Juan D'Arienzo (December 14, 1900-January 14, 1976) was an Argentine tango … Read Full Bio ↴Juan D'Arienzo (December 14, 1900-January 14, 1976) was an Argentine tango musician, also known as "El Rey del Compas" (King of the Beat). Departing from other orchestras of the golden age, D'Arienzo returned to the 2x4 feel that characterized music of the old guard, but he used more modern arrangements and instrumentation. His popular group produced hundreds of recordings.
His music is played often at milongas in Buenos Aires, and the instrumentals are the classic harder rhythmic tangos with a strong staccato dance rhythm. He also recorded many great milongas and fast valses.
More detail.....
(December 14, 1900 – January 14, 1976)
D'Arienzo was born on 14 December 1900 in the Buenos Aires neighborhood of Balvanera.
By 1936 Juan D'Arienzo was at the height of his popularity. He was just 35 years old, one less than Julio De Caro –but stylistically at the other end of the musical horizon of tango. De Caro was already a star in 1924 when D'Arienzo began his rise to popularity when Pablo Osvaldo Valle took him to the brand new El Mundo radio station.
Like almost all the musicians in those days, he started in tango as a boy. He played violin in local venues at a very early age with Angel D'Agostino on piano, the bandoneon player Ernesto Bianchi (Lechuguita) and Ennio Bolognini, Remo and Astor´s brother. His first known performance goes back to 1919. In that year, he played with the Arata-Simari-Franco theater company when they presented the comic play by Alberto Novión, "El cabaret Montmartre" at the Nacional theater.
In an interview in 1949 with Andrés Muñoz,he said “We, D'Agostino and I on the violin, took part in the opening night of Alberto Novión´s sainete "El cabaret Montmartre". At the play a small tango orchestra appeared, led by us, and which accompanied Los Undar's, a famous dancing number formed by the partners la Portuguesa and El Morocho, two stars of tango canyengue”.
Doctor Luis Adolfo Sierra has established, however, that Roberto Firpo's orchestra premiered that show (Firpo, on piano; Cayetano Puglisi, on violin; Pedro Maffia and Juan Bautista Deambroggio, on bandoneons, and Alejandro Michetti, on drums) until September 1 of that year, when it was replaced by that of D'Arienzo-D'Agostino.
D'Arienzo remained linked to theater. Always with D'Agostino on piano, he accompanied Evita Franco, who beautifully sang tangos like "Loca", "Entra nomás" or "Pobre milonga".
He also played violin in the Frederickson jazz band and assembled a sextet with D'Agostino on piano; the other violin was Mazzeo. On bandoneons were Anselmo Aieta and Ernesto Bianchi, and Juan Puglisi on bass.
When D'Agostino left, he was replaced by Luis Visca, who was then composing "Compadrón".
1935 is the key year in D'Arienzo´s career. This is the year when the D'Arienzo we all remember really appeared. That happened when Rodolfo Biagi joined the orchestra. Biagi was a pianist who had played with Pacho, who had accompanied Gardel on some recordings, and had played with Juan Guido and Juan Canaro. By then, D'Arienzo was performing at the Chantecler. Biagi´s inclusion meant a change of time signature for D'Arienzo orchestra, which changed the four-eight for the two-four; that is to say, he returned to two-four, the fast frolic beat of the early tangos.
When Biagi left him in 1938 to assemble his own orchestra, D'Arienzo had already identified himself with the two-four definitively. Facing the martial rhythm by Canaro, the somewhat street band-like platitude of Francisco Lomuto, and De Caro´s symphonic attempts, D'Arienzo contributed a fresh, juvenile, enlivening air to tango.
Tango, which had been an ostentatious, challenging almost gymnastic dance, turned one day, according to Discépolo, into a sad thought which can be danced to. The dance had become subsidiary, displaced by lyrics and the singers, and then by the arrangement. D'Arienzo gave tango back to the dancers´feet and with that he revived the interst of the young in tango.
This nickname "king of beat", given by Príncipe cubano (Angel Sanchez Carreño), an MC at the cabaret Chantecler, turned into the king of the dance, and by getting people to the dance he earned a lot of money.
Tango lovers despise D'Arienzo. He is considered as a sort of tango demagogue. But D'Arienzo, as José Luis Macaggi has very well said, made possible that tango renaissance called "la década del cuarenta" (the 40s), a decade which represented The golden Age of Tango.
When D'Arienzo achieved success with the new beat, he dazzled the Chantecler dancers and El Mundo radio station broadcast it all over the country.
