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La puñalada

La puñalada is a Milonga written by Pintín Castellanos and recorded by Cuarteto Típico Roberto Firpo in 1949. Cuarteto Típico Roberto Firpo has recorded La puñalada as an instrumental Milonga.
“La Puñalada,” translated as “The Stab,” evokes the sudden, sharp pain of a betrayal or deep-seated sorrow. In its haunting melody, one can almost feel the cold steel of emotion cutting through the heart, leaving an indelible scar. The music weaves an intricate dance of anguish and passion, reflecting the complexities of human experience and the shadows that linger.

Milonga

Style

Cuarteto Típico Roberto Firpo

Orchestra

Instrumental

Singer

Celedonio Flores

Author

Pintín Castellanos

Composer

1949/7/27

Date

Instrumental
Instrumental
Cuarteto Típico Roberto Firpo
Cuarteto Típico Roberto Firpo

Discover Other Orchestras

Lucio Demare – Din don – 1938/7/12
Lucio Demare – Nunca tuvo novio – 1957/1/1
Lucio Demare – Tal vez será mi alcohol (Tal vez será su voz) – 1943/5/6
Lucio Demare – Tinta verde – 1942/12/9
Lucio Demare – Dónde – (unknown date)
Enrique Francini – Elegante papirusa – 1956/7/27
Enrique Francini – Tema otoñal – 1956/11/14
Enrique Francini – Bebiendo contigo – 1959/6/12
Enrique Francini – A media luz – 1977/1/1
Enrique Francini – Buen amigo – 1977/1/1
Osvaldo Fresedo – Extraño mi amiga – 1932/1/1
Osvaldo Fresedo – Segui mi camino – 1934/9/13
Osvaldo Fresedo – El trianero – 1937/5/12
Osvaldo Fresedo – Santa – 1935/11/22
Osvaldo Fresedo – Vampiresa (Atorranta) – 1927/3/15
Astor Piazzolla – Taconeando – 1947/10/23
Astor Piazzolla – Guardia nueva – 1955/1/1
Astor Piazzolla – Imperial – 1955/1/1
Astor Piazzolla – Marrón y azul – 1955/1/1
Astor Piazzolla – Lumière 3
Lumière – 1976/1/1

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.

La puñalada recorded by other Orchestras

La puñalada recorded by other Orchestras

1949/7/26 – La maleva – Juan D-Arienzo
1949/7/26 – Farabute – Juan D-Arienzo
1949/7/26 – Copacabana (Nido de amor) – Julio De Caro
1949/7/26 – Selecciones de Gardel – Julio De Caro
1949/7/25 – No la traigas – Alfredo Gobbi
La punalada – 1937/4/27 – Juan D-Arienzo – Instrumental
La punalada – 1951/9/12 – Juan D-Arienzo – Instrumental
La punalada – 1943/11/23 – Juan D-Arienzo – Instrumental
La punalada – 1963/12/10 – Juan D-Arienzo – Instrumental
La punalada – 2015/1/1 – Juan D-Arienzo – Instrumental
La punalada – 1950/12/19 – Osvaldo Fresedo – Instrumental
La punalada – 1955/9/16 – Jose Basso – Instrumental
La punalada – 1967/4/18 – Hector Varela – Instrumental
La punalada – 1949/7/27 – Cuarteto Tipico Roberto Firpo – Instrumental
La punalada – 1987/1/1 – Nuevo Quinteto Real (Horacio Salgan) – Instrumental

Letra del Milonga La puñalada

Mentan los que saben

que un malevo

muy de agallas

y de fama

bien sentada

por el barrio

de Palermo

cayó un día

taconeando

prepotente

a un bailongo

donde había

puntos bravos

pa’l facón.



Lo empezaron a mirar

con un aire sobrador

pero el mozo, sin chistar,

a una puerta se arrimó.



Los dejó sobrar.

Los dejó decir.

Y pa’ no pelear

tuvo que sufrir.



Pero la pebeta

más bonita,

la que estaba

más metida

en el alma

de los tauras,

esa noche

con la vista

lo incitaba

a que saliera

a darles dique

y a jugarse

en un tango

su cartel.



Se cruzó

un gran rencor y otro rencor

a la luz

de un farolito a querosén

y un puñal

que parte en dos un corazón

porque así

lo quiso aquella cruel mujer.



Cuentan los que vieron

que los guapos

culebrearon

con sus cuerpos

y buscaron

afanosos

el descuido

del contrario

y en un claro

de la guardia

hundió el mozo

de Palermo

hasta el mango

su facón.

English lyrics of the Milonga "La puñalada"

They lie, those who know

that a thug

full of guts

and well-known fame

around the Palermo neighborhood

fell one day

strutting arrogantly

into a dance

where there were

tough contenders

for the knife.

They started to stare

with a condescending air

but the guy, without a word,

leaned against a door.

He let them gloat.

He let them talk.

And to avoid a fight

he had to suffer.

But the prettiest girl,

the one who was

deepest in the soul

of the tough guys,

that night

with her gaze

enticed him

to step up

to show off

and to risk

his reputation in a tango.

A deep grudge crossed

with another grudge

under the light

of a kerosene lamp

and a dagger

that splits a heart in two

because that cruel woman

willed it so.

They say those who saw

that the tough guys

slithered

with their bodies

and eagerly sought

the oversight

of the opponent

and in a lapse

of guard

the guy from Palermo

plunged his knife

up to the hilt.

La puñalada by Celedonio Flores

La puñalada is a Tango written by Celedonio Flores and composed by Pintín Castellanos.



Story behind the Tango La puñalada

The lyrics of “La puñalada,” meaning “The Stabbing” in English, tell a vivid tale set in the Buenos Aires neighborhood of Palermo. It’s a dramatic narrative centered around a proud, notorious man from Palermo who, known for his gallantry and established reputation, ventures into a dance event characterized by tension and tough rivals. Despite initial disdain, he tries to avoid conflict but is stirred into action by the encouragement of the most charming and influential woman present, leading to a tragic confrontation.



Symbolism of La puñalada

The song employs several elements of symbolism to enhance its storytelling. The “farolito a querosén” (kerosene lamp) illuminates the darker, hidden facets of human emotions and fatal decisions, providing a literal and metaphorical light under which the dramatic climax unfolds. The “puñal” (dagger) and “corazón” (heart) symbolize not just the physical act of violence but also betrayal and the heartbreak it can cause, especially pronounced with the implication that the violent act was provoked by a woman’s whims.



La puñalada in historic Context

Recorded in 1949, “La puñalada” reflects the gritty urban culture of mid-20th-century Buenos Aires. This period in Argentine history was marked by political and social upheaval, and Tango music often echoed the struggles and emotional intensity of the common people. Palermo, known for its vibrant, though sometimes violent nightlife, serves as the perfect backdrop for a tale of jealousy, pride, and passion, encapsulating the spirit of the Tango as a dance of intense emotions and conflicts.



Celedonio Flores

Celedonio Flores was a renowned Argentine poet and tango lyricist, noted for his vivid portrayals of Buenos Aires’ urban culture and the complex lives of its inhabitants.