Martes 13 (2) is a Polca written by and recorded by Roberto Firpo in 1939. The Polca Martes 13 (2) is written by , Roberto Firpo has recorded Martes 13 (2) with the singer Alberto Diale.
The piece titled “Martes 13 (2),” or “Tuesday the 13th (2)” in English, evokes a dance of superstition and mystery. In many Spanish-speaking cultures, Tuesday the 13th is considered an unlucky day, a twin to the Western world’s Friday the 13th. This melody twists through shadows of caution and intrigue, inviting listeners to embrace the dance of fate and folklore.
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.
This is the translation of the Polca “Martes 13 (2)” from Spanish to English. The English lyrics of the Polca “Martes 13 (2)” have been done with AI.
Martes 13 (2) recorded by Roberto Firpo
Martes 13 (2) is an instrumental Tango composed by .
Interpretation of Martes 13 (2)
The name “Martes 13 (2)” translates to “Tuesday the 13th (2)” in English, a date traditionally associated with bad luck in many Spanish-speaking cultures, akin to “Friday the 13th” in others. As an instrumental piece performed by the Tango Orchestra Roberto Firpo, “Martes 13 (2)” channels this ominous aura through haunting melodies and a foreboding rhythm. The music likely features deep, resonant bass and lush string sections creating an atmosphere of suspense and anticipation, invoking the unease and uncertainty that the superstitious date suggests.
Roberto Firpo and Martes 13 (2)
Roberto Firpo, renowned for his innovative contributions to the tango genre, lends his orchestra’s distinct style to “Martes 13 (2).” Recorded in 1939, the piece reflects Firpo’s ability to blend emotion with technical excellence. The orchestral arrangement captures the essence of an era where the mystique of tango resonated deeply with its listeners, utilizing dynamic contrasts and nuanced expressions to weave an intricate narrative without words, leaving the audience to interpret the silent, beautiful unease of “Martes 13 (2).”