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Derecho viejo

Derecho viejo is a Tango written by Eduardo Arolas and recorded by Julio De Caro in 1926. Julio De Caro has recorded Derecho viejo as an instrumental Tango.
The piece “Derecho Viejo,” translated to “Old Law,” evokes a timeless dance through the echoes of tango. It speaks of an era where tradition was the compass guiding every step in the milonga’s embrace. The music reverberates with history’s rhythm, telling tales of passion and the whispers of lives lived by unwavering codes.

Tango

Style

Julio De Caro

Orchestra

Instrumental

Singer

Gabriel Clausi

Author

Eduardo Arolas

Composer

1926/1/1

Date

Instrumental
Instrumental
Julio De Caro
Julio De Caro

Discover Other Orchestras

Francisco Rotundo – Ebrio – 1956/8/1
Francisco Rotundo – Sobre el pucho (Un callejón en Pompeya) – 1951/9/10
Francisco Rotundo – Un infierno – 1953/12/14
Francisco Rotundo – Pa’ mí es igual (Siempre amigos) – 1954/9/21
Francisco Rotundo – Llorando la carta – 1951/9/10
Astor Piazzolla – Adiós Nonino – 1961/1/28
Astor Piazzolla – Cargamento – 1948/7/8
Astor Piazzolla – La última curda – 1982/5/30
Astor Piazzolla – Inspiración – 1947/1/15
Astor Piazzolla – Decarisimo – 1961/1/1
Francini-Pontier – Para lucirse – 1950/3/22
Francini-Pontier – Por una muñeca – 1955/3/2
Francini-Pontier – A la guardia vieja – 1952/10/24
Francini-Pontier – Derecho viejo – 1953/10/23
Francini-Pontier – A su memoria – 1947/3/5
Rodolfo Biagi – Adiós pampa mía – 1946/1/31
Rodolfo Biagi – Canaro – 1965/1/1
Rodolfo Biagi – Nada – 1944/5/9
Rodolfo Biagi – Santa Milonguita – 1955/11/4
Rodolfo Biagi – Loca de amor (La loca de amor) – 1938/11/15

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.

Derecho viejo recorded by other Orchestras

Derecho viejo recorded by other Orchestras

1926/1/1 – Agua corriente – Julio De Caro
1926/1/1 – Farolito de mi barrio – Julio De Caro
1926/1/1 – Guardia vieja – Julio De Caro
1926/1/1 – La casita esta triste – Julio De Caro
1926/1/1 – La plegaria – Julio De Caro
Derecho viejo – 1939/7/17 – Juan D-Arienzo – Instrumental
Derecho viejo – 1948/9/23 – Juan D-Arienzo – Instrumental
Derecho viejo – 1963/11/13 – Juan D-Arienzo – Instrumental
Derecho viejo – 1945/5/28 – Osvaldo Pugliese – Instrumental
Derecho viejo – 1927/4/19 – Osvaldo Fresedo – Instrumental
Derecho viejo – 1941/12/30 – Osvaldo Fresedo – Instrumental
Derecho viejo – 1959/6/2 – Osvaldo Fresedo – Instrumental
Derecho viejo – 1957/4/8 – Hector Varela – Instrumental
Derecho viejo – 1966/3/24 – Florindo Sassone – Instrumental
Derecho viejo – 1953/10/23 – Francini-Pontier – Instrumental
Derecho viejo – 1957/8/7 – Armando Pontier – Instrumental
Derecho viejo – 1926/1/1 – Julio De Caro – Instrumental
Derecho viejo – 1936/8/10 – Julio De Caro – Instrumental
Derecho viejo – 1953/8/5 – Julio De Caro – Instrumental
Derecho viejo – 1934/6/1 – Orquesta Tipica Victor – Teofilo Ibanez

Letra del Tango Derecho viejo

Tango de mi ciudad, malevo y sensual,
canyengue y tristón, color de arrabal.
Señor de salón, tenés emoción
de noche porteña.
Vuelve para surgir en danza triunfal
canción sin igual que hace sentir
con tanta pasión en el corazón
su abrazo de amor.

Oigo el cantar de un triste bandoneón,
que llora en su canción la pena de un amor
que nunca pudo ser, por causa de creer
en locos berretines.
Todo pasó, no quiero recordar
el tiempo que se fue,
ya nunca volverá la dicha de tu amor
para poder soñar con vos en mi arrabal.

Qué dulzura hay en tu voz,
che, bandoneón, con tu chamuyo reo.
Tango lindo y querendón, nobleza de arrabal,
amores de otros tiempos…
Sigue, sigue tu canción
para alegrar esta velada linda,
suena, suena bandoneón, que siempre tu canción
está en el corazón.

English lyrics of the Tango "Derecho viejo"

Tango of my city, rogue and sensual,
dapper and melancholic, hue of the suburbs.
Lord of the ballroom, you carry the thrill
of a Buenos Aires night.
Return to emerge in triumphant dance
a song without equal that makes one feel
with such passion in the heart
its embrace of love.

I hear the song of a sad bandoneon,
crying in its tune the sorrow of a love
that could never be, for believing
in foolish whims.
It’s all in the past, I don’t want to remember
the time that has gone,
the joy of your love will never return
to dream with you in my slum.

What sweetness there is in your voice,
hey, bandoneon, with your streetwise charm.
Beautiful and loving tango, nobility of the slums,
loves from other times…
Continue, continue your song
to brighten this beautiful evening,
play, play bandoneon, for your song
is always in the heart.

Derecho viejo by Gabriel Clausi

Derecho viejo is a Tango written by Gabriel Clausi and composed by Eduardo Arolas.

Story behind the Tango Derecho viejo

The lyrics of “Derecho viejo” paint a vivid picture of the Buenos Aires cityscape, capturing the emotional depth of its streets and culture. It speaks of the tango as an embodiment of the city—both refined and rough, melancholic yet sensual. The tango is personified as having the capacity to display deep emotions that are quintessential to the nightlife of Buenos Aires. This song is an ode to the unique, passionate embrace that tango offers—an embrace equated with love.

Symbolism of Derecho viejo

The central symbolism of “Derecho viejo” revolves around the bandoneón, whose music personifies the soul of Buenos Aires. Its sound, described as capable of crying over a lost love, emphasizes the theme of nostalgia and unrequited passion. Phrases like “oigo el cantar de un triste bandoneón” and “che, bandoneón, con tu chamuyo reo” highlight the deep connection between the instrument’s melancholic tone and the city’s romantic hardships. The repetitive invocation of the bandoneón signifies not merely an instrument but a vessel carrying the collective emotional history of Buenos Aires’ inhabitants.

Derecho viejo in historic Context

“Derecho viejo,” which translates to “Old Right” in English, reflects a sense of longing for traditions amid a rapidly evolving society during the 1920s in Argentina. During this period, Buenos Aires was a melting pot of cultures, where tango music began to symbolize a bridge between the past and the present. These lyrics echo the transformation of local neighborhoods (arrabales) into cosmopolitan hubs, juxtaposing ‘the noble savagery of the outskirts’ against burgeoning urban sophistication. The tango thus becomes a timeless thread connecting diverse cultural expressions.

Gabriel Clausi

Gabriel Clausi, also known by his nickname “El Chula,” was an influential Argentine tango composer and conductor, celebrated for his contributions to the traditional tango landscape.