Weiss - Tesis Buchardo PDF

A GUIDE TO THE SONGS OF
CARLOS LÓPEZ BUCHARDO (1881-1948) ARGENTINA
by
Allison L. Weiss
B.M., University of Puget Sound, 2000
A THESIS
submitted to the faculty of the Graduate School
of The University of Portland
in partial fulfillment of the requirements for the degree of
MASTER OF ARTS
Department of Performing and Fine Arts
April 6, 2005
_____________________________________
Michael Connolly, D.M.A., Chair
Graduate Program Director/Music
_____________________________________
Roger O. Doyle, D.M.A.
Professor
_____________________________________
Judith Sagun, M.M.
Adjunct Instructor
_____________________________________
Rev. Claude Pomerleau, C.S.C., Ph.D.
Professor
ACKNOWLEDGMENTS
My first thoughts of gratitude are directed toward Dr. Michael Connolly for his help
in editing this document and the other members of my thesis committee, Dr. Roger O.
Doyle, Judith Sagun, and Rev. Claude Pomerleau, for their suggestions. A special thanks to
Trudie Booth and Jon Mauser for their help with the French translations and to all the
professors, staff, and students at the University of Portland for their empathy and support
during the entirety of my Master’s program.
I wish to recognize the dozens of friends and scholars in Argentina who have
cheered me along and inspired me to study their music. Only a few can be listed here:
Beatríz Fitte de Fox (granddaughter of the composer), Lucio Bruno-Videla and his family,
Juan María Veniard, Estela Telerman, Ana María Locatelli de Pérgamo, Silvina Luz
Mansilla, Melanie Plesch, Claudia Delavega, Susana Montes de Oca, Ana María Portillo,
Ana María Mondolo, Bernardo Illari, Zulema Castello de Lasala, León Benaros, Silas Bassa,
Diego Orellana, Ricardo Catena, Leandro Donozo, Víctor Torres, Gerardo Delgado, Fabián
Piscitelli, Waldemar Axel Roldán, Edgardo Pagliera, Diego Manuel Rodriguez, Julio
Carola, and Miguel Hernandez.
Without the auspices of the Fulbright Commission in Argentina in 2001, I might
never have begun the study of Argentine composers. I remember with fondness the
support and encouragement of Laura Moraña, Graciela Abarca, and Norma Gonzalez.
I thank all the members and supporters of the Latin American Art Song Alliance,
especially members of the Advisory Board. They may never fully appreciate what their
words of encouragement and good energy have meant to me during recent years.
I owe special thanks to Dr. Geoffrey Block, Dr. Thomas Goleeke, Dr. Keith Ward,
and many other professors and students at The University of Puget Sound who helped me
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to create opportunities for my growth as a musician and scholar.
I wish to express my deep love and appreciation for my parents, my siblings, and
extended family members—a better team of cheerleaders was never to be found.
I gratefully acknowledge the work of scholars and performers, past and present,
whose exploration of the music of the Americas has stimulated my own. I also recognize
every effort that Ricordi Americana S.A.E.C. (Buenos Aires, Argentina) has made to
disseminate the works of Argentine composers.
And lastly, I remember with special regard a man who gave selflessly of himself for
the music and for my growth as a musician—teacher, mentor, and friend—the late Eugene
Hardin and his ever faithful companion, Elaine, to whom this volume is lovingly
dedicated.
A.L.W.
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ABSTRACT
Spanning nearly six decades, the life of Carlos López Buchardo (12 October 1881 – 21
April 1948) coincided almost perfectly with the rise and decline of Argentine musical
nationalism. Composer of piano, vocal, and orchestral works, his innovation of an
uniquely-Argentine musical idiom was most clearly demonstrated in the genre of song. His
entire output of songs for voice and piano is catalogued with information about their text,
dates of composition, publishers, vocal ranges, and performance history. Where possible,
each catalog entry includes a literal translation. Of the 62 songs attributed to López
Buchardo, 45 are discussed in greater detail in chapters that address the following: the
songs in French and Italian, the songs with folk music origins, the songs based on poems of
love and betrayal, the songs written for and about children, and the songs reflective of his
civic and administrative duties. One chapter is devoted to the lost songs and other vocal
works and the final chapter addresses aspects of Lopez Buchardo’s musical style.
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TABLE OF CONTENTS
Introduction …………………………………………………………………………………………vi
Survey of Literature ………………………………………………………………………………viii
Table of Examples ………………………………………………………………………………….xi
Table of Figures……………………………………………………………………………………xiv
Table of Illustrations ………………………………………………………………………………xv
Chapter 1: Catalog of Songs by Carlos López Buchardo (1881-1948) ………………………….1
Chapter 2: The Songs in French and Italian ……………………………………………………..86
Chapter 3: The Songs of Folk Origin ……………………………………………………………115
Chapter 4: The Songs of Love and Betrayal ……………………………………………………145
Chapter 5: The Songs for Singing to Children …………………………………………………162
Chapter 6: The Songs of Civic Duty …………………………………………………………….175
Chapter 7: The Lost Songs and Other Vocal Works …………………………………………..178
Chapter 8: Carlos López Buchardo’s Musical Style …………………………………………..184
Endnotes …………………………………………………………………………..……………….191
Works Cited …………………………………………………………………………..………….194
Appendix A: Correspondence with Zulema Castello de Lasala …………………………….203
Appendix B: Letter of Permission ……………………………………………………………....209
Appendix C: Discography of Songs by Carlos López Buchardo …………………………….210
Appendix D: Recital Program……………………………………………………………………212
Appendix E: Index to Songs and their Locations………………………………………………215
Appendix F: Resources for the Study of Argentine Art Song ………………………………218
Appendix G: Index to Songs in Alphabetical Order …………………………………………220
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INTRODUCTION
The varying seasons in Carlos López Buchardo’s career paralleled those of many
Argentine composers at the turn of the twentieth century: first, his early musical
development in Argentina followed by specialized training in Europe (principally Paris),
second, the discovery of musical “raw material” in Argentine folk music, third,
involvement in the organization and administration of Argentine musical institutions, and
fourth, infrequent yet glorious peaks of inspiration when symbols of Argentine folk
culture, as seen through the lens of his elite social class, were expertly synthesized into
works of sadness, joy, love, and heartbreak.
In the case of López Buchardo, it was the texts of his songs and how they were
blended with folk music rhythms that signified to his audiences the essential nature of
Argentina’s identity and were thus applauded as major contributions to Argentine
nationalist music. Of the 62 songs known to have been composed by him, about one-third
could be considered examples of Argentine musical nationalism. The remaining two-thirds
are variously devoted to French texts, children’s poems, religious themes, and anthems
designed for civic purposes.
This study is intended to help the reader gain an overall picture of López
Buchardo’s personality, musical style, and his selection and treatment of poetic texts. It
explores characteristics of the text and music that could resonate with a non-Argentine
listener and music appreciator today, characteristics that might account for its appeal
within and without Argentina’s intricate net of social, cultural, and musical meanings. The
broad-stroke categorization and analyses of songs will provide a useful starting place for
scholars and performers who wish to delve deeper into López Buchardo’s musical
messages.
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For enhanced understanding, readers are encouraged to refer first to the catalog
entry of any given song in Chapter One before reading the commentary surrounding it in
subsequent chapters. Song indexes are provided at the beginning of Chapter One and in
Appendix G to facilitate cross-referencing. Those wishing to research the topic of Argentine
art song in greater detail will find useful the Survey of Literature as well as Appendices C,
D, E, and F. They may also find interesting the interview with Argentine soprano Zulema
Castello de Lasala in Appendix A. All English translations of the citations included in
Chapters Two through Eight are my own. Spanish readers may find the original texts listed
in the endnotes.
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SURVEY OF LITERATURE
Only two books dedicated to the life and music of Carlos López Buchardo have been
published. Alfredo Andrés’ Carlos López Buchardo: Músico Argentino (1958) attempts to
contextualize the composer’s output relative to European musical influences while
Abraham Jurafsky’s Carlos López Buchardo (1966) describes the principal musical
characteristics of his major works. Both works include some biographical data and analyze
of a few of López Buchardo’s songs, but neither reaches any firm conclusions about his
musical style or song forms.
Susana Montes de Oca has compiled by far the most comprehensive listing of recital
programs, manuscripts, and printed references to the composer in her dissertation, “Carlos
Félix López Buchardo: Aproximación a su labor musical” (2000). Her catalog of López
Buchardo’s entire opus was a critical starting point for the song catalog compiled in this
document. Montes de Oca profiles a few of the poets, singers, and institutions with whom
López Buchardo collaborated and analyzes some of his musical comedies. She also begins
to draw conclusions about the composer’s development and alludes to a cause and effect
relationship between some of his works. Thanks to Montes de Oca’s direct access to family
archives more than a decade ago (before the materials were willed to descendents) and her
collection of periodical references to the composer, it is likely that her dissertation is the
most complete collection of raw data about the López Buchardo’s life and musical activity
ever compiled.
Ana María Portillo and Irma Agustina Romero collected scores and information
about the composer for a seminar paper at the Universidad Nacional de San Juan entitled
“Carlos López Buchardo y los dos ciclos de Canciones argentines al estilo popular” (1995). This
document’s most valuable assets are the transcribed interviews they conducted with
musicians who either knew the composer or knew of him. The other large segment of their
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work is focused on Buchardo’s two best-known portfolios, Seis canciones al estilo popular (G.
Ricordi & Co., 1925) and Cinco canciones al estilo popular (Ricordi Americana, 1936). When
possible, they have duplicated word-for-word the poems from their original sources, a
helpful reference for the layout and translation of the poems in this document. They also
include meter and rhyme schemes for each of the eleven poems and add their interpretive
thoughts about the songs’ subject matters.
Scholars Pola Suarez Urtubey and Carmen García Muñoz were the first
musicologists to catalog the works of Carlos López Buchardo. Suarez Urtubey’s listing in
La creación musical (1986) and García Muñoz’s article in the Diccionario de la Música Española
e Hispanoamericana (1999-2002) are still the only catalogs in print.
Deborah Schwartz-Kates’ monumental dissertation, “The Gauchesco Tradition as a
Source of National Identity in Argentine Art Music (ca. 1890-1955)” (1997) contains more
than fifty pages of text devoted solely to Carlos López Buchardo and three of his best-
known nationalist pieces: Escenas argentinas, the Canción del carretero, and Bailecito. Her
study as a whole is a critical starting place for any serious study of Argentine national
music.
For a brief introduction to the art song in Argentina, readers may consult the jacket
notes written by Carmen García Muñoz for the compact disc recording, Música vocal de
cámara argentina (1993). They might also read the last three chapters of the dissertation
written by Jorge Oscar Pickenhayn entitled “El nacionalismo musical europeo y su influencia
sobre la canción de cámara argentina” (1943).
There are no sources that thoroughly outline the development of art song in
Argentina. There are, however, publications and articles that touch on this topic in the
context of Argentina’s larger musical history (see Arizaga, Enciclopedia de la música
argentina, 1971; Arizaga and Camps, Historia de la música en la argentina, 1990; García
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Acevedo, La música argentina contemporanea, 1963; García Acevedo, La música argentina
durante el período de la organización nacional, 1961; García Morillo, Estudios sobre música
argentina, 1984; Gesualdo, Breve historia de la música en la argentina, 1998; Gesualdo, Historia
de la música en la argentina, 1961; Plesch, “El rancho abandonado”, 1992; Plesch, “La música en
la construcción de la intentidad”, 1996; Plesch, “También mi rancho se llueve”, 1998; Schiuma,
Música y músicos argentinos, 1943; Veniard, Aproximación a la música académica argentina,
2000; Veniard, La música nacional argentina, 1986; Veniard, “La teoría histórica de las
generaciones”, 1998).
Finally, readers may be interested in comparing the present study with others that
have focused on Argentine song composers. They may find helpful Juan Francisco
Giacobbe’s book on Julián Aguirre (1945), Jonathan Kulp’s dissertation, “Carlos
Guastavino: A Study of His Songs and Musical Aesthetics” (2001), Roxane M. LaCombe’s
study, “Carlos Guastavino’s Song Cycles Las Nubes and Cuatro Sonets de Quevedo” (2000),
and Deborah Wagner’s paper, “Carlos Guastavino: An Annotated Bibliography of his Solo
Vocal Works” (1997).
The sheet music consulted for this study was obtained from various libraries,
collections, and publishers as outlined in Appendix E.
x
TABLE OF EXAMPLES
Example 1. Silence, measures 1-5 …………………………………………………………………93
Example 2. Silence, measures 12-15 ………………………………………………………………94
Example 3. Silence, measure 11……………………………………………………………………94
Example 4. Les roses de Noël, measures 19-27…………………………………………………….96
Example 5. Les roses de Noël, measures 1-6 ………………………………………………………97
Example 6. Les roses de Noël, measures 8-10 …………………………………………………….98
Example 7. Lassitude, measures 17-20…………………………………………………………….99
Example 8. Lassitude, measures 23-32 …………………………………………………………..100
Example 9. Une fleur, measures 73-75 …………………………………………………………..102
Example 10. Une fleur, measures 42-45 …………………………………………………………102
Example 11. Reflets, measures 1-9 ……………………………………………………………….103
Example 12. Petite Ynga, measures 30-32 ………………………………………………………104
Example 13. Petite Ynga, measures 3-6 …………………………………………………………105
Example 14. A toute âme que pleure, measures 26-29 …………………………………………..106
Example 15. A toute âme que pleure, measures 4-6 ……………………………………………106
Example 16. A toute âme que pleure, measures 16-24 …………………………………………107
Example 17. Ave Maria, measures 32-37 ………………………………………………………109
Example 18. Ave Maria, measures 47-55 ……………………………………………………….110
Example 19a. Scordarmi di te, measures 51-66 ………………………………………………….111
Example 19b. Scordarmi di te, measures 36-42 ………………………………………………….114
Example 20. Vidalita, measures 1-9 ……………………………………………………………..117
Example 21. Los puñalitos, measures 17-22 ……………………………………………………..119
Example 22. Desdichas de mi pasión, measures 1-13 ……………………………………………121
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Example 23. Vidala, measures 1-6. ……………………………………………………………122
Example 24. Gustavo Caraballo’s poem, Canción del carretero ………………………………..125
Example 25. Canción del carretero, measures 2-10………………………………………………129
Example 26. Jujeña, measures 113-125 ………………………………………………………….136
Example 27. Prendeditos de la mano, measures 60-62. …………………………………………138
Example 28. Si lo hallas, measures 1-9 ………………………………………………………….139
Example 29. Oye mi llanto, measures 1-9.……………………………………………………….142
Example 30. Malhaya la suerte mía, measures 22-27 ……………………………………………144
Example 31. Si para un fino amante, measures 21-39 …………………………………………149
Example 32. Text and translation of the traditional folk song Au clair de la lune …………..150
Example 33. La canción desolada, measures 38-45 ………………………………………………152
Example 34. Querendona, measures 1-9 …………………………………………………………154
Example 35. Copla criolla, measures 49-57………………………………………………………156
Example 36. Lamento (Mírala como ha venido), measures 23-31 ……………………………….157
Example 37. Canta tu canto, ruiseñor y vuela, measures 5-20 ………………………………….159
Example 38. Canción de ausencia, measures 57-68………………………………………………161
Example 39. Hormiguita, measures 18-34 ……………………………………………………….166
Example 40. Este pajarito, measures 8-10 ……………………………………………………….167
Example 41. Este pajarito, measures 5-7…………………………………………………………167
Example 42. Este pajarito, measures 21-24………………………………………………………168
Example 43. La casita del hornero, measures 14-17 ……………………………………………..169
Example 44. El patio, measures 1-15 …………………………………………………………….170
Example 45. El canario, measures 10-13…………………………………………………………171
Example 46. El arco iris, measures 17-25 ………………………………………………………..172
Example 47. Canción de Perico, measures 14-21 ……………………………………………….173
xii
Example 48. Canción del niño pequeñito, measures 19-26 ………………………………………174
Example 49. ¡Pobres jazmines criollos!, measures 1-4 …………………………………………..182
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TABLE OF FIGURES
Figure 1. Partial list of López Buchardo songs performed in public …………………………91
Figure 2. Formal and harmonic structure in Scordarme di te..!!?? …………………………..113
Figure 3. Form and phrase structure in Canción del carretero ………………………………127
xiv
TABLE OF ILLUSTRATIONS
Illustration 1. Plaque dedicated to Carlos López Buchardo…………………………………..189
Illustration 2. Plaque celebrating the centenary of Carlos López Buchardo’s birth ……….189
Illustration 3. Photograph of Carlos López Buchardo ………………………………………...190
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CHAPTER 1
Catalog of Songs by Carlos López Buchardo (1881-1948)
The following is a catalog of the 62 songs of Carlos López Buchardo (12 October
1881 – 21 April 1948) arranged in mostly chronological order according to their date of
composition. The few exceptions to this rule include songs that were grouped into
collections for publication, which have been left in their printed order, or songs whose
dates of composition are still unknown, which are left in their approximate order of
composition. Each entry indicates the name of the song’s collection, if applicable; the
source of the song’s text; the language of the text; the year composed; the year published
and by whom; the dedicatee, if any; the initial tempo marking, the key signature; the vocal
range from lowest to highest note (indicated by a letter representing the note and a number
representing the octave on the piano, i.e., C4 = middle C on the piano keyboard); the
estimated duration of the performed piece; the translation of the title and song text; the
piece’s performance history (i.e. known instances of public performance in Argentina
during the composer’s lifetime); and notes, if applicable.
An attempt has been made to translate word-for-word the original song texts into
English. The reader may find this complicated at times, though a basic knowledge of
indirect and direct verb conjugations in Romance languages will allow most performers to
create their own poetic translations that make grammatical sense. For example, in Jujeña
(Entry 31), the last sentence in Spanish is ¡Canto por que te quiero vidita, por eso canto! which
translated literally would be, “I sing because you I love my sweetheart, for that I sing!” A
performer might poetically translate this phrase as, “I sing because I love you, my
sweetheart, for this reason I sing!” Performers are encouraged to create their own poetic
translations from these basic literal translations for their private or academic use. Further
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research must be done on the copyrights of the poems if performers desire to use them for
any commercial purpose.
When complicated grammatical structures, loose poetic phrasing, or idiomatic
words have made the literal translations difficult to decipher, a poetic paraphrase of the
poem’s text has sometimes been included within its corresponding chapter. Of course, no
translation will ever substitute for a thorough knowledge of the language or the hidden
meanings and dialects represented in these poems. Serious performers will enjoy a further
study of the Argentine Spanish language and poetry to inform their interpretation of the
songs.
Susana Montes de Oca is credited for supplying the majority of the songs’ dates of
composition, some of which could be verified on copies of the manuscripts and others of
which were deduced from the dates of their debut performances or information taken from
periodicals of the time (Montes de Oca 302-320). With Ms. Montes de Oca’s gracious
permission, the dates and performance history information that she first researched in her
thesis are included, while still assuming full responsibility for any errors or misinformation
that may exist due to my inability to verify each detail.
Not surprisingly, this catalog is far from complete. Seventeen of the songs were not
located in published or manuscript form. They are included, nonetheless, as a reminder of
the many gaps that still need filling in Argentine musical history.
For the reader’s convenience, an brief index of the 62 songs, their titles, dates of
composition, language of text, and their corresponding pages in this volume is provided
prior to the catalog’s first entry.

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INDEX OF SONGS BY CARLOS LÓPEZ BUCHARDO (1881-1948)

Entry Song Title Composed Language Pages
1 Ave Maria ca. 1896 Italian 5, 108
2 Silence before 1899 French 6, 93
3 Les Roses de Noel before 1899 French 7, 95
4 Extase before 1899 French 8, 87
5 Sé… before 1899 unknown 9
6 Vorrei ca. 1903 Italian 10
7 La Mort des Oiseaux ca. 1903 French 11, 87
8 Scordarmi di te..!!?? unknown Italian 12, 110
9 Le voyage unknown French 13, 87
10 Salve Oh, Reina Gloriosa 8 October 1911 Spanish 14, 88
11 Feuillage du cœur 1915 French 15, 89
12 Le Paravent 1915 French 16, 89
13 Lassitude September 1915 French 17, 98
14 Era una rosa 30 October 1915 Spanish 18, 148
15 Une fleur 19 December 1915 French 19, 101
16 Reflets 11 Enero 1916 French 21, 102
17 Si para un fino amante 21 April 1916 Spanish 22, 148
18 Petit Ynga 20 February 1917 French 23, 103
19 Nocturno 15 March 1917 Spanish 24, 150
20 A toute âme qui pleure… 1 January 1918 French 25, 105
21 Hormiguita 1919 Spanish 26, 165
22 Para flor de durazno 1921 Spanish 28, 180
23 Le para vent ca. 1924 French 29
24 Tránsito 1924 Spanish 30, 180
25 La canción desolada ca. 1924 Spanish 31, 150
26 Vidalita 1921 Spanish 32, 116
27 Los puñalitos 1921 Spanish 34, 118
28 Desdichas de mi pasión… ca. 1924 Spanish 36, 120
29 Vidala ca. 1924 Spanish 38, 122
30 Canción del carretero ca. 1924 Spanish 40, 123
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INDEX OF SONGS BY CARLOS LÓPEZ BUCHARDO (1881-1948) (cont.)

Entry Song Title Composed Language Pages
31 Jujeña ca. 1924 Spanish 42, 135
32 Himno de la UNLP 1927 Spanish 44, 176
33 Pampeana 1927 Spanish 46, 152
34 Prendeditos de la mano 1931 Spanish 48, 137
35 Si lo hallas 1931 Spanish 49, 138
36 Frescas sombras de sauces 1931 Spanish 50, 140
37 Oye mi llanto 1931 Spanish 52, 140
38 Malhaya la suerte mia 1931 Spanish 53, 142
39 Pobres jazmines criollos 1933 Spanish 55, 181
40 Vals before 1933 Spanish 57, 180
41 Himno de la Cruz Roja Argentina 1935-36 Spanish 58, 177
42 La Doble Cruz 1935-36 Spanish 60, 177
43 Una rosa para mi rosa 1936 Spanish 62, 180
44 Este pajarito 1937 Spanish 63, 167
45 La casita del hornero 1937 Spanish 64, 168
46 El jardín de mi Escuela 1937 Spanish 65, 169
47 Mi señorita 1937 Spanish 66, 169
48 El patio 1937 Spanish 67, 169
49 El canario 1937 Spanish 69, 171
50 El arco iris 1937 Spanish 70, 171
51 Querendona 1938 Spanish 72, 153
52 Copla criolla 1938 Spanish 74, 155
53 Porteñita unknown Spanish 75, 182
54 Lamento (Mírala como ha venido) 1938 Spanish 77, 156
55 Canta tu canto, ruiseñor y vuela… 1940 Spanish 78,158
56 Canción de Perico 1940 Spanish 79, 172
57 Canción del niño pequeñito 1940 Spanish 80, 173
58 Canción de ausencia 1942 Spanish 81, 159
59 Caminito de flores 1942 Spanish 83, 180
60 Canción del estudiante unknown Spanish 84, 180
61 Los camperos unknown Spanish 85, 181
62 Canción del trabajo 1948 Spanish 86, 176
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1. Ave Maria
Text: Traditional Catholic text

Language: Italian
Composed: ca. 1896
Published: unknown
Publisher: unknown
Dedication: none
Tempo: Andante religioso (Moderately slow and reverent)
Key: Eb Major
Vocal Range: Eb4 - G5
Duration: 2:40
Title: Hail Mary
Ave Maria, piena di grazie, 1 Hail Mary, full of grace,

il Signor è teco, 2 the Lord is with thee,
tu sei benedetta fra le donne 3 thou art blessed among women
e benedetto è il frutto del ventre tuo, Gesù. 4 and blessed is the fruit of thy womb, Jesus.
Tu sei benedetta fra le donne 3 Thou art blessed among women
e benedetto è il frutto del ventre tuo, Gesù. 4 and blessed is the fruit of thy womb, Jesus.
Ave Maria, Santa Maria, 5 Hail Mary, Holy Mary,

prega per noi peccatori, peccatori, 6 pray for us sinners, sinners,
adesso e nell'ora della nostra morte. 7 now and in the hour of our death.
Ave Maria, 5 Hail Mary,
prega per noi 6 pray for us
e nell'ora della nostra morte. 7 and in the hour of our death.
Amen. 8 Amen.
Ave Maria. 1 Hail Mary.
Amen. 8 Amen.
Performance History: unknown
Notes: First piece known to be written by composer. The author of the translation from
Latin to Italian is unknown. This song was professionally engraved and printed, but no
publisher was listed on the sheet music. This printing of this song and other early editions
may have been paid for by the López Buchardo family.
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2. Silence (Romance pour chant et piano)
Text: Paul Bourget (1852-1935) France

Language: French
Composed: before 1899
Published: unknown
Publisher: Breyer Hermanos
Dedication: Henriette Van Marke De Lumen

