Fabrice Knecht Tango DJ

La cumparsita

La cumparsita is a Tango written by Gerardo Matos Rodríguez and recorded by Aníbal Troilo in 1963. Aníbal Troilo has recorded La cumparsita as an instrumental Tango.
“La Cumparsita,” or “The Little Parade,” is a tango that marches through time with melancholic grace. Its notes sway like a procession of memories, each step echoing the dance of love and longing. This musical parade whispers stories of bygone days, weaving a tapestry of yearning that lingers long after the last note fades.

Tango

Style

Aníbal Troilo

Orchestra

Instrumental

Singer

Gerardo Matos Rodriguez

Author

Gerardo Matos Rodríguez

Composer

1963/4/9

Date

Instrumental
Instrumental
Aníbal Troilo
Aníbal Troilo

Discover Other Orchestras

Roberto Firpo – Oí
malevo – 1929/12/12
Roberto Firpo – Chiribiribín – 1935/7/24
Roberto Firpo – Mágico sueño – 1931/3/10
Roberto Firpo – Cuando el amor muere (2) – 1935/10/4
Roberto Firpo – Vieja escuela de mi barrio – 1930/3/31
Héctor Varela – A la gran muñeca – 1964/5/21
Héctor Varela – Volvé mimosa – 1958/1/2
Héctor Varela – El africano – 1951/11/15
Héctor Varela – Don Orlando – 1952/6/13
Héctor Varela – Se mira y no se toca – 1959/9/30
Carlos Gardel – Recuerdo malevo – 1933/2/22
Carlos Gardel – Fea – 1925/1/1
Carlos Gardel – La cartita – 1922/1/1
Carlos Gardel – Dos cosas te pido – 1922/1/1
Carlos Gardel – Como quiere la madre a sus hijos – 1919/1/1
Enrique Rodríguez – Los piconeros – 1939/2/1
Enrique Rodríguez – Chacarero – 1948/1/16
Enrique Rodríguez – Paso redoble – 1970/5/12
Enrique Rodríguez – Déjalo correr – 1963/5/23
Enrique Rodríguez – Ay Dolores – 1955/6/27

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.