In 1949 D'Arienzo said: “In my view, tango is, above all, rhythm, nerve, strength and character. Early tango, that of the old stream (guardia vieja), had all that, and we must try not to ever lose it. Because we forgot that, Argentine tango entered into a crisis some years ago. Putting aside modesty, I did all was possible to make it reappear. In my opinion, a good part of the blame for tango decline is on the singers. There was a time when a tango orchestra was nothing else but a mere pretext for the singer´s performance. The players, including the leader, were no more than accompanists of the popular stars. For me, that can´t be. Tango is essentially music. In consequence, the orchestra, which plays it, cannot be relegated to the background to spotlight only the singer. The human voice is not, it should not be another thing but an instrument more in the orchestra. To sacrifice everything for the singer´s sake, for the star, is a mistake. I reacted against that mistake which caused the tango crisis and placed the orchestra in the foreground and the singer in his place. Furthermore, I tried to rescue for tango its masculine strength, which it had been losing. In my interpretations I stamped the rhythm, the nerve, the strength and the character which distinguished it in the music world and which it had been losing for the above reasons. Luckily, that crisis was temporary, and today tango has been re-established, our tango, with the vitality of its best times. My major pride is to have contributed to that renaissance of our popular music. [Edited quote from the Aquí Está magazine].
In 1975, a month before his death, D'Arienzo noted again: "The foundation of my orchestra is the piano. I regard it as irreplaceable. When my pianist, Polito is ill, I replace him with Jorge Dragone. If something happens to the latter I´m at a loss. Then the fourth violin appears as an essential element. It must sound like a viola or a cello. I assemble my group with piano, double bass, five violins, five bandoneons and three singers. Less members, never. I had even used, for some recordings, up to ten violins".[Interview made known by Telam and taken from La Voz del Pueblo, Tres Arroyos, 23 December 1975].
Due to the importance given to piano by the maestro, it is not superfluous to give here the list of his pianists: Alfonso Lacueva, René Cóspito, Vicente Gorrese, Nicolás Vaccaro, Juan Polito, Luis Visca, Carlos Di Sarli, Lidia Fassoli, Cesar Zagnolli, Rodolfo Biaggi, Juan Polito, Fulvio Salamanca, Juan Polito, Normando Lazara (Di Sarli only performed for a month, at the Chantecler, in 1934, replacing Visca)
In 1975, when the avant-garde movement was in bloom, D'Arienzo went on saying that "if musicians turned back to the pureness of two-four, the passion for our music would come again and, thanks to the modern media of broadcasting, we would reach world importance".[Interview made known by Telam and taken from La Voz del Pueblo, Tres Arroyos, 23 December 1975].
Originally published in Tango y Lunfardo Nº 132, Year XIV, Chivilcoy, 16 September 1997.
His music is played often at milongas in Buenos Aires, and the instrumentals are the classic harder rhythmic tangos with a strong staccato dance rhythm. He also recorded many great milongas and fast valses.
More detail.....
(December 14, 1900 – January 14, 1976)
D'Arienzo was born on 14 December 1900 in the Buenos Aires neighborhood of Balvanera.
By 1936 Juan D'Arienzo was at the height of his popularity. He was just 35 years old, one less than Julio De Caro –but stylistically at the other end of the musical horizon of tango. De Caro was already a star in 1924 when D'Arienzo began his rise to popularity when Pablo Osvaldo Valle took him to the brand new El Mundo radio station.
Like almost all the musicians in those days, he started in tango as a boy. He played violin in local venues at a very early age with Angel D'Agostino on piano, the bandoneon player Ernesto Bianchi (Lechuguita) and Ennio Bolognini, Remo and Astor´s brother. His first known performance goes back to 1919. In that year, he played with the Arata-Simari-Franco theater company when they presented the comic play by Alberto Novión, "El cabaret Montmartre" at the Nacional theater.
In an interview in 1949 with Andrés Muñoz,he said “We, D'Agostino and I on the violin, took part in the opening night of Alberto Novión´s sainete "El cabaret Montmartre". At the play a small tango orchestra appeared, led by us, and which accompanied Los Undar's, a famous dancing number formed by the partners la Portuguesa and El Morocho, two stars of tango canyengue”.
Doctor Luis Adolfo Sierra has established, however, that Roberto Firpo's orchestra premiered that show (Firpo, on piano; Cayetano Puglisi, on violin; Pedro Maffia and Juan Bautista Deambroggio, on bandoneons, and Alejandro Michetti, on drums) until September 1 of that year, when it was replaced by that of D'Arienzo-D'Agostino.
