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La melodía de nuestro adiós 1991
Album · by Francisco Canaro ↗ View artist

La melodía de nuestro adiós

In La melodía de nuestro adiós, Francisco Canaro closes with an album that smells of farewell and tango nostalgia. Recorded in 1991 —though it sounds as if it had been written decades earlier—, this album captures the essence of a genre that was no longer the same: classical tango, but with that melancholic touch that only Canaro knew how to weave between the notes. It is not an album of radical innovations, but of consolidation: the Pirincho revisits here the rhythms that accompanied him all his life, from milongas to Creole waltzes, with that violin that once was made of tin and, against all odds, ended up defining the sound of half a continent.

Year
1991
Songs
18
Duration
56 min 24 seg
Listen to the album ★

18 song|s

Song list

# Title Available ⏱
01

La melodía de nuestro adiós

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3:02
02

Para ti madre

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3:21
03

Silueta porteña

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2:58
04

El pescante

3:29
05

Ronda del querer

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3:06
06

Milonga de mis amores

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3:03
07

Las margaritas

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3:11
08

Adiós muchachos

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2:35
09

Milonga sentimental

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3:12
10

Quisiera amarte menos

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4:04
11

Pampa

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2:49
12

Reliquias porteñas

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2:44
13

Adiós juventud

3:23
14

Lorenzo

2:34
15

Canto

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1:48
16

El jardín del amor

5:04
17

Retintín

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2:32
18

Charamusca

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3:29

About the album

La melodía de nuestro adiós, according to DoReSol

There are two pieces that stand out for how they condense his style. The first is La melodía de nuestro adiós, which gives the album its name and works as a musical farewell in itself. It is no coincidence that the title sounds like a goodbye: tango, in its essence, always was. The second is Silueta porteña, where the bandoneon and the violin intertwine as in the old days of the tenements, those rented rooms where Canaro grew up listening to the murmur of the streets. The album does not seek to surprise, but to remember: each track seems taken from a 1930s album, as if time had stopped in the workshop where he built his first violin.

What is curious is that, despite its air of a relic, this work ended up being recognized more than a decade later. In 2001, Canaro received a Latin Grammy Award for Se dice de mí —a song that, although not on this album, bears his signature—, as if the world were returning to him, late but justly, the homage he always paid to tango. Later reissues gave it a second life, but the merit lies in the fact that, even in its apparent simplicity, La melodía de nuestro adiós remains a bridge between what was and what still lives on in every milonga.