Carlos Guastavino (5 April 1912 – 29 October 2000) was an Argentine composer, considered one of the foremost composers of his country. His production amounted to over 500 works, most of them songs for piano and voice, many still unpublished. His style was quite conservative, always tonal and lushly romantic. His compositions were clearly influenced by Argentine folk music. His reputation was based almost entirely on his songs, and Guastavino has sometimes been called "the Schubert of the Pampas". Some of his songs, for example Pueblito, mi pueblo, La rosa y el sauce ("The Rose and the Willow") and Se equivocó la paloma ("The Dove Was Mistaken"), became national favorites. Unlike most other composers, at any time or place, Guastavino earned enough from his royalties and performing rights that he had little need for other income.
Life
Carlos Guastavino was born in Santa Fe Province, Argentina. He studied music in Santa Fe with Esperanza Lothringer and Dominga Iaffei, and in Buenos Aires with Athos Palma. A talented pianist, he performed his piano works in London in 1947, 1948, and 1949, invited by the BBC, and as a recipient of a scholarship from the British Council. During these years, the BBC Symphony Orchestra premiered the orchestral version of his Tres Romances Argentinos, under the baton of Walter Goehr. Later, in 1956, Guastavino toured the USSR and China, performing his pieces for voice and piano.
Compositional style
Guastavino's musical style marked a stark contrast with the works of his 20th-century Argentine contemporaries such as Alberto Ginastera and reveals the influence of European composers such as Albéniz, Granados, Rachmaninoff, Chabrier, Falla, Debussy, and Ravel, but also is clearly inherited from the luminaries of 19th-century Argentine nationalist composers, such as Alberto Williams, Ernesto Drangosch, Francisco Hargreaves, Eduardo García Mansilla and Julián Aguirre. Aguirre's delicate and intimate piano writing is an especially evident influence on Guastavino. Guastavino's stylistic isolation from the modernist and avant-garde movements going on around him, and the self-consciously nationalist content of his songs made him a model for Argentine popular and folk musicians in the 1960s.