ADIÓS MUCHACHOS by CARLOS GARDEL

The Year 1927: Part 4 (Argentina)

We saw Carlos Gardel earlier in this series, in both 1920 and 1921, and later in the decade his career was going stronger than ever. This tango was written in 1927 and Gardel’s version became a hit in Argentina the following year.

ADIÓS MUCHACHOS Adiós muchachos, compañeros de mi vida, barra querida de aquellos tiempos. Me toca a mi hoy emprender la retirada debo alejarme de mi buena muchachada. Adiós, muchachos, ya me voy y me resigno, contra el destino nadie la talla. Se terminaron para mí todas las farras. Mi cuerpo enfermo no resiste más. Acuden a mi mente recuerdos de otros tiempos, de los bellos momentos que antaño disfruté, cerquita de mi madre, santa viejita, y de mi noviecita, que tanto idolatré. Se acuerdan que era hermosa, más linda que una diosa, y que brioso de amor, le di mi corazón. Mas el Señor, celoso de sus encantos, hundiéndome en el llanto se la llevó. Es Dios el juez supremo, no hay quien se le resista, Ya estoy acostumbrado, su ley a respetar, pues mi vida deshizo con sus mandatos llevándome a mi madre y a mi novia también. Dos lágrimas sinceras derramo en mi partida por la barra querida que nunca me olvidó, y al dar a mis amigos mi adiós postrero les doy con toda mi alma, mi bendición. Adiós muchachos, compañeros de mi vida, barra querida de aquellos tiempos. Me toca a mi hoy emprender la retirada debo alejarme de mi buena muchachada. Adiós, muchachos, ya me voy y me resigno, contra el destino nadie la calla. Se terminaron para mí todas las farras. Mi cuerpo enfermo no resiste más.

FAREWELL MY FRIENDS Farewell my friends, my companions in life My beloved gang from the good old days Now it's my turn to retire I have to distance myself from all my good friends Farewell my friends, I'm going, resigned to my fate Nobody can defeat destiny The parties are all over for me My sick body can't resist anymore Memories of other times come into my mind The beautiful moments I used to enjoy With my mother, saintlike old lady And my girlfriend who I idolised so much Remember, she was lovely, more beautiful than a goddess Overflowing with love, I gave to her my heart Alas the Lord, jealous of her charms Drowning in tears, he took her away God is the supreme judge, nobody can resist him I'm used to it, I respect his law But my life was undone by his commands He took both my mother and my girlfriend from me As I left I shed two sincere tears For my beloved gang that never forgot me As I give my friends my final farewell With all my soul, I give them my blessing Farewell my friends, my companions in life My beloved gang from the good old days Now it's my turn to retire I have to distance myself from all my good friends Farewell my friends, I'm going, resigned to my fate Nobody can defeat destiny The parties are all over for me My sick body can't resist anymore

FUMANDO ESPERAR by SARA MONTIEL

The Year 1922: Part 4 (Spain/Argentina)

This Argentinian tango was written in 1922, with music by Juan Viladomat Masanas and lyrics by Félix Garzo. One of the first recordings was made in 1927 by Ignacio Corsini, and after that the popularity of the song quickly spread.

Thirty years later Sara Montiel famously recorded “Fumando espero” for the Spanish film “El Último Cuplé” (1957). Interestingly, her version omits the second half of the lyrics. This is generally considered to have been due to censorship by the Franco regime. I have included the full lyrics below, and you have to admit that even today they still sound quite raunchy. Having said that, the film clip (see below) also retains its erotic charge. Of course, these days it would be censored due to the smoking rather than than any sexual content.

That’s it for 1922, next year I will move on to 1923…

FUMANDO ESPERO Fumar es un placer, genial, sensual Fumando espero al hombre a quien yo quiero, tras los cristales de alegres ventanales. Y mientras fumo mi vida no consumo porque flotando el humo me suelo adormecer. Tendida en la chaisse longue fumar y amar Ver a mi amante solícito y galante, sentir sus labios besar con besos sabios, y el devaneo sentir con más deseos cuando sus ojos veo, sedientos de placer. Por eso estando mi bien es mi fumar un edén Dame el humo de tu boca. Anda, que así me vuelves loca. Corre que quiero enloquecer de placer, sintiendo ese calor del humo embriagador que acaba por prender la llama ardiente del amor. ---------------------------------------- Mi egipcio es especial, qué olor, señor Tras la batalla en que el amor estalla, un cigarrillo es siempre un descansillo y aunque parece que el cuerpo languidece, tras el cigarro crece su fuerza, su vigor. La hora de inquietud con él no es cruel sus espirales son sueños celestiales, y forman nubes que hacia la gloria suben y envuelta en ella, su chispa es una estrella, que luce clara y bella con límpido fulgor. Por eso estando mi bien es mi fumar un edén