Tempo: Lento (Slow)
Key: B Major
Vocal Range: B4 – F#5
Duration: 1:45
Title: Silence (Romance for voice and piano)
Silence ineffable de l'heure 1 Silence unutterable of the hour

où le cœur aimant sur un cœur 2 when the heart loving on a heart
se laisse en aller et s'endort 3 lets itself go and falls asleep
sur un cœur aimant qu'il adore. 4 on a heart loving that it adores.
Musique tendre des paroles 5 Music tender of words

comme un sanglot de rossignol 6 like a sob of nightingale
si tendre qu'on voudrait mourir 7 so tender that one would like to die
sur la bouche qui les soupire. 8 on the mouth that them sighs.
L'ivresse ardente de la vie fait defaillir 9 The exhilaration ardent of life makes faint
l'amant ravi, et l'on n'entend 10 the delighted lover, and one only hears
battre the pulse
qu'un cœur musique 11 of a heart musical
et silence de l'heure. 12 and silence of the hour.
Performance History: Performed in Buenos Aires at the Asociación Wagneriana (Montes de

Oca 312).
Notes: Op. 1 is listed on cover. Susana Montes de Oca lists the year of composition as
“before 1899”, but the source of this date is unclear (312).The year of publication may have
been 1903 (Jurafsky 55).
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3. Les Roses de Noël (Mèlodie pour chant et piano)
Text: Edmond Arnould (1811-1861) France

Language: French
Published: 1924
Publisher: G. Ricordi & Co.
Dedication: none
Tempo: Moderato (Moderate)
Key: Eb Major
Duration: 1:20
Title: The Roses of Christmas (Song for voice and piano)
En Décembre à travers la brume 1 In December through the fog

elles s'ouvrent, les tristes fleurs, 2 they open, the sad flowers,
semblables à des yeux en pleurs, 3 resembling eyes in tears,
que nul vivant dèsir n'allume. 4 that no living desire illuminates.
Point de soleil qui les parfume, 5 No sun that them perfumes,

qui les dore de ses couleurs; 6 that them gilds with its colors;
mais du moins aux mornes douleurs 7 but at least to gloomy pains
leur pâleur est sans amertume… 8 their pallor is without bitterness…
Puisque le jeune et beau printemps 9 Since the young and beautiful spring
reserve ses dons éclatants 10 reserves its gifts bright
aux âmes fraîchement écloses; 11 to souls freshly bloomed;
pour ceux qui souffrent, ô doux ciel, 12 for those who suffer, oh sweet sky,
faites toujours fleurir les roses, 13 make always blossom the roses,
faites toujours fleurir les roses, make always blossom the roses,
les pâles roses de Noël. 14 the pale roses of Christmas.
Performance History: Performed in Buenos Aires at the Asociación Wagneriana on 12 May

1919 (Montes de Oca 312).
Notes: Susana Montes de Oca lists the year of composition as “before 1899”, but the source
of this date is unclear (312).The year of publication may have been 1903 (Jurafsky 55).
Weiss 8
4. Extase
Text: Maurice Maeterlinck (1862-1949) Belgium

Language: French
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Vocal Range: unknown
Duration: unknown
Title: Extasy
Performance History: Performed in Buenos Aires at the Asociación Wagneriana (Montes de

Oca 312).
Notes: Susana Montes de Oca lists the year of composition as “before 1899”, but the source
of this date is unclear (312).
Weiss 9
5. Sé…
Text: unknown
Language: unknown
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Performance History: Performed in Buenos Aires by soprano Palomea Krucenisky with

Rafael Gousates [sic] at the piano on 19 December 1923. Performed in Buenos Aires by
soprano Antonieta Silveyra de Lenhardson with Carlos López Buchardo at the piano on 14
November 1924 (Montes de Oca 312, 328).
Notes: Susana Montes de Oca lists the year of composition as “before 1899” and the
original text as French, but the source of this information is unclear (312). The title is listed
variously as “Sé…” (Montes de Oca 312), “Sé” (Montes de Oca 257), and “Se” (Jurafsky 55,
Montes de Oca 328), making it hard to verify the language of the song’s text. This song may
have been in unpublished manuscript form only.
Weiss 10
6. Vorrei
Text: Pietro Barqui

Language: Italian
Composed: ca. 1903
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: I would like
Notes: Susana Montes de Oca lists the year of composition as “around 1903”, but the
source of this date is unclear (312). Jurafsky lists the year of publication as 1903 (55). This
song may have been published by Breyer Hermanos as Op. 2 (see the notes for Entry 8). It
was listed by Carmen García Muñoz as having been engraved and printed (1006).
Weiss 11
7. La Mort des Oiseaux
Text: Francoise Coppé (1842-1908) France

Language: French
Composed: ca. 1903
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: The death of birds
Notes: Montes de Oca lists the year of composition as “around 1903”, but the source for
this date is unclear (312). This song may have been published by Breyer Hermanos as Op. 3
(see the notes for Entry 8). It was listed by Carmen García Muñoz as having been engraved
and printed (1006).
Weiss 12
8. Scordarmi di te..!!?? (Romanza per canto e pianoforte)
Text: unknown
Language: Italian
Composed: unknown
Published: unknown
Publisher: unknown
Dedication: Carlos Berro Madero

Tempo: Lento (Slow)
Key: E Major
Vocal Range: F#4 - G5
Duration: 2:45
Title: Forget you..!!?? (Romance for voice and piano)
Ridono i fiori allo spuntare il sol; 1 Laugh the flowers upon rising the sun;
godon gli augelli all'annunziarsi 2 delight the angels at the announcement
il dì; of the day;
solo il mio core veste eterno duol, 3 Solitary my heart is clothed with eternal pain,
ogni speranza per me sempre svanì, 4 every hope for me forever vanished,
per me sempre svanì. 4 for me forever vanished.
Esule e solo, o Madre, mi lasciasti 5 Exiled and alone, oh Mother, me you left
in questa falsa vita d'amor; 6 in this false life of love;
tutt'ho perduto già, 7 all I have lost already,
nei dì nefasti, in the day of misfortune,
speme, illusioni, odio e dolor. 8 hope, dreams, hate and pain.
Scordai ricchezze, i sogni giovanil, 9 I forgot riches, the dreams youthful,

la vita, la natura, amore e gioventù; 10 life, nature, love and youth;
tu sol ne guida i passi miei 11 your sun them guides the footsteps mine
febril; feverish;
la santa immagin tua non scorderò 12 the holy image your not will I forget
mai più, forever more,
non scorderò mai più! 12 not will I forget forever more,
Scordarme di te..!!?? 13 Forget you..!!??
Notes: Scordarmi di te..!!?? has no verifyable date of composition, but was most likely
composed sometime during López Buchardo’s twenties. Op. 4 is listed on the cover,
suggesting that the two songs known to have been printed between Op. 1 and Op. 4 (Vorrei
and La Mort des Oiseaux) may have been published by Breyer Hermanos as well. Gurina y
Cia. might also have been a third-party publisher or printer of López Buchardo’s early
songs.
Weiss 13
9. Le voyage (Romance)
Text: unknown
Language: French
Composed: unknown
Published: 1903
Publisher: Bibelot
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: The Voyage (Romance)
Notes: Published in the Magazine Bibelot, Buenos Aires, Año I, No. 16 (30 December 1903)
and text attributed to a said “Florian”, according to Montes de Oca (312). This score has yet
to be located.
Weiss 14
10. Salve Oh, Reina Gloriosa
Text: unknown
Language: Spanish
Composed: 8 October 1911
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: Save Us, Oh Glorious Queen
Notes: According to Montes de Oca, this song was listed in a working catalog belonging to
Carmen García Muñoz (313). The text may have been the Latin Salve Regina translated into
Spanish, though no manuscript has been found to verify this.
Weiss 15
11. Feuillage du cœur

Language: French
Composed: 1915
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: Foliage of the heart
Performance History: Performed in Buenos Aires at the Museo Nacional de Bellas Artes by
Paula Ripert Mancilley with Carlos López Buchardo at the piano on 26 November 1915
(Montes de Oca 313). Performed in Buenos Aires by soprano Antonieta Silveyra de
Lenhardson with Carlos López Buchardo at the piano on 14 November 1924 (Montes de
Oca 328).
Notes: This song may have been in unpublished manuscript form only.
Weiss 16
12. Le paravent
Text: Enrique Prins (1876-1943) Uruguay

Language: French
Composed: 1915
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: The folding screen

(i.e. as in a decorative Chinese folding screen)
Paula Riper Mancilley with Carlos López Buchardo at the piano on 26 November 1915
(Montes de Oca 64). Performed in Buenos Aires by soprano Brigida Frías de López
Buchardo with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca
328-329).
Notes: See Entry 23 for information on another song of almost the same title with text by a
different poet. This song may have been in unpublished manuscript form only.
Weiss 17
13. Lassitude

Language: French
Composed: September 1915
Published: unpublished manuscript
Dedication: none
Tempo: Calme (Calm)
Key: F Major
Vocal Range: C4 - F5
Duration: 2:25
Title: Lassitude
Ils ne savent plus où 1 They don’t know anymore where

se poser ces baisers, to place those kisses,
ces lèvres sur des yeux 2 these lips on eyes
avengles et glacés; blind and icy;
désormais endormis 3 from now on set to sleep
en leur songe superbe, in their dream superb,
désormais endormis 3 from now on set to sleep
en leur songe superbe, in their dream superb,
ils regardent rêveurs 4 they watch dreamily
comme des chiens dans l'herbe, like dogs in the grass,
la foule des brebis grises 5 the flock of sheep gray
à l'horizon, on the horizon,
brouter le clair de lune 6 to graze the light of moon
épars sur le gazon, scattered on the lawn,
aux caresses du ciel vague 7 to the caresses of the sky vague
comme leur vie; like their life;
indifférents et sans une flamme 8 indifferent and without a flame
d'envie, of desire,
pour ces roses de joie 9 for those roses of joy
écloses sous leurs pas; blooming under their steps;
et ce, long, calme vert 10 and that, long, calm green
qu'ils ne comprennent pas. that they understand not.
Paula Riper Mancilley with Carlos López Buchardo at the piano on 26 November 1915
(Montes de Oca 313). Performed in Buenos Aires by soprano Enriqueta Basavilbaso de
Catelín with Carlos López Buchardo at the piano on 14 November 1924 (Montes de Oca
312, 328).
Notes: This manuscript was located by Montes de Oca in the Carlos Fitte family archives
and at the Asociación Wagneriana (313).
Weiss 18
14. Era una rosa
Text: Abid Amid

Language: Spanish (translated from an Arabian text)
Composed: 30 October 1915
Dedication: none
Tempo: Tranquilo (Tranquil)
Key: E Major
Vocal Range: C#4 - D#5
Duration: 1:05
Title: There Was a Rose
Era una rosa bicolor, 1 There was a rose two-colored,

pálida y carmín a la vez; 2 pale and carmine at the same time;
eran dos mejillas de enamorados, 3 they were two cheeks of lovers,
la una rosada y encendida de pudor, 4 the one pink and aflame with blush,
y la otra pálida de amor. 5 and the other pale with love.
Performance History: Performed in Buenos Aires at the Sociedad Nacional de Música by

Hina Spani with Carlos López Buchardo at the piano on 25 November 1916 (Montes de Oca
313).
Weiss 19
15. Une fleur
Text: André Rivoire (b. 1872) Austria

Language: French (Alsacian dialect)
Composed: 19 December 1915
Dedication: none
Tempo: Doucement (Sweetly)
Key: Bb Major
Vocal Range: G4 - G5
Duration: 2:20
Title: A Flower
Cette fleur que ses mains, 1 This flower that her hands
que sa lèvre à touchée. that her lips touched.
Et qu'elle a faite sienne 2 And that she has made hers
entre toutes les fleurs, between all the flowers,
Aujourd'hui sans parfum, 3 today without scent,
sans forme et sans couleurs, without shape and without colors,
en un livre d'amour repose dessechée. 4 in a book of love rests dry.
Elle même l'ignore, 5 She herself it does not know,

elle n'a jamais su en l'oubliant, she has never known, it forgetting,
distraite, après l'avoir cueillie, 6 distracted, after it having picked,
que je conserverais la chère fleur vieillie, 7 that I would keep the cherished flower aged,
et c'est un souvenir que je n'ai point reçu. 8 and it’s a memory that I have not received.
Je me suis caché d'elle, 9 I myself hid from her,

et je crains le mystère and I feared the mystery
entre nous d'un reproche 10 between us a reproach
ou même d'un pardon; or even of a forgiveness;
en laissant près de moi 11 by letting close to me
la fleur à l'abandon, the flower to its abandonment,
peut-être sa pitié fut-elle involontaire. 12 perhaps her pity was involuntary.
Je ne sais rien de plus, 13 I know nothing more,

mais je songe parfois but I think sometimes
qu'aux soirs de solitude, 14 of the nights of solitude,
en ses rêves de femme, in her dreams of woman,
un peu de moi peut-être, 15 a bit of me perhaps,
a fleuri dans son âme has blossomed in her soul
comme cette fleur vaine 16 like that flower vain
a passé dans ses doigts. has passed through her fingers.
Weiss 20

313).
Weiss 21
16. Reflets

Language: French
Composed: 11 January 1916
Dedication: none
Tempo: Animé (Animated)
Key: F Major
Vocal Range: D4 - G5
Duration: 1:05
Title: Reflections
Sous l'eau du songe qui s’élève, 1 Under the water of the dream that rises
mon âme a peur, mon âme a peur! 2 my soul fears, my soul has fear!
Et la lune luit dans mon cœur, 3 And the moon glows in my heart,
plongé dans les sources du rêve. 4 plunged into the sources of the dream.
Sous l'ennui morne des roseaux 5 Under the boredom dreary of reeds
seuls les reflets profonds des choses, 6 only the reflections deep of things,
des lys, des palmes et des roses, 7 of lilies, of palms, and of roses,
pleurent encore au fond des eaux. 8 are crying still in the depth of the waters.
Les fleurs s'effeuillent une à une 9 The flowers shed their leaves one by one
sur le reflet du firmament, 10 on the reflection of the firmament,
pour descendre éternellement 11 to descend eternally
dans l'eau du songe et dans la lune. 12 in the water of the dream and in the moon.

313).
Weiss 22
17. Si para un fino amante
Text: Leopoldo Lugones (1874-1938) Argentina

Language: Spanish
Composed: 21 April 1916
Dedication: none
Tempo: Lento (Slow)
Key: Db Major
Duration: 1:50
Title: If For A Refined Lover
Si para un fino amante, 1 If for a refined lover,

nada es tropiezo, 2 nothing is blunder,
en todo lo que toques 3 in everything that you touch
yo seré un beso. 4 I will be a kiss.
En todas las estrellas 5 In all the stars

seré mirada, 6 I will be a glance,
que tu rigor es noche 7 since your strictness is night
que no se acaba. 8 that never ends.
Lima para tus rejas 9 File for your plough

serán mis celos, 10 will be my jealousy,
y mi sangre la marca 11 and my blood the mark
de tu pañuelo. 12 of your handkerchief.

313).
Weiss 23
18. Petit Ynga (Chanson)
Text: Gustave Fröding, (1860-1911) Sweden

Language: French
Composed: 20 February 1917
Published: 1949
Publisher: Ricordi Americana
Dedication: none
Tempo: Pas trés lent (Not too slow)
Key: A Major
Vocal Range: E4 - A6
Duration: 2:20
Title: Little Inga (Song)
Chante-moi ta chanson petite Ynga, 1 Sing me your song little, little Inga,
ma mie, my sweetheart,
je suis si solitaire au chemin de la vie, 2 I am so solitary on the road of life,
et mon âme est si seule en sa mélancolie! 3 and my soul is so alone in its melancholy!
Chante-moi ta chanson; 4 Sing me your song;

chante-moi ton doux air, sing me your sweet tune,
Qui sonne si gaiement 5 That rings so gayly
dans mon palais désert! in my palace deserted!
La chanson vive et tendre 6 The song alive and tender

et qui vole sur l'eau and that flies over the water
Et qui court à travers le chaume: 7 And that runs across the thatch:
Et je te donnerai tout l'or 8 And I to you will give all the gold
de mon chateau, in my castle,
Et la moitié de mon royaume, 9 And the half of my kingdom,
L'or et l'argent de mon chateau, 10 The gold and silver of my castle,
c'est ma tendresse, that’s my tenderness,
L'or et l'argènt c'est la moitié 11 The gold and silver that’s the half
de ma tristesse, c'est ma tendresse, of my sadness, that’s my tenderness,
C'est la moitié de ma tristesse. 12 That’s the half of my sadness.
As tu peur de la tristesse, petite Ynga, 13 Have you fear of sadness, little Inga,
ma mie? my sweetheart?
Performance History: Performed in Buenos Aires by soprano Enriqueta Basavilbaso de

312, 328).
Weiss 24
19. Nocturno

Language: Spanish
Composed: 15 March 1917
Dedication: Brígida Frías

Tempo: Serenamente (Serenely)
Key: E Major
Vocal Range: D4 - F#5
Duration: 1:30
Title: Nocturne
Grave fué nuestro amor; 1 Solemn was our love;

y más callada aquella noche 2 and more quiet that night
frescamente umbría, freshly shady,
Polvorosa de estrellas se ponía 3 dotted of stars it became
Cual la profundidad de una cascada. 4 which the depth of a waterfall.
Con la íntima dulzura del suceso 5 With the intimate sweetness of the event
que abandonó a mis labios tus sonrojos, 6 that left to my lips your blushes,
delirados de sombra vi tus ojos 7 delirious in shadows I saw your eyes
en la embebida asiduidad del beso. 8 in the engrossed assiduity of the kiss.
Y lo que en ellos se asomó 9 And what in them began to show itself

a mi vida, to my life,
fué tu alma, hermana de mi desventura. 10 was your soul, twin of my misfortune.
Avecilla poética y oscura 11 Little bird poetic and dark
que aleteaba en tus párpados rendida. 12 that flapped in your eyelids exhausted.
Performance History: Performed in Buenos Aires by soprano Brígida Frías de López

312, 328).
(313).
Weiss 25
20. A toute âme qui pleure… (Cántico a la Virgen)

Language: French
Composed: 1 January 1918
Dedication: Enriqueta B. de Catelín

Tempo: Mouvement Modéré (Moderate movement)
Key: D Major
Duration: 1:35
Title: To every soul who cries… (Canticle to the Virgin)
A toute âme qui pleure, 1 To every soul who cries,

a tout péché qui passe, 2 to every sin which passes,
j'ouvre au sein des étoiles 3 I open in the midst of the stars
mes mains pleines de grâces. 4 my hands full of grace.
Il n'est péché qui vive 5 It is not sin that lives

quand l'amour a parlé; 6 when love has spoken;
il n'est âme qui meure 7 it is not a soul who dies
quand l'amour a pleuré. 8 when love has cried.
Et si l'amour s'egare 9 And if love loses its way

aux sentiers d'ici bas, 10 on the paths of here below,
les larmes me retrouvent 11 the tears me find again
et ne s'egarent pas. 12 and are not lost.
Performance History: Debuted in Buenos Aires by soprano Enriqueta Basavilbaso de

312, 328).
Notes: This manuscript was located by Montes de Oca at the Asociación Wagneriana (313). A
copyist’s version of the manuscript was also located in the personal library of Zulema
Castello de Lasala without the subtitle Cantico a la Virgen.
Weiss 26
21. Hormiguita (Canción infantil)
Text: Enrique Amorim (1900-1960) Uruguay

Language: Spanish
Composed: 1919
Published: 1925
Dedication: Dr. Benito Nazar Anchorena

Tempo: Moderadamente animado (Moderately animated)
Key: A Major
Duration: 1:40
Title: Little Ant (Children’s Song)
Eran dos hormiguitas 1 They were two little ants

pequeñitas y negras. small and black.
Eran dos hormiguitas 1 They were two little ants
pequeñitas y negras. small and black.
Trepándose en las hojas 2 Climbing among the leaves

andaban presurosas. they walked hurridly.
El césped era una hermosa 3 The lawn was a beautiful
selva umbría. forest shady.
Por un camino largo 4 On a path long
un dulce caminito, a sweet little path,
dentro la virgen selva 5 in the virgin forest
pasan por esta vida… they pass through this life…
Por el camino ván, 6 On the path they go,

yo no sé lo que dicen, I don’t know what they say,
sólo sé que ellas andan 7 only I know that they walk
con sus cargas, felices. with their loads, happy.
Quieres ser hormiguita 8 Want to be a little ant
para andar por la vida to walk through life
sin que nadie nos vea 9 without anyone us seeing
sin que nadie nos oiga? without anyone us hearing?
Tomados de las manos 10 Grasped by the hands

pequeñitos y humildes small and humble
vámonos silenciosos 11 let’s go quietly
por la vida, felices: through life, happy:
como dos hormiquitas 12 like two little ants
pequeñitas y negras… small and back…
como dos hormiquitas 12 like two little ants
pequeñitas y negras… small and back…
Weiss 27

328). Performed in Buenos Aires at the Escuela Superior de Bellas Artes (Concert No. 12,
year unknown) by an unknown singer with Carlos López Buchardo at the piano (Montes
de Oca 319).
Notes: This was a joint publication with the Universidad Nacional de La Plata (La Plata,
Argentina).
Weiss 28
22. Para flor de durazno
Text: Martinez Zuviria alias Hugo Wwast (1883-1962) Argentina

Language: Spanish
Composed: 1921
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: For peach blossom
Performance History: Debut performance occurred on 20 April 1929 (Montes de Oca 313)
Notes: According to Lucio Bruno-Videla, Flor de Durazno (Peach Blossom) was a play by
Hugo Wwast [sic] that was adapted to silent film by Carlos Gardel. There are also two
Argentine operas based on this work. Perhaps this song was intended for yet another
adaptation, hence the title, for “Peach Blossom” (Bruno-Videla, Lucio. E-mail Interview. 2
March 2005.)
Weiss 29
23. Le para vent
Text: Paul Henry (1851-1911)

Language: French
Composed: ca. 1924
Published: none (manuscript)
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: The folding screen

(i.e. as in a decorative Chinese folding screen)
Notes: This song was listed in the working catalog of Carmen García Muñoz with the
following detail: Sobre la base de su intricado estilo cromático (above the base of his intricate
chromatic style) (Montes de Oca 314). There is no easy way to verify that this piece is
different than the one listed in Entry 12 except that it is listed with a different poet. It
would seem unusual for López Buchardo to wrtie another French song at this point in his
career, just before the publication of his first nationalist songs, but this entry is left until
further proof merits its deletion. Paul Henry may have been a French author.
Weiss 30
24. Tránsito
Text: Rabindranath Tagore (1861-1941) India

Language: Spanish (translated from a Bengali text)
Composed: 1924
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: Passing
Notes: The author of the translation from Tagore’s original Bengali text to Spanish is
unknown.
Weiss 31
25. La canción desolada
Text: Margarita Abella Caprile (1919 - ?) Argentina

Language: French, Spanish
Composed: ca. 1924
Published: 1925
Dedication: Señora Antonieta Silveyra de Lenhardtson

Tempo: Con abandono (With abandon)
Key: Eb Major
Vocal Range: Eb4 - Eb5
Duration: 2:05
Title: The Desolate Song
"Au clair de la Lune" 1 “In the light of the moon”

Pierrot duérmese, 2 Pierrot falls asleep,
Va glosando el eco, 3 Goes explaining the echo,
el motivo aquel. 4 the motive familiar.
"Ma chandelle est morte." 5 “My candle is dead.”

¿Dónde encontraré? 6 Where will I find?
Luz que a lo apagado 7 Light that to the snuffed out
dé llama otra vez? 8 gives flame again once?
"Ouvre-moi la porte." 9 “Open the door for me.”

¿Dónde llamaré? 10 ¿Where will I call?
Me han dejado a oscuras 11 Me they have left in the dark
nada puedo ver. 12 nothing can I see.
Se han de repetirme 13 They will repeat to me

el helado y cruel: 14 the cold and cruel:
"Va chez la voisine" 15 “Go to the neighbor’s house”
Señor ¿Para qué? 16 Lord, ¿What for?