La cumparsita recorded by other Orchestras

La cumparsita recorded by other Orchestras

1963/4/9 – A mis viejos – Anibal Troilo
1963/4/9 – Tierrita – Anibal Troilo
1963/4/5 – Lo que vendra – Anibal Troilo
1963/4/5 – Recordando a Discepolo – Anibal Troilo
1963/4/5 – Responso – Anibal Troilo
La cumparsita – 1943/11/5 – Anibal Troilo – Instrumental
La cumparsita – 1942/11/12 – Carlos di Sarli – Instrumental
La cumparsita – 1951/7/16 – Carlos di Sarli – Instrumental
La cumparsita – (unknown date) – Anibal Troilo – Instrumental
La cumparsita – 1955/6/20 – Carlos di Sarli – Instrumental
La cumparsita – 1963/4/9 – Anibal Troilo – Instrumental
La cumparsita – 1937/12/14 – Juan D-Arienzo – Instrumental
La cumparsita – 1951/9/12 – Juan D-Arienzo – Instrumental
La cumparsita – 1943/11/23 – Juan D-Arienzo – Instrumental
La cumparsita – 1968/9/11 – Cuarteto Anibal TROILO – Instrumental
La cumparsita – 1963/12/10 – Juan D-Arienzo – Instrumental
La cumparsita – 1971/12/7 – Juan D-Arienzo – Instrumental
La cumparsita – 2015/1/1 – Juan D-Arienzo – Instrumental
La cumparsita – 1946/2/8 – Angel d-Agostino – Angel Vargas
La cumparsita – 1964/4/24 – Miguel Calo – Instrumental
La cumparsita – 1927/5/3 – Osvaldo Fresedo – Instrumental
La cumparsita – 1943/6/28 – Osvaldo Fresedo – Instrumental
La cumparsita – 1979/10/30 – Osvaldo Fresedo – Instrumental
La cumparsita – 1926/11/7 – Pedro Laurenz – Instrumental
La cumparsita – 1953/9/22 – Pedro Laurenz – Instrumental
La cumparsita – 1942/9/10 – Rodolfo Biagi – Instrumental
La cumparsita – 1940/11/18 – Ricardo Tanturi – Instrumental
La cumparsita – 1935/5/6 – Edgardo Donato – Instrumental
La cumparsita – 1944/6/3 – Alfredo De Angelis – Nestor Rodi
La cumparsita – 1961/8/29 – Alfredo De Angelis – Instrumental
La cumparsita – 1953/1/22 – Enrique Rodriguez – Instrumental
La cumparsita – 1955/9/16 – Jose Basso – Instrumental
La cumparsita – 1956/7/26 – Jose Basso – Instrumental
La cumparsita – 1961/4/28 – Jose Basso – Instrumental
La cumparsita – 1983/1/1 – Jose Basso –
La cumparsita – 1968/5/2 – Hector Varela – Instrumental
La cumparsita – 1956/11/29 – Hector Varela – Instrumental
La cumparsita – 1954/11/25 – Hector Varela – Instrumental
La cumparsita – 1966/3/21 – Florindo Sassone – Instrumental
La cumparsita – 1973/1/1 – Florindo Sassone – Instrumental
La cumparsita – 1968/5/30 – Florindo Sassone – Instrumental
La cumparsita – 1957/1/1 – Astor Piazzolla – Instrumental
La cumparsita – 1951/1/1 – Astor Piazzolla – Instrumental
La cumparsita – 1950/5/17 – Osmar Maderna – Instrumental
La cumparsita – 1977/1/1 – Enrique Francini – Instrumental
La cumparsita – 1928/1/11 – Roberto Firpo – Instrumental
La cumparsita – 1917/1/1 – Roberto Firpo – Instrumental
La cumparsita – 1937/7/4 – Cuarteto Tipico Roberto Firpo – Instrumental
La cumparsita – 1973/1/1 – Francini-Pontier – Instrumental
La cumparsita – 1946/12/16 – Francini-Pontier – Alberto Podesta
La cumparsita – 1955/9/13 – Armando Pontier – Instrumental
La cumparsita – 211/12/1 – Horacio Salgan – Instrumental
La cumparsita – 1987/1/1 – Nuevo Quinteto Real (Horacio Salgan) – Instrumental
La cumparsita – 1930/1/1 – Julio De Caro – Instrumental
La cumparsita – 1926/5/12 – Orquesta Tipica Victor – Instrumental

La cumparsita recorded by Aníbal Troilo

La cumparsita is an instrumental Tango composed by Gerardo Matos Rodríguez.

Interpretation of La cumparsita

As an instrumental piece, “La cumparsita” evokes the vibrant, soulful essence of tango music. The title, which translates to “The Little Parade” in English, hints at the nostalgic and often melancholic character of the piece. The melody captures the imagery of a picturesque procession, where each note contributes to the portrayal of diverse emotions such as longing, passion, and introspection.

Through the dynamic interplay of instruments, the music tells a story without words, using rhythm and melody to draw listeners into the heart of the tango dance floor. It reflects a tapestry of emotions, from fervent romance to introspective yearning, all conveyed through the evocative soundscape that embodies the quintessential spirit of Argentine tango.

Aníbal Troilo and La cumparsita

The rendition by Aníbal Troilo’s orchestra brings a unique interpretation to “La cumparsita,” infusing it with the depth and emotional complexity for which Troilo was renowned. His orchestra’s performance is a study in contrast, featuring both the delicate intricacies and the powerful, sweeping gestures that characterize the classic tango sound.

The band’s dynamic arrangement highlights the conversation between the violin, bandoneón, and piano, each contributing to the rich tapestry of the performance. Troilo’s mastery over the bandoneón, in particular, adds a layer of profound expressiveness that elevates the composition, making it resonate deeply with listeners and ensuring its timeless appeal.