by Miguel Osés

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

Story behind the Tango A la gran muñeca

“A la gran muñeca” translates to “To the Great Doll” in English, a phrase that can symbolize an object of great value and affection yet simultaneously represents something that is not real, hinting at illusion or deception in love. The lyrics of the song depict a poignant scene of heartbreak and disillusionment, as witnessed by the speaker. A person walks by “with a gesture of desolation,” ignored by the very one they are disappointed by. The theme of unreciprocated love and the pain of abandonment by “la malvada” (the wicked one) who moves on to warmer affections elsewhere are central to this piece.

Symbolism of A la gran muñeca

The tango uses vivid imagery to convey deep emotional undertones. The phrase “que en su espuma te contaba” symbolizes the memories and whispers of love shared over something as mundane as the foam of a mate (a traditional South American caffeine-rich infused drink). This symbolizes how ordinary moments become laden with meaning in the context of love and loss. The repeated invitation to return, “Volvé,” speaks to a desperate plea for reunion not just physically but emotionally and symbolizes a deep yearning to heal past wounds and rekindle lost affection.

A la gran muñeca in Historic Context

Recorded in 1963 in Argentina, a time when tango was not just a dance but a poignant expression of deeper social and personal narratives. This period in Argentina was marked by political and social shifts, where tango music often captured the mood of the populace, dealing with themes of disillusionment, nostalgia, and the complexity of human emotions in relationships. The song reflects not just personal loss but also a metaphorical lament for changing times and lost traditions.

Miguel Osés

Miguel Osés was a prolific lyricist in the tango genre, whose works often delved into themes of love, betrayal, and societal issues, ingrained deep within the cultural fabric of Argentina.