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Temblando

Temblando is a Vals written by Alberto Acuña and recorded by Aníbal Troilo in 1944. The Vals Temblando is written by Alberto Acuña, Aníbal Troilo has recorded Temblando with the singer Francisco Fiorentino.
“Temblando,” translating to “Trembling” in English, evokes a haunting sense of vulnerability and tension. The music or lyrics quiver with raw emotion, as if capturing the delicate balance between fear and passion. It mirrors the heart’s hesitation, a dance on the edge where longing meets uncertainty, resonating with the soul’s deepest tremors.

Vals

Style

Aníbal Troilo

Orchestra

Francisco Fiorentino

Singer

Charrúa (Gualberto Márquez)

Author

Alberto Acuña

Composer

1944/3/30

Date

Francisco Fiorentino
Francisco Fiorentino
Aníbal Troilo
Aníbal Troilo

Discover Other Orchestras

Ángel d’Agostino – Cantando olvidaré – 1943/11/15
Ángel d’Agostino – No aflojés – 1953/2/2
Ángel d’Agostino – Me llaman tango – 1943/4/30
Ángel d’Agostino – Muchacho – 1953/9/3
Ángel d’Agostino – Barrio de tango – 1942/12/30
Orquesta Típica Victor – El 999 – 1927/11/30
Orquesta Típica Victor – Los cardales – 1930/10/11
Orquesta Típica Victor – Virgencita del rocio – 1932/6/16
Orquesta Típica Victor – El manicero – 1931/8/26
Orquesta Típica Victor – El trust de los tenorios – 1936/12/9
Lucio Demare – Dos corazones – 1944/9/25
Lucio Demare – El refrán – 1951/9/20
Lucio Demare – La calle sin sueño – 1957/1/1
Lucio Demare – Mas alla de mi rencor – 1945/6/11
Lucio Demare – Nos encontramos al pasar – 1945/6/11
Alfredo Gobbi – Pelele – 1950/4/18
Alfredo Gobbi – Mi colegiala – 1958/7/7
Alfredo Gobbi – Y algún día – 1957/4/16
Alfredo Gobbi – Remembranza (Remembranzas) – 1948/9/8
Alfredo Gobbi – Orlando Goñi – 1949/3/24

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.

Temblando recorded by other Orchestras

Temblando recorded by other Orchestras

1944/3/30 – Bien porteno – Anibal Troilo
1944/3/30 – El desafio – Anibal Troilo
1944/3/30 – Sombras nada mas – Anibal Troilo
1944/3/30 – Tabaco – Anibal Troilo
1944/3/31 – Recuerdo – Osvaldo Pugliese
Temblando – 1944/3/30 – Anibal Troilo – Francisco Fiorentino
Temblando – 1944/4/26 – Pedro Laurenz – Carlos Bermudez
Temblando – 1979/6/5 – Armando Pontier – Roberto Goyeneche

Lyrics Translation of the Vals Temblando

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

Letra del Vals Temblando

Linda estaba la tarde en que la vide,
el patio de su rancho acomodando
y aunque guapo pa’todo me sentía,
no pude hablarle y me quedé temblando.

Estaba como nunca la había visto,
vestido livianito de zaraza,
con el pelo volcao sobre los hombros
era una virgen que encontré en la casa.

Ni ella ni yo, ninguno dijo nada,
con sus ojazos me siguió quemando,
dejó la escoba que tenía en la mano,
me quiso hablar y se quedó temblando.

Era el recuerdo del amor primero,
amor nacido en una edad temprana,
como esas flores rústicas del campo
que nacen de la noche a la mañana.

Amor que está oculto en los adobes
de su rancho paterno tan sencillo
y en la corteza del ombú del patio
escrito con la punta del cuchillo.

Me di vuelta pisando despacito,
como quien desconfía de una trampa,
envolviendo recuerdos y emociones
entre las listas de mi poncho pampa.

No sé que me pasó, monté a caballo
y me fui galopiando a ríenda suelta,
con todos los recuerdos y emociones
que en las listas del poncho saqué envueltas.

Linda estaba la tarde en que la vide,
el patio de su rancho acomodando.
La tarde en que guapo me sentía
no pude hablarle y me quedé temblando.

English lyrics of the Vals "Temblando"

The afternoon was lovely when I saw her,
arranging the patio of her little house,
and though I felt brave for anything,
I couldn’t talk to her and stayed trembling.

She was like I’d never seen before,
in a light dress of calico,
with hair cascading over her shoulders,
a virgin I found within the home.

Neither she nor I, we both said nothing,
her big eyes kept burning me,
she dropped the broom she held in hand,
wanted to speak and stayed trembling.

It was the memory of first love,
love born in early age,
like those rustic flowers in the fields
that bloom overnight out of the blue.

Love hidden in the adobe walls
of her simple paternal home,
and on the bark of the backyard ombú
etched with the knife’s point.

I turned away stepping softly,
like one wary of a trap,
wrapping memories and emotions
in the stripes of my pampa poncho.

I don’t know what happened, I mounted,
and left galloping at full speed,
with all the memories and emotions
wrapped in the stripes of the poncho I took.

The afternoon was lovely when I saw her,
arranging the patio of her little house.
The afternoon when I felt brave,
I couldn’t talk to her and stayed trembling.

Temblando

Temblando is a Tango written by and composed by Alberto Acuña.

Story behind the Tango Temblando

“Temblando” narrates a moment of personal vulnerability and nostalgic longing through the lens of an individual who encounters a significant person from the past. The narrative unfolds in the serene setting of a rural Argentine patio, where the protagonist sees a woman amidst the familiar simplicity of her home. The song captures an intense emotional response, highlighting the inner turmoil and hesitance that comes when faced with unresolved past emotions. Despite the bravado he feels, the protagonist is rendered speechless, overwhelmed by the presence of this woman who embodies his first love, an experience so profound that it leaves him trembling.

Symbolism of Temblando

The tango is rich with symbolism, employing imagery of rustic, pastoral life to echo themes of innocence and unspoken love. One of the key phrases, “era una virgen que encontré en la casa,” elevates the woman to a sacred, untouched figure within the memories of the protagonist. The “escoba” or broom she holds before dropping, symbolizes a break from routine, and an undeniable moment of personal conflict and longing. The imagery of “adobes de su rancho” and “corteza del ombú del patio” suggests that love and memory are rooted in the land itself, crafting an indelible mark on the protagonist’s soul akin to carvings on a tree. Furthermore, the “poncho pampa” becomes a vessel of memory, wrapping the protagonist in past emotions as he rides away, symbolizing the blending of personal history with cultural identity.

Temblando in Historic Context

Written in 1944 Buenos Aires, “Temblando” reflects a period of Argentine history characterized by a strong affinity for themes of rural life and heartfelt personal experiences. During this time, the tango was more than just music; it was an expression of cultural identity that resonated with the masses, often depicting stories of love, longing, and nostalgia set against the backdrop of changing societal landscapes. The rural references within the lyrics embrace a simpler, more romanticized view of Argentine life, perhaps offering a respite from the urban and political complexities of 1940s Buenos Aires. Such imagery taps into the collective memory and emotion of a nation, valuing heritage and personal history amidst a rapidly modernizing world.

About Alberto Acuña

Alberto Acuña was an influential composer associated with the tango music scene of Buenos Aires. His works are remembered for their emotive lyricism and contribution to the cultural tapestry of Argentina through the tango medium.