312, 328).
Notes: This was a joint publication with the Universidad Nacional de La Plata (La Plata,
Argentina).
Weiss 32
26. Vidalita (Canción al estilo popular)
Collection: Seis canciones al estilo popular (Six Songs in a Popular Style)

Language: Spanish
Composed: 1921
Published: 1925
Dedication: Maria Barrientos

Tempo: Moderado (Moderate)
Key: Eb Major
Duration: 2:20
Title: Vidalita (Song in a Popular Style)
Bien haya ese sabio, 1 Very well may have that wise man
Vidalita, Vidalita,
que tenga el poder, 2 may have the power,
de aliviarme el alma, 3 of relieving my soul,
Vidalita, Vidalita,
del mal del querer. 4 of the sickness of loving.
En vano los traen, 5 In vain them they bring,

Vidalita, Vidalita,
para mi salud, 6 for my health,
y ellos me recetan, 7 And them me they prescribe,
Vidalita, Vidalita,
hierbas de virtud. 8 Herbs of virtue.
Pero es que no saben, 9 But it’s that they don’t know,

Vidalita, Vidalita,
y este es mi pesar, 10 and this is my grief,
que no bien te miro, 11 that not well I see you,
Vidalita, Vidalita,
no quiero sanar. 12 I don’t want to heal.
Que no bien te miro, 11 That not well I see you,
Vidalita, Vidalita,
no quiero sanar. 12 I don’t want to heal.
Como flor picada, 13 Like the flower picked at,

Vidalita, Vidalita,
por el picaflor, 14 by the hummingbird,
llora miel la herida, 15 cries honey the wound,
Vidalita, Vidalita,
que hiciste a mi amor. 16 what you did to my love.
Weiss 33
Porque no hay regalo, 18 Because there is no gift,

Vidalita, Vidalita,
Mejor para mi, 18 Better for me,
que el de ese piquito, 19 Then the one of that picking bird,
Vidalita, Vidalita,
que me hiere así. 20 that wounds me like that.
Performance History: Debuted by Maria Barrientos during a recital organized by the

Asociación Wagneriana. She was accompanied by Carlos López Buchardo.
Notes: In 1925, López Buchardo was awarded the Premio Municipal de Música for the
collection in which this song appears, the highest honor given to a work of music by the
city of Buenos Aires. A version of this song for piano, drums, strings, and timpani exists at
the Sociedad Argentina de Autores y Compositores de Música (SADAIC) (See Appendix F for
contact information). No author or arranger is indicated on score, however (Montes de Oca
315). Three of the six songs in this collection, Vidalita, Vidala, and Canción del carretero, were
bundled by G. Ricordi & Co. in an Italian edition entitled Tre Canzoni Argentine (1924). The
entire collection was republished in 1941 by Ricordi Americana. For a discussion on the
meaning and use of the words vidala and vidalita, see page 119.
Weiss 34
27. Los puñalitos (Copla)

Text: Leopoldo Lugones, (1874-1938) Argentina
Language: Spanish
Composed: 1921
Published: 1925
Dedication: Gastón O. Talamon

Key: E Major
Vocal Range: E4 - G#5
Duration: 1:55
Title: The little darts (Couplet)
Al hilo de estas coplas, 1 In the interest of these couplets,

en frágil sarta, in fragile string,
cada sílaba es perla 2 every syllable is pearl that
que te adoceno, for you I make plain,
para que así en mensaje 3 so that thus in message
de amor, la carta of love, the letter
les dé sus blancas alas 4 might give them white wings
hasta tu seno. to your bosom,
Que estos versos te infundan 5 That these verses in you might infuse
principios sabios principles wise
de la blanda doctrina 6 of the soft doctrine
de los amantes. of lovers.
Y que te rimen besos 7 And that for you they might rhyme like kisses
sus consonantes their consonants
Como labios de fuego 8 like lips of fire
sobre tus labios. on your lips.
Besos que son por crueles 9 Kisses that are for their cruelness
más exquisitos, more exquisite,
aunque así nos trastornan 10 even though they upset
cordura y calma, our good sense and calm,
con su reñido choque de puñalitos, 11 with the biting impact of little darts,
de puñalitos de oro que van al alma. 12 of golden little darts that go to the soul.
Weiss 35
Performance History: Debuted by Maria Barrientos during a recital of hers organized by

the Asociación Wagneriana. She was accompanied by Carlos López Buchardo (Montes de
Oca 256, 315).
city of Buenos Aires. Three of the six songs in this collection, Vidalita, Vidala, and Canción
del carretero, were bundled by G. Ricordi & Co. in an Italian edition entitled Tre Canzoni
Argentine (1924). The entire collection was republished in 1941 by Ricordi Americana
(Montes de Oca 315).
Weiss 36
28. Desdichas de mi pasión… (Tonada)

Text: Leopoldo Lugones, (1874-1938) Argentina
Language: Spanish
Composed: ca. 1924
Published: 1925
Dedication: Luis V. Ochoa

Tempo: Animado (Animated)
Key: Bb Major
Vocal Range: D4 - G#5
Duration: 2:35
Title: My passion’s misfortune… (Tonada)

Desdichas de mi pasión 1 Misfortunes of my passion
no tienen cuando acabar, 2 no has limits.
menos profundo es el mar 3 Less deep is the ocean
y en él no hay disminución. 4 and in the ocean there is no end.
Marchitas flores 5 Wilted flowers
son mis amores. 6 are my lovers,
Y en la cadena 7 And in the chain
de tus rigores, 8 of your harshness,
llora cautivo 9 cries captive
mi [fiel] corazón. 10 my [faithful] heart.
Así como no es razón 11 Just like it isn’t reasonable

querer reducir el mar, 12 to want to reduce the ocean,
no tienen cuando acabar 13 There are no limits to
desdichas de mi pasión. 14 the bad luck of my passion.
son mis amores. 16 are my lovers.
de tus rigores, 18 of your harshness,
llora cautivo 19 cries captive
mi [fiel] corazon. 20 my [faithful] heart.
Y abriga vana ilusión 21 And covers vain illusion

el que quiero comparar, 22 my comparison,
con la pequeñez del mar 23 with the tinyness of the ocean
lo inmenso de mi pasión. 24 the immensity of my passion.
son mis amores. 26 are my lovers.
de tus rigores. 28 of your harshness,
Weiss 37
Llora cautivo 29 cries captive

mi [fiel] corazón. 30 my [faithful] heart.
city of Buenos Aires. The entire collection was republished in 1941 by Ricordi Americana
(Montes de Oca 315).
Weiss 38
29. Vidala

Text: Gustavo Caraballo (1885-1939) Argentina
Language: Spanish
Composed: ca. 1924
Published: 1925
Dedication: Entrique T. Susini

Tempo: Placidamente (Placidly)
Key: F# Major
Vocal Range: D4 - E5
Duration: 2:55
Title: Vidala
Llueve sobre el campo, 1 It’s raining in the country,
Vidalita, Vidalita,
llueve en la ciudad; 2 it’s raining in the city;
también en mi alma, 3 also in my soul,
Vidalita, Vidalita,
lloviznando está, 4 drizzling it is.
En la sombra virgen, 5 In the shadow fresh,

Vidalita, Vidalita,
se van las estrellas, 6 leave the stars,
porque tus pupilas, 7 because your pupils,
Vidalita, Vidalita,
son mas claras que ellas. 8 sparkle more than they.
Aires de mi tierra, 9 Air of my land,

Vidalita, Vidalita,
¡donde está la calma! 10 where there is peace!
Diles que me muero, 11 Tell them that I’m dying,
Vidalita, Vidalita,
léjos de su alma. 12 far from her soul.
Sobre las cuchillas, 13 Above the ridges,

Vidalita, Vidalita,
se queja el pampero, 14 curses the man of the country,
como el eco triste, 15 like the sad echo,
Vidalita, Vidalita,
de mi amor viajero. 16 of my love wandering.
La guitarra mia 17 The guitar mine

duerme abandonada, 18 sleeps abandoned,
Weiss 39
como la armonia 19 like the harmony

de una noche helada. 20 of a cold night.
city of Buenos Aires. There are a variety of instrumental and choral arrangements of this
piece in Ricordi Americana's catalog (Montes de Oca 315). The entire collection was
republished in 1941 by Ricordi Americana. For a discussion on the meaning and use of the
words vidala and vidalita, see page 119.
Weiss 40
30. Canción del carretero

Text: Gustavo Caraballo, (1885-1939) Argentina
Language: Spanish
Composed: ca. 1924
Published: 1925
Dedication: Señora Sarah Sagasta de Sagarna

Tempo: Lento (Slow)
Key: c minor
Duration: 3:30
Title: Song of the Cart Driver
En las cuchillas se pone el sol; 1 On the ridges sets the sun;

las golondrinas han vuelto ya, 2 the swallows have returned already,
y por la senda del campo verde 3 and along the path of the country green,
un carretero cantando va: 4 a cart driver singing goes:
“Alma de mi alma, ¡como lloré! 5 “Soul of my soul, how I cried!

bajo este cielo lleno de sol, 6 beneath this sky full of sun,
cuando agitastes en la tranquera 7 when you waved at the farm gate
tu pañuelito diciendo adiós. 8 your handkerchief saying goodbye.
¡Ay, paisanita! Vuelve a mi amor. 9 “Ah, sweetheart! Return to my love.

Sin ti, mi vida no puede estar. 10 Without you, my life cannot exist.
Las madreselvas se han marchitado 11 The honeysuckle has withered
y las calandrias no cantan ya. 12 and the larks no longer sing.
¡Ay, paisanita! Vuelve a mi amor. 13 “Ah, sweetheart! Return to my love.

Hecha tapera la casa está, 14 Made a mess the house is,
y entre los sauces llora el remanso 15 and amongst the willows weeps the pool
porque tus labios no cantan más.” 16 because your lips no sing more.”
En las cuchillas se ha puesto el sol 17 On the ridges has set the sun
mientras la tarde muriendo está; 18 while the evening dying is;
y así cantando va el carretero 19 and so singing goes the cart driver
las desventuras de su cantar. 20 the woes of his song.
Performance History: Recordings.
Notes: In 1925, Carlos López Buchardo was awarded the "Premio Municipal de Música" for
the collection in which this song appears, the highest honor given to a work of music by the
city of Buenos Aires. Three of the six songs in this collection, Vidalita, Vidala, and Canción
Weiss 41
del carretero, were bundled by G. Ricordi & Co. in an Italian edition entitled Tre Canzoni
Argentine (1924). Canción del carretero was published several times as its own folio, first in
1927 by G. Ricordi & Co. (Buenos Aires) and then by the same company with a different
name (Ricordi Americana) in following years. There are a variety of instrumental and
choral arrangements available in Ricordi Americana's catalog (see Montes de Oca 315-16
for details). There also exists an arrangement for voice, harp, and string quartet by Bruno
Bandini (first performed 30 September 1936) located in the Ricordi Archive. The entire
collection was republished in 1941 by Ricordi Americana.
Weiss 42
31. Jujeña

Text: Victoriano Montes (1855-1917) Uruguay
Language: Spanish
Composed: ca. 1924
Published: 1925
Dedication: In memory of Julián Aguirre

Tempo: Alegremente (Cheerily)
Key: Db Major
Vocal Range: Db4 - F#5
Duration: 3:15
Title: Girl of Jujuy
Frescor de chirimoyos, 1 Crispness of the custard apple tree,

Vidita, Vidita,
Flor de Abertuya; 2 Flower of Abertuya;
Perfume de Amancay, 3 Perfume of Amancay,
Vidita, Vidita,
y de Puya puya. 4 and of Puya Puya.
Brisas serranas, 5 Breezes mountain,
brisas serranas, 6 breezes mountain,
que perfuman los cantos, 7 that perfume the rincons,
Vidita, Vidita,
de tus mañanas. 8 of your mornings.
Trinar de charchaleros, 9 Warbeling of Charchaleros,

Vidita, Vidita,
y reinas moras; 10 and Moorish Queens
Todo dice la gracia, 11 All of nature says thank you,
Vidita, Vidita,
con que te doras. 12 for how you gild yourself.
Tardes serenas, 13 Evenings mountain,
tardes serenas, 14 evenings mountain,
con tersura de lechos, 15 With smoothness of riverbeds,
Vidita, Vidita,
y de azucenas. 16 And of white lilies.
Weiss 43
Del misterio de piedra, 17 Of the mysterious stone,

Vidita, Vidita,
de tus quebradas, 18 of your canyons,
llegan lamentaciones, 19 arrive mournings,
Vidita, Vidita,
hondas, calladas. 20 deep, silent.
Llora la Quena, 21 Cries the Quena,
llora la Quena, 22 cries the Quena,
su leyendo infinita, 23 her legend infinite,
Vidita, Vidita,
de amor y pena. 24 of love and pain.
Oro tienen tus campos, 25 Gold possesses your fields,

Vidita, Vidita,
oro y aromas, 26 gold and aromas,
si se duerme la tarde, 27 if falls asleep the afternoon,
Vidita, Vidita,
sobre tus lomas; 28 on your hills;
Flor de Agapanto, 29 Flower of Agapanto,
flor de Agapanto. 30 flower of Agapanto,
¡Canto por que te quiero, 31 I sing because you I love,
Vidita, Vidita,
por eso canto! 32 for that I sing!
city of Buenos Aires. The Bailecito heard in the introduction to this piece can also be found
in arrangements for piano and guitar in Ricordi Americana's catalog (Montes de Oca 315).
The entire collection was republished in 1941 by Ricordi Americana. According a website
on Tango lyricists, the poetry to this song was erroneously attributed to a certain González
López in Ricordi’s publication. The true author was Uruguayan poet Victoriano Montes
(http://www.todotango.com/spanish/gardel/autores/autor.asp?idc=536). Charchalero (9)
is the Argentine Spanish name for a kind of bird for which no suitable English translation
has been found. The same is true of the plant names Abertuya (2), Amancay (3), Puya Puya
(4), and Agapanto (29).
Weiss 44
32. Himno de la Universidad Nacional de La Plata
Text: Arturo Capdevila (1889-1967) Argentina

Language: Spanish
Composed: 1927
Published: 1930
Dedication: Dr. Benito Nazar Anchorena

Tempo: Maestoso (Majestic)
Key: B Major
Vocal Range: B4 - E5
Duration: 2:20
Title: Hymn of the National University of La Plata
Si suena un claro canto en la noche, 1 If sounds a clear song in the night,

de ronda vamos, somos canción. 2 in a round we go, we are song.
¡Gastar viente años es un derroche 3 To spend twenty years is a waste
que nunca tuvo comparación! 4 that never had equal!
Mas si en la noche de una honda calma, 5 But if en the night from a deep calm,
vibra un silencio de eternidad, 6 vibrates a silence of eternity,
es que meditan con toda el alma 7 its because they meditate with all their soul
los estudiantes de la ciudad. 8 the students in the city.
¡Alta la mente! ¡Nobles los labios! 27 Enriched the mind! Noble the lips!
¡Y para todos el corazón! 28 And for all the heart!
Hace a la vida cabal regalo 9 Makes to life the ultimate gift

el que ama ideales con mucho amor 10 he that loves ideals with much love
ya nos dijeron que el mundo es malo... 11 already us they told that the world is bad…
¡Por obra nuestra será mejor! 12 By work our it will be better!
En la más joven urbe argentina 13 In the youngest city Argentine

nuestra Alma Mater buscó su honor. 14 our soul mother sought her honor.
Ved esta gloria tan peregrina: 15 See this glory so strange:
la hoja es tan nueva como la flor. 16 The leaf is as new as the blossom.
Hogar dichoso de casa nueva 17 Home blessed of house new

nos ilumina, nos da calor; 18 us illuminates, us gives heat;
pues como viva llama se eleva 19 because like living flames rise
en ella el nombre del Fundador. 20 in the name of the Founder.
Weiss 45
Aquel anciano de gran linaje, 21 That elder of great lineage,

casi un hermano del buen Kabir, 22 almost a brother to the good Kabir,
cuyos ensueños, hechos celaje, 23 whose fantasies, made heavenly,
se iban al cielo del porvenir. 24 were going to the sky from the future.
[Abiertos fueron los libros sabios. 25 [Open were the books wise.
Bien recogida fue la lección.] 26 Well remembered was the lesson.]
¡Alta la mente! ¡Nobles los labios! 27 Enriched the mind! Noble the lips!
¡Y para todos el corazón! 28 And for all the heart!
Performance History: Debuted in the Teatro Argentina (La Plata, Argentina) on 23 October
1927.
Notes: Other arrangements of this piece were made by the composer (Montes de Oca, 316).
The bracketed text (25-26) was omitted in López Buchardo’s musical setting.
Weiss 46
33. Pampeana

Language: Spanish
Composed: 1927
Published: 1949
Dedication: none
Tempo: none
Key: Eb Major
Vocal Range: C4 - Bb5
Duration: 1:45
Title: Girl of the Pampa
Cuando la pampa duerme 1 When the countryside sleeps

y la noche llega and the night arrives
la brisa es doliente 2 the breeze is painful
el cielo se ornamenta the heaven is decorated
con el milagro de ignotas estrellas, 3 with the miracle of ignorant stars,
y mientras vibra el eco 4 and while vibrates the echo
de las praderas of the praries
un sauce triste cuenta 5 a willow sad tells
a las mudas selvas to the mute wilderness
con voz doliente fugaz leyenda. 6 with voice painful fleeting legend.
Y repite aquel eco 7 And repeats that echo
de amor y pena of love and pain
la voz del pampero, 8 the voice of the country man,
la voz de los llanos, the voice of the plains,
la voz de las breñas. 9 the voice of the scrub forest.
Surge entónces ténue 10 Surges then tentative

la sombra larga de un corazón. the shadow long of a heart.
Y amante rima la voz 11 And loving rhyme the voice
de los campos of the country
su amor y pena 12 her love and pain
con la amargura de la canción. with the bitterness of the song.
Así por fin la queja contó a las pampas, 13 So at last the complaint was told to the
su triste leyenda: countryside, her sad legend:
Weiss 47
Yo fuí la mas linda, 14 I was the most beautiful,

yo fuí la campera 15 I was the countrygirl
de negras pupilas 16 of black eyes
y rústicas trenzas 17 and rustic braids
que en noches de luna 18 que en nights of moon
besó a los poetas. 19 kissed the poets.
Yo fuí la que un día 20 I was the girl who, one day,
murió de tristeza, 21 died of sadness,
yo fui la vida 22 I was the life lived
la que entona sus quejas 23 that sounded her complaints
que entona sus rimas 24 that sounded her rhymes
de pena y de amor 25 of pain and of love
y hoy cantan las ondas 26 and today sing the waves
y hoy lloran las selvas; 27 and today sob the forests;
yo fuí la que un día 28 I was the girl who, one day,
murió de dolor, 29 died of pain
y hoy cantan las ondas 30 and today sing the waves
y hoy lloran las selvas; 31 and today sob the forest;
yo fui la campera 32 I was the countrygirl
que amó el payador! 33 that loved the folk singer.
Performance History: Debuted by Enriqueta Basavilbaso during a recital at the Asociación

Wagneriana on 15 November 1927. She was accompanied by Carlos López Buchardo.
Notes: This song was included in the unfinished vocal work Santos Vega, according to
Mario García Acevedo (Montes de Oca 316). An orchestration of this song by López
Buchardo for flute, oboe, clarinets, horn, harp, and strings was located in the Asociación
Wagneriana (Montes de Oca 316).
Weiss 48
34. Prendeditos de la mano
Collection: Cinco canciones al estilo popular (Five Songs in a Popular Style)

Text: Miguel Andrés Camino (1877-1944) Argentina
Language: Spanish
Composed: 1931
Published: 1936
Dedication: Señora Esther Llavallol de Roca

Tempo: Allegro (Lively)
Key: Db Major
Vocal Range: Db4 - F5
Duration: 1:55
Title: Grasped by the Hand
Vienen bajando el faldeo 1 They come down the slope

Felicinda y su Ciriaco. 2 Felicinda and her Ciriaco.
Vienen los dos en silencio, 3 They come the two in silence,
prendiditos de la mano. 4 grasped by the hand.
¿Qué pudo haber ese día 5 What could have happened that day
entre los enamorados, 6 between the two sweethearts,
que vienen tan en silencio 7 that come so silently,
prendiditos de la mano? 8 grasped by the hand?
Felicinda, dame un beso, 9 Felicinda, give me a kiss,

fue el pedido de Ciriaco… 10 was the request of Ciriaco…
Y besáronse en silencio, 11 Y they kissed, in silence,
prendiditos de la mano. 12 grasped by the hand.
(Y) así que un beso se dieron 13 (And) so a kiss they gave eachother
tan confusos se quedaron 14 so confused they were left,
que, mirándose a los ojos 15 that, looking into eachother’s eyes
se volvieron en silencio, 16 they returned in silence,
prendiditos de la mano. 17 grasped at the hand.
Performance History: Debuted by soprano Ninon Vallin during a recital at the Sociedad
Nacional de Música (Concert 108) on 7 November 1931. She was accompanied by Carlos
López Buchardo (Montes de Oca 316).
Notes: Carlos López Buchardo was awarded the "Premio Municipal de Música" for the
city of Buenos Aires. An orchestration of this song by López Buchardo was located in the
Asociación Wagneriana (Montes de Oca 316).
Weiss 49
35. Si lo hallas (Zamba)

Language: Spanish
Composed: 1931
Published: 1936
Dedication: none
Tempo: Melancólicamente (Melancholically)
Key: Db Major
Vocal Range: Db4 - E b5
Duration: 2:05
Title: If You Find Him
Agüita que vas p'abajo 1 Dear little water that goes downstream
llevada por la corriente, 2 carried by the current,
detrás de ti yo me iría 3 behind you I would go
en busca del bien ausente. 4 in search of the absent one.
Si lo hallas en tu camino, 5 If you find him in your path,

no le causes ningún daño; 6 don’t to him cause any pain;
por mí, bésalo mil veces, 7 for me, kiss him a thousand times,
en mi, bésalo mil veces, 8 in me, kiss him a thousand times,
en las manos si te toca 9 in his hands if you he touches
y si te bebe en los labios. 10 and if you he drinks with his lips.
Performance History: Debuted by Magdalena Bengolea de S. Elía during a recital at the

Sociedad Nacional de Música (Concert 111) on 29 November 1931. She was accompanied
by Carlos López Buchardo (Montes de Oca 316).
city of Buenos Aires.
Weiss 50
36. Frescas sombras de sauces (Milonga)

Text: anonymous
Language: Spanish
Composed: 1931
Published: 1936
Dedication: Cayetano Troiani

Key: F Major
Duration: 2:45
Title: Fresh shade of the willowtrees
Frescas sombras de sauces 1 Fresh shade of the willowtrees

me brindan tus miradas, 2 to me gift your glances.
airecito 'e la sierra 3 Soft breeze in the mountain
son tus palabras. 4 are your words.
Verdor de los naranjos, 5 Pungence of the oranges,

mi vida! my sweetheart!
Son tus promesas; 6 Are your promises;
Que cuartiando esperanzas 7 That making room for hopes
a mi alma llegan. 8 to my soul arrive.
Frescor de chirimoyos 9 Coolness of the custard apple tree

tienen tus labios 10 has your lips
Cada vez que los veo, 11 Every time that them I see,
me tienta el diablo 12 me tempts the devil
Cada vez que los veo, 13 Every time that them I see,
me tienta el diablo. 14 me tempts the devil
A la par que oloroso 15 At the same time fragrant

tu amor es áspero 16 your love is rough
como el cedrón que cura 17 like the cedar bark that heals
males y daños. 18 sicknesses and wounds.
Y como agua que baña, 19 And like water that bathes,
campos resecos, 20 land arid.
y al riego de tus ternuras, 21 And at the watering of your gentle caresses,
Weiss 51
florecen besos. 22 blossom kisses.
Performance History: Debuted by Magdalena Bengolea de S. Elía during a recital at the

Sociedad Nacional de Música (Concert 111) on 29 November 1931. She was accompanied
by Carlos López Buchardo (Montes de Oca 316).
city of Buenos Aires. An orchestration of this song by López Buchardo for flute, oboe,
clarinet, horn, harp, and strings was located in the Asociación Wagneriana (Montes de Oca
316).
Weiss 52
37. Oye mi llanto (Huaynu)

Language: Spanish
Composed: 1931
Published: 1936
Dedication: Miguel Mastrogianni

Tempo: Grave (Solemn)
Key: c# minor
Vocal Range: C#4 - E5
Duration: 3:40
Title: Hear my cry
Ya que tu amor me desprecia 1 Since your love me spurns

oye lo que por tí lloro, 2 listen what for you I cry,
lo que por ti voy cantando: 3 what for you I go singing:
ya que por ti sufro, 4 since for you I suffer,
ya que por ti canto, 5 since for you I sing,
despierta y oye mi llanto. 6 awake and hear my cry.
¿Por qué no vienes, mi cielo, 7 Why do you not come, my heaven,

cuando mi amor te suplica 8 when my love you entreats
que acudas a mi llamado? 9 to come back to my call?
Si por tu desprecio 10 If at your disdain
mi canción es llanto, 11 my song is weeping,
no rías, cuando yo canto. 12 don’t laugh, when I sing.
Ya que tu amor es un sueño, 13 Since your love is a dream,

ha de llegar a tu oído 14 it will arrive at your ear
lo que por ti estoy cantando; 15 what for you I am singing:
si porque te quiero 16 If because you I love
lloro lo que canto, 17 I cry what I sing,
despierta y oye mi llanto. 18 awake and hear my cry.
Performance History: Debuted by Ninon Vallin during a recital at the Sociedad Nacional
de Música (Concert 108) on 7 November 1931. She was accompanied by Carlos López
Buchardo (Montes de Oca 316).
city of Buenos Aires. An orchestration of this song by López Buchardo was located in the
Weiss 53
38. Malyaha la suerte mia! (Chacarera)

Language: Spanish
Composed: 1931
Published: 1936
Dedication: C. Grassi Díaz

Tempo: Movido (Moving)
Key: F Major
Vocal Range: C4 - A5
Duration: 2:25
Title: Damn my luck!
Cuando iba a ver a Rosario 1 When I was going to see Rosario

lo hacía tranquito a tranco; 2 I did it track by track;
cuando iba a ver a Rosario 1 when I was going to see Rosario
lo hacía traquito a tranco; 2 I did it track by track;
y al llegar a la traquera 3 and when I arrived at the gate
ella me estaba esperando 4 she was waiting for me
y al llegar a la tranquera 3 and when I arrived at the gate
ella me estaba esperando. 4 she was waiting for me.
Y cuando adrede, 5 And when on purpose,

a verla no iba, 6 to see her I couldn’t leave,
allí se estaba clavada 7 there she clung to me,
hasta que apuntaba el día; 8 until daybreak;
y cuando adrede, 5 And when on purpose,
a verla no iba, 6 to see her I couldn’t leave,
allí se estaba clavada 7 there she clung to me,
hasta que apuntaba el día. 8 until daybreak.
Contigo tengo'e comerme 9 With you I have to eat

un ciento y medio'e duraznos. 10 one hundred and fifty peaches.
Contigo tengo'e comer 9 With you I have to each
un ciento y medio'e duraznos, 10 one hundred and fifty peaches.
pa largarte los carozos 11 To spit out for you the pits
contra la puerta del rancho, 12 against the door of the ranch,
pa largarte los carozos 11 To spit out for you the pits
contra la puerta del rancho. 12 against the door of the ranch.
Weiss 54
Y aura me toca, 13 And now it’s my turn,

Por tus mentiras, 14 Because of your lies,
hacer lo que la Rosario 15 to do the same as in Rosario
esperarte noche y día; 16 wait for you night and day;
Y aura me toca, 13 And now it’s my turn,
por tus mentiras, 14 Because of your lies,
hacerlo que la Rosario 15 to do the same as in Rosario
esperarte noche y día. 16 wait for you night and day.
¡Malhaya la suerte mía! 17 Damn my luck!
Performance History: Debuted by Ninon Vallin during a recital at the Sociedad Nacional
de Música (Concert 108) on 7 November 1931. She was accompanied by Carlos López
city of Buenos Aires. An orchestrated version of this song by López Buchardo was located
in the Asociación Wagneriana (Montes de Oca 117).
Weiss 55
39. Pobres jazmines criollos
Text: Enrique García Velloso (1880-1938) Argentina

Agustín Remón (unknown) Argentina
Language: Spanish
Composed: 1933
Published: 1949
Dedication: none
Tempo: Moderato (Moderate)
Key: E Major
Vocal Range: D#4 - F#5
Duration: 1:35
Title: Poor
¡Pobres jazmines criollos! 1 Poor jasmine flowers creole!

