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Pabellón de las rosas

Pabellón de las rosas is a Tango written by José Felipetti and recorded by Juan D’Arienzo in 1935. Juan D’Arienzo has recorded Pabellón de las rosas as an instrumental Tango.
“Pabellón de las rosas,” or “Pavilion of the Roses,” evokes a realm where beauty and emotion intertwine. The original Spanish name suggests a delicate sanctuary, a wondrous place where the soul is embraced by the gentle fragrance of roses. This piece weaves a tapestry of passion and nostalgia, whispering tales of longing and grace within its melodic folds.

Tango

Style

Juan D'Arienzo

Orchestra

Instrumental

Singer

Author

José Felipetti

Composer

1935/12/12

Date

Instrumental
Instrumental
Juan D'Arienzo
Juan D’Arienzo

Discover Other Orchestras

Carlos Gardel – El vagabundo (2) – 1919/1/1
Carlos Gardel – Soy una fiera – 1926/12/16
Carlos Gardel – Echando mala – 1929/3/1
Carlos Gardel – Brisas de la tarde – 1912/1/1
Carlos Gardel – Cuando llora la milonga – 1928/10/20
Armando PONTIER – Verdemar – 1960/7/21
Nuevo Quinteto Real (Horacio Salgán) – Del uno al cinco – 1987/1/1
Nuevo Quinteto Real (Horacio Salgán) – La pulpera de Santa Lucía – 1987/1/1
Nuevo Quinteto Real (Horacio Salgán) – Homenaje a Pedro Laurenz – 1987/1/1
Nuevo Quinteto Real (Horacio Salgán) – La llamó silbando – 1987/1/1
Nuevo Quinteto Real (Horacio Salgán) – Gallo ciego – 1987/1/1
José Garcia – Zorro plateao – 1943/1/13
José Garcia – Fea – 1942/1/23
José Garcia – No pudo ser – 1942/9/17
José Garcia – Adiós adiós corazón – 1942/11/4
José Garcia – Calla bandoneon – 1944/4/7

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.

Pabellón de las rosas recorded by other Orchestras

Pabellón de las rosas recorded by other Orchestras

1935/12/12 – Joaquina – Juan D-Arienzo
1935/12/13 – Es una antigua costumbre del sud (It-s an old southern custom) – Osvaldo Fresedo
1935/12/13 – No me pregunten por que – Osvaldo Fresedo
1935/12/8 – Penas de amor – Juan D-Arienzo
1935/12/8 – Tinta verde – Juan D-Arienzo
Pabellon de las rosas – 1935/12/12 – Juan D-Arienzo – Instrumental
Pabellon de las rosas – 1967/4/27 – Hector Varela – Instrumental
Come, bandoneon, my love has changed,
if we must suffer, let’s suffer together!

The two of us know the pain of the past,
of a love that died before it blossomed.

You must understand, your cry can’t console,
for a heart that’s buried in pain.

Come, bandoneon, sound sad airs,
our hopes are withered, as is my heart.

Today, your crying is my crying,
come, bandoneon, we’re both so alone,
I don’t know why, in our decline,
my life reflects itself in your voice.

Pabellón de las rosas by José Felipetti

Pabellón de las rosas is a Tango written by Victor Soliño and composed by José Felipetti.

Story behind the Tango Pabellón de las rosas

The Tango “Pabellón de las rosas” evokes a profound sense of nostalgia and longing. Its lyrics paint a vivid picture of a past that is both cherished and irretrievable. The main theme revolves around memories tied to a specific place, the “Pabellón de las rosas,” which translates to “Pavilion of the Roses” in English. This location likely serves as a metaphorical space where past loves and experiences converge, highlighting the universal experience of reflecting on one’s youth and the passage of time.

Symbolism of Pabellón de las rosas

The rose pavilion is heavily symbolic within the lyrics, representing a place of beauty, love, and temporary encounters. Roses often symbolize passion and the transient nature of beauty, correlating with the overarching theme of fleeting moments and memories. The Tango uses these floral references to illustrate the ephemerality of life and the bittersweet nature of memories that remain vibrant even as the reality fades away. Key phrases such as “donde el amor fue un reír” (where love was laughter), underscore the joyous yet transient experiences remembered at the pavilion.

Pabellón de las rosas in Historic Context

Argentina in 1935 was a time of political and cultural shifts, with the nation still grappling with the effects of the Great Depression and prelude to more authoritarian regimes. This turbulent backdrop might have influenced the Tango’s themes of nostalgia and yearning for simpler, happier times. “Pabellón de las rosas,” thus, could be seen as a sanctuary from the harsh realities of the outside world, where individuals could immerse themselves in the comfort of their cherished memories.

The Legacy of Victor Soliño and José Felipetti

Victor Soliño, known for his poignant lyrics, captured deep emotional landscapes in his works, which have resonated with audiences across generations. José Felipetti’s composition complements this by offering a melodic structure that enhances the reflective quality of the Tango.