Letra de José Francisco Razzano
Música de Carlos Gardel
Music by Carlos Gardel
Lyrics by José Francisco Razzano The oriental. Singer. (February
25 1887 – April 30 1960) José Francisco Razzano was born in Montevideo
(capital of the Oriental Republic of the Uruguay), to few steps of the
Square Independence in a house of the street Old Police N° 14,
February 25 1887. Dos years he was two years old when after his
father’s disappearance, his mother moves to Buenos Ai-res,
neighborhood of Balvanera (in that time suburb, integrated today to
the central area). José Razzano died in Buenos Aires April 30 1960.
Controversial character tried to brake many things that Gardel wanted
to make until it was replaced as Gardel manager by Armando Defino. He
had in Cris-tina, RazzanoŽs daughter a devote defender of his
performance with Carlitos
Style (1) August 13 1912
There were three recordings, that is:
Number of the main test of the recording house 56748-1. Nº of
publication order or of recording of the first appearance of the
title: 1. Sequential Nº of recording: 1 Serial number of the
original record T728 Side A. Duration in minutes: seconds 3:26
Recording carried out in the system acoustic mechanic, in Buenos Aires
and the plates pressed in Brazil. Columbia. The accompaniment in the
guitar belongs to the same Carlos Gardel. Number of the main test of
the recording house 35. Sequential Nº of recording: 20, April 9 1917
Serial number of the original master disk 18007 Side B. Acoustic
recording, made in Buenos Aires for Max Glücksman in the stamps
Gardel-Razzano, National-Odeón and Creole-Odeón. The exact dates
of the recordings are ignored. The guitar accompaniment belongs to
José Razzano and José El negro Ricardo. Number of the main test of
the house recording 7585-1 sequential Nº of recording: 928, November
6, 1933 Serial number of the disk original 18902 Side B. With the
accompaniment of the guitarists: Horacio Pettorossi who in 1932, in
Paris, intervened as performer and actor in the movies Espérame and
Melodía de arrabal next to Gardel. He returned to Buenos Aires and
accompanied Gardel until July of 1934 when he had to return for not
being able to act there. Desiderio Barbieri, the second guitar,
the El Negro Barbieri was the oldest guitar-ist when the accident
took place in Medellín (where he died). He was incorporated in 1921,
Gardel called it Barba, Ángel Domingo Riverol who died in Medellín,
two days after the air accident where Gardel perished, was the one
that replaced José Ricardo and Domingo Julio Vivas who was inte-grated
to the team of the singer’s accompanying guitarists in 1931, for
suggestion of Guillermo Bar-bieri, until ends of 1933. In the book
Las mejores anécdotas del tango of Héctor Ángel Benedetti, Planeta
2000, appears the following information that I transcribe textually
The C! olonel Carlos Es-cayola Medina wrote the style El tirador
plateado. reference of Nicolás Lefcovicti in the book Estu-dio de la
discografía de Gardel (page 269), picking up a news of Erasmo Silva
Cabrera (AvIis). Sos mi tirador plateado whose title was
transformed later to El tirador plateado, was the first re-cording
of Gardel accompanying himself with guitar (Record Columbia N0 T 728,
side A, year 1912). The mention is attractive because the firmest
hypotheses about the identity of the unknown Uruguayan father of
Gardel almost invariably aim to the colonel Carlos Félix Escayola
Medina (1845-1915). It is known that this military, strong man in the
politics of Tacuarembó (R. 0. of the Uru-guay) showed some
inclination for the guitar, the mandolin, the piano, the song and the
theater. However, to attribute him El tirador plateado it is
excessively chancy. The label of the record only mentions Carlos
Gardel as author of it. The singer recorded this style ! twice, and
for these new publi-cations (one of 1917 and the other of 1 933) there
figure as authors this time Carlos Gardel and José Razzano. Recent
investigations settled down as that the true author of the verses to
Óscar Orozco that published them in the year 1900 with the title
Retruco
Theme: Estilo with historical atmosphere.
You are ( sos) the silver tirador ( palteao)
that my to subject chiripá ,
you are ( sos) axes of my cart,
you are ( sos) tuses of my toasted ( tostao ),
you are ( sos) the embroidered handkerchief ( bordao)
of a poor gaucho singer,
you are ( sos) the better prienda ( sic)
of my walk chapeao ,
you are ( sos) yapa of my sobeo ,
you are ( sos) trienza of my arreador.
You are ( sos) the culantrillo bush fern
that it grows in the spring,
you are ( sos) sheath of my dagger,
you are ( sos) the farda where I thrash;
you are ( sos) wings of my lomillo
working Brazilian,
you are ( sos) tinder of my tinderbox,
you are ( sos) cloth of my baggy one,
you are ( sos) filly raised orphan (a guacha),
for that reason so much I love you.
And to think that you keep me (guardás)
in your chest a small corner (rinconcito)
where it flames a fire
that he doesn’t never fade…
I sit down to run off with more and more
the flame in my idolatry;
because my biggest happiness
and my better dream
it is to go to horse ( jinetear) in your love
and to get tied up ( maniarte) to my soul.
Notes
Chiripá: masculine external Garment of to dress used by the gauchos
from the Argentina, Big River of the South (Brazil), the Paraguay
and the Uruguay and that it consisted on a rectangular cloth that
spent for among the thighs and it was held, for their later and
previous ends, to the waist by means of a strip, ceñidor or cinto.
2. [ masculino]Argentina Diaper that puts on to the children in
their first years and that, for their form, it resembles the
chiripá.
Tuses: Tuse is the tusar action. To the tuse, way of cutting the
manes of the hair leaving cuts them, without there is any longer one
that another. It could be mispronuntiation of Gardel, it is of «
tusas», the manes of the » tostao.»
Tostao: An animal of dark color.
Prienda: he/she is Captivated. The gaucho’s woman. in plural pieces
that form the mounts. I play infalntil in that one of the
participants moves in front of the other ones, stopping in front of
each one to leave or to feign that one leaves a ring among the
hands. When finishing the journey one of the players debit side to
try to guess who has the jewel. If it doesn’t guess right debit
side to pay a garment or to replace who has just made the journey.
It is also known as» the ring runs.»
Chapeao: Veneered. in foil form.
Yapa: it Comes from the quichua yapani, attaché. I give that one
gives of above, among us the antioqueños it would be said de ñapa.
Sobeo: Of the lat. subiugium. 1. m. Strong belt with which he/she
gets tied up to the yoke the lance of the car or the tim Trienzas:
it Braids. f. Group of three or more brunches that are interwoven,
crossing them alternatingly. || f. Hairstyle that one makes
interweaving the long hair. || f. Bun in braid form. || f. They
come. Cord of the shoes. Culantrillo: Fern or Hair of Venus, name
common of a gender of ferns with frondes bipinnadas and cuneiform
alternating pínnulas on the thin petioles of the frondes. The well
fern grows in humid stones and old walls, mainly near the sea; its
frondes is considered enemagogas and pectoral and they are part of
the composition of the fern syrup and of the garux elixir. He/she
is so much in the south of Europe like in the temperate and tropical
regions of America. In this continent the fern of Mexico is given
that is also included as pectoral and the fern of Canada.
Scientific classification: the ferns form the gender Adiantum, of
the family of the Polipodiáceas (Polypodiaceae). The scientific
name of the well fern is Adiantum capillusveneris; that of the fern
of Mexico, Adiantum terrerum, and that of the fern of Canada,
Adiantum pedatum.