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Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo)

Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo) is a Tango written by and recorded by Alfredo De Angelis in 1962. The Tango Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo) is written by , Alfredo De Angelis has recorded Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo) with the singer Juan Carlos Godoy.
“Tango and Turf (Leguisamo Alone, Under Belgrano, Sunday, One and One, Palermo)” encapsulates the rhythm of life and racing in Buenos Aires. The original Spanish name, “Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo),” weaves together the pulse of tango music with the thrill of horse racing. It tells a story of passion, solitude, and the vibrant city’s cultural heartbeat, where each Sunday, in Palermo, life dances a delicate balance of chance and tradition.

Tango

Style

Alfredo De Angelis

Orchestra

Juan Carlos Godoy

Singer

Author

Composer

1962/5/28

Date

Juan Carlos Godoy
Juan Carlos Godoy
Alfredo De Angelis
Alfredo De Angelis

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Lyrics Translation of the Tango Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo)

This is the translation of the Tango “Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo)” from Spanish to English. The English lyrics of the Tango “Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo)” have been done with AI.

Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo) recorded by Alfredo De Angelis


Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo) is an instrumental Tango composed by .



Interpretation of Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo)

The title “Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo)” suggests a rich tapestry of themes. “Tango y turf” links the dance of tango with horse racing (“turf”), weaving a narrative that evokes the excitement and drama associated with these two vibrant aspects of Argentine culture. “Leguisamo solo” points to Irineo Leguisamo, a famous jockey, suggesting a moment of singular brilliance or a solo performance that captivates the audience. “Bajo Belgrano” references a neighborhood in Buenos Aires, while “Domingo” (Sunday) suggests a time of leisure, often associated with social gatherings, recreational events, and perhaps a day at the races. “Uno y uno” and “Palermo,” likely reference the equality and balance in competition (“uno y uno”), and Palermo, a district known for its racecourse and cultural events. This instrumental piece might capture the spirit of these themes through its rhythm and melody, expressing the pulse of city life, the thrill of competition, and the intimate dance of the tango.



Alfredo De Angelis and Tango y turf (Leguisamo solo, Bajo Belgrano, Domingo, Uno y uno, Palermo)

Alfredo De Angelis was known for his skill in arranging and performing tango music, making his orchestra an ideal vessel for such a composition. In this piece, De Angelis likely infuses the music with his characteristic style, weaving together a danceable rhythm with intricate melodic lines. The music might progress through lively passages, evoking the hustle of race day or the anticipation in the air, with dynamic shifts representing the ebb and flow of a horse race or a tango dance. His orchestra can draw upon the traditional elements of tango to evoke a sense of place and culture, while also experimenting with tempo and dynamics to reflect the unique blend of elements suggested by the composition’s title. Through his interpretation, “Tango y turf” becomes more than music—it’s a narrative rooted in Argentinean tradition, brought to life through the distinctive sound of De Angelis’ orchestrations.