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Punto y coma

Punto y coma is a Tango written by José Martínez and recorded by Osvaldo Pugliese in 1948. Osvaldo Pugliese has recorded Punto y coma as an instrumental Tango.
“Punto y Coma,” or “Semicolon” in English, weaves a melodic tale of pauses and continuations. It captures the essence of moments suspended in time, where life’s rhythm hesitates before surging forward anew. In this dance between silence and sound, the music expresses the beauty of embracing both past reflections and future possibilities.

Tango

Style

Osvaldo Pugliese

Orchestra

Instrumental

Singer

Author

José Martínez

Composer

1948/9/13

Date

Instrumental
Instrumental
Osvaldo Pugliese
Osvaldo Pugliese

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Punto y coma recorded by Osvaldo Pugliese

Punto y coma is an instrumental Tango composed by José Martínez.



Interpretation of Punto y coma

The title “Punto y coma,” which translates to “semicolon” in English, suggests a pause that is half-way between a full stop and a comma. As an instrumental piece played by the Tango Orchestra of Osvaldo Pugliese, it may reflect this punctuation mark through its music by embodying both continuity and rest, capturing the tension and connection inherent in its structure. The tango might begin with a stark, dramatic pause, capturing the essence of a semicolon—a signal of both separation and linkage in writing. As the bandoneons surge into action, the piece could shift between reflective moments and energetic passages, maintaining a seamless flow that honors both the identity and the interdependency implied by a semicolon. The orchestra weaves a tapestry of emotion and rhythm, like a narrative with pauses and continuations, encapsulated by this unique musical interpretation.



Osvaldo Pugliese and Punto y coma

Osvaldo Pugliese, an iconic figure in the world of tango, brought “Punto y coma” to life with his orchestra, infusing it with the depth and finesse characteristic of his interpretations. Pugliese, known for his ability to balance precision with passionate intensity, would have guided his ensemble through José Martínez’s composition like a storyteller navigating complex prose. The orchestra under Pugliese’s direction would transform the semicolon from a simple punctuation mark into an embodiment of emotional dichotomy, creating a dance of anticipation and fulfillment. The musicians’ skillful interplay would craft a piece laden with both a driving force and lyrical pauses, capturing the dual essence of “Punto y coma” as intended by the composer, yet endowed with the unique flair of Pugliese’s legendary ensemble.