Danza maligna (1929) Letra de Claudio Frollo Música de Fernando Randle
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Dance Malignant (1929) Lyrics by Claudio Frollo, trans. J. Osburn Music by Fernando Randle
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Se arrastran los compases compadrones Del tango que se encoge y que se estira, Su música doliente pareciera Sentir que una amenaza se aproxima. Viviremos los dos el cuarto de hora De la danza nostálgica y maligna, Escuchemos latir los corazones Bajo el numen de Venus Afrodita.
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How they drag us in, the voluptuous beats of The tango, living and dying, expanding, contracting, Their doleful notes like something approaching, Like to a threatened peril or a danger impending. And together we'll have our quarter hour Of this dance most nostalgic and malignant, And the beat we’ll hear is of the hearts of Lovers devoted to Venus Aphrodite.
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Placer de dioses, baile perverso,
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Pleasure of the gods, perverse among dances, El tango is rite, sacrament, and religión, Its altars are our homegrown orchestras And the high priest is its bandoneón. I want to feel myself chained and locked in As though in the jailhouses of my pain, Guarding in silence that half of my soul that Abides as a secret only two know.
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Se arrastran los compases compadrones |
When they drag us in, the voluptuous beats of The tango, as they take possession of your spine, The graze of your hairy curls on my temples In my agony will deliver me the last rites. Come with me into the recesses of this temple Where the ceremony of love will purify all, And together we'll have our quarter hour Of this dance most nostalgic and malignant. |
Claudio Frollo was a lawyer who wrote a legal encyclopedia and founded a law journal as well as writing lyrics. Fernando Randle was a pianist-composer with whom he collaborated on a handful of tangos in 1929-'30. Although dancers know the Enrique Rodríguez version of Danza maligna with the singer Armando Moreno, it was first recorded by Azucena Maizana, an imaginative, vocally nimble artist known for dressing as a gaucho.
Maizani and Argentina recorded all of the stanzas. The Rodriguez-Moreno leaves off the final, its ominous import subsumed in the very sort of orchestral music represented in the lyrics. In that way, it could be said to "realize" the song. Here it is danced by Geraldine Rojas and Javier Rodríguez at the legendary Niño Bien milonga in Buenos Aires.
Notes
Despite numerous final or next-to-last vowels that echo each
other, this letra does not have obvious end rhymes. Religión and
bandoneón stand out in the second stanza; even at that, the rhyme is only on the last syllables and doesn't reflect a pattern. I’ve retained the Spanish since the words are recognizable to an English speaker, as well as keeping El tango in the same sentence. This gives the
cultural claim its due and suggests something above the
ordinary, sacred or holy, like Latin in the old masses. Orquestas criollas
is not self-explanatory and needed to be translated. Criolla/o has a special resonance in the Spanish-speaking Americas, representing the aesthetic of
a colonized continent, a mix of European, African, Indigenous, and Asian
heritages. “Creole” is an English synonym but too linked to francophone cultures to work in this context. I passed on “New World” as Eurocentric; “autochthonous”
belongs in a graduate thesis; "mixed" lacks a link to the soil; so I settled on “homegrown.” The first and last
stanzas have an interesting reference to the couple dancing together for a
quarter hour. Renée suggested a possible relation to the Spanish expression tener
un cuarto de hora, which implies a moment in the sun, akin to the
Warholian “fifteen minutes of fame.” It's an appealing nuance that I’ve tried to hint at.
—John Osburn
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