SMOKING, I WAIT Smoking is a pleasure, wonderful, sensual Smoking, I wait for the man I love Behind cheerful window panes And while I smoke life doesn’t consume me Because I usually fall asleep in the floating smoke Lying on my chaise longue, smoking and loving Looking at my lover, attentive and gallant Feeling his lips kiss with clever kisses And feeling the fliratation with increasing desire When I see his eyes hungry with pleasure So when my darling is by my side Smoking is my paradise Give me the smoke from your mouth Come on, you drive me crazy I want to run, go crazy with pleasure Feeling that heat from the intoxicating smoke That in the end turns on The burning flame of love ---------------------------------------- My Egyptian is special, what a smell, sir After the battle in which love explodes A cigarette is always a way to relax And although it seems the body is drooping After the cigarette its strength and vigour grows The hour of restlessness is not cruel to it Its spirals are celestial dreams And they form clouds that rise up to glory And wrapped up in them, its spark is a star That looks clear and beautiful with a limpid glow So when my darling is by my side Smoking is my paradise

ALFONSINA Y EL MAR by MERCEDES SOSA

To celebrate the centenary of Ariel Ramirez’s birth, here is arguably his most famous song. It was first recorded by Mercedes Sosa on the album “Mujeres Argentinas” (1969).

The lyrics, by Ramirez’s regular collaborator Félix Luna, were inspired by the tragic death of the Argentine poet Alfonsina Storni. Alongside her poetry she worked a a journalist, often championing women’s rights. She drowned herself in 1938 (aged 46), leaving behind a final poem “Voy a dormir” (“I am going to sleep”), that is referenced in the lyrics of the song.

ALFONSINA Y EL MAR Por la blanda arena que lame el mar Su pequeña huella no vuelve más, Un sendero solo de pena y silencio llegó Hasta el agua profunda, Un sendero solo de penas mudas llegó Hasta la espuma. Sabe dios que angustia te acompañó Que dolores viejos calló tu voz Para recostarte arrullada en el canto De las caracolas marinas La canción que canta en el fondo oscuro del mar La caracola. Te vas Alfonsina con tu soledad Qué poemas nuevos fuiste a buscar ...? Una voz antigua de viento y de sal Te requiebra el alma y la esta llevando Y te vas hacia allá como en sueños, Dormida, Alfonsina, vestida de mar ... Cinco sirenitas te llevarán Por caminos de algas y de coral Y fosforecentes caballos marinos harán Una ronda a tu lado Y los habitantes del agua van a jugar Pronto a tu lado. Bájme la lámpara un poco más Déjame que duerma nodriza en paz Y si llama él no le digas que estoy Dile que Alfonsina no vuelve ... Y si llama él no le digas nunca que estoy, Di que me he ido ... Te vas Alfonsina con tu soledad Qué poemas nuevos fuiste a buscar ...? Una voz antigua de viento y de sal Te requiebra el alma y la está llevando Y te vas hacia allá como en sueños, Dormida, Alfonsina, vestida de mar ...

ALFONSINA AND THE SEA On the soft sand that touches the sea Her little footprints won't be seen again A path of nothing but pain and silence reached up to the deep water A path of nothing but muted pains reached up to the surf God knows what anguish accompanied you What old griefs silenced your voice To lie down, lulled into sleep by the singing of the seashells The song that sings in the dark depths of the sea The seashell You leave, Alfonsina, with your loneliness Which new poems were you looking for? An ancient voice of wind and salt Shattering your soul and taking it And you go to there as if in a dream Sleeping, Alfonsina, dressed in the sea Five little mermaids will escort you Down paths made of seaweed and coral And phosphorescent seahorses Will circle around you And the aquatic dwellers will soon play by your side Put the lamp down a bit more for me Let me to sleep in peace, nurse And if he calls don't tell him I'm here Tell him that Alfonsina isn't coming back And if he calls, don't ever tell him that I'm here Tell him that I have gone You leave, Alfonsina, with your loneliness Which new poems were you looking for? An ancient voice of wind and salt Shattering your soul and taking it And you go to there as if in a dream Sleeping, Alfonsina, dressed in the sea

