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Chiclana

Chiclana is a Tango written by Julio De Caro and recorded by Astor Piazzolla in 1947. The Tango Chiclana is written by Julio De Caro , Astor Piazzolla has recorded Chiclana with the singer .
“Chiclana,” a name echoing the serene beauty of “Chic Land,” captivates hearts with its melody. This enchanting piece evokes the gentle sway of a coastal breeze through sun-dappled streets, capturing the essence of a place where time meanders gracefully. Its notes paint a vivid tableau of warmth and nostalgia, whispering tales of a land both alluring and timeless.

Tango

Style

Astor Piazzolla

Orchestra

Singer

Mario César Gomila

Author

Julio De Caro

Composer

1947/12/19

Date

Astor Piazzolla
Astor Piazzolla

Discover Other Orchestras

Aníbal Troilo – Sencillo y compadre – 1941/11/21
Aníbal Troilo – Pa’ lo que te va a durar – 1957/9/24
Aníbal Troilo – Nostálgico – 1963/4/17
Aníbal Troilo – Uruguaya – 1943/10/20
Aníbal Troilo – Pico blanco – 1969/9/12
Alfredo De Angelis – Pa’ qué te voy a contar – 1948/4/16
Alfredo De Angelis – Mentira – 1954/9/7
Alfredo De Angelis – El apache argentino – 1969/8/1
Alfredo De Angelis – Mi dolor – 1957/5/23
Alfredo De Angelis – Vuelvo a vivir vuelvo a cantar – 1971/5/11
Enrique Rodríguez – Dejame ser así – 1938/3/23
Enrique Rodríguez – Todo va bien – 1941/8/7
Enrique Rodríguez – Vendrás alguna vez – 1938/12/27
Enrique Rodríguez – Sonia – 1959/11/26
Enrique Rodríguez – Son cositas de la vida – 1967/7/28
Julio De Caro – Deseo – 1939/12/7
Julio De Caro – El pillete – 1927/12/1
Julio De Caro – Caminto al bajo – 1931/1/1
Julio De Caro – Copacabana (Nido de amor) – 1941/1/1
Julio De Caro – Allá en el cielo – 1952/11/27

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.

Chiclana recorded by other Orchestras

Chiclana recorded by other Orchestras

1947/12/19 – Che Bartolo – Astor Piazzolla
1947/12/17 – Don Horacio – Juan D-Arienzo
1947/12/17 – Lenguas de fuego – Juan D-Arienzo
1947/12/17 – Dale dale caballito – Juan D-Arienzo
1947/12/17 – El viento me cuenta cosas – Juan D-Arienzo
Chiclana – 1947/12/19 – Astor Piazzolla –
Chiclana – 1971/1/1 – Horacio Salgan Y Dante Amicarelli – Instrumental
Chiclana – 1950/9/11 – Julio De Caro – Instrumental

Lyrics Translation of the Tango Chiclana

This is the translation of the Tango “Chiclana” from Spanish to English. The English lyrics of the Tango “Chiclana” have been done with AI.

Letra del Tango Chiclana

Vuelvo a vos, barrio querido

Del lejano ayer,

Viejo Chiclana

Que aprendí a querer,

Entre el rumor malevo

De tu bandoneón

Y de tu compadrón,

Que con su taconear

Parece que quisiera milonguear.

Vuelvo a vos y encuentro el alma

De tu payador

En la silueta de la piba en flor.



Recitado:

Barrio de Chiclana, barrio pobre

Donde al pique de los cobres

Se alegrara en otro tiempo el callejón.

Hoy al ver del modo que has cambiado

Te contemplo arrinconado

En mi propio corazón.

Mientras por los cuadros de mi cuita

Va pasando Milonguita

Con la tímida cadencia de su voz…

Y en el arrabal

Sobre el pedestal

Es Florencio Sánchez como un dios…!



(canto de violín)

Barrio, viejo barrio en que nací

Barrio donde conocí,

La voz del bandoneón

Malevo y compadrón.

Barrio donde acaricié

Tantos sueños que después abandoné.

Donde me besó

Esa que me amó…

Esa que por mí lloró.



Barrio de Florencio Sánchez

Y de la visión

De Milonguita,

Que por su perdón

El tango arrabalero

Que la vio llorar

No deja de rezar.

Hoy por vos, viejo Chiclana

Quiso tu cantor

Darte el acento de su voz mejor,

Y puso el corazón

Entero en este tango compadrón.

English lyrics of the Tango "Chiclana"

I return to you, beloved neighborhood
From the distant past,
Old Chiclana
That I learned to love,
Amidst the sinister murmur
Of your bandoneon
And your swaggering bravado,
Who with its heel-tapping
Seems like it wants to dance the milonga.

I return to you and find the soul
Of your troubadour
In the silhouette of the blooming girl.

Recitation:
Chiclana neighborhood, poor neighborhood
Where due to the scarcity of coins
The alley once cheered up.
Today, seeing how you have changed
I gaze at you cornered
In my own heart.
While through the frames of my ordeal
Milonguita passes by
With the timid cadence of her voice…
And in the suburb
On the pedestal
Is Florencio Sánchez like a god…!

(violin singing)
Neighborhood, old neighborhood where I was born
Neighborhood where I met,
The voice of the bandoneon
Sinister and bravado.
Neighborhood where I caressed
So many dreams that I later abandoned.
Where she kissed me
The one who loved me…
The one who cried for me.

Neighborhood of Florencio Sánchez
And of the vision
Of Milonguita,
Who for her forgiveness
The suburban tango
That saw her cry
Doesn’t stop praying.
Today for you, old Chiclana
Your singer wanted
To give you the accent of his best voice,
And he put his whole heart
Into this swaggering tango.

Chiclana by Mario César Gomila

Chiclana is a Tango written by Mario César Gomila and composed by Julio De Caro.



Story behind the Tango Chiclana

The lyrics of “Chiclana” are a heartfelt homage to the neighborhood where the narrator grew up. It expresses a deep sense of nostalgia and longing for the days of youth, through evocative imagery and emotional reverence for the place and its people. The song is structured as a conversation or a return to this beloved barrio, highlighting specific places and memories, archiving them not just in the physical space but also in the heart of the writer.



Symbolism of Chiclana

The song “Chiclana” makes extensive use of symbolism to elevate the commonplace experiences and locales of the neighborhood to something almost sacred. Lines like “Vuelvo a vos y encuentro el alma / De tu payador / En la silueta de la piba en flor” use the symbol of a blooming girl to represent the beauty and the continuation of culture and tradition. “Milonguita,” another symbolic figure mentioned in the recitado conveys the essence of tango both in dance and in spirit, imbued with a sense of loss and a plea for forgiveness, enhancing the song’s emotional depth. The phrase “Barrio donde me besó / Esa que me amó…” symbolizes personal memories tied with locations within the barrio, providing a deeper, more intimate connection to the place.



Chiclana in historic Context

Released in 1947, “Chiclana” was created in a post-war context where there was a prevalent sentiment of reflection and nostalgic remembrance among people. Given that it was a time when many were reconsidering what mattered to them, Mario César Gomila taps into this sentiment by focusing on the authenticity and the roots of personal identity which are often anchored to places of origin. The mention of “Barrio de Florencio Sánchez” pays homage to the Uruguayan playwright, a significant cultural figure, linking the barrio’s identity directly to notable historical personalities and their contributions to culture, thereby enriching the barrio’s character as perceived in the eyes of the narrator.



Mario César Gomila

Mario César Gomila was an Argentinian lyricist known for his evocative portrayals of barrios and their deep-seated cultural significance in the landscape of Argentinian tango.