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La vuelta del montonero (Gloria a Entre Ríos)

La vuelta del montonero (Gloria a Entre Ríos) is a Milonga written by Antonio Benítez and recorded by Aníbal Troilo in 1958. The Milonga La vuelta del montonero (Gloria a Entre Ríos) is written by Antonio Benítez, Aníbal Troilo has recorded La vuelta del montonero (Gloria a Entre Ríos) with the singer Ángel Cárdenas.
The title “La vuelta del montonero (Gloria a Entre Ríos)” translates to “The Return of the Rebel Fighter (Glory to Entre Ríos)” in English. This evocative piece pays homage to the spirit of freedom fighters returning triumphant, their struggles and sacrifices echoing through the vibrant land of Entre Ríos. The melody weaves a tapestry of pride and resilience, celebrating a region steeped in history and courage.

Milonga

Style

Aníbal Troilo

Orchestra

Ángel Cárdenas

Singer

Claudio Martínez Payva

Author

Antonio Benítez

Composer

1958/12/15

Date

 Ángel Cárdenas
Ángel Cárdenas
Aníbal Troilo
Aníbal Troilo

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Lyrics Translation of the Milonga La vuelta del montonero (Gloria a Entre Ríos)

This is the translation of the Milonga “La vuelta del montonero (Gloria a Entre Ríos) ” from Spanish to English. The English lyrics of the Milonga “La vuelta del montonero (Gloria a Entre Ríos) ” have been done with AI.

Letra del Milonga La vuelta del montonero (Gloria a Entre Ríos)

Güenas noches. Pedro Argüello,
un escapao… no sé cómo
qu’estando cuasi de lomo
no lo han pasao a degüello;
de un galope sin resuello
me trujo mi doradillo,
soy soldao de mi caudillo
y a fe de güén entrerriano,
pa’ los amigos la mano,
pa’ los otros… el cuchillo.

Si hay gente de otro partido
artiguistas o porteños
que quieran hacerse dueños
d’este suelo en qu’he nacido,
Como de encargo he venido
pa’ que dentren a servirse:
campo tendrán pa’ lucirse
ande empiece la junción
y si tienen corazón
no se irán sin divertirse.

Si he cáido al ruedo, cavilo,
no será pa’ que me asusten,
he traído pa’ los que gusten
ricién asentao el filo.
Una luz de rejucilo
me alumbra el paso apurao
y aunque ando juído y cortao
y desconozco la cancha,
el que quiera hacer pat’ ancha
que se ponga pa’ un costao.

No crean que los provoca
un zafao de nacimiento,
ande más peligro siento
menos me gasto de boca.
Naide sabe a quién le toca
si hay “quintada” ser el quinto,
soy pintor y cuando pinto,
pinto flor en pinta brava:
¡El que me pise la taba
tendrá que tantearse el cinto!
Dejuro no es de Entre Ríos
el que suponga que abuso,
Dios o Mandiga me puso
como un tapial pa’ los míos.
Ranchos y campos vacíos
han sublevao mi dolor,
ande encuentre un invasor
ahí comienza mi venganza:
con uno que háiga me alcanza,
pero sin son más… mejor.

Ansí soy y pa’ esto llego,
si rodiao y presidiario
me le hice humo al adversario
como una rama en el “juego”.
Que se confíen les ruego
en mi ley de rumbiador,
juro qu’en el caso pior
lanza en mano y Dios mediante,
el que no salga triunfante
podrá morir con honor.

No han de blanquearme las canas
sin que a esos contrarios vea,
cuando el jefe los arrea
aomo a güeyes, con picanas.
Ya me güelve gusto a ganas
de otro Cepeda, cualquiera;
pa’ que sientan, lo quisiera
and’entren a dispersarse,
la vergüenza de Balcarce
juyendo en la polvadera.

Sepan que ha llegado el caso
de juntarnos pa’ ese encuentro
ahura el contrario est’adentro
y habrá que sacarlo a lazo:
Pa’ eso pide nuestro brazo
la tierra que nos acuna.
Entre Ríos no hay más que una
y aunqu’ella no es la nación
mientras no haiga leal unión
ella es la patria, o denguna.

Firme el Suremo Entrerriano
ya se’ajustao las lloronas
y le ha puesto las caronas
a su overo porcelano.
Un malambo mano a mano
V’a brindarle a Mascarilla,
después que no háiga cuchilla
ande quede un mal venido,
pa’ festejar los convido
ese triunfo, en la otra orilla.