LA COPA DEL OLVIDO by CARLOS GARDEL

The Year 1921: Part 4 (Argentina)

Last month I mentioned that the great composer Piazzolla was born 100 years ago. So let’s look at a tango from the year of his birth…

This song was composed in 1921 with lyrics by Alberto Vacarezza and music by Pedro Delfino. It was recorded that year by Carlos Gardel and it quickly became popular, not only in Argentina but also in Spain.

I took much of this version from Poesía de gotán, though as ever I have made some small changes.

So, as with 1920, we have seen four songs, four countries and four languages. 1922 may be coming sooner than you think…

LA COPA DEL OLVIDO ¡Mozo! Traiga otra copa, y sírvase de algo el que quiera tomar, que ando muy solo y estoy muy triste desde que supe la cruel verdad. ¡Mozo! Traiga otra copa, que anoche, juntos los vi a los dos Quise vengarme, matarla quise, pero un impulso me serenó. Salí a la calle desconcertado, sin saber cómo hasta aquí llegué a preguntar a los hombres sabios, a preguntarles qué debo hacer… “Olvide, amigo,” dirán algunos, pero olvidarla no puede ser… y si la mato, vivir sin ella, vivir sin ella—nunca podré. ¡Mozo! Traiga otra copa y sírvase de algo el que quiera tomar quiero alegrarme con este vino a ver si el vino me hace olvidar. ¡Mozo! Traiga otra copa y sírvase de algo el que quiera tomar

THE DRINK OF OBLIVION Waiter! Bring another drink And serve anyone else who wants one I’m very lonely And I’ve been very sad Since I discovered the cruel truth Waiter! Bring another drink, Last night, I saw the two of them together I wanted revenge, I wanted to kill her, But some impulse calmed me down I went out into the street, disconcerted Without knowing how I got there To ask the wise men To ask them what I should do “Forget it, my friend,” some will say But I can never forget her And if I kill her, to live without her To live without her! I’d never be able to! Waiter! Bring another drink And serve anyone else who wants one I want to make myself happy with this wine Let’s see if the wine makes me forget Waiter! Bring another drink And serve anyone else who wants one

BALADA PARA MI MUERTE by ASTOR PIAZZOLLA

The great Argentinian composer Astor Piazzolla was born 100 years ago. Under normal circumstances there would be lots of concerts to celebrate this fact, but not this year…

Piazzolla wrote this song with his regular lyricist Horacio Ferrer and it was first recorded by Amelita Baltar in 1970. There is also a great version by the Italian singer Mina which she performed with Piazzola himself, though at the time of writing it has disappeared from YouTube.

I took part of the translation from the excellent version by Rosa on Lyrics Translate, but I have also made quite a few changes. Ultimately, this kind of poetic lyric is quite challenging to translate.

BALADA PARA MI MUERTE Moriré en Buenos Aires, será de madrugada, guardaré mansamente las cosas de vivir, mi pequeña poesía de adioses y de balas, mi tabaco, mi tango, mi puñado de esplín. Me pondré por los hombros, de abrigo, toda el alba, mi penúltimo whisky quedará sin beber, llegará, tangamente, mi muerte enamorada, yo estaré muerto, en punto, cuando sean las seis. Hoy que Dios me deja de soñar, a mi olvido iré por Santa Fe, sé que en nuestra esquina vos ya estás toda de tristeza, hasta los pies. Abrazame fuerte que por dentro me oigo muertes, viejas muertes, agrediendo lo que amé. Alma mía, vamos yendo, llega el día, no llorés. Moriré en Buenos Aires, será de madrugada, que es la hora en que mueren los que saben morir. Flotará en mi silencio la mufa perfumada de aquel verso que nunca yo te supe decir. Andaré tantas cuadras y allá en la plaza Francia, como sombras fugadas de un cansado ballet, repitiendo tu nombre por una calle blanca, se me irán los recuerdos en puntitas de pie. Moriré en Buenos Aires, será de madrugada, guardaré mansamente las cosas de vivir, mi pequeña poesía de adioses y de balas, mi tabaco, mi tango, mi puñado de esplín. Me pondré por los hombros, de abrigo, toda el alba, mi penúltimo whisky quedará sin beber, llegará, tangamente, mi muerte enamorada, yo estaré muerto, en punto, cuando sean las seis, cuando sean las seis, ¡cuando sean las seis!