¡Qué triste es vuestra misión! 2 How sad is your mission!
Mensajeros amorosos 3 Messengers of love

me hablasteis de una pasión, 4 To me you spoke of a passion,
y quizás seais verdugos 5 and perhaps you have been executed
del mismo que os arrancó. 6 by the same that you pulled.

¡Lindos jazmines criollos 7 Beautiful jasmine flowers creole

de blancura sin igual! 8 of whiteness without equal!
Si nacisteis bajo el cielo 9 If you were born under the heaven
de nuestra tierra natal, 10 of our land of birth,
¡Lindos jazmines criollos 7 Beautiful jasmine flowers creole

de blancura sin igual! 8 of whiteness without equal!
Cumplid el bello destino 11 Fulfill the beautiful destiny

de heraldos de libertad. 12 of heralds of liberty.

Mensajeros amorosos 3 Messengers of love

me hablasteis de una pasión, 4 To me you spoke of a passion,
y quizas seais verdugos 5 and perhaps you have been executed
del mismo que os arrancó. 6 by the same that you pulled.
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¡Que triste es vuestra misión! 2 How sad is your mission!
Notes: Originally composed for Act. II, No. 11 of his musical comedy, La Perichona. The
original version for voice and orchestra was located in the family archive (Montes de Oca
317).
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40. Vals
Text: unknown
Language: Spanish
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: Waltz
Performance History: Was performed in various recitals by Brigidita and Carlos López
Notes: Montes de Oca believes that this manuscript originally belonged to the musical
comedy, La Perichona, though it might also have belonged to Amalia (317).
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41. Himno de la Cruz Roja Argentina
Text: Julio F. Picarel

Language: Spanish
Composed: 1935-36
Published: 1936
Dedication: none
Tempo: Majestuoso (Majestic)
Key: Bb Major
Duration: 1:50
Title: Hymn of the Argentine Red Cross
Símbolo de paz y amor 1 Symbol of peace and love

mi bandera es toda luz: 2 my flag is all light:
alma blanca abierta al mundo 3 soul white open to the world
y un corazón hecho Cruz! 4 and a heart made Cross!
¡Soy la Cruz Roja, 5 I am the Red Cross,

y soy la Caridad! 6 and I am Charity!
¡Soy la Esperanza! 7 I am Hope!
¡Soy la Humanidad! 8 I am Humanity!
Soy cual ángel custodio 9 I am that gaurdian angel

que abre sus alas sobre el dolor fraterno, that opens his wings over pain brotherly,
bálsamo en flor, 10 balm of flower,
crisol en que armonizan todas las razas, 11 melting pot in which harmonize all the races,
antorcha en las tinieblas; 12 torch in the darkness;
canto de amor. 13 song of love.
Soy del que sufre 14 I am for those that suffer

consuelo y salud: 15 comfort and health:
¡faro y estrella! 16 lighthouse and star!
¡la Cruz del Sud! 17 the Southern Cross!
Símbolo de paz y amor 18 Symbol of peace and love

mi bandera es toda luz: 19 my flag is all light:
alma blanca abierta al mundo 20 soul white open to the world
y un corazón hecho Cruz! 21 and a heart made Cross!
Notes: An orchestrated version of this song for timpani, brums, bass drum, harp, and
strings was located in the Carlos Fitte family archive. There also exists an orchestrated
Weiss 59
version by Andrés Lino Barrientos, as indicated on a RCA Victor recording (Montes de Oca
317).
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42. La Doble Cruz (Himno de la cruzada contra la tuberculosis)
Text: Julio F. Picarel

Language: Spanish
Composed: 1935-36
Published: 1936
Dedication: none
Tempo: Tiempo moderado, de marcha (Moderate tempo of a march)
Key: F Major
Vocal Range: C4 - D5
Duration: 2:10
Title: The Double Cross (Hymn of the Crusaders Against Tuberculosis)
Soy la vida y la esperanza, 1 I am life and hope,

la ciencia, el amor, la luz; 2 science, love, light,
¡Arriba los corazones… 3 Lift up your hearts…
y paso a la Doble Cruz! 4 and march to the Double Cross!
Como el árbol que al sol reflorece, 5 Like the tree that in the sun re-blossoms,
como el ser que a la madre se abraza, 6 like the being that to the mother clings,
la energía triunfal de la raza 7 the energy triumphant of the race
se retempla al calor de mi acción. 8 is rekindled at the warmth of my deed.
Voy subiendo la cuesta espinosa 9 I go climbing the hill thorny

y sembrando de vida el camino, 10 and sowing life in my path,
¡voy en brazos del pueblo argentino 11 I go in arms of the argentine people
confortado en su gran corazón! 12 taking comfort in her great heart!

¡Arriba los corazones... 15 Lift up your hearts…
Con mi signo de Doble Cruz roja 17 With my sign of the Double Cross red
el amor por el débil enciendo 18 my love for the weak flaming
y el vigor de la patria defiendo 19 and the vigor of the nation defending
en la humana cruzada tenáz. 20 in the humane crusade unflagging.
Con los brazos abiertos me inclino 21 With my arms open I lean

y al hermano que auxilio demanda, 22 to the brother that help requires,
le repito "¡Levantate y anda!" 23 to him I repeat “Rise up and walk!”
¡Soy la Fé, la Salud y la Paz! 24 I am Faith, Health, and Peace!

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¡Arriba los corazones... 27 Lift up your hearts…
Notes:
Weiss 62
43. Una rosa para mi rosa
Text: Vicente Medina (1866-1937) unknown

Language: Spanish
Composed: 1936
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: A Rose for my Rose
Performance History: The debut of this song is mentioned in the magazine Noticias Gráficas
on 5 March 1936.
Notes: This song may have been in unpublished manuscript form only.
Weiss 63
44. Este pajarito
Collection: Siete canciones infantiles (Seven Children’s Songs)

Text: Ida Réboli, (d. 1970) Argentina
Language: Spanish
Composed: 1937
Published: 1938
Dedication: Dr. Antonio Sagarna

Key: F Major
Vocal Range: D4 - F5
Duration: 1:05
Title: This Little Bird
Este pajarito, 1 This little bird,

vino a la ventana 2 came to the window
y le trajo al nene 3 and brought to the little boy
un saco de lana. 4 a sack of wool.

vino hasta la mesa 6 came to the table
y le trajo al nene 7 and brought to the little boy
guindos y cerezas. 8 purple and red cherries.

vino hasta el jardín 10 came into the garden
y le trajo al nene 11 And brought to the little boy
flores de jazmín. 12 flowers of jasmine.
Este pajarito 13 This little bird

nunca más volvió. 14 never again returned.
Porque abrí la puerta 15 Because I opened the window
y se me escapó. 16 and he escaped me.
Notes: The collection in which this song appears won a prize from the Comisión Nacional de
Cultural in 1937. The text comes from Ida Réboli's book, Monopatín. The seven songs were
republished by Ricordi Americana in 1956.
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45. La casita del hornero

Text: Ida Réboli (d. 1970) Argentina
Language: Spanish
Composed: 1937
Published: 1938

Tempo: Andante (Moderately slow)
Key: G Major
Vocal Range: D4 - G5
Duration: 0:50
Title: The little house of the baker
Con barro bien amasado, 1 With mud well kneeded,

el hornero y la hornerita, 2 the little bakerman and the bakerwoman,
sobre el poste han fabricado 3 on the doorstoop have built
una preciosa casita. 4 a precious little house.
La besa el sol con su rayo. 5 It kisses the sun with its ray.
La acaricia el fresco viento. 6 It caresses the fresh breeze.
La hornerita empolla huevos 7 The little bakerwoman hatches eggs
y el hornero está contento. 8 and the little bakerman is pleased.
La llenarán de pichones 9 It they will fill with pigeons

y cuando puedan volar, 10 and when they can fly,
el hornero y la hornerita 11 the bakerman and the bakerwoman
les dirán ¡A trabajar! 12 to them will say, to work!
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46. El jardín de mi Escuela

Language: Spanish
Composed: 1937
Published: 1938

Tempo: Lento (Slow)
Key: Eb Major
Vocal Range: Eb4 - Eb(G)5
Duration: 0:45
Title: Garden of my little school
Jardín de mi escuelita, 1 Garden of my little school,

todo florido. 2 everything in bloom.
Con su arbol, sus macotas, 3 With its tree, its pets,
su luz, su nido. 4 its light, its nest.
Las flores son amigas 5 The flowers are friend

de todo niño. 6 of every child.
Nosotros las cuidamos 7 We take care of them
con gran cariño. 8 with great love.
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47. Mi señorita

Language: Spanish
Composed: 1937
Published: 1938

Tempo: Allegretto (Moderately quick)
Key: G Major
Vocal Range: D4 - E5
Duration: 0:50
Title: My nanny
Mi señorita, todo lo sabe, 1 My nanny, everything knows.

mi señorita, todo lo vé. 2 my nanny, everything sees.
nunca se enoja, ni se molesta, 3 Never gets mad, nor gets annoyed,
cuando algún pillo le da que hacer. 4 when some mess to her gives a task.
Nos ha enseñado miles de cosas. 5 To us she has taught thousands of things.

A decir versos, y a dibujar; 6 To say rhymes, and to draw;
Nos cuenta cuentos maravilloso 7 To us she tells stories marvelous
cuando acabamos de trabajar. 8 when we finish our work.
¡Mi señorita! Siempre contenta 9 My nanny! Always content

Siempre con ganas de sonreir. 10 Always with desire to smile.
¡Mi señorita! No hay como ella, 11 My nanny! There’s no one like her,
a todo el mundo lo he de decir. 12 to the entire world it I will declare!
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48. El patio

Language: Spanish
Composed: 1937
Published: 1938

Tempo: Allegro moderado (Lively but measured)
Key: C Major
Vocal Range: C4 - E5
Duration: 1:20
Title: The patio
A este patio alegre 1 To this patio happy

con un lindo rosal, 2 with a beautiful bouquet,
a este patio alegre 3 to this patio happy
venimos a jugar. 4 we come to play.
Ajajá, ajajá. 5 Ha-ha-ha, ha-ha-ha.
Venimos a jugar. 6 We come to play.
Venimos a jugar. 8 We come to play.
Cantan los pajarillos. 9 Sing the little birds.

Chiribín, chiribín, chin, chin. 10 Chirp, chirp, chirp.
Cantan los pajarillos. 11 Sing the little birds.
De pico de coral. 12 Of beak of coral.
Tomados de la mano. 17 Holding hands.

Chiribín, chribín, chin, chin. 18 Chirp, chirp, chirp.
Tomados de la mano. 19 Holding hands.
Nos vamos a bailar. 20 We are going to dance.

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Weiss 69
49. El canario

Language: Spanish
Composed: 1937
Published: 1938

Tempo: Largo (Slow)
Key: C Major
Vocal Range: C4 - D5
Duration: 0:50
Title: The Canary
El canarito canta 1 The canary sings

con alegría, 2 with happiness,
porque ve que ha llegado 3 because he sees that has come
la luz del día. 4 the light of day.
Con su pluma amarilla, 5 With his feathers yellow,

su pico de oro 6 his beak of gold
y su ojito tan vivo, 7 and his little eye so alert,
es mi tesoro. 8 he is my treasure.
Salta por la jaulita 9 He hops inside the cage

de arriba abajo. 10 up and down.
Y continuamente canta: 11 And continually sings:
es su trabajo. 12 that’s his work.
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50. El arco iris

Language: Spanish
Composed: 1937
Published: 1938

Tempo: Con animación (With animation)
Key: Bb Major
Vocal Range: D4 - Eb5
Duration: 1:25
Title: The Rainbow (Seven Children’s Songs)
¡A saltar! ¡A saltar! 1 Jump! Jump!

La lluvia dejó de caer, 2 The rain has stopped falling,
La lluvia dejó de caer, 4 The rain has stopping falling,
El arco iris tendió su cuerda 5 The rainbow tied its cord

para que cese de llover. 6 so it would stop raining.
Con la cuerda del arco iris 7 With the cord of the rainbow
el salto nuestro no tiene fín. 8 Our jump has no end.
¡A saltar!¡A saltar! 9 Jump! Jump!

Salta, saltarín, salta. 10 Jump, little jumper, jump
Salta, saltarín. 12 Jump, little jumper.
Soltó su cuerda de colores 13 Let out his cord of colors

el arco iris del Señor. 14 the rainbow of the Lord.
Soltó su cuerda de colores 15 Let out his cord of colors
el arco iris del Señor. 16 the rainbow of the lord.
Han de soltar las estrellitas, 17 The little stars will jump,

la luna nueva y el buén sol. 18 the new moon and the good sun.
Han de soltar las estrellitas, 19 The little stars will jump,
la luna nueva y el buén sol. 20 the new moon and the good sun.

Salta, saltarín, salta 10 Jump, little jumper, jump
Salta, saltarín. 12 Jump, little jumper.
Weiss 71

La lluvia dejó de caer. 2 The rain has stopped falling,
La lluvia dejó de caer. 4 The rain has stopping falling,
Weiss 72
51. Querendona (Motivos serranos)
Text: Tilde Perez Pieroni (1913-1952) Argentina

Language: Spanish
Composed: 1938
Published: 1940
Dedication: Maestro Constantino Gaito

Tempo: Allegro moderato (Moderately quick)
Key: Db Major
Duration: 1:50
Title: Sweetheart (Mountain Motives)
¿Que si ió te quiero mucho, 1 If I love you too much,

me preguntás? 2 you ask me?
Días, meses, años, 3 Days, months, years,
y te quiero más. 4 and I love you more.
Ya sabís que llevo 5 Already you know that I carry

tu nombr'en la boca. 6 your name on my lips.
¡De tanto querirte 7 Of so much loving you
ia ando medio loca! 8 already I walk half crazy!
Hondo como el valle, 9 Deep like the valley,

fresco como el río, 10 fresh like the river,
puro como el cielo 11 pure like the heaven
es el querer mío. 12 is my love.
Desde el primer día 13 From the first day

que te conocí, 14 that I met you,
la risa y el sueño, 15 the laughter and the dream,
todito perdí. 16 I lost it all.
¿Que si ió te quiero mucho? 17 If I love you too much?

¡Vaia la prigunta!... 18 Forget the question!...
Dios nos echó al mundo 19 God put us on the planet
pa vivir en iunta. 20 to live together.
¿Que si ió te quiero mucho, 21 If I love you too much,

me preguntás? 22 you ask me?
Días, meses, años, 23 Days, months, years,
y te quiero más. 24 and I love you more.

Weiss 73
Notes: Debuted in Montevideo, Urgugay on 26 August 1938 for a "Amigos del Arte" recital,
sung by Brígida Frias de López Buchardo accompanied by Carlos López Buchardo (Montes
de Oca 317).
Weiss 74
52. Copla criolla
Text: anonymous (popular poetry)

Language: Spanish
Composed: 1938
Published: 1940
Dedication: Conchita Badía

Tempo: Alegremente (Cheerily)
Key: F# Major
Vocal Range: F#4 - G#5
Duration: 1:35
Title: Folk couplet
A la mar por ser honda, 1 To the ocean because it is deep,

se van los ríos, 2 go the rivers,
de trás de tus ojitos 3 following behind your little eyes
se van los míos. 4 go mine.
A la mar tiré un tiro, 5 To the ocean I fired a shot,

cayó en la arena. 6 it fell in the sand.
Donde no hay morenitas 7 Where there are no little brown girls
no hay cosa buena. 8 there is nothing good.
Al cabo se han juntado 9 At last have joined

dos parecidos 10 two similar people
el clavel y la rosa 11 the thorn and the rose
los dos unidos. 12 the two united.
Al cabo a salido 13 At last has left

la señorita a bailar 14 the young girl to dance
derramando su hermosura 15 scattering her beauty
como rosa en un rosal. 16 like a rose in a rose vase.
Laralai, lalaraila, 17 Laralai, lalaraila,

larailai la, la, la. 18 larailai la, la, la.
Laralai, la, laraila, 19 Laralai, la, laraila,
larai laila, la, la. 20 larai laila, la, la.
A la mar por ser honda, 1 To the ocean because it is deep,

se van los ríos, 2 go the rivers,
de trás de tus ojitos 3 following behind your little eyes
se van los míos. 4 go mine.

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53. Porteñita (Canción)
Text: María Luz Regas Velasco, unknown unknown

Language: Spanish
Composed: unknown
Published: 1936
Dedication: Marita Z. de Dedyn

Tempo: Andante (Moderately slow)
Key: C Major
Vocal Range: E4 - F5
Duration: 2:45
Title: Porteñita (Canción)
Porteñita linda, que cruzas los mares, 1 Porteñita beautiful, that crosses the oceans,
y recorres puertos… cual clavel 2 and visits ports…like a carnation
del aire… of the air…
que llevara el viento, magnolias 3 that would carry the wind, magnolias
y azahares, and orange blossoms,
de tu cielo claro, por el viejo mundo 4 of your sky clear, to the old world
en pos de su abril… behind their April…
Díme que te dijo el murmullo suave, 5 Tell me what to you said the murmuring soft,
aroma y cantares del Guadalquivir. 6 aromas and songs of the Guadalquivir.
Lo que te cantaron, Porteñita al paso, 7 What to you they sang, Porteñita, in passing,
lo que pensó acaso al mirar tus ojos, 8 what he thought with a glance at your eyes,
la noche encendida del loco Paris. 9 the night flaming of crazy Paris.
Díme si en Sevilla de Don Juan 10 Tell me if in the Sevile of Don Juan
la sombra, the shade,
tomó cuerpo al verte en gesta de amor. 11 raised up upon seeing you in a gesture of love.
Si del agua quieta de Venecia bella, 12 If from the water tranquil of Venice beautiful,
surgiera la trova de algún jóven dux. 13 surged the song of some youth sweet.
Qué es lo que dijeron aquellas estrellas 14 What did they say those stars
al ver su hermanita de la cruz del Sur. 15 upon seeing their little sister of the Southern
Cross.
Si el cielo lejano girón de la Pampa, 16 If the heaven distant rotating of the Pampa,
a tu azul cantara la tierna canción. 17 to your blue might sing the sweet song.
Porteñita linda, que cruzas los mares, 18 Porteñita beauitful, that crosses the oceans,
y recorres puertos... cual clavel 19 and visits ports… what flower
del aire... of the air…
como flor serrana, magnolias 20 like flower of the highland, magnolias
y azahares and orange blossoms
que aroma ciudades, los campos 21 that sweetens cities, the countryside
y prados del Tajo hasta el Rhin. and prairies from the Tajo to the Rhine.
Weiss 76
Porteñita linda que habló con 22 Porteñita beautiful that spoke with the river
las frondas foilage
y trajo sus cantos de luz y de sol. 23 and brought her songs of light and sun.
Porteñita bella, Mariposa Rosa. 24 Porteñita beautiful, Butterfly Pink.

Ya que así te alejas, 25 Since you must depart,
tu corazoncito a dejar no vayas en otro 26 your little heart to remain and not in any other
confín. place.
Notes: There is an orchestration for timpani, drums, piano, and strings located at the
Weiss 77
54. Lamento (Mírala como ha venido)
Text: anonymous (popular poetry)

Language: Spanish
Composed: 1938
Published: unknown
Dedication: Héctor Ruiz Díaz

Tempo: Grave (Solemn)
Key: E Major
Vocal Range: B4 - C#5
Duration: 1:45
Title: Lament (Look at her, how she has come)
Mírala como ha venido 1 Look at her, how she has come

cuando triste me ha dejado… 2 when sad me has left…
Perdona a quien te ha faltado, 3 Forgive whoever has trepassed against you,
si ya viene arrepentido. 4 if they come already remorseful.
De lo mal que me ha pagado 5 Of the ill that she has paid me

yo no me quiero acordar; 6 I don’t want to remember;
más bien quisiera olvidar 7 I would rather forget
el daño que me ha causado. 8 the hurt that she has caused me.
Al fin y al cabo es mujer 9 At last and in conclusion she is woman

y no la puedo olvidar... 10 and I cannot forget her…
La tengo que perdonar 11 I have to forgive her
y la tengo que querer. 12 and I have to love her.
Performance History: Performed in a concert at the Centro Cultural Félix F. Bernasconi in

1943 (Montes de Oca 318).
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55. Canta tu canto, ruiseñor y vuela… (Soneto)
Text: Ignacio B. Anzoátegui (1905-1978) Argentina

Language: Spanish
Composed: 1940
Published: 1949
Dedication: Señora Tina C. de Guido

Tempo: Cantabile (Smooth, lyrical)
Key: Eb Major
Vocal Range: C4 - G5
Duration: 1:55
Title: Sing your song, nightingale, and fly… (Sonnet)
Canta tu canto, ruiseñor, y vuela, 1 Sing your song, nightingale, and fly,
vuela tu vuelo, ruiseñor, y canta, 2 fly your flight, nightingale, and sing,
y en la luz que a tu canto se adelanta 3 and in the light that to your song comes forward
adelanta mi pena paralela. 4 comes forward my pain parallel.
Canta sobre la luna, centinela, 5 Sing about the moon, centinal,

toda condecorada tu garganta, 6 all decorated your throat,
y el amor de la estrella desencanta 7 and the love of the star disenchanted,
enamorada en éxtasis de espuela. 8 in love with the extasis of the last drink.
Canta para la estrella enamorada 9 Sing for the star in love

que repitió en la pena florecida 10 that returned to the pain blossomed
la sangre de la boca lastimada. 11 the blood of the mouth injured.
Y subirá la luna decidida 12 And will rise the moon determined

como subió en la luz de su mirada 13 like rose the light in her look
la noche ilustremente amanecida. 14 the night illustriously dawned.
Canta tu canto, ruiseñor, y vuela... 1 Sing your song, nightingale, and fly…
Performance History: Debuted in Buenos Aires in the Sociedad Argentina de Artistas

Plásticos on 14 December 1944 (Montes de Oca 318).
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56. Canción de Perico
Text: Fryda Schultz de Mantovani (1912-1978) Argentina

