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La puñalada

La puñalada is a Milonga written by Pintín Castellanos and recorded by José Basso in 1955. José Basso has recorded La puñalada as an instrumental Milonga.
“La Puñalada,” which translates to “The Stab,” evokes a sense of sudden, sharp emotion conveyed through its haunting melody. The music slices through the air like a dagger, each note piercing the heart with its fervent passion. It tells a story of love and betrayal, where every chord echoes the fiery clash of devotion and despair.

Milonga

Style

José Basso

Orchestra

Instrumental

Singer

Celedonio Flores

Author

Pintín Castellanos

Composer

1955/9/16

Date

Instrumental
Instrumental
José Basso
José Basso

Discover Other Orchestras

Adolfo Carabelli – Cuando miran tus ojos – 1932/5/6
Adolfo Carabelli – Canción de amor – 1931/6/15
Adolfo Carabelli – Jamás podré olvidarte – 1932/1/1
Adolfo Carabelli – Florida ventana de Granada – 1933/1/1
Adolfo Carabelli – Canta guitarra – 1931/1/1
Edgardo Donato – Hacia la cumbre – 1930/1/1
Edgardo Donato – Berretines de bacana – 1953/1/2
Edgardo Donato – La que no volvió – 1931/1/1
Edgardo Donato – El once glorioso – 1931/1/1
Edgardo Donato – El chamuyo – 1938/10/10
José De Alto (Dir. José Basso) – Yo no sé por qué te quiero – 1959/9/14
José De Alto (Dir. José Basso) – Rosicler – 1959/9/14
José De Alto (Dir. José Basso) – Milonguita (Esthercita) – 1959/9/14
José De Alto (Dir. José Basso) – Nunca tuvo novio – 1959/9/14
Orquesta Típica Victor – Aire puro – 1941/8/28
Orquesta Típica Victor – Fumando espero – 1927/7/21
Orquesta Típica Victor – Tanita de la proa – 1927/6/15
Orquesta Típica Victor – Tu vida es mi vida – 1937/9/28
Orquesta Típica Victor – Como me gusta – 1932/3/3

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

1955/9/16 – Nido gaucho – Carlos di Sarli
1955/9/16 – Verdemar – Carlos di Sarli
1955/9/16 – Amurado – Jose Basso
1955/9/16 – Guardia vieja – Jose Basso
1955/9/16 – La cumparsita – Jose Basso
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"

The ones who know tell tales
of a brazen thug,
famed and respected
in the neighborhood
of Palermo,
who one day
swaggered in,
domineering
into a dance
among
the toughest crowd
ready for a knife fight.

They started watching him
with an air of superiority,
but the young man, without a word,
moved towards a door.

He let them overshoot.
He let them talk.
And to avoid a fight,
he had to suffer.

But the prettiest girl,
the one deepest
in the hearts
of the tough guys,
that night
with her gaze,
she urged him
to stand out,
to take a chance
on a tango
with his reputation.

A great resentment crossed
with another resentment
under the light
of a kerosene lantern,
and a dagger
splits a heart in two
because that’s what
the cruel woman wished.

Those who saw it say
that the tough hombres
slinked through
with their bodies,
eagerly seeking
any oversight
by the other,
and in an open moment
from their guard,
the boy from Palermo
plunged his knife
deep into his opponent.

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” portray a dramatic narrative set in the barrio of Palermo, where a revered tough man enters a dance. He’s initially scorned but opts to avoid confrontation, suffering the sneers silently. The prettiest girl at the dance, deeply admired by the local toughs, incites him through her gaze to prove himself by dancing a tango. This escalates to a violent confrontation under the dim light of a kerosene lantern, where passions culminate in a stabbing, driven by the manipulations of the woman both men desired.



Symbolism of La puñalada

The use of a “knife” (puñal) acts as a poignant symbol, representing betrayal and the deep wounds inflicted not just physically but emotionally. The knife splitting the heart in two underscores the dual pain of love and betrayal. The kerosene lantern sheds light not just physically but metaphorically, illuminating the dark moment of deceit and violence spurred by romantic rivalry. The dance hall, traditionally a place of festivity, is transformed into an arena of fatal confrontation, reflecting the darker side of human emotions and social interactions.



La puñalada in historic Context

Recorded in 1955, a period still resonating with the traditional values and the machismo characteristic of mid-20th century Argentina, “La puñalada” delves into themes of honor, love, and revenge. This time was marked by a cultural adherence to concepts of male bravery and public reputation, often settled with violence. The tango, therefore, not only tells a story but also reflects societal norms of the era where masculinity and personal reputation were defended fiercely, often at great cost.



Celedonio Flores

A renowned poet and tango lyricist, Celedonio Flores is celebrated for his ability to capture the essence of Buenos Aires street life and the poignant realities of the urban poor.