BALLAD FOR MY DEATH I will die in Buenos Aires, it will be at daybreak, I will meekly hold on to the things of life: my slight poetry of farewells and bullets, my tobacco, my tango, my fistful of melancholy I will put the whole dawn on my shoulders as a coat, my penultimate whisky will remain there untouched, it will come like a tango, my romantic death I'll be dead, dead on time, when the clock strikes six Today, that God stops me from dreaming, in my forgetfulness I'll go to Santa Fe, I know you will be at our corner wrapped up in sadness, from head to toe Embrace me tightly so that inside I hear deaths, old deaths, assaulting what I loved My darling, let's move on, the day is coming, don't cry I will die in Buenos Aires, it will be at daybreak, which is the time to die, for those who know how to die The scent of misfortune will waft through the silence of that verse that I never knew how to tell I will walk so many blocks there to Francia square, like shadows that have escaped from a tired ballet, repeating your name along a white street, my memories will tiptoe away from me I will die in Buenos Aires, it will be at daybreak, I will meekly hold on to the things of life: my slight poetry of farewells and bullets, my tobacco, my tango, my fistful of melancholy I will put the whole dawn on my shoulders as a coat, my penultimate whisky will remain there untouched, it will come like a tango, my romantic death I'll be dead, dead on time, when the clock strikes six when the clock strikes six, when the clock strikes six!

RASGUÑA LAS PIEDRAS by SUI GENERIS

This track is from the second Sui Generis album “Confesiones De Invierno” from 1973. Rolling Stone put it at #3 on their list of the greatest Argentinian rock songs (#1 was “La Balsa”).
The band and their songwriter Charly García have already been featured several times on this blog, see here for more information.

RASGUÑA LAS PIEDRAS Detrás de las paredes Que ayer te han levantado Te ruego que respires todavía. Apoyo mis espaldas Y espero que me abraces Atravesando el muro de mis días. (Estribillo:) Y rasguña las piedras, Y rasguña las piedras. Y rasguña las piedras hasta mí. Apenas perceptibles, escucho tus palabras Se acercan las bandas de rock and roll Y sacuden un poco, Las paredes gastadas Y siento las preguntas de tu voz. (Estribillo) Y si estoy cansado de gritarte Es que sólo quiero despertarte. Y por fin veo tus ojos Que lloran desde el fondo Y empiezo a amarte con toda mi piel. Y escarbo hasta abrazarte Y me sangran las manos Pero qué libres vamos a crecer (Estribillo)

SCRATCH THE ROCKS Behind the walls That were built up around you yesterday I beg you to keep breathing I rest my back And hope you'll hug me Breaking through the wall of my days (Chorus:) And scratch the rocks And scratch the rocks And scratch the rocks until you get to me Barely perceptible I can hear your words The rock'n'roll bands are coming And they will shake The worn out walls a bit And I can hear the questions in your voice (Chorus) And if I'm tired of shouting at you It's because I just want to wake you up And at last I can see your eyes Crying at the bottom And I start to love you with all my skin And I dig until I can hug you And my hands are bleeding But now we'll be free to grow (Chorus)

MANO A MANO by CARLOS GARDEL

The Year 1920: Part 4 (Argentina)

This tango was composed in 1920 with lyrics by Celedonio Flores and music by Carlos Gardel. Gardel was also a singer, one of the most acclaimed in the history of the tango, and he first recorded the song in 1923. This amazing live clip dates from 1930.

‘Mano a Mano‘ has subsequently been recorded by many singers, including Caetano Veloso, Julio Iglesias and Andres Calamaro.

The words of this song are long, complicated and extraordinarily melodramatic. In this series I can’t help but notice that the songs of 100 years ago tended to have relatively complex lyrics. Moreover, they were often arranged in a freer manner than the verse-chorus structure that came to dominate pop music in the following years. Ultimately, this song is quite a challenge to translate. I took much of this version from the one on Lyrics Translate, alongside elements of the one at Planet Tango and some of my own ideas.

Four songs, four countries and four languages: here ends my brief series about the year 1920.