Language: Spanish
Composed: 1940
Published: unknown
Dedication: Frederick Fuller

Tempo: Animado (Animated)
Key: A Major
Vocal Range: B4 - E5
Duration: 1:00
Title: Song of Perico
Perico, Perico no quiere ser rico 1 Perico, Perico doesn’t want to be rich
no quiere ser sabio ni quiere ser rey; 2 doesn’t want to be wise nor wants to be king;
¿que quiere este chico, Perico, Perico? 3 what wants this boy, Perico, Perico?
Jugar en el bosque reir y correr. 4 To play in the forest, to laugh, and run.
Con lengua de trapo gritar como el sapo, 5 With tongue like rag to squeal like a toad,
meterse en el agua y en ella nadar. 6 to jump in the water and in there swim.
No quiere Perico ser sabio, ni rico, 7 Doesn’t want Perico to be wise, nor rich,
ni rey, pero quiere reir y cantar. 8 nor king, but wants to laugh and to sing.
Perico, Perico se llama este chico, 9 Perico, Perico, is called this boy,
no quiere ser rico Perico, Perico. 10 doesn’t want to be rich, Perico, Perico.
Performance History: Debuted in Buenos Aires in the Biblioteca Alberdi on 15 October 1940
by Brigida Frías de López Buchardo with Carlos López Buchardo at the piano (Montes de
Oca 319).
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57. Canción del niño pequeñito
Text: Ida Réboli (? - 1970) Argentina

Language: Spanish
Composed: 1940
Published: 1949
Dedication: Carlitos Alfredo Fitte

Tempo: Lento (Slow)
Key: Db Major
Vocal Range: C4 - Eb5
Duration: 2:40
Title: Song of the Tiny Child
El niño pequeñito 1 The child tiny

está en la cuna; 2 is in the craddle;
El sol ya se ha ocultado, 3 The sun already has hidden,
salió la luna. 4 has risen the moon.
Todos cuiden el sueño 5 Everyone cares for the sleep

del niño mío 6 of the child mine
que yo le haré collares 7 that I for him will make necklaces
con el rocío. 8 with the dew.
Nadie le turbe el sueño 9 Nobody distubes the sleep

al pequeñuelo 10 of the little one.
Yo le haré una diadema 11 I for him will make a diadem
con luz del cielo. 12 with light from heaven.
Venga una mano 13 That might come a hand

y le haga la noche bella; 14 and for him make the night beautiful;
que yo le haré una joya 15 that I for him will make a jewell
con una estrella. 16 with a star.
Ya todo se ha quedado 17 Now everything has settled down

sin hacer ruido; 18 without making a sound;
El niño pequeñito 19 The child little
ya se ha dormido. 20 has already fallen asleep.
Performance History: Debuted in Buenos Aires in the Biblioteca Alberdi on 15 October 1940
by Brigida Frías de López Buchardo with Carlos López Buchardo at the piano (Montes de
Oca 319).
Notes: The dedicatee “Carlitos” was Carlos López Buchardo’s step son, by then a grown
man. The composer would have been 59 at the time of its debut.
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58. Canción de ausencia

Language: Spanish
Composed: 1942
Published: 1943
Dedication: Marita
Tempo: Andante elegíaco (Moderately slow and elegiac)
Key: eb minor
Vocal Range: C4 - Eb5
Duration: 4:00
Title: Canción de ausencia
Como gime el otoño en las ramas 1 Like groans the autumn en the branches
y el rumor del mar 2 and the murmurring of the ocean
esta pena de mi alma doliente 3 this pain of my soul painful
no podré callar. 4 I will not be able to hush.
Como brota el dolor en la ausencia 5 Like blossoms the pain in the absense
y en la cruel soledad 6 and in the cruel solitude
esta angustia que llevo escondida 7 this pain that I carry hidden
sólo así quiere cantar: 8 only wants to sing:
Ay! Luz del cielo tranquilo y profundo 9 Ay! Light of heaven tranquil and deep
que iluminó el cendal de ayer, 10 that illuminates the silk of yesterday,
esa tarde que vi su partida 11 that evening that I saw her leaving
para jamás volver... Ay! mi dolor! 12 to never again return… Ay! my pain!
Viejas tapias que aroman las rosas 13 Old adobe walls that scent the roses
del jardín en flor, 14 of the garden in bloom,
peregrino que va a la aventura 15 stranger that goes to adventure
con su mal de amor 16 with his bad love
Como sombra que vaga en la vida 17 like shadow that fleets through life
sin hogar y sin paz, 18 without home and with out peace,
su recuerdo que llevo en el alma 19 her memory that I carry in my soul
ya no se puede borrar. 20 can no longer be erased.
Ay! luz del cielo celeste y dorado 21 Ay! Light of heaven blue and gold
que oyera mi postrer adiós 22 that might hear my last goodbye
como un eco perdido en la tarde 23 like an echo lost in the afternoon
de la fe que murió… Ay! mi dolor! 24 of my faith that died… Ay! my pain!
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Y en las noches sin luna ni estrellas 25 And in the nights without moon nor stars
síentese el clamor, 26 is heard the clamor,
del viajero que va repitiendo 27 of the traveler that goes repeating
su canción de amor... 28 his song of love…
Y así brota la angustia en la ausencia 29 and so blooms the anguish in the absense
y en la cruel soledad 30 in the cruel solitude
de esta pena que llevo escondida 31 of this pain that I carry hidden
y que así quiere llorar. 32 and that wants to cry out.
Performance History: Debuted in Montevideo, Uruguay during the inauguration concert

of the Undécimo Ciclo del Arte y Cultura Popular at the Universidad de Montevideo on 27 April
1942. Brigida Frías de López Buchardo sang accompanied by her husband Carlos López
Buchardo (Montes de Oca 318). In Buenos Aires, the song was premiered in a social
gathering of the Sociedad Argentina de Autores y Compositores de Música (SADAIC) on 2 June
1943 (Montes de Oca 331-332).
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59. Caminito de Flores
Text: Vicente Medina (1866-1937) Spain

Language: Spanish
Composed: 1942
Published: unknown
Publisher: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: Little Path of Flowers
Performance History: Debuted in Montevideo, Uruguay during the inauguration concert

of the Undécimo Ciclo del Arte y Cultura Popular at the Universidad de Montevideo on 27 April
1942. Brigida Frías de López Buchardo was accompanied by her husband Carlos López
Buchardo (Montes de Oca 318, 340, 342).
Notes: Listed in the catalog of Carmen García Muñoz as an incomplete song finished by
Abraham Jurafsky, but this seems strange if it was debuted in 1942 (Montes de Oca 318).
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60. Canción del Estudiante
Text: unknown
Language: Spanish
Composed: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: Song of the Student
Notes: The unpublished manuscript was located by Montes de Oca in the Carlos Fitte
family archive. The title was actually taken from an orchestrated version of the song found
at the Universidad Nacional de La Plata (La Plata, Argentina) (Montes de Oca 318).
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61. Los camperos
Text: unknown
Language: Spanish
Composed: unknown
Dedication: unknown
Tempo: unknown
Key: unknown
Duration: unknown
Title: The Country Folk
Notes: The manuscript was located by Montes de Oca in the Carlos Fitte family archve
(318).
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62. Canción del trabajo
Text: Francisco Luis Bernández (1900-1978) Argentina

Language: Spanish
Composed: 1948
Dedication: none
Tempo: unknown
Key: unknown
Duration: unknown
Title: Song of Work
Performance History: Was sung during the presentations given on the holiday "Day of
Work" en the CGT together with the National Anthem from 1948 until 1954 (Montes de Oca
319).
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CHAPTER 2
The Songs in French and Italian
Like other Argentine composers who came of age at the turn of the twentieth
century, Carlos López Buchardo looked to Paris as the ideal location for studying Western
art music. But even before his first trip to France at the age of 23 and his longer stay of four
years beginning when he was 28, López Buchardo was already using French texts as the
basis for his earliest song compositions. These were Silence, Les Roses de Noël, Extase,
composed sometime between 1899 and 1903, and La Mort des Oiseaux and Le voyage,
probably composed in 1903. His selection of French poems that, according to Alfred
Andrés, were “read with great delight in those days”, underscores that for a young man of
his class and social status, the language of Paris was the language of choice—a symbol of
refinement and sophistication in the booming city of Buenos Aires (72).
López Buchardo was blessed with a musical and devout Catholic mother who saw
to it that Carlos and his two brothers, Alberto and Próspero, studied music. María
Filomena Buchardo was already an accomplished singer and pianist, who sometimes sang
songs that “she herself had harmonized” (Andrés 64) and it was she who encouraged
López Buchardo to write his first musical work, a Mass for choir and organ that was
performed at her parish in 1901 (Andrés 72). Even before that, however, there is record of
his first song being composed in 1896 at the age of fifteen. Not surprisingly, the text is a
religious one: an Italian version of the Ave María.
On the role of the mother’s religion in the composer’s home, Andrés writes,
Her religious spirit (which Cecilio López did not share but respected), was
displayed openly in the home. In one room, a figure of the Virgin of Carmen,
to whom María Buchardo was a fervantly devoted, dominated the space. It
was of great beauty and extraordinarily detailed in a colorful plaster, one

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meter tall. On many occasions they prayed the rosary before her in the old
custom, or in other words, all together: everyone, including the servant
woman (the father was the only exception). Afterwards, the children would
file past their parents for a blessing. The mother, in similar occasions, would
often sing religious songs that she would then teach to her children.1 (Andrés
71)
Though religious texts were not used in any of López Buchardo’s later songs, his mother’s
dedication to and encouragement of her son’s musical development was critical to his
initial formation as a composer. She died in 1904 when Carlos was 23, the year of his first
trip to France (Jurafsky 13).
Springing from “one of the most illustrious families of Porteña society”, the young
composer did not lack for money during his time in Paris (Andrés 81). Abraham Jurafsky
points out that Carlos became quick friends with fellow Argentine composers José André
and Celestino Piaggio and “alternated” with them his coveted private lessons with Albert
Roussel (1869-1937) (13). Zulema Lasala confirms this account with the following anecdote,
naming two different Argentine companions:
López Buchardo was the typical argentine man of the era, son of a ranch
owner, studying and enjoying life in Paris, generous and genteel. At the same
time, [Floro] Ugarte and [Athos] Palma were there, who weren’t as well-off,
so he invited them to participate in his classes with Albert Roussel and then
asked them to do his chores.2 (Lasala, par. 15)
Strangely, from 1904 until 1913, when López Buchardo ended his stay in Europe,
there is record of only one finished song, entitled Salve Oh, Reina Gloriosa (1911). It is
somewhat difficult to explain why he wouldn’t have composed more songs between the
ages of 23 and 32, especially since he was studying with a celebrated composer of art song.
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Perhaps he was focused on his first idea for an opera, engrossed in his compositional
studies with Albert Roussel at the Schola Cantorum, or simply too busy enjoying the sights
and sounds of Paris. The absense of dated sketches precludes finding a more satisfying
answer.
Following his return to Buenos Aires, the now “bonafide” Euro-Argentine had
practically every card in his favor. This was quickly evidenced by his ability to launch his
first and only opera—or “lyric fantasy” as he labeled it—in the premier venue of his day,
the Teatro Colón. On 4 August 1914, the debut of Il Sogno di Alma (The Dream of Alma) was
enthusiastically received by the opera-going public and set the 33-year old in a position to
accomplish almost anything he might have wanted, musically, socially, or institutionally
(for more information on the development and reception of López Buchardo’s first opera,
see Andrés 75-87, Jurafsky 12-16, Montes de Oca, 16-43).
Between 1915 and 1918, López Buchardo composed ten songs and chose for the first
time to base three of them on Spanish texts. A detailed description of Era una rosa (1915), Si
para un fino amante (1916), and Nocturno (1917) is found in Chapter Four. The remaining
seven from the same period were all in French: Feuillage du cœur (1915), Le paravent (1915),
Lassitude (1915), Une fleur (1915), Reflets (1916), Petit Ynga (1917), and A toute âme qui
pleure… (1918).
Of the twelve songs with French texts mentioned in this chapter, seven have been
located for study (See Appendix E for a complete listing of the scores not yet found).
Though none of these songs received the recognition that his nationalist pieces would, they
were still performed regularly throughout his career (Figure 1). Together, the seven works
contain enough evidence of López Buchardo’s early musical style to warrant their brief
commentary.
One of López Buchardo’s early tendancies manifests itself very clearly in the French
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pieces: an understanding of the value of motivic and rhythmic consistency to increase a
song’s cohesiveness. He demonstrates the ability to create rhythmically-consistent piano
accompaniments, whose textures appear, at least visually, to directly reflect the poem’s
subject matter. Such rhythmic and thematic limit-setting would eventually became a virtue
that helped rather than hindered his later songs. In these works, however, the harmonic
progressions frequently lose direction and fail to outline any sense of sonic form to the
listener. By this point López Buchardo knew how to carefully craft phrases with harmonic
tension and release, as demonstrated in his pre-Paris Silence. But he may have preferred to
follow what he might have viewed as a “French” aesthetic, attempting to align with each
word inventive harmonies with little regard for overall harmonic structure (Andrés 93-94).
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Occasion/ Montes
Date Song Titles Singer(s) Pianist(s) Location de Oca
26 November 1915 Feulliage du cœur Paula Ripert Mancilley Carlos López Buchardo Sociedad Nacional de 64
Lassitude Cesar A. Stiattesi Música
Le Paravent Razael González Museo Nacional de Bellas
Artes
19 September 1918 Lassitude Ana S. de La Guardia Adolfo Forpurgo Audición de Autores 255
Reflets Sarah Ancell C. Fanelli Argentinos
Remo Bolognini
29 August 1921 Los puñalitos Mara Barrientos Carlos López Buchardo Recital de Canto 256
Era una rosa
Vidalita
19 December 1923 Sé Palomea Krucenisky Rafael Gousates [sic] Recital de Canto 257
29 October 1924 Los puñalitos Enrique de Herrera y Celiq Correa Leuna Recital de Canto 258
Lerena
14 November 1924 Si para un fino amante Brígida Frías de López Carlos López Buchardo Sociedad “Diapasón” 328-329
Reflets Buchardo Alberto Inzaurraga Museo Nacional de Bellas
Se… Enriqueta Basavilbaso de Artes
Petite Inga Catelín
Lassitude Antonieta Silveyra de
A toute âme qui pleure* Lenhardson
Puñalitos Albana Secco
Era una rosa*
Le Paravent
Feuillage du cœur
Hormiguita
Canción desolada*
Extase
15 December 1924 La canción desolada Ninon Vallin Carlos López Buchardo Clausura del Año Artístico 259
Canción del carretero Aldo Ramarriello
Figure 1. A partial list of López Buchardo songs performed in public. Titles with astericks were marked in the programs
as debut performances, though such indications do not always correspond with other sources.
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Occasion/ Montes
Date Song Titles Singer(s) Pianist(s) Location de Oca
3 June 19[30s], Vidalita Brígida Frías de López Carlos López Buchardo Comisión Provincial de 347
probably late 30s Jujeña Buchardo Bellas Artes
Los Puñalitos Museo “Rosa Galisteo de
Frescas sombras de sauce Rodríguez”
Si lo hallas
Prendiditos de la mano
Oye mi llanto
Querendona*
Cancion del carretero
1936-1940 Nocturno* Brígida Frías de López Carlos López Buchardo Obras de Carlos López 341
Una rosa para mi rosa* Buchardo Buchardo
Jazmines criollos*
Canción del niño pequeñito*
Canción de Perico*
27 April 1942 Oye mi llanto Brígida Frías de López Carlos López Buchardo Acto de Inauguración del 340, 342
Frescas sombras del sause Buchardo Undécimo Ciclo del Arte y
Vidala Cultura Popular en el
Prendiditos de la mano Salón de Actos Públicos de
Canción del niño pequeñito la Universidad de
Querendona Montevideo (Uruguay)
Jazmines criollos
Canción de ausencia*
Jujeña
Caminito de flores*
Una rosa para mi rosa
Canción del carretero
2 June 1943 Prendiditos de la mano Brígida Frías de López Carlos López Buchardo Sociedad Argentina de 331-332
Canción de ausencia* Buchardo Autores de Compositores
Canción de carretero de Música
27 August 1945 Mírala como ha venido* Brígida Frías de López Carlos López Buchardo Comisión Nacional de 354-355
Querendona* Buchardo Cultura
Teatro Nacional de
Comedia
22 May 1946 Canción del carretero Brigida Frías de López Mafalda Napolitano de Casa Central 223a
Prendiditos de la mano Buchardo Quaratino Cangallo 1154 223b
Buenos Aires
Figure 1 (cont.). A partial list of López Buchardo songs performed in public.
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Silence (Entry 2). Set in the key of B major, this piece has everything one might
expect in a late romantic French parlor song: a falling pseudo-pentatonic scale to hail the
beginning and end of the piece (Example 1), richly prepared dominants and secondary
dominants throughout, and a middle section that slides quietly into the key of G Major
(Example 2), modulates to Bb Major and then returns to B Major through the circle of fifths
for the final stanza (e.g. BbEbAbDb/C#F#B).
Example 1. Silence, measures 1-5.
López Buchardo’s melody contains well-balanced antecedant and consequent
phrases of two measures each, which sometimes flow one into the other. The melody and
harmony employed for the first and last stanzas of text (i.e. the A sections of the ABA form)
are almost the exactly the same, with some melodic license taken to create speech-like
expresiveness on the phrases “on a loving heart that it adores” (4) and “of a musical heart
and silence of the hour” (11-12) (Example 2).
Though clearly intended for a less-formal chamber music audience, this song avoids
sounding formulaic and could be performed today. The long phrases that move frequently
from low to mid-register and the startling interval of a major seventh in measures 11 and 26
require a well-formed singing technique (Example 3).

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Example 2. Silence, measures 12-15.
Example 3. Silence, measure 11.

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Les Roses de Noël (Entry 3). The directive doux et lié (“soft and connected”) to the
pianist in the first measure is both the key and the challenge to successfully interpreting
this piece, which seems to ride eternally in the key of Eb Major. The vocalist must likewise
begin simplement et sans nuances (“simply and without nuances”) López Buchardo’s lilting
melody. Edmond Arnould’s (1811-1861) poetic thought might be summarized as, “Thank
goodness for the little white Christmas roses that bloom in the winter when everything else
is dead. The young will have their spring flowers. But for those who suffer or for those that
are old, oh heavens, always remember to make the pale roses bloom” (9-14).
The singer should intensify the vocal tone in measure 15, marked un pleu plus
expressif (“a bit more expressive”), and fulfill the song’s climax in measures 19 through 25
(Example 4).
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Example 4. Les roses de Noël, measures 19-27.

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The song closes with almost the same melody as at the beginning for an overall form of
AA’BA.
An important aspect of López Buchardo’s musical style reveals it self in the piano
accompaniment of Les Roses de Noël (Example 5).
Example 5. Les Roses de Noël, measures 1-6.
Even though the accompaniment is rhythmically simple, the alto line is full of irregular
variations that the pianist must carefully observe. Perhaps his fascination with inner voices
was a result of his years of playing viola in the string trio he comprised with his brothers
and piano teacher (Jurafsky 12). The minute variations inside of a regular eighth-note pulse
keep the song’s four-measure phrases from settling down into simple and easy-to-predict
shapes.
López Buchardo learned early the technique of making small changes in the
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counterpoint of the piano accompinaments to enrich expected harmonic shifts. Measures 8
and 9 contain another example. The descending Db-C-Cb inner voicing in the right hand
pulls the ear strongly to the fifth of the tonic Eb, but is promptly interrupted by an extra
measure of the dominant chord before resolving to the tonic chord on the last note of the
phrase (Example 6).
Example 6. Les Roses de Noël, measures 8-10.
Lassitude (Entry 13). The English word “Lassitude” is defined by the American
Heritage Dictionary of the English Language as “a state or feeling of weariness, diminished
energy, or listlessness”, a state effectively captured by Maurice Maeterlinck’s images and
run-on phrases. The challenge is to identify exactly who or what Maeterlinck means by the
first word of the poem, “They” (1). If the subject “they” were to refer directly to “the flock
of gray sheep on the horizon” (5-6) … “indifferent and without a flame of desire”
mentioned later in the poem, then the entire scene becomes an outward projection and
description of the an internal emotional state.
The lethargy of the moment is captured in López Buchardo’s monotonous 12/8
accompaniment. The song stays for long stretches in a hazy f minor with persistant
emphasis on the first and fifth scale degrees, shifting occasionally to a G or Bb tonal areas
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within the same texture (Example 7).
Example 7. Lassitude, measures 17-20.
The harmonies in this song are unusual and might be studied in greater detail. But
the main impediment to the song’s overall effectiveness still remains: the composer’s choice
and treatment of this particular text. López Buchardo may have felt compelled to write
seemingly-listless music to match the poem’s imagery and purposely delayed writing any
expressive music until the words “to the caresses of the vague sky like their life; /
indifferent and without a flame of desire” (5-6), at which point the observer and the
observed seem to meld into one. This is the point at which the listener would recognize
that the description of the pastoral scene as the reflection of an inner reality. The
monotonous accompaniment finally ceases and a very quiet, static, and effective ten
measures end the piece (Example 8).

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Example 8. Lassitude, measures 23-32.

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Example 8 (cont.). Lassitude, measures 23-32.
Unfortunately, López Buchardo’s literal representation of the poem does not lend itself to a
musically-coherent whole.
Une fleur (Entry 15). This song’s harmonic turf is delineated in the last three
measures. López Buchardo appears to be playing with the superimposition of the interval
of a fourth, C5 to G4, over the song’s Bb tonality (Example 9).

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Example 9. Une fleur, measures 73-75
The rather-awkward melody circles around C5 and tries to end phrases on G4, but none of
the harmonies support this melodic idea. Most difficult to sing is the constant interchange
between Eb and E§ in the vocal line, perhaps intended as the melodic key that turns
between Bb and C tonalities (Example 10).
Example 10. Une fleur, measures 42-45.
Unfortunately, neither tonal area is fully developed and the song does not successfully
transmit the poem’s essence.
Reflets (Entry 16). The treble piano accompaniment in Reflets moves regularly
between the tonic F and dominant C in the left and right hands with closely related “color
chords” on the offbeats in the right hand. The harmonically unintuitive vocal line circles
around F, G, and C, as foreshadowed by the animated introduction (Example 11). Every
melodic phrase, except for one, ends on one of these three notes. Very similar to Lassitude in
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terms of key (Bb) and harmonic devices, this piece was finished only five months later.
López Buchardo was 34 years old.
Example 11. Reflets, measures 1-9.
Petit Ynga (Entry 18). The male narrator of the poem’s text and tessitura of this
pleading chanson make it especially appropriate for the Tenor voice. The accompaniment,
which requires an agile and flowing technique to avoid covering the vocal line, is an
excellent indicator of López Buchardo’s own long-fingered piano technique (Example 12).
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Example 12. Petit Ynga, measures 30-32.
In the first phrase of the melody, López Buchardo uses a duple-to-triple rhythmic
figure over six beats that is seen frequently in his later works to evoke a more “folk”-
sounding tune (Example 13). But here, the same figure sounds perfectly “French” in the
context of the song’s accompaniment and text. As will be discussed in Chapter 3, most of
musical devices employed by López Buchardo to evoke the “folk” relied on the audience’s
shared perceptions of what constituted folk music. It was the audience, not the composer,
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that essentially decided which compositional techniques and music or text resources
should constitute truly nationalist music.
Example 13. Petit Ynga, measures 3-6.
A toute âme qui pleure… (Entry 20) Based on a Marian text of exceptional passion,
the French words “pleure” and “pleuré” (1, 8), denoting a plea or cry for mercy, are at the
heart of this song’s musical dramatism, one of the young composer’s more successful
attempts. López Buchardo utilizes a pulsing off-beat accompaniment in 3/4 to drive the
piece forward through tension-laden harmonies to its final release in the key of D Major in
the penultimate measure (Example 14). The song’s tonic chord is clearly enunciated for the
first time with a pleading 2-1 appogiatura in the right hand. The singer ends on the fifth
with a pianissimo A5.

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Example 14. A toute âme qui pleure…, measures 26-29.
Major sixth chords dot the entire piece. Six times during the course of the song’s 29
measures, the e-minor sixth chord in second inversion encases the leading tone c-sharp,
which appropriately “pleads” for resolution to either B Major or D Major. Instead, López
Buchardo moves expertly to other chords (e.g. G Major, e minor) that build harmonic
tension and avoid a clear intimation of the tonic (Example 15).
Example 15. A toute âme qui pleure…, measures 4-6.
Other tools used to enhance the song’s drama include counter melodies in the
accompaniment that “cry” when the singer isn’t (Example 16) and downward chromatic
movement that draws attention to the beleaguering c-sharp (Example 15, measure 4).
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Example 16. A toute âme qui pleure…, measures 16-24. The handwriting above the vocal line
is that of soprano Enriqueta Basavilbaso de Catelín, who couldn’t decipher the small letters
beneath the notes, according to Zulema Castello de Lasala.

