Guastavino, Pampamapa

There’s a simple way to get to know unfamiliar music: listen to it over and over again. One of my professors who was constantly introducing us to new music always stressed the importance of listening twice, the second time immediately after the first. I pass that advice along on a regular basis.

Of course, twice is not nearly enough. You might read a novel once or maybe twice. But with music, you will listen dozens of times (at least) to music that you like. Think about it. How many times have you heard your favorite songs?

In the past few weeks, I have been getting to know some songs by the Argentinian composer Carlos Guastavino (1912-2000). And, of course, I have listened over and over again—more than I normally would. At some point I’ll put them aside and focus on something else, but not yet.

Guastavino is described as one of the more prominent Argentine composers of the 20th century, and as always Romantic. His reputation is based primarily on his songs, which has led some to call him “the Schubert of the Pampas.” His gift for melody combines with characteristically strong Latin rhythms and an exuberance that owes much to folk styles that Guastavino draws on. Those things, and some others, make much of Latin music fascinating for me. Perhaps it provides an escape from my Scottish Protestant roots.

The text by Hamlet Lima Quintana can be found here in Spanish, but I have not found an English translation.