During his career, Osvaldo Pugliese directed two orchestras. The first one was directed by him in collaboration with Elvino Vardaro; it was a sextet that only lasted for two years. The second, the one we’ll be talking about, is the one that would be remembered as the “Orquesta Típica Pugliese” (“Pugliese Typical Orchestra”). This formation made its debut on August 11^th, 1939, but didn’t make any recordings until 1943, when they recorded “El farol” (“The streetlamp”) and “Rodeo” (“Evasion”). In those years, tango audience was divided and Pugliese was confronted with Troilo. Pugliese’s style was very similar to De Caro’s. His contribution to tango was a way of playing that joins a perfect dancing adaptability and a complex-structured harmonic conception. The rhythmic accentuation of his orchestra lies on a superposition of sonic layers which form a subtle and polyrhythmic mechanism, in which different instrumental sections move in a variety of styles and effects. And from this, apparently anarchic, rhythmic disposition, the different themes are expressively translated into the peculiar way of saying the soloists of the orchestra had. It is necessary to remark the director’s personality in the piano conducting function; and, during the best years of the orchestra’s career, first bandoneonist Osvaldo Ruggiero, first violinist Enrique Camerano and contrabass player Aniceto Rossi, the vertebral column of instrumental tango artistic expression. Undoubtedly, Osvaldo Pugliese’s orchestra is the highest stylistic point in a fundamental concept of instrumental tango, which is possibly the most artistically brilliant and was born with De Caro. Pugliese’s orchestra is the evolutional synthesis of the best instrumental tango; it could be said that it is the exact limit of the fifty-year-transformation process. To trespass the limits of that fair and renewing equilibrium, implies opening the risky and controversial issue of deviations, distortions and the supposed lack of authenticity of what should be understood by tango.