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An appropriately dramatic portrayal of Maeterlinck’s text, this song is
recommended for performance. Singers should beware of the subtle harmonic shifts and
determine carefully where the melody “fits in” to the piano’s harmony, for without that
supporting structure, it will make little sense to the listener. Pianists will enjoy the romantic
gusto in the accompaniment and should take full advantage of the dynamic contrasts to
heighten the dramatic effect.
Ave Maria (Entry 1). Composed around the age of 15, the first song in Carlos’s
catalog utilizes late-Romantic harmonic devices to evoke a strong sense of devotion and
Catholic religiousity. He begins with a 13-measure introduction in g minor, which the
melody follows until the word “Gesù” (4), at which point the composer modulates
suddenly to Bb (a dominant preparation for the piece’s tonal goal: Eb). One measure later,
he begins alternating between g-minor and D-Major chords and moves gracefully through
the major keys B to E to A to D. Once solidly in D Major, López Buchardo pulls his first
harmonic “trick”. He interjects two measures of the Neopolitan in root position to enhance
the listener’s expecation of a resolution to D Major. Then, via a combination of g-minor and
Bb7 chords (Measure 35), he breaks into a fresh-sounding Eb for the song’s Grandioso climax
(Example 17).
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Example 17. Ave Maria, measures 32-37.
The ending likewise uses abrupt modulations and non-harmonic carrying tones (i.e. the G4
sustained through the harmonic changes in measures 53-54) to enhance the satisfaction of
the final resolution within the Eb tonality (Example 18).

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Example 18. Ave Maria, measures 47-55.
Though such a piece may not satisfy the musical expectations of today’s church-
going audiences, López Buchardo’s first opus is still performable. Like many other late-
Romantic art songs, it could be used in the studio to explore the dramatic qualities of a
student’s voice.
Scordarmi di te..!!?? (Entry 8) Although the poem could be interpreted as motivated
by purely amorous feelings, the presence of words like “Mother” and “your holy image”
lend a religious overtone to this Romanza. Likely composed in the years surrounding the
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death of María Buchardo, part of the text may have taken on a more personal meaning for
the composer: “Exiled and alone, oh Mother, you left me in this false life of love” (5-6). An
alternate interpretation of the text may take the main character as a disgruntled traveler in
mortality, lost and alone, who promises never to forget Mary’s holy image.
The poem begins with a cheerful scene at daybreak that is immediately contrasted to
the narrator’s “eternal pain” (3) and “misfortune (7). Not surprisingly, the melody
perpetually emphasizes the fifth and deemphasizes the tonic to illustrate the traveler’s
weariness (Example 18, measures 51-56). The only phrase to end on the tonic is the singer’s
final exclamatory question “Forget you..!!??” (13), which has already been answered in the
previous line: “I will never forget you” (12) (Example 19a, measures 64-65, 57-60).
Example 19a. Scordarmi di te..!!??, measures 51-66.

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Example 19a (cont.). Scordarmi di te..!!??, measures 51-66.
The overall harmonic path of the song follows the text’s built-in structure, with
strategically-placed modulations to add color and variation to the otherwise repetative
melody (Figure 2).

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Form: Introduction A A B A A Coda

Measure: 1-10 11-18 19-28 29-42 43-50 51-60 61-66
Tonal area: e E e G 7 cf CBb7/gB/f#CGB eB+ eB+ e E
Figure 2. Formal and harmonic structure in Scordarme di te..!!??
As seen in his first song Ave Maria, López Buchardo uses purposefully-weakened and
ambiguous harmonies to “set up” the listener for striking modulations. For example, by
combining Bb7  dominant harmonies in the left hand and g-minor melody-oriented
harmonies in the right hand in the climax of the piece, the ear is confused but feels mostly
drawn to an Eb Major resolution (Example 19b, measures 36-37). This is abruptly
interrupted by a sudden move to B major whose own resoluation to E Major is also
interrupted by various distantly-related tonal areas until the very end of the piece
(Example 18, measure 65).
Both the songs in Italian exemplify López Buchardo’s mastery of subtle but effective
harmonic devices that increase dramatic tension and allow him to economize melodic and
rhythmic material. Scordami di te..!!?? is especially recommended for performance by
singers who subscribe to bel canto vocal techniques, for without them it would be difficult
to effectively perform the marked dynamic contrasts and late-Romantic pathos of this song.
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Example 19b. Scordarme di te..!!??, measures 36-42.

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CHAPTER 3
The Songs of Folk Origin
Carlos López Buchardo published two collections of songs which include his best-
known and best-loved works. The first collection, entitled Seis canciones al estilo popular (Six
Songs in a Popular Style), was published in 1924 and is comprised of Vidalita (1921), Los
puñalitos (1921), Desdichas de mi pasión… (1924), Vidala (1924), Canción del carretero (ca. 1924),
and Jujeña (1924). The second collection, entitled Cinco canciones al estilo popular (Five Songs
in a Popular Style), was published in 1936 and is comprised of Prendeditos de la mano (1931),
Si lo hallas (1931), Frescas sombras de sauces (1931), Oye mi llanto (1931), and Malyaha la suerte
mia (1931)..
García Muñoz and Jurafsky both agree that the published collections were not
originally conceived as a song cycles, though by virtue of treating similar folk themes,
textually and musically, they work very well together (García Muñoz, 1005; Jurafsky, 35).
As Andrés points out, the Cinco canciones are especially related in theme, as each poem
treats a different aspect of love. Any grouping of the eleven songs into smaller sets for
performance would be acceptable.
The most famous of these two collections were Vidalita and Canción del carretero.
These were performed, arranged, and recorded by many vocal artists during the
composer’s lifetime. Some of the better-known sopranos who left recordings were Ninon
Vallin, Isabel Marengo, Conchita Badía, Delia Rigal, and Helena Arizmendi. The popularity
of these two songs may have been due to their simpler piano accompaniments and
memorable melodies (Lasala, par. 10).
Of the 62 total songs outlined in this study, 17 best exemplify López Buchardo’s
nationalist music style. In addition to the eleven outlined in this chapter, they include
Pampeana (1927), Querendona (1938), Copla criolla (1938), Lamento (Mírala como ha venido)
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(1938), Canta tu canto, ruiseñor y vuela… (1940), and Canción de ausencia (1942), discussed in
Chapter Four. With these songs, Carlos López Buchardo continued what early nationalist
composer Julián Aguirre (1868-1924) had begun with songs such as El nido ausente, Tu
imagen and Serenata campera, and pointed to the many songs yet to be written by Carlos
Guastavino (1912-2000), these three forming a triumvirate of Argentine nationalist art song
in the twentieth century.
Vidalita (Entry 26). Various meanings and uses surround the the word vidalita,
which is left untranslated in this entry as well as in Entry 29. The Quecha root word viday,
meaning “life”, was more frequently used by native peoples in its diminutive form, viditay,
or “little life”. The word vidalita, then, is a double diminutive of the original Quecha root,
meaning literally “little little life.” In its use as a kind of exclamation or refrain word in folk
music and poetry, however, the word did not necessarily mean “my little life”. It became a
“sound word”, similar to “Heigh! Nonny! Nonny!” in British folk songs, whose silables
served to round out folk poems and melodies. In this poem, Argentine poet Leopoldo
Lugones (1874-1938) inserts the word after the first and third lines of every stanza in the
spirit of folk song. López Buchardo adds music to a text that was already thought of in
musical terms. Additionally, a form of the Quechua word was used it as a categorical name
for a kind of folk song called the vidala, usually sad and nostalgic in nature, a sort of
lament.
Lugones’ poem is the first-person account of a love-sick person who has no intention
of being healed. The doctors might prescribe herbs, but the minute he or she catches even a
glance of the beloved, the sickness returns. The metaphor in the last stanza reinforces this
idea of sweet pain: the beloved, like a honeybird, picks at his or her love and honey spills
from the wound.

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The introduction to the song begins with a folk-sounding rhythmic sequence of four
measures in 6/8, subdivided into 3, 3, 2, and 3 pulses, respectively (Example 20, measures
1-4). The melody will normally follow the same four-bar rhythmic pattern, except that in
the second measure, the voice line moves into a duple feel, which juxtoposed over the
accompaniments’ triple feel, makes a perfect rhythmic place for the vidalita refrain
(Example 20, measure 9).
Example 20. Vidalita, measures 1-9.
To all of this is added yet another duple subdivision of the latter half of measure 9,
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forcing the piano’s left hand to feel the first half of the measure in 3 and the second half in
2. This effect is used for the first two vidalitas in stanzas 1 and 3 (1,3, 9, 11). The other
vidalitas stay in duple feel (i.e. 123456) for the entire measure.
Singers and pianists alike will enjoy the rhythmic vitality of this song and others that
utilize duple and triple subdivisions of compound meters to create a folk-sounding lilt and
flow. To begin rehearsing this piece, pianist and singer should use a metronome to feel
where the duple and triple strong beats fall within the measure. Once the rhythm is firmly
engrained in the performers’ ears and bodies, they can add a subtle ritardando to the
fourth measure of every phrase, which will enhance the feeling of pick-up in the first
measure of the next.
Los puñalitos (Entry 27). More than any other song in López Buchardo’s catalog, Los
puñalitos takes advantage of a recitative-like melody for the overall effect of sung speech, or
a sung recitation of Lugones’ couplet. The three stanzas follow the same rhyming pattern,
ABAB, and the singer would do well to ensure that the final two vowel sounds of each line
match (lines 1 and 3, 2 and 4, etc.), so that the listener can easily hear the poem in action.
There are two points where the melody, wich follow closely López Buchardo’s
harmonies, can be difficult to hear (measures 9-12, 17-21). If the pianist and singer will
spend time with the song’s chords as they progress from e minor (measure 1) to b minor
(measure 9) to E Major (measure 14) to F Major (measure 18) to f minor (measure 19) to C
Major (measure 20) to B Major (measure 23), and at last, to E Major in the final measure
(measure 26), the melodies will begin to make more sense. López Buchardo’s modulations
are designed to create the effect of a dramatic reading. It is as if the poet or “letter writer”
(3) were reading the couplets aloud and getting more excited with every phrase building
up to the penultimate line, where the voice relaxes back to the tonic (Example 21).
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Example 21. Los puñalitos, measures 17-22.

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Desdichas de mi pasión… (Entry28). Similar in feeling to Malhaya la suerte mia, the
main character in this song laments the bad luck of lovers past and the agony of a recent
affair gone sour. Most of the literal translation is self-explanatory, but the word rigores (8,
18,28) might benefit from some additional explanation. This word is used elsewhere in
Lugones’ Si para un fino amante (Entry 17, line 7) and it refers to the beloved’s “sternness,
severity, [and] harshness of temper” or his/her “power, intensity…hardness, [and]
vehemence” (Velazquez de la Cadena 775). In the context of unrequited love, it may also
mean his/her stubborn refusal to cooperate, leaving the suitor’s heart “captive” in chains
(7-10, 17-20, 27-30).
In the introduction and coda to the piece, the pianist has the difficult task of playing
a series of triplet-duplet subdivisions in the left hand while maintaining a 6/8 feel in the
upper voices. The 2/4 marking at the beginning of piece emphasizes the fact that the
introduction should go quickly and lightly, in great contrast to the 6/8 Moderado tempo that
accompanies the singer. More than likely, the tempo marking in measure 9 is not a quarter
note, but a dotted quarter note at 48 beats per minute. This slow tempo calls for a folk-style
of singing that gives great liberties to the singer. It may help to think of a slightly drunk
and depressed main character who gains energy with each refrain, “Wilted flowers are my
lovers.” Without overdoing it, singers can use portamentos from high to low notes, as in
the descending melody of measures 13 and 14. Singers may also give a slight impulse of
air, a light accent, to each note to create a sense of heaviness with the melody. The tenuto
F5 at the end of the song on the second syllable of corazon should also be sung with a sense
of exhaustion and resignation.
The introduction and closing bars of this song may be interpreted as signifying the
merry guitar music of a local peña or bar while the middle section reflects the main
character’s innter gloom. Accordingly, the pianist should not hesitate to jump quickly back
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into the protagonist’s surroundings, thus heightening the irony of his/her situation.
Example 22. Desdichas de mi pasión, measures 1-13.

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Vidala (Entry 29). The title for this song refers directly to the vidala type of folk song
and the refrain word is used in the same way as it was with the song Vidalita (see page 119
for a complete discussion on the variations of this word). The slow “placid”
accompaniment superimposes a slow triple feel in the right hand against a duple feel in the
left. The triplet eighth note in the left hand and the grace note to the second beat in the
right hand should be played separately and in rhythm to imitate the strumming of a guitar.
Example 23. Vidala, measures 1-6.
The song is equally effective as a solo or duet. If performed as a duet, slight
adjustments in tempo may need to be made to allow the second voice ample time to sing
the moving parts in measures 10, 14, 30, 36, and 47.
A nice musical effect may be produced by creating a slight pull from the last note in
the first measure of each two-measure subphrase to the first note of the second measure
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(Example 23, measures 2-3). Performers can imagine drums on beat “six” and “one”
throughout the piece, as if the 3/4 meter was really in 6/8. López Buchardo adds his own
emphasis to the sixth beat with a glissando in the right hand in measure 10. This kind of
“kick back” on the last beat will keep the rhythmic groove of the song in place, while still
allowing the singer flexibility in the shaping of phrases.
This song’s text, like that of the Cancion del carretero, capitalizes on images of the
Argentine climate and terrain: rain, drizzle, stars, fresh air, and mountain ridges are all
related to a the desparate and sad state of a lover separated from his/her beloved by some
kind of distance. In the last stanza, the guitar, the ultimate symbol of life, “sleeps alone, like
the harmony of a cold night” (17-20). Performers should attempt to sing and play this last
verse as quietly as possible, which will make the final crescendo-decrescendo phrase marking
from measure 45 to 47 all the more effective.
Canción del carretero (Entry 30). This song is one of the most frequently referred-to
examples of Argentine music nationalism and merits in-depth analysis. Vicente Gesualdo
comments on what little desire López Buchardo had to thoroughly investigate Argentine
folk music resources; he preferred instead to listen to the music as an observer and capture
its essence with “poetic intuition and refined taste” (Breve Historia de la música en la
Argentina 366). Related to the issue of folk music sources, from which Argentine
nationalistic music is often assumed to have been drawn, Schwartz-Kates argues that there
are indeed no direct references in this song to a particular folk music or folk dance.
The Cancion del carretero thus figures as a wholly atypical example because it
is considered one of the most profoundly nationalist compositions, yet it fails
to derive its substance from Argentine folkloric sources. Such a phenomenon
therefore underscores the fallacy of equating musical nationalism with
national style, of requiring an ostensibly nationalist work to manifest concrete

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evidence of tangibly localized features, as observed in accordance with the
precepts of a dominant Western analytical system. (512)
Even without “concrete evidence” of folk music, the Canción del carretero still succeeds at
capturing a particular time and terrain as seen through the eyes of the Argentine land-
owning elite. The end result is a romanticized imaging of and sympathetic connection with
the inner emotional landscape of the wagon driver, perhaps even more than his natural
surroundings.
As with other songs by López Buchardo, the success of this song is partly due to the
cohesiveness of its text, drama, form, melody, harmony, and rhythm. Such cohesiveness is
achieved at least partly because each element adheres to essentially cyclical behaviors.
With many kinds of circles at work—small, large, oblong or imperfect—comes an
overwhelming impression of circular motion that eventually returns the listener to a better
understanding of the poem itself. Furthermore, it is the emotional work of cycles engaged
in by the listener (likely subconscious) that creates a particular emotional space during the
journey and a sense of completion at the song’s end.
Cycles in text. The wheels of the cart begin spinning with the text itself. An
examination of Caraballo’s Spanish text will reveal one poetic meter in use throughout: a 9-
9-10-9 syllabic count during each stanza (see Ex. 24). By highlighting the naturally accented
syllables of the language (usually penultimate in words of three syllables or more) and by
taking into account vocalic elisions (marked with underscores), it is clear how the
composer arrived at the 3/4 meter as the basis for the song’s melodic and rhythmic
structure. The accented syllables in the Spanish text that coincide with a 3/4 meter of
recitation are bolded and italicized.

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1 En las cuchillas se pone_el sol; (9)

2 las golondrinas han vuelto ya, (9)
3 y por la senda del campo verde (10)
4 un carretero cantando va: (9)
5 “Alma de mi_alma, ¡como lloré (9)

6 bajo_este cielo lleno de sol, (9)
7 cuando_agitastes en la tranquera (10)
8 tu pañuelito diciendo_adiós! (9)
9 ¡Ay paisanita! Vuelve_a mi_amor. (9)

10 Sin ti, mi vida no puede_estar. (9)
11 Las madreselvas se_han marchitado (10)
12 y las calandrias no cantan ya. (9)
13 ¡Ay paisanita! Vuelve_a mi_amor. (9)

14 Hecha tapera la casa_está, (9)
15 y_entre los sauces llora_el remanso (10)
16 porque tus labios cantan más.” (9)
17 En las cuchillas se_ha puesto el sol (9)

18 mientras la tarde muriendo_está; (9)
19 y_así cantando va_el carretero (10)
20 las desventuras de su cantar! (9)
Example 24. Gustavo Caraballo’s poem, Canción del carretero.
The naturally accented syllables in the Spanish text lend themselves to strong beats
combined with the two syllabic weak beats between them invoke a 3/4 meter. What is not
fully determined by the text itself is the phrase length. A nine-syllable line could be divided
into three measures of 3/4. But taking the first line of text as an example, the elision of ne_el
from pone_el and the strength of the single syllable word sol would render that
interpretation very unnatural. So from the first line, this poem is naturally recited in four
bar phrases following a 3/4 meter, or           (i.e. STRONG-weak-weak,
STRONG-weak-weak, STRONG-weak-weak, STRONG).
The syllabic structure of each stanza (9-9-10-9), otherwise labeled as A-A-B-A
already denotes the overall arch shape of the classic storyline, where the climactic point
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occurs about three-quarters of the way through each stanza. Appropriately, during the cart
driver’s “solo song” (stanzas 2-4), the 10-syllable lines contain the most active and dramatic
verbs: shaking (agitar), withering (marchitar), and crying (llorar) (7,11,15).
To summarize, each stanza of this poem completes an A-A-B-A cycle in terms of
syllabic count. Each line of the poem is felt in the cyclical rhythm of 3/4, perhaps the most
inherently-circular of all meters. Finally, the narrator’s voice, heard in stanzas one and five,
forms an overarching poetic cycle that is closed.
Cycles in drama. Figure 24 shows the interchange between three dramatic
personages: the wagon wheel (as interpreted by the piano), the narrator (as interpreted by
the voice in stanzas one and five), and the lonely carretero (played by the voice in stanzas
two, three, and four). There are moments when each of these characters are featured in
pseudo-monologue. And there are moments when characters share or trade melodic
messages. Their interlocking circles of melodic and rhythmic material account for much of
the piece’s dramatic effect. The first instance of this interchange occurs in measure 17, when
the third rotation of the wheel begins prior to the voice’s first note. By staggering these two
players’ entrances, López Buchardo creates a backdrop of slowly-turning wagon wheels
against which the voices of the narrator and carretero can be heard (Example 25).
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Figure 3. Form and phrase structure in Canción del carretero

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Figure 3 (cont.). Form and phrase structure in Canción del carretero

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Example 25. Canción del carretero, measures 1-22.
Another cyclical shape can be found in the unfolding of what is happening around
and within the carretero. In first stanza, the narrator describes an idyllic scene at the end of
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the day: the sun is setting, the swallows are returning to their nests, the fields are green,
and the cart driver is singing. With each succeeding stanza, however, we gain additional
knowledge about the why and wherefore of the drooping introduction. After a brief close-
up shot of the wagon wheels turning (measures 33-41), the cameras focus squarely on our
main character: “Soul of my soul [soul mate], how I cried! / beneath this sunlit sky…when
you waved goodbye / with your handkerchief at the fence!” (5-8). At this point the carretero
remembers a past moment of parting when he had taken leave of his lover, presumably on
the way to his wage-earning route as a wagoner.
Stanzas three and four summarize his plight and pleadings: “Ah, sweetheart! Return
to my love. / Without you, my life cannot exist. / The honeysuckle has withered / and the
larks no longer sing. // Ah, sweetheart! Return to my love. / The house is a ruin, / and
amongst the willows the pool weeps / because your lips sing no more” (9-16). Exhausted
and speechless from his anguished outcry, the narrator takes over for the carretero by
describing the setting as he did in the beginning, only this time in the past tense: “the sun
has set” (17) , now the “evening dies” (18), and the cart driver’s silhouette sinks behind the
horizon, as evidenced by the vanishing tonic chords in the last three measures.
Various readings of the poem’s text might interpret the carretero’s cause for lament
as love unrequited (a short-term relationship) or love gone wrong (a long-term relationship
that one or both terminated). Subtle signs lead one to believe, however, that his was a
functioning relationship separated by death. This reading would take the sunset and the
swallow returning from a day’s work as a symbol of the end of life’s day (1, 2). The
weeping of the carretero occurs in the perfect past when the sky was full of light (i.e. life) (5-
6), and when she was full of life, waving her handkerchief (i.e. agitaste (7). The honeysuckle
has already withered (11) and the larks do not sing (12). The house is a ruin, suggesting the
one-time presence of a housekeeper (14), and the tide pools are pools of the carretero’s own
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tears (15). Why? Because “your lips sing no more” (16). The finality of this, the carretero’s
last utterance, positioned at the climactic point of the poetic and musical structures (line 16
of 20 in the poem; measures 85-90 of 108), speak of death or at the very least, an
irreconcilable separation.
The drama of Caraballo’s poem behaves cyclically in terms of the interchange
between three main players, the wagon wheels, the narrator, and the carretero, and in terms
of the poetic content that begins with the hope of possibility in the present (stanza 1), but
closes dramatically with an evening that “dies” (18) along with the heart of the carretero.
Cycles in form and phrase. The musical form follows closely that of the poem (see
Figure 3). Except for measure 90 (the full recognition of the permanent nature of the
conflict on the part of the listener and the carretero), each of the poem’s stanzas has been set
to a 16-measure verse. The narrator’s verses are comprised of two 4+4 antecedent-
consequent phrase structures. The carretero’s verses are made up of two declamatory
phrases (2+2) followed by a 4-measure phrase and a long 8-bar phrase (in agreement with
the lack of punctuation between lines 3 and 4, 7 and 8, and 11 and 12).
During the introduction, the piano’s wheels complete two full rotations in 8-bar
phrases (measures 1-8 and 9-16) and then once again before the carretero begins his song
(measures 33-40). Interestingly, the piano begins a new rotation one measure before the
narrator in verse one and one measure before the carretero in verse two (noted with arrows
in Figure 1). This is not the case in measure 90 when the extra rhythmic space before the
narrator’s closing statement is used to neutralize all sense of momentum. At this point, the
narrator must jar into motion the wheels that have been utterly forgotten by the
protagonist.
Cycles in melody. The first audible melody is heard in the left hand of the piano
reaching from the tonic to the fourth degree in measures one and two. A summation of the
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whole piece might be found in the first four measures, where the piano line attempts to
reach above the fourth degree to the fifth (Example 25, measure 3, beat 3) but is dragged
down again in measure four. The same idea is heard again in the left hand from measures
five through eight, only this time in the relative major of Eb and with the jarring effect of a
diminished seventh degree in measure six, which leads down to the fifth degree of the
subdominant in preparation for a return to the relative minor. The harmonic message of the
wheel’s first eight-measure rotation is clear: upward motion toward a Major goal
devastatingly interrupted by a “sour” note in measure six (three-quarters of the way
through the phrase) that precipitates a rapid decline to a solid c-minor tonality.
Such an upward-downward motion can also be seen in every four-bar melodic
phrase within the narrator’s verses (measures 1-4, 5-8, etc.; 91-94, 95-98, etc.), where the
highest pitch is usually placed on the third beat of the second measure. Only in the B lines
of the opening and closing stanzas (3, 19) does the narrator hold on to the third beat in an
attempt to delay the melody’s inevitable downward motion. The last line of the narrator’s
opening verse resolves to the third of the tonic, which creates a harmonic opening for the
“close-up shot” of yet another rotation of the wheel.
While the narrator’s text seems to be working together with the overall phrase
structure of the right hand, the left hand competes with a duple-feel rhythmic motion that
moves steadily up the staff in two beat increments. Except for the dominant chords in
measures 24, 32, 93, and 105, this is always the case. Usually, the downward motion in the
left hand is found in the form of a descending quarter-note motive, frequently beginning
on scale degrees I or II (see measures 8, 16; combined in measures 40-41; measures 42, 51,
58, 59, 61, 74, 75, 77, 78, 81, and 84). During the two-measure declarations, ¡Ay, paisanita!
Vuelve a mi amor! this same motive is punctuated by thick chords in the right hand. This
cycle downward is the wheel’s forward turning and an echoe of the melody’s tendency to
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do the same.
The third stanza begins with melodic material that is different from every other
verse. This is the only verse whose melodic content is not wholly repeated elsewhere and
forms the A of the ABB form that is the carretero’s “song within the song” (Example 25,
stanzas 2, 3, and 4). The melody Buchardo uses for the phrase Alma de mi alma (5)
immediately stands out from what precedes it because it does not move up or down
immediately, but hangs on to the tonic degree, moving up only once on the first beat of
measure 43. Strikingly different from the rest of the melodic shapes, this short phrase may
be taken as a melodic representation of the static, halting nature of memory, when time
stands still inside of the protagonist (even though the wheels of the cart are still turning
below him) and he begins to remember “how [he] wept / … / when [she] waved
goodbye.”
Verses three and four begin with melodic phrases that are at the very highest point
of the piece’s tessitura. Scale degrees II, IV, and V, set in a perfect cyclical arch on the staff,
allude to the yearning for the key of Eb, an idea supported by the left hand in measure 58
and then negated in measure 74. These four short phrases (measures 58-59, 60-61, 74-75, 76-
77) are moments of unabashed yearning and denial. She can’t come back, but the carretero
insists on giving reasons why she should anyway: “I cannot live (10) … the house is a ruin
(14) ... the honeysuckle has withered (11) … the larks won’t sing (12)”.
In summary, the overall shape of melodic content in this piece involves a conscious
shaping of the phrases into arches with only one melodic high point. Melodic movement in
the left and right hands of the piano either denote a steady movement upward or a rapid
decline downward. Juxtaposed with the voice, there is simultaneous movement upward
and downward, continually evoking the image of a wagon wheel in rotation.
Cycles in harmony. Harmonic motion in the piano’s opening interpretation of the