MANO A MANO Rechiflao en mi tristeza hoy te evoco y veo que has sido en mi pobre vida paria solo una buena mujer; tu presencia de bacana puso calor en mi nido, fuiste buena, consecuente, y yo se que me has querido como no quisiste a nadie, como no podras querer. Se dio el juego de remanye, cuando vos, pobre percanta, gambeteabas la pobreza en la casa de pension; hoy sos toda una bacana, la vida te rie y canta, los morlacos del otario los tiras a la marchanta como juega el gato maula con el misero raton. Hoy tenes el mate lleno de infelices ilusiones, te engrupieron los otarios, las amigas, el gavion; la milonga entre magnates con sus locas tentaciones donde triunfan y claudican milongueras pretensiones se te ha entrado muy adentro en el pobre corazon. Nada debo agradecerte, mano a mano hemos quedado, no me importa lo que has hecho, lo que haces, ni lo que haras los favores recibido creo habertelos pagado y si alguna deuda chica sin querer se me ha olvidado, en la cuenta del otario si queres se la cargas. Mientras tanto que tus triunfos, pobres triunfos pasajeros, sean una larga fila de riquezas y placer; que el bacan que te acamala tenga pesos duraderos, y te abras en las paradas con cafichos milonqueros, y que digan los muchachos: "Es una buena mujer." Y mañana cuando seas descolado mueble viejo Y no tengas esperanzas en tu pobre corazon; si precisas una ayuda, si te hace falta un consejo, acordate de este amigo que ha de jugarse el pellejo p'ayudarte en lo que pueda, cuando sea la ocasion.

WE ARE EVEN Lost in my sorrow, today I evoke you and I can see that you have been, in my poor, miserable life, nothing but a good woman; your beautiful presence warmed my nest, you were good, honorable, and I know that you have loved me as you have never loved anyone else as you will never be able to love again The game began, when you, a poor girl dodged poverty in a boarding house; now you're a kept lady, life smiles and sings for you, you squander the fortunes of those you have fooled the way a roguish cat plays with a wretched mouse Today your head is filled with unhappy delusions you were deceived by the fools, your lady friends, the seducers; dancing the milonga with tycoons, with its crazy temptations where the aspirations of partygoers are realised or are given up this has settled deep inside your poor heart There is nothing to thank you for, in the end we are even, I don't care what you've done, what you do, or what you will do the favours I received, I think I've already paid you for them and if there is a small debt which I unintentionally have forgotten, charge it if you want to the fool's account I hope that your achievements poor, fleeting achievements, will lead to a long line of wealth and pleasure; I hope the sugar daddy who supports you, has deep pockets and I hope that you stop associating yourself with those pimps who go to all the parties and that other men will say, "She's a good woman." And tomorrow when you are a worn out piece of old furniture and you have no hope left in your poor heart; if you need some help, if you could use some advice, remember this friend who is going to risk his neck to help you in whichever way he can, when the time comes.

GRINGA CHAQUEÑA by MERCEDES SOSA

This is the first track from the LP “Mujeres Argentinas” (1969) by Mercedes Sosa. The music (and harpsichord) is by Ariel Ramírez with lyrics by his regular collaborator Félix Luna. Each song is about a different Argentinian woman, actual or archetype. Here is my translation of the sleeve notes from the original LP about the first song:

Gringa chaqueña: This is a character without a name, or with many names, who is remembered with respect and affection in that Chaco that they helped to found. They are the ‘gringas’ (women settlers) who arrived when it was “pure tacurúes” (barren land full of termite mounds), Indians (the Toba people) and desolation. They went with their men to found a new life, and through their stubbornness and their faith the landscape was transformed. What was desert and hills became a place of work and prosperity. Immigrants yet also Chaqueñans. When they created the reality of today with their own hands and wombs, they stopped being foreigners and become the founders of the province, pride of the country.

NB El Chaco or Gran Chaco is a region, part of which is in northern Argentina. The related adjective is Chaqueñan.
NB Gringo (or gringa, feminine) meaning foreigner often carries a derogatory connotation. However, gringo in Argentina was also used to refer to the non-Spanish European immigrants who first established agricultural colonies in the country.