D'Arienzo remained linked to theater. Always with D'Agostino on piano, he accompanied Evita Franco, who beautifully sang tangos like "Loca", "Entra nomás" or "Pobre milonga".
He also played violin in the Frederickson jazz band and assembled a sextet with D'Agostino on piano; the other violin was Mazzeo. On bandoneons were Anselmo Aieta and Ernesto Bianchi, and Juan Puglisi on bass.
When D'Agostino left, he was replaced by Luis Visca, who was then composing "Compadrón".
1935 is the key year in D'Arienzo´s career. This is the year when the D'Arienzo we all remember really appeared. That happened when Rodolfo Biagi joined the orchestra. Biagi was a pianist who had played with Pacho, who had accompanied Gardel on some recordings, and had played with Juan Guido and Juan Canaro. By then, D'Arienzo was performing at the Chantecler. Biagi´s inclusion meant a change of time signature for D'Arienzo orchestra, which changed the four-eight for the two-four; that is to say, he returned to two-four, the fast frolic beat of the early tangos.
When Biagi left him in 1938 to assemble his own orchestra, D'Arienzo had already identified himself with the two-four definitively. Facing the martial rhythm by Canaro, the somewhat street band-like platitude of Francisco Lomuto, and De Caro´s symphonic attempts, D'Arienzo contributed a fresh, juvenile, enlivening air to tango.
Tango, which had been an ostentatious, challenging almost gymnastic dance, turned one day, according to Discépolo, into a sad thought which can be danced to. The dance had become subsidiary, displaced by lyrics and the singers, and then by the arrangement. D'Arienzo gave tango back to the dancers´feet and with that he revived the interst of the young in tango.
This nickname "king of beat", given by Príncipe cubano (Angel Sanchez Carreño), an MC at the cabaret Chantecler, turned into the king of the dance, and by getting people to the dance he earned a lot of money.
Tango lovers despise D'Arienzo. He is considered as a sort of tango demagogue. But D'Arienzo, as José Luis Macaggi has very well said, made possible that tango renaissance called "la década del cuarenta" (the 40s), a decade which represented The golden Age of Tango.
When D'Arienzo achieved success with the new beat, he dazzled the Chantecler dancers and El Mundo radio station broadcast it all over the country.
In 1949 D'Arienzo said: “In my view, tango is, above all, rhythm, nerve, strength and character. Early tango, that of the old stream (guardia vieja), had all that, and we must try not to ever lose it. Because we forgot that, Argentine tango entered into a crisis some years ago. Putting aside modesty, I did all was possible to make it reappear. In my opinion, a good part of the blame for tango decline is on the singers. There was a time when a tango orchestra was nothing else but a mere pretext for the singer´s performance. The players, including the leader, were no more than accompanists of the popular stars. For me, that can´t be. Tango is essentially music. In consequence, the orchestra, which plays it, cannot be relegated to the background to spotlight only the singer. The human voice is not, it should not be another thing but an instrument more in the orchestra. To sacrifice everything for the singer´s sake, for the star, is a mistake. I reacted against that mistake which caused the tango crisis and placed the orchestra in the foreground and the singer in his place. Furthermore, I tried to rescue for tango its masculine strength, which it had been losing. In my interpretations I stamped the rhythm, the nerve, the strength and the character which distinguished it in the music world and which it had been losing for the above reasons. Luckily, that crisis was temporary, and today tango has been re-established, our tango, with the vitality of its best times. My major pride is to have contributed to that renaissance of our popular music. [Edited quote from the Aquí Está magazine].
In 1975, a month before his death, D'Arienzo noted again: "The foundation of my orchestra is the piano. I regard it as irreplaceable. When my pianist, Polito is ill, I replace him with Jorge Dragone. If something happens to the latter I´m at a loss. Then the fourth violin appears as an essential element. It must sound like a viola or a cello. I assemble my group with piano, double bass, five violins, five bandoneons and three singers. Less members, never. I had even used, for some recordings, up to ten violins".[Interview made known by Telam and taken from La Voz del Pueblo, Tres Arroyos, 23 December 1975].
