Rey de triunfo (As de bastos) is a Tango written by Luis Caruso and recorded by Juan D’Arienzo in 1949. Juan D’Arienzo has recorded Rey de triunfo (As de bastos) as an instrumental Tango.
“Rey de triunfo (As de bastos)” translates to “King of Triumph (Ace of Clubs)” in English. This piece embodies the commanding spirit and bold energy of the highest card in the suit of clubs, a symbol of dominance and victory. Through its rhythmic elegance, it captures the dance of fate, where courage intertwines with destiny, whispering tales of power and resilience.
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.
Rey de triunfo (As de bastos) recorded by Juan D’Arienzo
Rey de triunfo (As de bastos) is an instrumental Tango composed by Luis Caruso.
Interpretation of Rey de triunfo (As de bastos)
The title “Rey de triunfo (As de bastos)” translates to “King of Triumph (Ace of Clubs)” in English. As an instrumental piece played by the renowned Tango Orchestra Juan D’Arienzo, it evokes a sense of majesty and conquest that may be heard throughout the composition. The “Rey de triunfo” suggests a regal, victorious theme amidst a vibrant and assertive arrangement, reminiscent of a king rising to power. The “As de bastos,” a powerful card in Spanish card games, further reinforces themes of strength and success, likely characterized by bold, decisive musical phrases and dynamic rhythms. The music potentially carries a distinctive energy, with a contagious rhythm that draws listeners to the dance floor, embodying the spirited and lively essence of Argentine Tango.
Juan D’Arienzo and Rey de triunfo (As de bastos)
Juan D’Arienzo, known as “El Rey del Compás” (The King of Rhythm), recorded “Rey de triunfo (As de bastos)” bringing with it his characteristic style of upbeat tempos and rhythmic intensity. His orchestra’s interpretation likely emphasizes sharp accents and crisp articulation, enhancing the triumphant nature suggested by the title. The piece could be punctuated by D’Arienzo’s signature staccato style and vibrant string passages, creating an exhilarating dance experience that invites both dancers and listeners to immerse themselves in its powerful forward momentum.