Fabrice Knecht Tango DJ

El marne

El marne is a Tango written by Eduardo Arolas and recorded by Juan D’Arienzo in 1954. Juan D’Arienzo has recorded El marne as an instrumental Tango.
“El marne,” translated into English as “The Marne,” dances through the air like whispers of history shared between fleeting lovers. Its melodies glide with the grace of the river whose name it bears, evoking both the tranquility of its waters and the echoes of past battles etched in time. In each note, the tango paints a story of resilience, flowing eternally onward.

Tango

Style

Juan D'Arienzo

Orchestra

Instrumental

Singer

Author

Eduardo Arolas

Composer

1954/12/10

Date

Instrumental
Instrumental
Juan D'Arienzo
Juan D’Arienzo

Discover Other Orchestras

Horacio Salgán Y Dante Amicarelli – Scherzo – 1971/1/1
Horacio Salgán Y Dante Amicarelli – En bateau – 1970/1/1
Horacio Salgán Y Dante Amicarelli – Chiclana – 1971/1/1
Horacio Salgán Y Dante Amicarelli – Laura – 1971/1/1
Horacio Salgán Y Dante Amicarelli – El bosque mágico – 1971/1/1
Osmar Maderna – El bajel – 1948/6/24
Osmar Maderna – Al compás de tu mentira – 1950/2/2
Osmar Maderna – Fantasía en tiempo de tango (Sobre motivos de Monti) – 1947/4/25
Osmar Maderna – Ausencia (2) – 1947/11/20
Osmar Maderna – Volvió a llover – 1947/7/2
Quinteto Pirincho (Francisco Canaro) – Yo te quiero mi bien – 1941/11/5
Quinteto Pirincho (Francisco Canaro) – Olga – 1956/6/8
Quinteto Pirincho (Francisco Canaro) – Noches de amor – 1954/1/4
Quinteto Pirincho (Francisco Canaro) – El marne – 1959/4/22
Quinteto Pirincho (Francisco Canaro) – Alma de bohemio – 1959/4/29
Carlos di Sarli – Decime qué pasó – 1942/8/12
Carlos di Sarli – No la maldigas por Dios – (unknown date)
Carlos di Sarli – El pollo Ricardo – 1946/3/29
Carlos di Sarli – Campaneando – 1929/12/31
Carlos di Sarli – Así era mi novia – 1952/9/15

Recommended

These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.

El marne recorded by other Orchestras

El marne recorded by other Orchestras

1954/12/10 – El irresistible – Juan D-Arienzo
1954/12/10 – Pampa – Juan D-Arienzo
1954/12/10 – El internado – Juan D-Arienzo
1954/12/10 – Don Pacifico – Juan D-Arienzo
1954/12/10 – Homero – Juan D-Arienzo
El marne – 1939/5/4 – Juan D-Arienzo – Instrumental
El marne – 1954/12/10 – Juan D-Arienzo – Instrumental
El marne – 1950/12/28 – Juan D-Arienzo – Instrumental
El marne – 1967/11/29 – Anibal Troilo – Instrumental
El marne – 1969/6/1 – Osvaldo Pugliese – Instrumental
El marne – 1980/6/27 – Osvaldo Fresedo – Instrumental
El marne – 1967/5/9 – Hector Varela – Instrumental
El marne – 1957/1/1 – Astor Piazzolla – Instrumental
El marne – 1947/9/18 – Osmar Maderna – Instrumental
El marne – 1958/6/12 – Armando Pontier – Instrumental
El marne – 1963/1/1 – Horacio Salgan – Instrumental
El marne – 1953/9/2 – Horacio Salgan – Instrumental
El marne – 1933/5/24 – Orquesta Tipica Victor – Instrumental
El marne – 1959/4/22 – Quinteto Pirincho (Francisco Canaro) – Instrumental

El marne recorded by Juan D’Arienzo

El marne is an instrumental Tango composed by Eduardo Arolas.

Interpretation of El marne

“El marne,” translated to English, means “The Marne,” which could refer to the Marne River in France, famous for its strategic significance during World War I. As an instrumental tango, “El marne” likely captures the dynamic and intense spirit associated with the historical event. The composition may evoke a sense of rapid movement or drama, aligning with the energy of a tango while interweaving the imagery of powerful, flowing waters or the urgency of historic moments.

Juan D’Arienzo and El marne

Juan D’Arienzo, renowned for his invigorating style and being dubbed “El Rey del Compás” (The King of Rhythm), brings “El marne” to life with his orchestra. Known for their fast-paced and rhythmic precision, D’Arienzo’s interpretation of “El marne” likely underscores the tango with its characteristic vitality, emphasizing sharp, staccato notes that mirror the ebb and flow inherent in river dynamics or the fervor of historical resonance.