Due to the importance given to piano by the maestro, it is not superfluous to give here the list of his pianists: Alfonso Lacueva, René Cóspito, Vicente Gorrese, Nicolás Vaccaro, Juan Polito, Luis Visca, Carlos Di Sarli, Lidia Fassoli, Cesar Zagnolli, Rodolfo Biaggi, Juan Polito, Fulvio Salamanca, Juan Polito, Normando Lazara (Di Sarli only performed for a month, at the Chantecler, in 1934, replacing Visca)
In 1975, when the avant-garde movement was in bloom, D'Arienzo went on saying that "if musicians turned back to the pureness of two-four, the passion for our music would come again and, thanks to the modern media of broadcasting, we would reach world importance".[Interview made known by Telam and taken from La Voz del Pueblo, Tres Arroyos, 23 December 1975].
Originally published in Tango y Lunfardo Nº 132, Year XIV, Chivilcoy, 16 September 1997.
Nunca Más
Juan D'Arienzo Lyrics
We have lyrics for 'Nunca Más' by these artists:
Altos Cumbieros Nunca mas,no quiero verte nunca mas has dejado un dolor…
Anna Carina Sé que nuestro libro se cerró Y que mis noches y…
Anna Fiori feat. Fernando Obregón ¡Nunca más! No voy a perdonar ¡Nunca más! No puedo regresar …
Apologeos Amanecer una vez más Despertar de mi ansiedad Las huellas qu…
Armando Manzanero De pronto se me ocurre esta canción que fui Un beso…
Attaque 77 Vivo corriendo a todos lados voy de la fabrica a mi…
automático Si estas disfrutando Dices suave Dame más En el cuerpo está…
Bandana Si te vas ahora Ya no vuelvas más Yo no miro Hacia atrás …
Buitres Fue primavera negra, revolución Infierno rojo mi nación. …
Charles Aznavour Nunca más mi voz repetirá "Te quiero" Nunca más ira mi…
Cler Canifru En tu mundo paralelo Tu universo limitado Enterrar la cara e…
cumbia juan Adios good bye y me voy de aquí Solo y pensando…
David Bolzoni Nunca nunca mas en la noche la podre despertar Nunca mas…
Dkano Mi lapicero sigue sudando tinta sobre el papel Dejando huell…
Doble via Siempre te amado intensamente Sabes que si vivo es por ti…
Dr. Muerte Ya se va Se va la tristeza Ya se fue Y se fue…
E.u.f.o.r.i.a. Ha pasado mucho, desde que te ví Ya tus amigas me…
El Andariego Esta vez, se tropezó conmigo Alguien que si tenia, mi media…
El Último Ke Zierre Es una perdición que pasea por mi mente nunca he visto…
Ellaih Vi tu imagen en el auto La noche del día 27 No…
Francisco Céspedes De pronto se me ocurre esta canción que fui Un beso…
Francisco Lomuto En una noche de falsa alegría Tus ojos claros volví a…
Fruta Deliciosa El tiempo traerá las soluciones, si te vas y no…
Georgina Pensando Como ocultar lo que esta pasando Tus caricias te es…
Grupo 5 Amor, amor, qué está sucediendo. Amor, amor, qué te está pas…
Helker Adiós, me dijo llorando y partió. Su rostro anunciaba el hor…
Hombres G Quiero andar por esta vida Sin nada que temer Quiero…
Huck In a town way out by the mountains Lived a girl…
Jeon Nunca mas... Mi'n wak bo nunca mas Mi'n wak bo nun…
Jet Jaguar ¿Cómo olvidar lo que en mí provocaste? No lo puedo dejar…
KHY Creias sin pensar que seguiria igual, Con cada golpe me romp…
La Isla Centeno Te escribí para verte hoy Y tú dijiste, dijiste que no Pedis…
La Nueva Luna Ayer dijiste que tu amor Seria siempre para mi Tu me juraste…
La Santa Cecilia Nos fuimos siguiendo un sueño Con el corazón en mano Por que…
Lianna Yo quisiera ser, lo que espero ser Pero muchas veces no,…
Los Hermanos Rosario Nunca nunca nunca nunca volveré a besar esos labios dulces N…
Los Mendívil Decidete Cambiar De casa Y de amante Y yo tuve Que elgir Ent…
Lucas Beguerie Conocí la mierda cuando vi a mi mamá Trabajar sin parar…
Luz Casal A un lado mi sonrisa y viene a mi corazón otro pájaro…
Mimí Tienes un problema con tu forma de mirar Que pretende hipnot…
Nada Mas Que Hoy Es una tarde de confusión, muchas mentiras envueltas ya. Yo …
