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Milonga del novecientos

Milonga del novecientos is a Milonga written by Sebastián Piana and recorded by Carlos Gardel in 1933. The Milonga Milonga del novecientos is written by Sebastián Piana, Carlos Gardel has recorded Milonga del novecientos with the singer Guit. Guillermo Barbieri, Ángel Domingo Riverol, Horacio Pettorosi, Domingo Julio Vivas.
“Milonga del novecientos,” translated as “Milonga of the Nineteen Hundreds,” echoes the soulful dance of a bygone era. This piece weaves the rhythms and stories of the early 20th century, capturing the vibrancy and passion of its time. Each note is a whisper from the past, inviting listeners to step into the swirling embrace of tango’s golden age.

Milonga

Style

Carlos Gardel

Orchestra

Guit. Guillermo Barbieri, Ángel Domingo Riverol, Horacio Pettorosi, Domingo Julio Vivas

Singer

Homero Manzi

Author

Sebastián Piana

Composer

1933/6/12

Date

Guit. Guillermo Barbieri, Ángel Domingo Riverol, Horacio Pettorosi, Domingo Julio Vivas
Guit. Guillermo Barbieri, Ángel Domingo Riverol, Horacio Pettorosi, Domingo Julio Vivas
Carlos Gardel
Carlos Gardel

Discover Other Orchestras

Los señores del tango – Milonguero viejo – 1962/10/8
Orquesta Típica Victor – Seguime corazón – 1934/12/7
Orquesta Típica Victor – Nuestra intriga de amor – 1941/5/21
Orquesta Típica Victor – Suspiros de España – 1939/10/4
Orquesta Típica Victor – Cansancio – 1936/4/3
Orquesta Típica Victor – Amor y celos – 1933/7/26
Francisco Rotundo – El pollero – 1949/5/23
Francisco Rotundo – Entre sueños – 1950/3/23
Francisco Rotundo – Llorando la carta – 1951/9/10
Francisco Rotundo – Sus ojos se cerraron – 1955/12/6
Francisco Rotundo – Mal de amores – 1956/5/22
Florindo Sassone – El patio de la morocha – 1951/6/13
Florindo Sassone – El choclo – 1962/10/5
Florindo Sassone – Bomboncito – 1968/5/28
Florindo Sassone – Preñado de gris – 1975/1/1
Florindo Sassone – Isla de Capri – 1974/1/1

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.

Milonga del novecientos recorded by other Orchestras

Milonga del novecientos recorded by other Orchestras

1933/6/12 – Araca la cana – Carlos Gardel
1933/6/12 – Mis flores negras – Carlos Gardel
1933/6/9 – En la lejania – Roberto Firpo
1933/6/9 – Vieja iglesia – Roberto Firpo
1933/6/16 – Araca la cana – Francisco Canaro
Milonga del novecientos – 1933/6/12 – Carlos Gardel – Guit. Guillermo Barbieri
Angel Domingo Riverol
Horacio Pettorosi
Domingo Julio Vivas
Milonga del novecientos – 1933/5/8 – Francisco Canaro – Ernesto Fama

Lyrics Translation of the Milonga Milonga del novecientos

This is the translation of the Milonga “Milonga del novecientos” from Spanish to English. The English lyrics of the Milonga “Milonga del novecientos” have been done with AI.

Letra del Milonga Milonga del novecientos

Me gusta lo desparejo

y no voy por la ‘vedera’.

Uso funghi a lo ‘Massera’,

calzo bota militar.

La quise porque la quise

y por eso ando penando,

se me fue ya ni sé cuándo,

ni se cuándo volverá.



Me la nombran las guitarras

cuando dicen su canción.

Las callecitas del barrio

y el filo de mi facón.

Me la nombran las estrellas

y el viento del arrabal.

No sé pa’ qué me la nombran

si no la puedo olvidar.

Soy desconfiao en amores,

y soy confiao en el juego.

Donde me invitan me quedo

y donde sobro también.

Soy del partido de todos

y con todos me la entiendo,

pero váyanlo sabiendo

¡soy hombre de Leandro Alem!



No me gusta el empedrao

ni me doy con lo moderno.

Descanso cuando ando enfermo

y después que me he sanao.

La quiero porque la quiero

y por eso la perdono.

No hay nada peor que un encono

para vivir amargao.

English lyrics of the Milonga "Milonga del novecientos"

I like the uneven

and don’t walk on the ‘sidewalk’.

I wear mushrooms ‘Massera’ style,

sport military boots.

I loved her because I loved her

and that’s why I’m suffering,

she left, I don’t even know when,

nor when she will return.

The guitars name her

when they play their song.

The little streets of the neighborhood

and the edge of my knife.

The stars name her,

and the wind from the outskirts.

I don’t know why they name her

if I can’t forget her.

I’m distrustful in love,

and trusting in the game.

Where I’m invited, I stay

and where I’m not wanted as well.

I belong to everyone’s side

and get along with everyone,

but let it be known

I am a man of Leandro Alem!

I don’t like cobblestones

nor do I go for modern things.

I rest when I’m sick

and after I’ve recovered.

I love her because I love her

and that’s why I forgive her.

There’s nothing worse than a grudge

to live bitterly.

Milonga del novecientos by Homero Manzi

Milonga del novecientos is a Tango written by Homero Manzi and composed by Sebastián Piana.



Story behind the Tango Milonga del novecientos

The lyrics of “Milonga del Novecientos” reflect a deep sense of nostalgia and personal reflection. The speaker describes their unconventional lifestyle, marked by disarray and self-imposed solitude. The repeated reminiscence of a lost love illustrates the speaker’s ongoing struggle with heartache, hinting at the significant emotional imprint left by this past relationship.



Symbolism of Milonga del novecientos

“Me gusta lo desparejo” exemplifies the speaker’s embrace of life’s imbalances, symbolizing a rejection of societal norms and pathways. The mention of “uso funghi a lo ‘Massera'” and “calzo bota militar” symbolizes a mix of personal style and roughness, grounding the speaker in a working-class identity. The imagery of the stars, the neighborhood streets, and the facón (knife) invokes a deep connection to the traditions and struggles of the suburban lower classes of Argentina. Through such symbols, Manzi crafts a persona that carries both the sorrow of personal loss and the pride of resilience.



Milonga del novecientos in historic Context

Written in 1933, “Milonga del Novecientos” emerges from an Argentina grappling with political instability, economic pressures, and the birth of populist movements. Manzi’s reference to Leandro Alem, founder of the Radical Civic Union and a popular figure in Argentine politics, situates the tango within a discussion about political allegiance and identity. Such historical elements underscore the turbulent socio-political landscape that influenced the cultural expressions of the time, particularly in Buenos Aires, a melting pot of cultural and political fervor.



Homero Manzi

Homero Manzi was a pioneering Argentine tango lyricist and filmmaker, celebrated for his evocative portrayal of the working-class neighborhoods of Buenos Aires and their cultural norms.