Se le’acabao la paciencia
al que con tropa a caballo
llegó a la Plaza de Mayo
vencedor, pero a conciencia.
Su generosa prudencia
rispetó pueblo y cuarteles
y pa’ ejemplo de sus fieles
noble, honrao y justiciero
pensó en la patria, primero,
que en agravios y laureles.

Ni el pan qu’entonces comimos
jué a cuenta de la victoria;
pagamos con sangre… y gloria,
el gasto que les hicimos.
La libertá que les dimos
sirvió pa’ que al día siguiente
proclamando falsamente
sus embrollos de escribanos
nos palmiaran como hermanos
pa’ engañarnos nuevamente.

Esta es la esperencia triste
que dende Pilar sacamnos,
por eso al servicio estamos
del hombre que los resiste.
Pa’ vestirse ella, desviste
Güenos Saire a los dimás,
su gobierno lenguaraz
nada ofrece y tuito pide
y al pobre que se descuide
le hund’el fierro por atrás.

Y es puro humillarse al cuete
dir sacándose el sombrero,
será una mano de acero
la que le baje el copete.
Tenaza que cuando apriete
no le afloje ni con rezo,
guerra que l’entre hasta el güeso
pa’ que sepa de una vez
que ha risuelto hacerse juez
cansao de abusos, el preso.


Si llega a salirnos güena
la torta que el jefe amasa
dispues de limpiar la casa
vamos a barrer l’ajena.
Esto lo digo con pena
pero en familia nutrida
juerza es pa’ tenerla unida
que alguien maneje el cencerro,
y reparta a cara ‘e perro
deber, trabajo y comida.

No saben mis pocas luces
si dejaremos en esta
de andar con la pal’a acuesta
sembrando el suelo de cruces.
Semos medios avestruces
los gauchos, pa’ compriender,
mas he comenzao a crer
que si tanto padecemos
es porque al final tenemos
algo muy grande que hacer.

En nuestro más pobre rancho
ande la raza se cría
tal vez empolle algún día
güevos de águila el carancho.
La huella que abre Don Pancho
tiene albores de destino
y ese ha de ser el camino
que un entrerriano, siñuelo,
le señale, rumbo al cielo
a tuito el pueblo argentino.


El que a lonja nos tratara
igual tratamiento espere,
Pancho Ramírez lo quiere
y lo afirma mi tacuara.
Quien tenga sangre en la cara
sabrá qué cosas lo obligan,
es la ocasión pa’ que digan
lo que son y lo que pueden:
a los maulas que se queden
y los demás que me sigan.

No es pa’ cantar la milonga
que los convido a ésta fiesta
en las patriadas como ésta
el baile es de meta y ponga.
Si la bala no se tonga
quiebra el valiente sus bríos,
naides sienta escalofríos
cuando chiye la coruja,
frente al clarín que rempuja
gritemos: “¡Viva Entre Ríos!”.

English lyrics of the Milonga "La vuelta del montonero (Gloria a Entre Ríos) "

Good evening. Pedro Argüello,
an escapee… I don’t know how,
being almost defeated,
I’ve not been slaughtered yet;
with breathless speed,
my yellow horse brought me here,
I’m a soldier for my leader,
and with a good Entre Ríos spirit,
for friends I offer my hand,
for others… the knife.

If there are people of another party,
followers of Artigas or from Buenos Aires,
who wish to take this land
where I was born,
I have come precisely
for them to take what they want:
they’ll have fields to show off
where the meeting begins,
and if they have heart,
they won’t leave without fun.

If I’ve come into the ring, I think,
it’s not to be frightened,
I’ve brought for those who want
a freshly sharpened blade.
A flashing light
guides my hurried step
and though I’m fleeing and cut off
and don’t know the field,
whoever wants to act big
should step aside.

Don’t think you’re provoked
by someone reckless by birth,
where I feel the most danger
I talk the least.
Nobody knows who’s up next
if a “fifth” is picked,
I’m a painter and when I paint,
I paint a brave flower:
Whoever steps on my shadow
will have to check their belt!
Surely, they are not from Entre Ríos
who thinks I abuse,
God or Devil made me
like a wall for my people.
Empty ranches and fields
have stirred my pain,
wherever I find an invader,
there begins my vengeance:
if there’s one I’ll manage,
but if there’s more… better.

That’s how I am and why I’m here,
even surrounded and imprisoned
I vanished like smoke before the adversary
like a branch in the “game.”
I ask them to trust
in my law as a tracker,
I swear in the worst case
with lance in hand and God helping,
the one who doesn’t emerge triumphant
can die with honor.

My hair won’t go gray
without seeing those foes
when the leader drives them
like oxen with goads.
I’m eager again
for another Cepeda, any;
so they feel it, I’d wish
as they scatter,
the shame of Balcarce
fleeing in the dust.

