Fabrice Knecht Tango DJ
Fabrice Knecht Tango DJ
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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.
Fantasma (2) is a Tango written by José Roberto De Prisco and composed by Mario Maurano.
The Tango “Fantasma (2)” delves deep into the emotions of guilt and conscience. Echoing the very title, which translates to “Ghost (2)” in English, the lyrics portray a conversation or an introspective monologue dealing with inner ghosts or demons haunting the narrator’s counterpart. The phrase “Y si al verme tu lo vieras, Que te muerde la conciencia” suggests a spectral encounter where seeing the narrator reminds the listener of wrongdoing or a guilty conscience. This introspection is embodied powerfully in the person’s psychological ghosts, pointing toward deep remorse or unresolved past issues haunting the individual.
The words “Yo soy vida, vida entera, Que cantando su alegría” represent hope and resilience. The narrator identifies themselves as a personification of life, contrasting the darkness of guilt, suggesting that moving forward joyously is a way to dispel past shadows. The renewal theme is reinforced by the commitment to continue on a path filled with “venturas” (adventures or fortunes) that do not allow past dreadful ghosts to approach.
In “Fantasma (2),” the metaphor of ghosts stands prominently to symbolize past regrets and guilt. These spirits are ‘terrorosos’ (terrifying), signifying how past actions can continue to induce fear and anxiety. The lyrical structure utilizes this spectral imagery to explore themes of moral conscience and redemption, presenting life as a continuing journey where one can either be shackled by the ghosts of yesterday or live fully, embracing joy and future possibilities. The line “Los fantasmas de tu pena están en ti” strongly emphasizes that these apparitions are not external forces but elements of one’s own emotional and psychological fabric.
“Fantasma (2)” was recorded in 1939, a period marked by global unrest on the brink of World War II. In Argentina, this was a time of significant cultural and political change, leading up to the rise of Juan Domingo Perón. In such contexts, themes of introspection and dealing with ‘ghosts’ of past choices could resonate with a broader metaphor for societal reflection on past actions and current paths. The Tango, often reflective of deep emotional currents, possibly served as a medium for public catharsis and contemplation amidst sociopolitical tensions.
José Roberto De Prisco was a prominent lyricist in Argentine Tango, known for weaving complex emotions into his works, often exploring themes of nostalgia, regret, and existential inquiry.