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La catrera

La catrera is a Tango written by Arturo De Bassi and recorded by Juan D’Arienzo in 1955. Juan D’Arienzo has recorded La catrera as an instrumental Tango.
“La Catrera,” meaning “The Fall Girl” in English, captures the essence of a fleeting dance with destiny. This piece suggests the delicate balance between passion and peril, where every step could lead to bliss or heartache. It evokes a tango’s poignant embrace, embodying life’s temptations and the vulnerabilities hidden within each whispered promise.

Tango

Style

Juan D'Arienzo

Orchestra

Instrumental

Singer

Author

Arturo De Bassi

Composer

1955/8/9

Date

Instrumental
Instrumental
Juan D'Arienzo
Juan D’Arienzo

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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.

La catrera recorded by other Orchestras

La catrera recorded by other Orchestras

La catrera recorded by Juan D’Arienzo

La catrera is an instrumental Tango composed by Arturo De Bassi.

Interpretation of La catrera

“La catrera” translates to “The Cot” in English, evoking the basic resting place associated with modesty and simplicity. As an instrumental tango, its melodies and rhythms might seek to paint a vivid picture of humble beginnings or the stark contrast between luxury and austerity. The piece can be imagined as a vibrant and lively composition that captures the spirit of resilience and determination associated with overcoming struggles and seizing opportunities, depicted through its fervent and dynamic orchestral arrangement.

Juan D’Arienzo and La catrera

Juan D’Arienzo, known for his energetic and rhythmic style, captures the essence of “La catrera” through his precision and vibrant orchestration. With his orchestra, the piece might be filled with a sense of buoyant and celebratory intensity, transforming its simple name into a complex and rich musical narrative. D’Arienzo’s performance could highlight the contrasts between the quiet, reflective sections of the composition and its more exuberant, spirited parts, underscoring his renowned nickname, “El Rey del Compás,” or “The King of Rhythm.”