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wagon wheels begins in c-minor and alludes to E-flat major as a point of arrival in the
narrator’s opening statement (measures 21, 29-30), but doesn’t fully engage with the target
tonal center until the carretero has officially entered the realm of his memories with the past
tense word lloré (“I cried”). The composer couldn’t have been more precise here because
the Spanish conjugation of the verb llorar to denote the perfect past tense occurs on the first
beat of measure 45 with the ending -é. At that very point the melody line that follows his
trip down memory lane begins immediately to build. For the first time, the composer
begins introducing a variety of non-harmonic tones (augmented seconds and fifths) and
joins the final two 4-bar phrases of the verse into one long 8-bar phrase ending on the
seventh scale degree. The two syllables of the word adiós are accompanied by the song’s
only two ninth chords on I and V, a careful set-up for the eruption of emotion that begins
verse three. Almost the exact same harmonic structure of verse three is repeated in verse
four, indicative of a cycling memory that can be relived over and over without ever loosing
its emotional impact or intensity. C minor is used at the end of the piece to close the overall
harmonic design.
Textual rhythm. The 10-syllable line in each of the stanzas presents a unique
opportunity to the composer. Whereas before the syllables could easily fit between strong
beats in a 3/4 meter, the last four syllables of lines 2, 7, 11, 15, and 19 (campo verde, la
tranquera, marchitado, etc. ) force the composer to do something different with his melody
line. To align the strong beat of the last measure of the phrase with the accented syllable of
verde, for example, he must use up an extra beat with the syllable that precedes the last four
(del, en, se_han, llo-, va_el). It is during these phrases (labeled as phrase “c” in Figure 3) that
an extended rhythmic anticipation severely cripples the strong beat in measures 28, 68, 83,
and 101. By “tripping” through the high climactic point of the 16-bar verse and mitigating
the strength of beat one, the composer pushes the melody toward closure. And in measure
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69 we find the VII-VI suspensions that mark the melodic decline in the closing phrase
(Figure 3, measure 69).
In measure 85, a second strong anticipation follow quickly on the heals of the upbeat
in measure 83. It is placed below the word porque, which in speaking patterns carries a bit
more stress on the por- than on the que when the speaker intends to make special emphasis
on his/her reasoning (in English, “BE-cause”), a nice idiomatic touch.
As Schwartz-Kates has pointed out, the carretero’s journey becomes the listener’s
journey inasmuch as the terrain and emotions of the moment speak of larger metaphors for
life. Carabello utilizes one of the classical techniques of the Gauchesco literature by
portraying the barren landscape of the Pampa as a metaphor for human spiritual
desolation. He makes abundant use of lifeless images such as the withering honeysuckles,
the weeping river, and the dying evening, all of which he portrays through the forsaken
eyes of his despondent carretero. On this point, Oreste Schiuma waxes poetic:
Luckily, there is a musical expression that better represents the people’s
feelings [in comparison to popular urban music]. But for the suburban
dweller, it is harder to accept and internalize. I speak of the song sung by
country folk, the authentic Argentine, who faces valiantly the heat of the sky,
is found close to the deep work of the earth, and struggles with its
overwhelming energy. All of it: their ways of thinking, of feelings, of
pleasure, their desires, emerge harmoniously and blend person and
panorama into one rhythmic identity. (98-99)
Jujeña (Entry 31). The enthusiastic text to this song invites an animated and vibrant
interpretation. Each of the sixteen separate descriptions of nature are a symbol of and
preamble to the last two lines, “I sing because I love you, Vidita, for this reason I sing!” (31-
32). Accordingly, the singer may decide to make each verse a little more exciting and
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perhaps a little louder than the last. The suitor’s heart should be practically bursting with
joy by the final phrase (Example 26, measure 113).
Example 26. Jujeña, measures 113-125.

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The pianist may find the piano accompaniment challenging at first, especially with
the subtle chromatic variations in measures 5-7 and 13-15. Rhythmically, the introduction
calls for a steady triple pulse in the left hand and a rollicking 6/8 or duple feel in the right
hand. To achieve a folk-sounding flavor, the pianist should settle into the tonic chord at the
end of each eight-bar phrase and accelerate ever so slightly into the next one (measures 7-
8). That same feeling of settling down and moving forward might also be accompanied by
a decrescendo and crescendo.
Prendeditos de la mano (Entry 34). As in Jujeña, the pianist begins this song with a
dance-like introduction bien ritmado or “well rhythmed”. This means that the staccatos and
tenutos should be strictly observed and that the pianist should emphasize the pull from
beats three to four in the right hand while maintaining a steady triple feel in the left hand.
This delightful song tells the story of a girl, Felicinda, and a boy, Ciriaco, that have
disappeared behind the hills. They return holding hands and the narrator wonders what
might have happened between the two sweethearts. Stanza three quotes Ciriaco asking
Felicinda for a kiss, which she gives him, with their hands clasped. So completely
“confused” by the experience, they return in silence, with their hands held, a symbol of
their new-found love.
López Buchardo uses a similar rhythm for each of the stanzas but changes
substantially the harmonies and melodic intervals to reflect the text. In measure 61, he
paints the phrase tan confusos “so confused” with a leap downward and the upward again
from Db5 to Db4 to Bb5 to Eb5 (Example 27). The result is a sonic represenation of the
learching stomach and physical shock of a first kiss.

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Example 27. Prendeditos de la mano, measures 60-62.
Si lo hallas (Entry 35). López Buchardo imitates the guitar in this song’s
introduction with a kind of strumming between the right and left hands in measures two,
four, six, and eight. The two pedal marking at the beginning signifies the use of the soft and
sustain pedals for the purpose of imitating the resonance and delicate sound of a guitar. As
with many of these nationalist songs, the pianist should avoid overusing the sustain pedal
to the point where the harmonies turn mushy. As beautiful as they are, if the pianist wishes
to maintain a more folk-sounding accompaniment, the harmonies should be cleanly
sustained and with clearly marked “breaths” during each eighth-note rest (Example 28).
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Example 28. Si lo hallas…, measures 1-9.
Camino’s text is written from the perspective of a female voice, but the song could
be just as easily interpreted by a male, with no changes made. If the singer wishes to adjust
the gender of the beloved, change del (4) to de la and lo (5) to la.
The interpretation of this song should reflect the main character’s yearning for a
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departed lover. The images are exquisite: “Dear little stream…if you find him, kiss him for
me, on his hands if he touches you and on his lips if he drinks from you” (1, 5-10).
Frescas sombras de sauces (Entry 36). The opening accompaniment sets the tone for
a song and text that suggests a more mature love than the first two songs in this collection
of five. This same introduction is used to close the piece, reflective of an emotional state the
persists within the heart of the main character. López Buchardo uses more complex
harmonies and switches frequently from 6/8 to 9/8 to create a sense of rhythmic freedom
and flexibility of expression. Accordingly, the singer and the pianist should feel free to
make the most of every phrase and each of the composer’s expressive markings and:
armonioso “harmoniously”, dulcemente cadencioso “sweetly cadential”, espresivo el bajo
“expressive bass line”, con el canto “follow the singer”, con expresión “with expression”, poco
más animado “a little more animated”, como eco “like an echo”, en el movimiento “in the
movement”, and ligado “smoothly connected”.
The text uses natural images to paint pictures of the beloved’s beauty. The fresh
shade of the willowtrees are like her glances (1-2), the mountain breezes, her words (3-4),
the smell of oranges, her promises (5-6), and the coolness of the custard apple tree, her lips
(9-10). The last stanza is especially vivid: her love is like the cedar bark, fragrant and rough,
that heals his wounds and like water that bathes the arid land.
Oye mi llanto (Entry 37). The huaynu subtitle refers to a kind of folk lament from
northern Argentina and Peru, but further research remains to be done on the exact
correlation between the folk rhythm and López Buchardo’s song. In any case, the quarter-
half-note rhythm that repeats itself in almost every measure of the piece seems to be a
universal if not localized signifier of death and mourning. Like the half-quarter-quarter
rhythm in Schubert’s song, The Death and the Maiden, the introduction calls to mind the
slow beating of drums. By repeatedly referring to this rhythmic motive, López Buchardo
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creates an intense and dramatic backdrop to the gut-wrenching outcry of love unrequited.
He imitates the endless repetitivenss of the drum beat by imitating the IV-III motion in the
left and right hands (Example 29, measures 1-4). And with the decsending IV-III-II-I scaler
motion in the right hand agains the c# minor tonality, the entire piece calls out defeat and
the death of love.
The singer should prepare mentally for a cathartic grieving experience that leaves
the audience emotionally exhausted by the final measure. Each phrase requires a sustained
and dramatic shaping to demonstrate the lover’s absolute devotion. Even when the
composer marks pianissimo or lejanamente “distantly”, the singer should always maintain an
intensity in the vocal tone. Harmonically, López Buchardo uses the insertion of a major
third where the listener might expect a minor third to denote the main character’s loose
grasp on reality, a case of love-induced psychosis (Example 29, measure 8; measures 9, 11,
13, etc.). The protagonist recognizes this to some degree, as evidenced by the final stanza,
but it is up to the interpreter to decide if the final measures will denote some kind of
resolution, complete resignation, or continued anguish.

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Example 29. Oye mi llanto, measures 1-9.
Malhaya la suerte mia (Entry 38). The main character in this song reflects on a
particular lover whom he had traveled by railroad to visit in the city of Rosario. And this
lover, fully aware of her power over him, would cling to him, knowing that he could never
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leave her of his own accord. The third stanza illustrates his irritation: “And now with you, I
have to eat 150 peaches (to experience anything close to your sweetness) and then spit out
the pits against the door of the ranch (to release my frustration) (9-12). He continues in the
fourth stanza, “And now its my turn, because of your deceit, to do what you did in
Rosario—await your return day and night” (13-16). The last line makes clear that the long-
distance relationship has either been terminated or cannot ever fully materialize: “Damn
my luck!”
The gender-specificity in this text would be difficult to adjust and the melodic
writing seems particularly appropriate for the baritone or tenor voice. But that does not
exclude female singers from effectively performing the piece. It was actually debuted by a
female singer, Ninon Vallin, in 1931.
The strophic song contains one phrase particularly wide in range and somewhat
difficult to sing in tune (Example 30). The rest of the melody is mostly scaler. The singer
might consider speak-singing some of the intervals, like the opening fifth, especially since
the voice of the poem is that of a characteristically “unrefined” working man.

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Example 30. Malhaya la suerte mia, measures 22-27.

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CHAPTER 4
The Songs of Love and Betrayal
The first record of Carlos López Buchardo setting a Spanish text to music is found in
the manuscript of Era una rosa (1915). The two songs that followed, Si para un fino amante
(1916) and Nocturno (1917), are also found in manuscript form only. La canción desolada
(1924) marks a turning point in López Buchardo’s output. It was the first song to be
published with a Spanish text and from that point on, the composer would rely solely on
texts of his native language, though there are records of him performing his French songs
in public. Almost all of López Buchardo’s songs in Spanish were eventually printed by G.
Ricordi & Company or Ricordi Americana (See Appendix E for more information on the
publishers).
The texts for Pampeana (1927), Querendona (1938), Copla criolla (1938), and Canción de
ausencia (1942) are, outside of the two collections “in a Popular Style” (1924, 1936), the
strongest in their references to Argentine folk themes. All four songs contain thick and
sometimes difficult (but interesting) piano accompaniments. Composed and published
toward the end of his career (excepting Pampeana), it is unclear how often these songs were
performed—certainly not as often as the songs discussed in Chapter Three. Only Canción de
ausencia has been recorded (Appendix C), but the other three are promising candidates for
the vocal repertoire.
Carlos López Buchardo married Brígida “Brigidita” Frías in 1920. He was 39 and she
was 24. A recently-divorced single mother, Brigidita quickly became known in high social
circles as a powerful, enchanting, and intimidating woman. According to Zulema Lasala,
She was loved by some and hated by others. In some ways she directed the
goings-on in musical culture. Many people were afraid of offending her
because she was not the kind of enemy you wanted. There are an infinite
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number of anecdotes about her. For example, she used to say, “When I have
to go somewhere where I know they don’t like me, I dress myself up prettier
than ever and enter the room smiling and stepping loudly.3 (Lasala, par. 6)
Perhaps her outgoing nature did well to balance Carlos’ gentler personality. What is
clear is that a better musical companion could not be found. Thanks to her devotion and
expert delivery of vocal repertory, audiences in a variety of cities, including La Plata, Santa
Fé, Paraná, Rosario, Bahía Blanca, Tucumán, Azul, Viña del Mar (Chile), Concepción
(Uruguay), and Montevideo (Uruguay), were exposed to the Argentine song literature.
Jurafsky’s two descriptions of the couple’s performances glows with approval:
A woman of extraordinary beauty, posessor of a beautiful soprano voice, to
which she added her refined musical sensitivity. She interpreted perfectly the
songs of French composers and felt a special predillection for the works of
Argentine composers. Her union with López Buchardo was for him a great
incentive to continue his work as a composer, but above all, he found in his
companion the ideal interpreter of his songs. Those who had the priviledge of
attending one of their recitals, with her singing the music of her husband, and
with him accompanying on piano, will never forget the charming
atsmosphere they created, such that even the most indifferent listener could
not ignore. Both artists represented the most perfect image of interpenetration
[i.e. the ideal duo], radiating a power of seduction rarely achieved by any
artist.4 (Jurafsky 21)
He continues,
Our composers had in those two magnificent interpreters the best medium
through which their works might become known to the public at an
exceptionally high level. Argentine music heard in the voice of his spouse
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Brígida Frías found its ideal complement in the hands of López Buchardo,
who could tease such a marvelous sound from the piano and had his own
peculiar and charming way of expressing our music.5 (Jurafsky 36)
Carlos and Brigidita together hosted visitors in their home on an almost-nightly
basis, where almost everyone who was “anyone” came to enjoy the couple’s company and
Brigidita’s singing of melodies by Fauré and Debussy. Musicians, poets, painters, and
politicians, including the likes of Arthur Rubenstein, Richard Strauss, Jacques Thibaud,
Félix Weingartner, Erich Kleiber, Fritz Busch, Otto Klemperer, and Leopoldo Lugones,
were counted among their guests (García Muñoz 1004, Jurafsky 52, Lasala, par. 7).
Brigidita’s grandchild (daughter of her only son, Carlos Alfredo Fitte), Beatríz Fitte de Fox,
remembers as a little girl sitting in the parlor of her grandmother’s house, watching all the
socializing among the élite. She also remembers being terrified when the then-widowed
Brigidita would try to coax her into singing for the gathering (Fox, Beatríz Fitte de.
Personal interview. 8 June 2004).
But there were rumors of a sad side to the López Buchardo marriage. During a time
in Argentina when it was far more common for men to engage in extramarital
relationships, it was Brigidita who was said to be unfaithful to her husband. Such hearsay
would not be mentioned if it weren’t for the texts of two songs that seem curiously to align
with the idea: Lamento (Mírala como ha venido) (1938) and Canta tu canto, ruiseñor y vuela…
(1940). Of course, due to the gender roles and expectations of the time, if Carlos had been
unfaithful, not much would have been said about it, so there is no telling what truly went
on between them. Beatríz Fitte de Fox never saw anything from her perspective as a young
grandchild that would allude to discord or conflict in the marriage. It remains a matter of
speculation. But if López Buchardo did suffer from the escapades of a beautiful and
flirtatious wife, then the texts to these two songs take on an additional layer of meaning.
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Era una rosa (Entry 14). This short text captures as if in a still shot the first blush of
love. López Buchardo calls for a soft declamado “almost spoken” interpretation of the first
three lines, which are then contrasted by a slow and expressive final two lines. By
declamado, the composer probably meant for the singer to use soft and gentle diction that
captures the exquisite image of rose tones captured in the cheeks of two lovers.
Written in 1915, this is López Buchardo’s first attempt to set a Spanish text. The
accompaniment is simple and consistent throughout with little harmonic movement. For
singers who enjoy capturing a static moment of beauty that lasts but one minute, this
manuscript is worth digging up.
Si para un fino amante (Entry 17). While Lugones’ text seems to represent a lover’s
fierce devotion and loyalty, as stated in the third stanza, López Buchardo softens the tone
of the piece and uses lush harmonies to emphasize the message of the first. His long
harmonic progressions which float beneath the melody offer few points of closure. As was
observed in his French songs written during the same time period, the composer was
looking for ways to bind poetic phrases together by purposely avoiding harmonic
resolution, thereby enhancing the aural effect of resolution at the end of the piece (Example
31).
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Example 31. Si para un fino amante, measures 21-39.

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Nocturno (Entry 19). The word nocturno here refers to the musical term: “a serenade
or a dreamy sentimental composition appropriate to the evening or the night” (Velazquez
de la Cadena 639). The text is spoken from one lover to another with reference to a
particularly amorous evening. This is López Buchardo’s most physically-explicit text and
could have been composed around the time he fell in love with Brígida Frías. The song was
dedicated to her and she performed it with him in 1924.
The piano accompaniment is almost entirely made up of a fluid eighth-note pattern
in both hands with subtle and occasionally surprising harmonic moves. The through-
composed melody, with its languishing triplets above the rolling accompaniment, seems to
reflect the composer’s intent to infuse the melody with the same inflections that would be
used to recite text. Unfortunately, the melody is difficult to sing and the overall effect of the
song is less than what one might hope given the text. The strongest element of this piece is
the piano accompaniment, which itself could exist by itself as its own piano nocturno.
La canción desolada (Entry 25). A bilingual text, this poem refers to the familiar
French folk song, Au clair de la lune (Example 32). Caprile’s use of these lines points much
more directly than the original text to the image of a blind man whose candle has literally
gone out (5). He feels betrayed by God and resents his physical limitation that forces him to
beg from door to door (9-16).
Au clair de la lune, Tonight by the moonlight,

Mon ami Pierrot, Pierrot, my dear friend
Prête-moi ta plume A note I would soon write,
Pour écrire un mot. If a pen you'd lend.
Ma chandelle est morte, Burnt out is my candle,
Je n'ai plus de feu. and my fire is cold
Ouvre-moi ta porte unlock your door handle
Pour l'amour de Dieu! for God's love of old.
Au clair de la lune, In the moonlight bright then,

Pierrot répondit: Pierrot answered me:
Je n'ai pas de plume, I do not have a pen,
Je suis dans mon lit. I'm in bed, you see.
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Va chez la voisine, Go next door, the neighbour

Je crois qu'elle y est. does not yet retire,
Car dans sa cuisine. In the Kitchen labours
On bat le briquet. Someone at the fire.
Au clair de la lune, By the moonlight bright then,

L'aimable Arlequin This fool went and knocked
Frappa chez la brune, At the brunettes door, when .
Qui répond soudain: Through the door she asked
Qui frapp' de la sorte? Who is knocking now, here?
Il dit à son tour: In return he spoke:
Ouvrez votre porte, Open up your door dear,
Pour le dieu d'amour. For the God of love.
Au clair de la lune, Only by the moonlight

On n'y voitque peu; Not much can be told.
On chercha la plume They search for a pen now
On chercha le feu. Then the fire behold.
Cherchant de la sorte Searching this and that way
Ne sais c'qu'on trouva; Who knows what they'll find.
Mais je sais qu'la porte This much tho' I can say,
Sur eux se ferma. They closed the door behind.
Example 32. Text and translation of the traditional folk song, Au clair de la lune (“20,000
Volkslieder, German, and other Folk Songs.” http://www.ingeb.org/). The four lines
borrowed by Margarita Caprile for her poem in Spanish are bolded.
López Buchardo modifies the original folk melody slightly. Instead of 1-1-1-2-3-2, he
uses 1-1-2-2-3-2 for the opening melodic phrase. The rest of the song contains original
melodic and harmonic material that draws upon the rhythms of the orginal folk song. The
exception to this rule is the accompaniment, which rolls in 6/8 and contrasts the melody’s
duple feel (Example 33). The song ends with an upward triadic motion to the tonic,
reflecting the main character’s interrogative, “Lord, what for?” or “why me?”
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Example 33. La canción desolada, measures 38-45.
Pampeana (Entry 33). This song is divided into two parts: an introduction designed
to set the stage for the sad complaints of a pampa girl long since deceased (measures 1-44)
and the words of the pampa girl herself (measures 45-64). In Caraballo’s poem, the main
character describes herself as having been betrayed both by a lover (the poet) and by her
age. She first recalls days gone by when she was the prettiest of girls, the inspiration of
poets (14-20). But the text supercedes earlier songs in term of its symbolic power for
women. By mentioning her pain-filled life and death, expressed in rhymes of pain and love
(22-25), she represents all women whose experiences in relationships have served as the
object of male creativity (32-22). By objectifying herself she calls attention to her side of the
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story. The decidedly female lament (though written by a male poet) and the vocal writing
suggest that it would be most appropriate for a soprano, though a male singer might
experiment by singing the first half to introduce the female voice. Singers will note that
there are very few breath markings during the entire second half of the piece, which
demands that the singer be quite technically advanced. In every way, this haunting and
painful voice from the plains (6-9) equals that of the more male-centric texts, such as
Malhaya la suerte mía and Canción del carretero.
Querendona (Entry 51). The word querendona refers to the protagonist of this song as
a female individual who is “crazy in love”. The text captures in short quips this girl’s
absolute certainty at having found “the one”. This unabashed confession of love rides
rhythmically in a 6/8 meter that is alternates rapidly between triple and duple subdivisions
in each measure (Example 34). The pianist may find this tricky at first, especially when the
rhythm doesn’t move into a duple subdivision (Example 34, measures 5, 7, 13, 15, 17, etc.).
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Example 34. Querendona, measures 1-9.
The piano interlude that preceeds that last stanza should be played rambunctiously. Here,
the main character’s enthusiasm knows no bounds. And the singer can capitalize on this
emotion by accentuating the eighth notes in each phrase without loosing the phrase’s
legato feel.
Spanish speakers will notice slight spelling changes that reflect a more campesino or
“country way” of speaking: ió instead of yo “I” (1, 17, 21), querirte instead of quererte “to
love you” (7), ia instead of ya “already” (8), vaia instead of vaya “out with” or “forget”, and
prigunta instead of pregunta “question” (18). The accents placed on the last syllable of the
singular tú forms of verbs, preguntás “you ask” (2) and sabís “you know” (5), also denote
the distinctively porteña way of speaking informally to friends, family, and children.
Singers should feel free to accent these syllables to bring out even more the poet’s voice: “If
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I love you too much? / Forget the question!... / God put us on the planet / to be together.”
(17-20).
Copla criolla (Entry 52). The short couplets of this popular poem capture the
feelings of initial attraction. The text is written from a male perspective, but the song is just
as easily performed by a female. The first three stanzas might be interpreted so that the first
two lines sound poetic and sincere while the last two lines reveal something of the main
character’s mischievousness. The fourth stanza should reflect the boy’s excitement at
finally seeing the woman of his desire and the fifth stanza his light-hearted enthusiasm.
The last stanza is melodically identical to the first except for the final word míos “mine”
which goes upward to a F#5 instead of a F#4.
The singer and pianist will find the coordination of rhythm between them especially
challenging in this piece, because it requires both the singer and the pianist to sing
“against” each other. At a faster tempo, it becomes easy for the singer to “give in” to the
accompaniment and sing a quarter-eighth-note rhythm instead of straight duple eighth-
notes. This must be avoided to maintain the integrity of López Buchardo’s arrangement of
folk rhythms (Example 35).

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Example 35. Copla criolla, measures 49-57.
Lamento (Mírala como ha venido) (Entry 54). The sagging introduction in a slow
3/2 triple meter effectively captures the essence of the text before the singer even begins. It
is the lament of a deep love betrayed. And adding to such pain is the fact that the main
character accepts, forgives, and would eagerly forget the betrayal, if it wasn’t a repeating
offense. But no matter the numbe of offenses, he must forgive her because he will never be
able to release himself from her emotionally. “I have to love her” (12) is his self-proclaimed
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sentence.
The pianist and singer alike must count carefully to not cheat any of the measures
their full three beats. López Buchardo’s expressive markings challenge the singer to find
cynicism and resignation in his vocal tone. He should sing the phrases con amargura “with
bitterness”, con angustia “with anguish”, and tristemente “sadly”, as marked. Most of all,
this is a man’s (or woman’s) song of defeat. The piano’s coda should draw that feeling out
through the very last measure (Example 36).
Example 36. Lamento (Mírala como ha venido), measures 23-31.

