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Hermana (2)

Hermana (2) is a Vals written by Miguel Roberto Abrodos and recorded by Alfredo De Angelis in 1958. The Vals Hermana (2) is written by Miguel Roberto Abrodos, Alfredo De Angelis has recorded Hermana (2) with the singer Juan Carlos Godoy.
“Hermana (2)” translates to “Sister (2)” in English. This piece, whether instrumental or sung, whispers the duality of sisterhood—a dance of mirrored souls navigating life’s intricacies together. It captures the silent conversations and shared glances, embodying the unspoken bond that transcends words, echoing the rhythm of a timeless tango.

Vals

Style

Alfredo De Angelis

Orchestra

Juan Carlos Godoy

Singer

Eugenio Majul

Author

Miguel Roberto Abrodos

Composer

1958/9/26

Date

Juan Carlos Godoy
Juan Carlos Godoy
Alfredo De Angelis
Alfredo De Angelis

Discover Other Orchestras

Francini-Pontier – Tan solo por verte – 1950/5/11
Francini-Pontier – Pichuco – 1946/11/13
Francini-Pontier – Arrabal – 1946/10/21
Francini-Pontier – Oyeme – 1947/7/8
Francini-Pontier – Caricias perdidas – 1954/1/15
Juan MAGLIO – Milonguero viejo – 1928/4/2
Osvaldo Fresedo – Siempre es carnaval – 1937/2/22
Osvaldo Fresedo – Mi noche triste – 1942/5/13
Osvaldo Fresedo – Tanguango – 1951/11/21
Osvaldo Fresedo – El pollito – 1961/5/26
Osvaldo Fresedo – Dónde estás – 1959/6/2
Horacio Salgán – Vieja recova – 1951/8/2
Horacio Salgán – Orgullo criollo – 1971/1/1
Horacio Salgán – Shusheta (El aristócrata) – 1951/5/30
Horacio Salgán – La última curda – 1965/1/1
Horacio Salgán – Milonguero viejo – 1957/7/17

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.

1958/9/26 – Que ironia (Ironia) – Alfredo De Angelis
1958/9/24 – Fantasia en tango (Sobre motivos de Brahms) – Orquesta Simbolo Osmar Maderna
1958/9/23 – Merceditas – Orquesta Simbolo Osmar Maderna
1958/10/2 – Cosita linda – Edgardo Donato
1958/9/17 – Cuando rondan los recuerdos – Miguel Calo

Lyrics Translation of the Vals Hermana (2)

This is the translation of the Vals “Hermana (2)” from Spanish to English. The English lyrics of the Vals “Hermana (2)” have been done with AI.

Letra del Vals Hermana (2)

Te debía este vals y aquí lo tienes,
tan simple como el mundo de tus horas,
un pequeño regalo que no quiere
más que darte las gracias de esta forma.
Oh, no llores, si el vals tomó tu nombre
fue al fin porque eres buena y tolerante,
como nadie entendiste mis dolores
y creíste en mis sueños como nadie.

Hermana, hermana,
qué atrás quedó la niñez
la vieja casa que amabas
(el viejo rancho que amabas)
y yo jamás olvidé.
(y el río largo ante él.)
Tu pelo y el mío
prometen un gris,
acaso el otoño
ya esté por aquí.
Hermana, hermana,
rondita tibia y cordial:
abre las manos y guarda
la rosa azul de este vals.

Sin embargo hay un cargo que me abrasa
pues nunca penetré en tus inquietudes
y no fui alguna vez la voz que ansiabas
si un pesar te envolvía entre sus nubes.
Mas, con todo, jamás oí tus quejas
y siempre tus desvelos me auxiliaron
en las horas inciertas de la espera
cuando todo encendía el desencanto.

English lyrics of the Vals "Hermana (2)"

I owed you this waltz and here it is,
as simple as the world of your hours,
a little gift that only wants
to thank you in this way.
Oh, don’t cry, if the waltz took your name
it was finally because you are kind and tolerant,
like no one you understood my pains
and believed in my dreams like no one else.

Sister, sister,
how far behind childhood lies
the old house you loved
(the old ranch you loved)
and I never forgot.
(and the long river before it.)
Your hair and mine
promise a shade of gray,
perhaps autumn
is already here.
Sister, sister,
a warm, cozy circle:
open your hands and keep
the blue rose of this waltz.

Yet there is a burden that scorches me
for I never delved into your worries,
and I was never the voice you longed for
if sorrow enveloped you amongst its clouds.
But still, I never heard your complaints
and always your vigilance aided me
in uncertain hours of waiting
when everything ignited disillusionment.

Hermana (2) by Eugenio Majul

Hermana (2) is a Tango written by Eugenio Majul and composed by Miguel Roberto Abrodos.



Story behind the Tango Hermana (2)

The lyrics of “Hermana (2)” serve as a profound emotional tribute from a sibling to his sister, intertwined with nostalgic reminiscences and a deep sense of gratitude. This waltz is portrayed as a long overdue gift, reflecting simplicity and appreciation, mirroring the ‘simple world’ of the sister’s life. The song captures a shared childhood, the imagery of growing old, and the emotional support provided by the sister during times of distress. With every line, Majul carefully crafts a narrative that is both a personal homage and a universal story of sibling affection and lifelong bonds.



Symbolism of Hermana (2)

Symbolism in “Hermana (2)” enriches its emotional tapestry. The piece uses the waltz itself as a symbol — a “small gift” and a “blue rose,” representing rarity and depth of emotion. The mentioning of ‘gray hair’ symbolizes aging, reflecting on the passage of time and the autumn of life approaching. This symbolism extends to the ‘old house’ and the ‘old ranch,’ conjuring images of a shared and cherished past, grounding the song in a deep sense of place and memory. The waltz thus becomes more than a dance; it is a vessel carrying a lifetime of sibling love and shared experiences.



Hermana (2) in historic Context

“Hermana (2)” was written and recorded during a period in Argentina marked by social and political changes leading up to more tumultuous times in the 1970s. The longing for simpler times and the focus on personal, familial ties reflected in the waltz could be seen as a response to the increasing uncertainties of the period. The song not only captures personal history but also subtly mirrors a societal yearning for the past and the personal sanctuaries found in family connections amid wider societal shifts.



Eugenio Majul

Eugenio Majul was an Argentine lyricist known for his contributions to the Tango genre, capturing deep emotional contexts and personal narratives within his works.