Fabrice Knecht Tango DJ

Re fa si

Re fa si is a Tango written by Enrique Delfino and recorded by Juan D’Arienzo in 1935. Juan D’Arienzo has recorded Re fa si as an instrumental Tango.
“Re fa si,” translated to “D F B” in English, resonates with a mysterious charm, as if each note tells a hidden story. Like a tango that sways between shadows and light, its melody drifts through the air, evoking soulful encounters and whispered secrets. The music invites listeners to wander in a dance of longing and unspoken dreams.

Tango

Style

Juan D'Arienzo

Orchestra

Instrumental

Singer

Author

Enrique Delfino

Composer

1935/3/10

Date

Instrumental
Instrumental
Juan D'Arienzo
Juan D’Arienzo

Discover Other Orchestras

Edgardo Donato – Vos y yo – 1935/3/21
Edgardo Donato – El huracán – 1950/4/14
Edgardo Donato – Petrolina y Candelario – 1934/1/9
Edgardo Donato – Buena yunta – 1930/1/1
Edgardo Donato – Has llegado – 1955/3/25
Rodolfo Biagi – Pudo ser una vida – 1946/1/18
Rodolfo Biagi – Por un beso de amor (Per un bacio d’amor) – 1940/10/4
Rodolfo Biagi – Ayudame – 1960/7/28
Rodolfo Biagi – No le digas que la quiero – 1940/12/17
Rodolfo Biagi – Seamos amigos – 1944/9/15
Juan MAGLIO – Milonguero viejo – 1928/4/2
Adolfo Carabelli – Mi primer amor (2) – 1929/1/1
Adolfo Carabelli – Capullito de aleli – 1933/1/1
Adolfo Carabelli – Por qué – 1931/11/2
Adolfo Carabelli – Mentira – 1931/10/2
Adolfo Carabelli – Olvidao – 1932/3/18

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.

Re fa si recorded by other Orchestras

Re fa si recorded by other Orchestras

1935/3/10 – Francia – Juan D-Arienzo
1935/3/19 – Arrabal amargo – Carlos Gardel
1935/3/19 – El dia que me quieras – Carlos Gardel
1935/3/19 – Lejana tierra mia – Carlos Gardel
1935/3/19 – Por una cabeza – Carlos Gardel
Re fa si – 1953/8/14 – Carlos di Sarli – Instrumental
Re fa si – 1935/3/10 – Juan D-Arienzo – Instrumental
Re fa si – 1972/12/14 – Juan D-Arienzo – Instrumental
Re fa si – 1928/4/3 – Osvaldo Fresedo – Instrumental
Re fa si – 1959/5/7 – Osvaldo Fresedo – Instrumental
Re fa si – 1940/12/26 – Rodolfo Biagi – Instrumental
Re fa si – 1959/11/13 – Alfredo De Angelis –
Re fa si – 1955/9/16 – Jose Basso – Instrumental
Re fa si – 1970/1/1 – Jose Basso –
Re fa si – 1973/1/1 – Florindo Sassone – Instrumental
Re fa si – 1927/6/15 – Orquesta Tipica Victor – Instrumental

Re fa si recorded by Juan D’Arienzo

Re fa si is an instrumental Tango composed by Enrique Delfino.

Interpretation of Re fa si

“Re fa si” translates to the musical notes D, F, B in the solfège system, which are the tonic, mediant, and leading tone in the key of B minor. This trio of notes sets the stage for an evocative and passionate tango composition. Imagine the music begins with a subtle interplay of these notes, flowing seamlessly together. The piece opens with an alluring violin which echoes the haunting melancholy often found in tangos. As the melody unfolds, the pulsating piano enters, adding a rhythmic foundation that pulls dancers into its embrace. In the middle section, the bandoneon’s voice swells, imbued with longing and a sense of nostalgia. The interaction between these instruments paints a vivid picture of tango’s emotional landscape, evoking the architecture and soul of Buenos Aires in the 1930s. The composition concludes with a dramatic crescendo, leaving listeners reflecting on the depth and passion ingrained within the notes “Re fa si.”

Juan D’Arienzo and Re fa si

Known as the “King of the Beat,” Juan D’Arienzo adds his signature energetic flair to “Re fa si,” amplifying its rhythmic intensity and driving momentum. His orchestra, with its vibrant strings and dynamic bandoneón ensemble, captures the essence of Enrique Delfino’s composition while infusing it with a distinctive sound characteristic of the late 1930s golden era of tango. D’Arienzo’s interpretation heightens the drama inherent in the piece, making it an irresistible invitation for dancers of tango to take to the floor. This recording exemplifies D’Arienzo’s ability to blend intricate melodic lines with a powerful ensemble sound, ensuring “Re fa si” resonates passionately with audiences both when it was first recorded and for generations thereafter.