Know that the time has come
to gather for this encounter
now the enemy is inside
and must be chased out with a rope:
For that, our arm is called
by the land that cradles us.
There is only one Entre Ríos
and although it’s not a nation
while there’s no loyal union
it is the homeland, or it’s nothing.

Firm the Southern Entre Riano
has already tightened the reins
and put saddles
on his porcelain overo.
A mano a mano malambo
he’ll offer Mascarilla,
later, there won’t be a blade
where an unwelcome one stays,
to celebrate I invite you
with that triumph, on the other shore.

His patience has run out
the one who with troops on horseback
arrived at Plaza de Mayo
victorious, but conscious.
His generous prudence
respected people and barracks
and as an example to his faithful
noble, honorable, and just
he thought of the country first
before grievances and laurels.

Not even the bread we then ate
was on victory’s account;
we paid with blood… and glory,
the cost we caused them.
The freedom we gave them
served so that the next day
falsely proclaiming
their scribes’ mess
they patted us like brothers
to deceive us again.

This is the sad experience
we draw from Pilar,
that’s why we are in service
of the man who resists them.
To dress herself, Buenos Aires
strips the rest,
its talkative government
offers nothing and demands everything
and to the poor who don’t notice
it sticks the sword from behind.

And it’s just futile humiliation
to take your hat off,
an iron hand will be
the one to lower its conceit.
Pliers that when they squeeze
won’t let go even with prayer,
a war that penetrates to the bone
so it finally knows
that it has resolutely
made the prisoner a judge tired of abuse.

If the pie that the leader bakes
turns out well for us
after cleaning the house
we will sweep the foreign.
I say this with sorrow
but in a large family
strength is needed to keep it united
by someone guiding the bell,
and distributing face-to-face
duty, work, and food.

My few lights don’t know
if we’ll leave this behind
of wandering with the shovel over the shoulder
sowing the soil with crosses.
We’re somewhat ostriches
us gauchos, in understanding,
but I have begun to believe
that if we suffer so much
it’s because

La vuelta del montonero (Gloria a Entre Ríos) by

La vuelta del montonero (Gloria a Entre Ríos) is a Tango written by and composed by Antonio Benítez.

Story behind the Tango La vuelta del montonero (Gloria a Entre Ríos)

The Tango “La vuelta del montonero (Gloria a Entre Ríos)” is an evocative lyrical narrative that reflects the themes of valor, sacrifice, and patriotism associated with the historical context of Latin American wars of independence and civil conflicts. Set in Argentina, it follows the journey of a courageous soldier, Pedro Argüello, who recounts his escape and return to continue fighting for his province, Entre Ríos. The lyrics delve into themes of loyalty, identity, and resistance against foreign domination, speaking to the heart of Argentine pride and the spirit of the montoneros—irregular soldiers who played a significant role in these conflicts.

Symbolism of La vuelta del montonero (Gloria a Entre Ríos)

The use of vivid, rustic language throughout the lyrics reflects the soldier’s rugged lifestyle and unwavering commitment to his cause. Phrases like “pa’ los amigos la mano, pa’ los otros… el cuchillo” signify a clear stance on friendship and enmity, reinforcing the dichotomy of loyalty and conflict. The “doradillo” (a particular kind of horse) symbolizes freedom and swiftness, integral to the tale of escape and return. Invoking elements like the “taba” (a game piece from a regional game) in “¡El que me pise la taba tendrá que tantearse el cinto!” metaphorically plays into the game of fate and chance in life and war, underscoring the underlying tension and unpredictability. The lyrical “malambo mano a mano V’a brindarle a Mascarilla” points to the celebratory nature of dance after battle, serving as a traditional allegory for confrontation and prowess.

La vuelta del montonero (Gloria a Entre Ríos) in historic Context

Written in 1958, the Tango draws from Argentina’s historical struggle for autonomy and the consequential civil wars that marked its 19th-century narrative. The references to pivotal battle sites such as “Cepeda” and “Balcarce” evoke memories of those who fought and the symbolic weight these locations carry in Argentine history. Entre Ríos becomes a poignant setting within the song, personified as a singular, cherished homeland for which the protagonist is willing to fight and die, even if it stands apart from the broader national identity. The lyrical references to Plaza de Mayo and the imagery of triumph, prudence, and justice conveyed a longing for patriotic integrity, echoing the aspirations and frustrations of post-war Argentina in a decade characterized by political volatility.

Antonio Benítez

Antonio Benítez was a renowned composer known for his passion for traditional Argentine folk music. His works often capture the essence of Argentine cultural identity and historical narratives through compelling storytelling and evocative music.