The language uses onomatopoeia (sound painting) [1] to intensify expression, natural sounds are imitated independently of a language, but using its phonemic repertoire, and possibly even put into words. Applied to music, the same approach is used, but in the language of music, executed by musical instruments under the term tone painting [2]. In particular, an engagement with nature and subjective experience encouraged composers of the late Baroque and Classical-Romantic periods to incorporate tone painting into their compositions (for example, Hector Berlioz’s Symphonie fantastique, 1830, e.g., the end of the fourth movement). The tool of tone painting is also used in 20th-century tangos. I have compiled some examples here with friends:
1. Imitation of animals
The most famous example, which almost every tango dancer should be familiar with, is the piece “El Amanecer” (Dawn), composed by pianist Roberto Firpo around 1910 and first recorded in 1928. Firpo was inspired to compose this piece when he returned home at dawn after a night of tango dancing. The melody and tone paintings evoke the symphony of birds, the first hammering of tools, and the morning pain of night owls (el dolor mañanero que sobreviene al placer de los noctámbulos) [3].
Here is an original video of Firpo (at the piano):
Unfortunately, the tone painting is not included in the short excerpt, therefore here is another version in full length (original version from 1928), the birds can be heard towards the end at time index 2:00:
A little later (1938), in better recording quality, it sounds like this:
Other animals are also imitated. Here’s a tango I like to play, “El Gato” (The Tomcat) by Edgardo Donato with Horacio Lagos as the singer, recorded in 1937:
The text is by Homero Manzi and is not really about an animal……….[4]
Another example is the milonga “Cacareando” (cluck) by OTV (Orquesta Tipica Victor) from 1933, sung by Carlos Lafuente [5]. The chickens cluck at approximately 2:00.
2. Weather
Proximity to nature undoubtedly includes familiarity with the weather. Let’s begin with perhaps the most threatening phenomenon: the hurricane. Often and gladly played, here is the composition “El Huracan” by Osvaldo and Edgardo Donato. This is Edgardo Donato’s original 1961 version, still with the lyrics written by Nolo Lopez and sung here by Andres Galarce. The piano part of “El Huracan” begins at approximately 2:16.
Things really get going in the instrumental version by Juan D’Arienzo from 1944 (much earlier):
A piece often played at milongas is “Tormenta” (Storm, Thunderstorm) by Enrique Santos Discepolo, here in the 1939 version by Francisco Canaro with Ernesto Fama. The storm is depicted in the violins starting at the 2:00 mark.
From thunderstorm to lightning. With a little imagination, you can even hear the lightning in Florindo Sassone’s 1951 recording “El Relampago” (Lightning):
A completely different phenomenon is depicted here in “Marejada” (Surf/Seas) by Carlos Di Sarli in 1941. The seasickness here is more likely felt in the left hand of the piano.
The tango was composed by Roberto Firpo. Here is his version from 1932:
3. Bells
Bells are often used, imitated, or played in their original form. Here’s the song “Las Campanas” (Bells) by Miguel Calo with Alberto Morel from 1937. I like to play it at the milonga, but for practical reasons, I usually cut out the bells.
Alternatively, the song “Lloran las Campanas” by Carlos Di Sarli with Alberto Podesta as the singer from 1944. Di Sarli plays the bells on the piano here:
Lucio Demare even names the following tango with an onomatopoeic phrase, “Din Don” (Ding Dong). It is sung by Carlos Miranda, who is also responsible for the representation of the bells: “Hoy las campanas de mi corazón hacen “din,” hacen “din don” furtivamente”.
4. Railway
What sound from bygone days embodies the spirit of travel more than the sound of a steam locomotive? Let’s begin with Miguel Calo and Jorge Ortiz and the tango “Ya Sale el Tren” (The train has already left) from 1943:
A little less subtle is Roberto Firpo’s tango “El Rapido”, the express to Rosario (1931):
A similar sentiment can be heard in Osvaldo Fresedo’s “El Espiante” (The Departing) from 1932.
Here too, the destination of the arduous journey lies in Rosario.
5. The clock
Here we hear the clock strike. The tango “El Reloj” (The Clock) by Alberto Gentile and Alfredo Montalban from 1950 (?):
Even at three o’clock in the night, the tower clock in Vals strikes “A las tres de mañana” by Enrique Rodriguez (1946):
https://www.youtube.com/watch?v=4U7NtlsMgfM
War
Some compositions also incorporate historical and political themes, which is rather unpleasant. For example, Rodolfo Biagi’s tango “Belgica” depicts the First World War and the incredible suffering of soldiers facing an industrialized killing machine.
Here you can hear the machine gun:
Acknowledgement
The content of this article was discussed on the Austrian forum Tanzmitmir.net. I would like to thank the following participants who contributed their expertise to this article: “wko“, “Tango Vifzack“, “Solotangoo”
literature
1 https://de.wikipedia.org/wiki/Onomatopoesie
2 https://de.wikipedia.org/wiki/Tonmalerei
3 http://www.cronicasdelaemigracion.com/opinion/isaac-otero/roberto-firpo-y-tango-amanecer/20150316110223064924.html
4 http://mosaicosportenos.blogspot.com.au/2011/07/acerca-del-gato.html
5 http://www.todotango.com/musica/tema/6583/Cacareando/