GRINGA CHAQUEÑA Ahora eres la cuna de la paz y del trabajo cuando yo te habité eras puros tacuruses monte sin flor indiada y toldería campos de espinas amargura, cruces. Sangre de mi gente tu horizonte maduro gringos te abonaron con su piel y su sudor déjame decir lo que yo te di déjame que cuente de este Chaco que hice yo yo te trabajé hice de tu piel una sombra nueva yo te di algodón hijos te brindé rostros de cosecha chaco montaraz toba redomón fui mujer entera tu tierra vacante fue una cuna grande áspera y materna tu esterilidad yo la fecundé cada luna nueva y dándote vida me he sentido yo bien gringa y también chaqueña

GRINGA CHAQUEÑA Now you are the cradle of peace and work When I found you you were just termite mounds Hill without flowers Indians and their tents fields of thorns bitterness, crosses Blood of my people your ripe horizon Gringos fertilized with the sweat of their skin Let me say what I gave you Let me tell you about this Chaco that I created I worked on you I turned your skin a new shade I gave you cotton I offered you children faces of the harvest Wild, untamed Chaco half tamed Toba I was a strong woman Your empty land was a big cradle rough and maternal Your barrenness I fertilized it every new moon And by giving you life I felt myself to be a gringa and also Chaqueñan

VOLVER by ESTRELLA MORENTE

The Songs Of Almodóvar: Part 6

We return to the Spanish language to end this short series on songs that have appeared in the films of Pedro Almodóvar.

“Volver” is a tango from 1934 which was originally performed by Carlos Gardel. This flamenco version was recorded by Estrella Morente for Almodóvar’s 2006 film of the same name. In the movie it is memorably lip synced by Penélope Cruz, and the lyrics really resonate with the themes of the story.

This great translation is not my work, it comes from this site: http://www.planet-tango.com/lyrics/volver.htm, though I have made a couple of tiny changes.

VOLVER Yo adivino el parpadeo de las luces que a lo lejos, van marcando mi retorno… Son las mismas que alumbraron, con sus palidos reflejos, hondas horas de dolor. Y aunque no quise el regreso, siempre se vuelve al primer amor. La quieta calle donde el eco dijo: Tuya es su vida, tuyo es su querer, bajo el burlon mirar de las estrellas que con indiferencia hoy me ven volver... Volver… con la frente marchita, las nieves del tiempo platearon mi sien... Sentir… que es un soplo la vida, que veinte anos no es nada, que febril la mirada errante en la sombras te busca y te nombra. Vivir… con el alma aferrada a un dulce recuerdo, que lloro otra vez... Tengo miedo del encuentro con el pasado que vuelve a enfrentarse con mi vida... Tengo miedo de las noches que, pobladas de recuerdos, encadenan mi sonar... Pero el viajero que huye tarde o temprano detiene su andar... Y aunque el olvido, que todo destruye, haya matado mi vieja ilusion, guardo escondida una esperanza humilde que es toda la fortuna de mi corazon. Volver…

TO RETURN I imagine the flickering Of the lights in the distance Is marking my return They're the same ones that illuminated With their pale reflections Deep hours of pain And even though I didn't want to come back You always return to your first love The tranquil street where the echo said Yours is her life, yours is her love, Under the mocking gaze of the stars That with indifference see me return today To return… with a withered face, The snows of time have whitened my temples To feel… that life is a puff of wind That twenty years is nothing That the feverish look Wandering in the shadow Looks for you and names you To live... with the soul clutched To a sweet memory that I weep for once again I am afraid of the encounter With the past that returns To confront my life I am afraid of the nights That, filled with memories, Shackle my dreams But the traveller that flees Sooner or later stops his walking And although forgetfulness, which destroys all Has killed my old dream I keep concealed a humble hope That is my heart's whole fortune To return…

AGNUS DEI by ARIEL RAMÍREZ

Missa Criolla: Part 5

Here is the fifth and final movement of the suite.
The traditional Latin text starts: Agnus Dei, qui tollis peccata mundi, miserere nobis.

Though it is not really a Christmas piece, the Missa Criolla is often performed at this time of year, and I was lucky enough to see a live performance recently. It really is a great work, and the combination of choir, soloists and exotic instruments like the charango really make it a great spectacle as well.

AGNUS DEI Cordero de Dios que quitas Los pecados del mundo Ten compasión de nosotros Cordero de dios que quitas Los pecados del mundo Danos la paz

AGNUS DEI Lamb of God, who takes away The sins of the world Have mercy upon us Lamb of God, who takes away The sins of the world Grant us peace