Al compás del
del corazón by
Miguel Caló 

Orchester Miguel Caló
Vok: Raúl Berón
T: 2:46, BPM: 61

Music: Domingo Federico
(1916 – 2000, bandoneon, director, composer)

Lyrics: Homero Expósito (191 – 1987, tango poet,
bohemien, King of the metapher)
- Miguel Caló (1942/Raúl Berón, 1965/Raúl del Mar sowie Lucho Gatica)
- Carlos Di Sarli (1942/Rufino, 1953/Oscar Serpa)
- Domingo Federico (1947/Carlos Vidal)
- Francisco Canaro (1945/Juan Carlos Rolón)
- Armando Pontier (1960/Julio Sosa)

Miguel Caló - Raúl Berón - 1942

Carlos di Sarli - Alberto Podestá - 1942







Miguel Caló: Domingo Federico ha compuesto una música que llega al alma.
Domingo Federico has composed music that touches the soul!


Al Compás del corazón paved the way for Miguel Caló and his young star musicians to enter the first league of tango orchestras.



Miguel Caló's new singer, the youngster Raúl Berón, with his velvety-soft voice and the timbre of a cello, was not initially well received by the directors of Caló's radio station.


Caló was already forced to drop his young  talent. But then the shellac Al Compás del Corazón appeared in 1942 and became a gigantic sales hit.


The lyrical arrangement and Berón's soft voice met the taste of the time. This music reinforced the process in which the music of most orchestras continued to slow down and turn more towards the lyrical in a departure from D'Arienzo's energy revolution.


When a new tango came out, each of the major record companies usually recorded it with only one of its orchestras. Caló was signed to Odeón. RCA, the second major label, responded with a recording of its star Carlos Di Sarli with the singer Alberto Podestá, whom Di Sarli had poached from Caló shortly before. But the iconic interpretation of Caló/Beron was much more successful.


Domingo Federico first studied medicine before devoting himself completely to music. The memory of an experiment in which the dissected heart of a frog continued to beat for many hours due to electric shocks inspired him to write a tango in 1941, which he soon presented to his friend and famous tango lyricist, Homero Exposíto, the king of metaphor.

Without knowing his friend's animal source of inspiration, Homero, to Domingo Federico's amazement, was immediately reminded of a beating heart and wrote the moving lyrics full of emotions.

Federico, not long a member of the Caló orchestra, presented the new tango. At an afternoon tea performance, Caló usually joined in later, the young musicians played for the first time without the knowledge of their boss Al Compás del Corazón. Since neither singer knew the words, violinist Enrique Mario Francinci, the biggest fan of the new piece, sang instead.

The audience was enthusiastic and later demanded a repeat performance. Caló knew nothing and now heard the tango, which was to become one of the greatest successes of his orchestra, for the first time in front of an audience.

The song

In the first section (0 to 33, A part), the bandoneons present the melody in a restrained manner, while the underlying characteristic syncopated heartbeat phrasing gnaws its way into the ear as an earworm and remains present throughout the entire tango.

In the second section (34 to 1:02, B-part), a delicate interplay of questions and answers develops between the orchestra and Osmar Maderna's light piano interjections.

In the third section (1:03 to 1:36, A section), Berón's voice velvety overlays the pulsating heartbeat, and in the fourth section (1:37 to 2:08, B section), the rollercoaster of emotions, the emotional ups and downs are intensively shaped.

The fifth section continues, without further vocals, intense solos or a variación of bandoneons.

However, Francini's short violin solo (2:13) and the piano's final chord, always phrased in the same way and resolved as an arpeggio, are very typical of Caló.

Domingo Federico - Carlos Vidal - 1947

Armando Pontier - Julio Sosa - 1960

Miguel Caló - Lucho Gatica - 1965


Orquesta Típica Andariega, 2014


Bohemia Quinteto Tango


Ariel Ardit - 2014



Daniela and Raimund: In 80 tangos arround the world

Al compás del corazón / Laté un corazón

A heart is beating

Late un corazón,
déjalo latir...
Miente mi soñar,
déjame mentir...

A heart is beating,
let it beat...
My dreaming is lying,
let me lie...

Late un corazón
porque he de verte nuevamente,
miente mi soñar
porque regresas lentamente


My heart is beating,
because I'm going to see you again,,
my dreaming is lying
because you come back slowly

Late un corazón...
me parece verte regresar con el adiós.

A heart is beating,
I think I see you coming back
with the goodbye.

Y al volver gritarás tu horror,
el ayer, el dolor, la nostalgia,

and, on coming back,
iyou will shout your horror:
yesterday, the pain,
the nostalgia...

pero al fin bajarás la voz
y atarás tu ansiedad de distancias.

but at last you will lower your voice
and you will hold your anxiety for distances,

Y sabrás por qué
late un corazón al decir
¡Qué feliz!...

And you will know why
a heart beats when you say
How happy...

Y un compás, y un compás de amor
unirá para siempre el adiós.

And a beat, and a beat of love
Will forever unite the goodbye.

a verás, amor,

que feliz serás...

¿Oyes el compás?

Es el corazón.

Ya verás qué dulces

son las horas del regreso,

ay, ya verás que dulces

los reproches y los besos.

Ya verás, amor,

qué felices horas al compás del corazón.

Quelle: https://lyricstranslate.com

You will see, my love,

how happy you will be...

Do you hear the beat?

It's the heart.

You will see how sweet

the hours will be at your return,

oh! you will see how sweet

the reproaches and the kisses.

You will see my love

How sweet the hours to the heart's beat.,

Quelle: https://lyricstranslate.com