Patrick Bruel Dignes, belles Elles tournent sur elles-mêmes Les rides creu…
Pimpinela Que ganas de no verte nunca más, Aunque me muera, Hacerme…
QMBIA JUAN Adiós, And good bye y me voy de aquí, Solo y pensando, Que…
Radio Roots No! Nunca Mas! Sangre en las calles, tortura y horror…
Rene y Rene Hoy más que nunca tu espíritu de lucha te debe…
Rodrigo trate de encontrar la frase ideal que al fin te…
Ruidosa Inmundicia Quienes son ellos, que nos mienten con gracia, Y nos dicen…
Sabotaje Se coló en tu vida, como chute en vena. Y a…
Sinattra La sombra del ayer, cubre el sueño de vivir. El…
Sombrero Verde En el salón corrió el rumor Me lo dijerón con temor De…
Sonyk Jugando con el tiempo en mi soledad sabiendo que sin ti…
Tierra Santa Escrito está Que han de pagar Aquellos que fueron verdugos D…
Tisuby & Georgina Pensando Como ocultar lo que esta pasando Tus caricias te es…
Tomazacre Dice que no piensa en mi nunca mas no no quiere saber…
Virginia Clemm Esta distancia separa nuestras almas Va liberando el odio qu…
Washi Hana Estoy pensando en mandar todo a la mierda y hacer como…
We have lyrics for these tracks by Juan D'Arienzo:
Adiós Chantecler Te redujo a escombros la fría piqueta Y al pasar de…
Ansiedad Era un ciego, y ese torpe lazarillo, que me guiaba, se llama…
Cambalache El mundo fue y sera una porquería ya lo se En el…
Canzoneta La Boca, Callejón, Vuelta de Rocha, Bodegón, Genaro y su aco…
Chirusa Chirusa, la mas linda de las pebetas tejia sus amores con…
Cicatrices Cicatrices Incurables de una herida Que me ha causado la vid…
Claudinette Ausencia de tus manos en mis manos, Distancia de tu voz…
De Mi Flor Vuelvo de tierras muy lejanas donde ayer Consuelo al alma qu…
El Choclo El choclo Tango Musica di: Angel Villoldo e Enrique Santos D…
El Flete Se acabaron los pesaos, Patoteros y mentaos De coraje y deci…
El Nene Del Abasto Como estoy algo apartado Por razón de manyamiento, Ando de r…
El Olivo Allá, junto a la Ribera, Un tano alegre vivía, Laburando noc…
El Tarta Yo no tango tungo tengo Yo me ca ca cachen diez…
hasta siempre amor Hasta siempre, amor Pasarás de otro brazo Y dolerá el fracas…
Indiferencia Yo también como todos un día Tenía dinero, amigos y hogar. N…
Infamia La gente, que es brutal cuando se ensaña, La gente, que…
La Bruja Ahogando ese grito que sube del pecho Y llega a los…
Lilian Lilián, rubia y dulce, Lilián. Pasión, de un romance casual.…
Mandria Tome mi poncho no se aflija Si hasta el cuchillo se…
Milonga del Corazon Yo soy la milonga brava Hecha de amor y coraje, Que silbaba…
Mírame en la Cara Sufriendo callé los agravios, Mordiendo mis labios Los hice …
Nada Más No quiero nada, nada más Que no me dejes, frente a…
No Mientas ¡Fueron tus palabras la canción de mi esperanza! Y en tus…
Paciencia Anoche, de nuevo te vieron mis ojos; Anoche, de nuevo te…
Pensalo Bien Pensalo bien Antes de dar ese paso Que tal vez mañana acaso …
Si la Llegaran a Ver Por un recuerdo que me sigue siempre, por un pasado que…
Tango Brujo Tango que sos un encanto De quien escucha tus sones, Tango q…
Uno Uno busca lleno de esperanzas el camino que los sueños…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@silviocoppola8520
Insuperable. Melodía y ritmo. Con estos tangos no te dormís. SILVIO.
@juancarloseusebioramos2847
Que hermoso tango,y que interpretacion,que cantor,y que orquesta,y el piano?,gracias
@raulfernandez7706
Éste tango es de 1922, cuyos autores son Francisco y Oscar Lomuto. Grabado en el sello RCA VÍCTOR el lunes 14 de julio de 1941.
@gerarddekorte4596
Super ❤🎼🎼🎼🎶🎶
@guillermowierna621
Tango de Francico Lomuto la música y Oscar Lomuto la letra.
@davidmuhafra3040
increible amazing!
@alcidesantonioferrari3749
Genial D'arienzo orq.Mauré
@gonzalocadavid3657
Melloran los hijos