Fabrice Knecht Tango DJ

El marne

El marne is a Tango written by Eduardo Arolas and recorded by Armando Pontier in 1958. Armando Pontier has recorded El marne as an instrumental Tango.
“El Marne,” translated into English as “The Marne,” evokes a dance of history and emotion in its rhythm. The name harkens back to the river where decisive moments once ebbed and flowed, carrying echoes of battles past and passions entangled. In its notes, the spirit of resilience waltzes with nostalgia, inviting listeners to explore a tapestry of time and memory.

Tango

Style

Armando Pontier

Orchestra

Instrumental

Singer

Author

Eduardo Arolas

Composer

1958/6/12

Date

Instrumental
Instrumental
Armando Pontier
Armando Pontier

Discover Other Orchestras

Aníbal Troilo – Madreselva (La polla) – 1964/2/3
Aníbal Troilo – Margo – 1945/12/18
Aníbal Troilo – Y volvemos a querernos – 1949/10/26
Aníbal Troilo – Tres amigos – 1944/4/11
Aníbal Troilo – Naranjo en flor – 1944/11/23
Roberto Firpo – Viva la patria – 1928/5/31
Roberto Firpo – En el baile de Misia Pancha – 1929/4/26
Roberto Firpo – Adiós muchachos – 1927/12/11
Roberto Firpo – Añoranza campera – 1928/9/18
Roberto Firpo – Yo tuve un corazón – 1929/7/2
Ángel d’Agostino – Hay que vivirla compadre – 1942/9/2
Ángel d’Agostino – Abranse las pulperías – 1952/8/20
Ángel d’Agostino – Ella – 1955/8/16
Ángel d’Agostino – El cornetín del tranvia – 1943/11/15
Ángel d’Agostino – Polvorín – 1953/2/2
Lucio Demare – La casita de mis viejos – 1953/1/27
Lucio Demare – La cachila – 1957/1/1
Lucio Demare – Dónde – (unknown date)
Lucio Demare – Mañana zarpa un barco – 1942/7/20
Lucio Demare – Me llaman El Zorro – 1943/2/11

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

1958/6/12 – Por donde andara – Juan D-Arienzo
1958/6/12 – Bueno
derecho y varon – Juan D-Arienzo
1958/6/12 – No tenemos perdon – Juan D-Arienzo
1958/6/12 – Adios corazon – Juan D-Arienzo
1958/6/12 – Igual que Judas – 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 recorded by Armando Pontier


El marne is an instrumental Tango composed by Eduardo Arolas.



Interpretation of El marne

“El marne” translates to “The Marne” in English, potentially alluding to the historical significance of the Marne River in France—known for critical battles during World War I. The music captures a sense of tension and resolution, reflecting the ebb and flow of conflict and peace.



The piece opens with a dramatic introduction, delivered with vibrant staccato notes from the bandoneón, setting a tumultuous and engaging mood. This is followed by a transition into sweeping, flowing melodies from the violins, providing contrast and evoking emotion akin to the serene yet powerful flow of a river.



Horn sections interject a sense of urgency, mirroring the unpredictability of historic battles around “The Marne”. As the piece progresses, the rhythm and tempo fluctuate, echoing a dance between opposing forces, capturing both the chaos and heroic valor associated with its namesake.



Armando Pontier and El marne

Under the baton of Armando Pontier, “El marne” is brought to life with nuanced interpretation, enriching its historical connotations. Pontier’s emotive conducting and orchestration highlight the intricate textures in Arolas’s composition, intertwining passion and drama.



The orchestra’s talented musicians enhance the dynamics through expressive phrasing and precise timing, translating the essence of “El marne” into an evocative auditory experience. With Pontier’s guidance, each instrument sings in harmony and discord, a testament to the timeless allure of this tango masterpiece.