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Canta tu canto, ruiseñor y vuela (Entry 55). The text to this song also addresses
feelings of betrayal, less exposed and raw than in Lamento (Mírala como ha venido), but
nonetheless potent. Nothing can be proven, but it is tempting to associate the singing
nightingale with Brígida and with her song the “parallel pain” (4) that López Buchardo
might have experienced due to her unfaithfulness. Lines 12-14 harken to an earlier moment
of innocent bliss, captured in the song Nocturno. It might have been this “night illustriously
dawned” (Entry 19, line 14) that was the beginning of it all. As the poem contrasts images
of beauty with those of pain, so too must the singer express con simplicidad “simply” the
poet’s acceptance of a basic reality, that love cannot exist without pain.
The melody to this song is particularly beautiful and sweet (Example 37). Each
phrase is short enough to be expertly shaped and clearly enunciated, similar to how they
might be recited in a spoken sonnet. López Buchardo uses triplet figures in the third stanza
to represent the nightingale’s call (9-10). This chirping is contrasted starkly with the thick
harmonies surrounding the image of “the blood of the injured mouth” (11).
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Example 37. Canta tu canto, ruiseñor y vuela, measures 5-20.
Canción de ausencia (Entry 58). This main character finds herself betrayed by
distance. In contrast to the images of nature used in previous songs to represent beauty and
desire, the images of nature in this poem are vehicles for the pain felt in the absence of a
lover. The nature of that absense and its cause is left to the artist’s imagination.
The metaphors of “groaning” winds and the “murmuring” ocean appropriately

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describe the ever-present pain of a lover in absence. The Spnaish text rolls easily off the
tongue in a triplet-based melody set against a pulsing quarter-half-quarter-note
accompaniment in common time (Example 38, measures 57, 64-67). The exclamations, Ay!
literally stop the rhythmic flow of the melody and give the singer a moment for directly
expressing his or her hurt (9, 12, 21, 24). There are an abundance of interpretive possibilities
with the long closing phrases, “Ay! My pain!”. The singer might consider a crescendo on
the syllable –lor of dolor the first time and use a decrescendo on the same syllable the second
time to transition into the pianissimo dynamic of the penultimate stanza. The singer and
pianist should steadily crescendo all the way from the first word of the last stanza through
the end of the last note, as noted in the accompaniment.

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Example 38. Canción de ausencia, measures 57-68.

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CHAPTER 5
The Songs for Singing to Children
During his career, Carlos López Buchardo completed a collection of Siete canciones
infantiles (1937) (Seven Children’s Songs) and the three other songs written for or about
children entitled Hormiguita (1919), Canción de Perico (1940), and Canción del niño pequeñito
(1940). Due to Argentina’s innovative and comprehensive state-sponsored music education
system, there was a steady demand for one- and two-part songs to be used in the primary
and secondary schools. Sometimes, these songs were differentiated from formal art songs
with the parenthetical subtitle, canción infantil (children’s song). Children’s songs were
normally considered a separate genre, entirely apart from the canción de camara (chamber
song, art song), but they have been included in this study for two reasons. First, children’s
songs were an important and expected contribution of composers of López Buchardo’s
generation. According to Jurafsky,
It would be difficult to find an Argentine composer that hasn’t written
something for children, whatever his or her preferred musical genre might
have been. From Alberto Williams and Julián Aguirre, to José André, José Gil,
Athos Palma, Floro M. Ugarte, Cayetano Troiani, to the young composers of
today, all have contributed to the formation of a body of songs for the
primary schools, perhaps more so than most other countries.6 (Jurafsky 42)
Second, these songs could be effectively performed and recorded by adult singers in a
recital setting, in the same fashion as Mexican composer Silvestre Revueltas’ Five Children’s
Songs.
Questions still remain about exactly how these songs were used in the schools. As
seen in Exampled 39 and 43, not all of the melodic lines and vocal ranges seem particularly
suited to the young voice. Either the young students were exceptionally skilled or some of
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the songs were designed for teachers to sing to the children (although with repetition,
young students might have memorized refrains and sung along).
Today, adult singers, young vocal students, and children could all benefit from a
study of the Siete canciones infantiles. The songs’ rhythmically-even phrases and simple
melodies make for a pleasant introduction to Spanish diction. Vocal students might
practice reciting the text in strict rhythm, a good method for learning any of López
Buchardo’s songs.
As a side note to the musical qualities of the children’s songs, the text that López
Buchardo’s chose for Hormiguita (1919) also points to a quality in the composer’s
personality that was repeatedly recognized by the people who knew him or knew of him:
They were two little ants small and black […]
On the path they go, I don’t know what they say,
I only know that they walk happily with their loads.
Want to be a little ant to walk through life
without anyone seeing us, without anyone hearing us? (1, 6-9)
Alfredo Andrés, writing ten years after the composer’s death, and Abraham Jurafsky,
writing eighteen years after, arrive at different conclusions about whether the composer’s
quiet and non-aggressive manner was “passive” or “private”. Comments Andrés, who was
only 24 when he wrote his book (and would have been 14 the year López Buchardo died):
His career…exists. And it wasn’t exactly the least-active career. On the
contrary, coming from a strong socio-economic position facilitated his
occupying of positions that on repeated occasions might have defined the
Argentine music scene. Unfortunately, his presence, in spite of the good
things he had to offer via his own music, seemed to be more passive than
anything, meaning he didn’t destroy anthing, simply maintained the state of

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things as they were, not allowing anything to lose quality, but at the same
time, keeping his distance from the many projects or improvements that one
might expect from someone operating in his sphere of influence.7 (Andrés 74)
Jurafsky prefers to view López Buchardo as a quintessentially private man who,
nonetheless, “didn’t like being alone” and “always sought after the company of those for
whom he felt a special affection” (Jurafsky 51). He quotes Arturo Capdevila as saying,
“[He] never made a negative judgment about those voices—that were for
others—the discordant voices in life, to such a degree that if we would have
asked him, “And what is the world, Maestro?” he would have answered us
with in his most persuasive tone, “Frankly, an orchestra.” “And what about
conflict in the workplace?” “Glitches in the orchestration…”8 (Jurafsky 54)
His ability to stay on the good side of the various factions and political debates related to
his administrative positions amazed many, including Carlos Suffern, who wrote in his
public homage,
Carlos López Buchardo has died, but the most authentic vocal cords to be
found in our output of lyric works have not been muted: he remains forever
with us. He remains in his Vidala, which is like the scents of twilight that
enter in through the window that overlooks the horizon of native
nostalgia…But he also remains in that unending gift of Concord that he
possessed, in the gift of tolerance and patience. Someone once said,
accurately, that the harmony professor also knew how to harmonize men.9
(Jurafsky 50)
But for those who were not among his close friends, his impression was one of a formal
distance and, at times, apathy. Always a gentleman, finely dressed, López Buchardo
preferred to maintain distance between himself and the students of the conservatory. Ana
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María Portillo records conductor and composer Jorge Fontenla (b. 1927) as saying in an
interview conducted 8 November 1995,
I remember when I was a student at the Conservatory that we would hear
López Buchardo behind a thick door that separated him, but didn’t
necessarily protect him from the world. He had his own entrance for coming
and going, separate from the entrance the students used, so we never knew
when he came or went, we never saw him, but sometimes we could hear him
playing the piano and it was really exquisite playing. Everything about him
we knew from the other teachers. I never heard him speak, not one word. He
was such a discrete man, so reserved, so private. He was like a patriarch for
us, an illustrious figure. We accepted these kinds of rules of a game that
somehow signified we were a part of something very important.10 (128-129)
The interpreter of Hormiguita and any of López Buchardo’s children’s songs might
consider capturing in his or her presenation the joy of being happy but unseen, involved
but protected, as these were some of composer’s hallmark personality traits.
Hormiguita (Entry 21). The music for Hormiguita appears simple at first glance, but
singers and pianists (and listeners) will find some of the melodies and harmonic
progressions difficult to grasp at first. A good example is López Buchardo’s attempt to
express musically the little ants as they wind through their long path in the grass (2-5). His
modulation from C Major to G Major must also find its way through intimations of c
minor, Eb major, and D Major, all of which are heavily laden with chromatic notes that
allude to their secondary dominants (Example 39, measures 21-28). Although this song is
labeled as a canción infantile, its melody and harmonies make it better suited for the more
experienced singer.
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Example 39. Hormiguita, measures 18-34.

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Este pajarito (Entry 44). Additional support for the idea of singing the Siete canciones
infantiles to an adult audience is found in López Buchardo’s piano accompaniments, which
rarely double the vocal melody line and gracefully contrast it with colorful “jazzy”
harmonies (Example 40). In Este pajarito, he is especially fond of using appoggiaturas that
move to from a nonharmonic tone in one chord to the 6th or 7th degrees of a resolving
chord (Example 41). The overall effect is that the accompanying chords serve as adult
commentary on the child’s melody; in other words, the listener experiences the child’s
poetic voice through adult eyes.
Example 40. Este pajarito, measures 8-10.

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The charming text for this song switches from third person to first person when the
“little boy” (3) admits to having let the bird escape out the window (15-16). Accordingly, if
the song is sung by an adult singer, he or she might try to flatten the tone of the high F4 to
resemble that of a little boy rather than a mature singer (Example 42). The singer’s facial
expression and tone in the last phrase, y se me escapó (“and he escaped me”), might also
exhibit the innocent charm of a young child.
La casita del hornero (Entry 45). The “little bakerman and the bakerwoman” (2) in
this poem actually refer to male and female pigeons making their mud home on a
doorstoop. Again, this is appears to be a text that children would not fully comprehend
without some explanation. The melody is sometimes difficult, other times delightfully
simple (Example 43).

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Example 43. La casita del hornero, measures 14-17.
El jardín de mi Escuela (Entry 46). The most idyllic of the collection, this song
sounds almost like an adult reminiscing about his childhood playground at school. Of
course, the text is in present tense and Ida Réboli’s poetic voice is definitively childlike.
López Buchardo includes an optional high G5 in one of the phrases and includes several
expressive markings that suggest once again that he had adult interpreters in mind for this
collection of songs, just as much or more so than children.
Mi señorita (Entry 47). This poem refers to the Nannies that the many of the
wealthier families hired to take care of and educate their young children. This nanny is
perfect and never gets mad at her charges for making messes (3-4). She’s always content
and tells the children stories (7). Again, Réboli’s text references childlike subjects, but from
an adult perspective. What child, afterall, would sing about finishing chores (8)?
El patio (Entry 48). The music for this song is jovial and rhythmic. The singer sings
“Ha-ha-ha” before finishing every stanza in a rhythm that invites jumping or dancing. This
song, along with El arco iris, seems the most appropriate for a Spanish-speaking
Kindergarten today. Still, López Buchardo adds chromatic harmonies that might distract
the young singer from the main melody, if it wasn’t first learned well (Example 44).
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Example 44. El patio, measures 1-15.

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El canario (Entry 49). The canary sings happily because that is his work. In this
poem, Ida Réboli does capture the child’s voice almost exactly with phrases like “he is my
treasure” (8), though once again, the expressive markings such as con ternura (“with
tenderness”) and frequently changing meter suggest that this song would find its ideal
interpreter in a young singer or an adult singer with a young-sounding voice (Example 45).
Example 45. El canario, measures 10-13.
El arco iris (Entry 50). The simple and repetitive A sections in this, the final song in
the collection, seem perfectly suited to the young child’s voice. The B section (stanza four),
however utilizes half-note intervals and a sudden shift to the parallel major that does not
seem appropriate (Example 46). Perhaps López Buchardo was encourage to write
children’s songs for the sake of making a contribution to the music education efforts of his
day. The songs are not poorly written, but it does seem that the composer could not help
but write for a mature interpreter who could read his many markings and interpret the
subtleties of the poems.

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Example 46. El arco iris, measures 17-25.
Canción de Perico (Entry 56). In the case of Canción de Perico, the composer
obviously meant for an adult to perform it. The poem assumes the voice of a parent figure
that lovingly recognizes a child’s free spirit. The bouncy introduction hails the arrival of a
rambunctious boy who plays in the forest, sticks out his tongue, and croaks like a toad (4-
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5). The image of the young boy may also refer tangentially to a grown man with artist-like
tendancies who “doesn’t want to be wise or rich or king, but wants to laugh and sing” (7-
8). This is a comical and upbeat piece, only one minute in length, that could be learned with
some effort by intermediate singers. The most difficult melodic line is a chromatic painting
of the boy’s rowdy demeanor (Example 47).
Example 47. Cancion de Perico, measures 14-21.
Canción del niño pequeñito (Entry 57). This poem uses beautiful imagery to
illustrate the love of a father or mother for a small baby who is falling asleep. The song was
dedicated to López Buchardo’s only son by marriage, “Carlitos” Alfredo Fitte. His lush
harmonies in the introduction and throughout the piece serve as a rich and comforting
backdrop to the vocal line. The eighth-note pulsing and milonga-like triplets that end the
piece might even be interpreted as the gentle sway of a baby’s cradle (Example 48)
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Example 48. Canción del niño pequeñito, measures 19-26.

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CHAPTER 6
The Songs of Civic Duty
Carlos López Buchardo held several administrative positions during his lifetime. In
spite of his personality, which was by all accounts quiet and unobstrusive, López Buchardo
seems to have been called upon to provide a sense of legitimacy and stability for the
organizations that he oversaw. Carmen García Muñoz’ summary of the composer’s
curriculum vitae is probably the most complete:
In 1916, he assumed the presidency of the Wagnerian Association, a position
that he held until his death…In 1921, the School of Music in the Teatro Colón
was created and he was appointed director [of the various professors], a
collaboration that three years later would result in the inauguration of the
conservatory. The National University of La Plata [UNLP] decided in 1923 to
establish a music division within the Department of Fine Arts, which began
operating in 1924 with López Buchardo as director and professor of
Harmony. That same year, the National Conservatory of Music and
Recitation was founded with López Buchardo as [director and] professor. For
24 years he held that position, surrounding himself with a highly-qualified
group of professors. After his death, the Conservatory was named after him.
In 1924 la Municipality of Buenos Aires designated a commission devoted to
organizing seasonal activities at the Teatro Colón, of which he was a part. He
stayed tied to the theater for many years. In 1927 and 1928 he was became a
member of two commissions charged with studying the National Anthem
and determining which [of the many versions extant at the time] would be
the designated as official. Beginning in 1934 and for three years after, he was
President of the Nacional Society of Music…In 1936 the Government created

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the Nacional Acadamy of Fine Arts and designated López Buchardo and José
María Castro as members of the music division.11 (García Muñoz 1004)
López Buchardo’s appointment to so many positions of importance were due in part
to the public recognition he frequently received as a composer. Following his successful
debut of Il Sogno di Alma in 1914, he received a Municipal Prize in 1923 for his symphonic
poem Escenas Argentinas (“Argentine Scenes”), which was debuted by Félix Weingartner
and the Philharmonic Orchestra of Vienna during a 1922 concert they gave in Buenos Aires
(Andrés 88). In 1925, he received another Municipal Prize for his first collection of folk-
inspired songs Seis canciones al estilo popular. In 1935, the Nacional Commision of Culture
awarded him a prize for his lyric opera Amalia (Andrés 88). López Buchardo received yet
another Municipal Prize for his Cinco canciones al estilo popular, most likely awarded in 1936
during the same year of their publication. And in 1937, the Nacional Commission of
Culture awarded him a prize for Siete canciones infantiles (Montes de Oca, 315-319). By this
point in his career, Zulema Castello de Lasala asserts that though the composer’s many
recognitions were duly merited, they were also given, at least in part, because López
Buchardo had the right “connections”, refering to his highly-regarded and protected place
in the city’s heirarchy of cultural players (Lasala, par. 8).
Four of López Buchardo’s songs seem to have resulted either from his
administrative positions or in response to social causes that fell within the realm of his civic
duties. They are the Himno de la Universidad Nacional de La Plata (1927) (“Hymn of the
UNLP”), Himno de la Cruz Roja Argentina (1935-36) (“Hymn of the Red Cross”), La Doble
Cruz (Himno de la cruzada contra la tuberculosis) (1935-36) (“Hymn of the Double Cross”), and
his last known composition, which has not been located for study, Canción del trabajo (1948).
Himno de la UNLP (Entry32). A native of La Plata where López Buchardo served as

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chair of the music department at the Universidad Nacional de La Plata (“National University
of La Plata”), Montes de Oca included an analysis of the song, a historical synopsis of its
origins, and its performance history in her dissertation (96-107). Today, the piece still serves
as the University’s official anthem, although it is infrequently performed. The text is a
romanticized paint-job of the glories of academia and the promise of budding youth.
Himno de la Cruz Roja (Entry 41). The wherefore of this piece is still unknown. It is
assumed, as with the hymn for La Doble Cruz, that López Buchardo was commissioned to
write a song that the ladies of the Red Cross could sing at their gatherings or during their
public marches. The poem’s author and renown educator, F. Julio Picarel, is featured with a
short biographical summary by Montes de Oca (119-120). His text takes on the personage of
the Red Cross, who declares that she is “the guardian angel that covers brotherly pain, the
flower’s balm, and a melting pot which harmonizes all the races” (9-11).
La Doble Cruz (Entry 42). F. Julio Picarel also wrote the text to the hymn used by the
“Crusade Against Tuberculosis”, whose symbol was a cross with two horizontal lines
forming a “Double Cross”. Even more of a march that the López Buchardo’s hymn for the
Red Cross, this piece was almost probably sung in public parades and presentations.
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CHAPTER 7
The Lost Songs and Other Vocal Works
López Buchardo began work on six large-scale vocal works, four of which were
completed and performed: Il sogno di Alma (lyric fantasy, 1914), Madama Lynch (lyric
comedy, 1932), La Perichona (lyric comedy, 1933), and Amalia (lyric comedy, 1935). It is still
debated whether the score that López Buchardo left of La Bella Otero (lyric comedy, 1937),
was actually complete. In any case, it was never performed. Toward the end of his life, he
began work with long-time colleague Gustavo Caraballo on Santos Vega, a “lyric legend in
a prologue, one act, and an epilogue” (García Muñoz, “Carlos López Buchardo,” 1004). It
was left unfinished.
Brief summaries of the vocal works’ plots (if known) and preliminary information
about their performance history are included below. There is still much work to be done in
the area of López Buchardo’s operas. It is hoped that this basic information will be useful to
English-speaking researchers.
Il sogno di Alma (1914), 3 Acts, 4 Scenes.The composition of this opera, or “lyric
fantasy”, as López Buchardo preferred to categorize it, began in 1909, when the he was
eighteen. Its libretto, originally conceived as a book entitled En el pais violeta (“In the purple
country”) by Enrique Prins in Spanish, was translated into Italian by Leopoldo Longui
before the composer began setting it to music. It was eventually refined and completed in
Rome by the Italian librettist Sem Benelli. López Buchardo finished his orchestrations in
May 1914 and it was debuted in August of the same year in the Teatro Colón. The
sponsoring company Longinotti spared no expense on the initial production. Costumes
and sets were designed in Milan by Mario Scala, Tulio Serafin was hired as the stage
director, and the cast included some of the best singers to be had in Buenos Aires at the
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time: Lucrecia Bori (soprano), Alejandro Bonci (tenor), and José de Luca (baritone). The
work was staged again in 1917, 1949, 1967 (Montes de Oca 8-9).
The story line was rather simple and much criticized for its lack of dramatic action,
though López Buchardo’s musical setting was critcally acclaimed. It begins with Alma, a
young country girl who lives at the base of a mountain in a forest with Bolián, an old
shepherd and her guardian. Herio, the young man to whom she is promised, and Bolián
leave in the evening and promise to be back in the morning. During the night, Alma
dreams that she is carried by faries to a queen. The queen wishes Alma to fall in love with
her son, a sad prince. Bolián, in disguise as a wise man in her dream, tries to rescue her
from the situation. Just as her coronation begins, Alma awakes to the sound of dogs who
are accompanying Bolián on his trip back home. She is reunited again with Herio and the
old pastor gives his blessing to the young couple (Montes de Oca 9).
Madama Lynch (1932), 3 acts, 10 scenes. At the suggestion of impresario Enrique T.
Susini, the libretto for this musical comedy was conceived of by Agustín Remón and
Enrique García Velloso and the music written by López Buchardo (Jurafsky 43-45). The
work tells the story of Elisa Alicia Lynch and the Paraguayan sailor Francisco Solano López
(García Muñoz 1005).
La Perichona (1933), 3 acts, 8 scenes. Based on the overwhelming success of Madama
Lynch, the same librettists, Agustín Remón and Enrique García Velloso, wrote another plot
set in the time of counter-revolutionary military strikes by the English in Buenos Aires (ca.
1806). The love story occurs between Anita Perichon and Santiago de Liniers. Two songs
from this comedy eventually took on a life of their own: ¡Pobres jasmines criollos! and Vals,
both of which were performed in public recitals with López Buchardo at the piano (Figure
1) (García Muñoz 1005).
Amalia (1935), 1 act, 11 scenes. Pedro Miguel Obligado was invited by Susini to
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joing García Velloso and López Buchardo in writing yet another musical comedy. They
took as their storyline the novel Amalia by José Marmol, set in the times of the Juan Manuel
de Rosas (ca. 1835-52) (García Muñoz 1005). This comedy was debuted at the Teatro Odeón
(as were the other aforementioned vocal works) by Dora Peyrano, Amanda Varela, Benita
Puértolas, and Miguel Faust Rocha (Jurafsky 46).
La Bella Otero (1937), incomplete, 8 numbers. The subject of this musical comedy
was the famous Spanish opera singer and ballerina Carolina Otero (1868-1965), who was
nicknamed “The Beautiful Otero”. The plot is unknown (Montes de Oca 155), but probably
followed her famous “rags-to-riches” life story. López Buchardo is quoted as saying that he
had finished this work in collaboration with Maestro Torroba, but the work was never
staged.
Santos Vega, incomplete, 1 act, 3 scenes. Based on the poem Santos Vega, by Rafael
Obligado, the libretto by Gustavo Caraballo and music were still in preparation at the time
of López Buchardo’s death (García Muñoz 1004, Andrés 90). Santos Vega was a legendary
payador (“singing gaucho”) whose talents as a song-writer were unsurpassed. According to
the legend, only the devil, disguised as Juan Sin Ropa (John Without Clothes) was ever able
to defeat him under the shade of the great Ombú tree. This subject matter would have been
ideal for López Buchardo, since he had already established himself as a classical payador of
his time.
Two popular songs in Spanish, akin to the style of Petite Ynga from the composer’s
early days, remain for analysis: Pobres jazmines criollos (1933) and Porteñita (date unknown).
Seven songs by Carlos López Buchardo, in addition to those already mentioned in
previous chapters are “lost” and unavailable for study. They are Para flor de durazno (1921),
Tránsito (1924), Vals (1933), Una rosa para mi rosa (1936), Caminito de Flores (1942), Canción del
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Estudiante (no date), and Los camperos (no date). Readers who are interested may consult
their respective entries in Chapter One for all known data gathered to date about these
works.
Some say that nothing is ever truly lost in Buenos Aires, only hidden, and that in
due time all things of importance will eventually rise to the surface. Others lament that
many musical and cultural treasures have been destroyed or stolen, due to a lack of
funding for proper preservation and storage. It is not uncommon to find that works by
composers of great national importance are extremely difficult to locate and, for all intents
and purposes, “lost” to the public. To aid the interested researcher, important resources for
the study of Argentine music in general and art song in particular are provided in
Appendix F.
In the case of López Buchardo, very few of his manuscripts remain for consultation
and study, most of which are currently in the hands of his granddaughter through
marriage, Beatríz Fitte de Fox. These include the piano score of Amalia, the score and parts
to La Perichona, the incomplete manuscript of La Bella Otero, and the manuscripts to some of
his songs along with a few sketches (Fox, Beatríz Fitte de. Personal interview. 8 June 2004.).
Luckily, Susana Montes de Oca was able to access additional scores and several
items of López Buchardo’s personal history when they were still housed at his son Carlos
Fitte’s home in La Plata, Argentina over a decade ago. In her dissertation, she includes a
her own brief summary of the musical numbers in La Perichona, Amalia, and La Bella Otero
along with the poorly duplicated and hard to read clippings of newspaper reviews of the
lyric comedies that made it to the stage.
Pobres jasmines criollos (Entry 39). Except for a few measures that expose the
medium-high tessitura, this song is ideal for the young female singer with basic Spanish
skills. The basic ABA song form is easy to grasp and the piano accompaniment style is
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reflective of the song’s origin in musical theater. The song was extracted from song number
11 of the La Perichona and was probably sung by the protagonist, Anita Perichón (Example
X).
Example 49 ¡Pobres jazmines criollos!, measures 1-4.
Porteñita (Entry 53). Set in ABA form (A: comprising lines 1-9, B: 10-17, A: 18-26),
María Luz Regas Velasco’s text is an ideal representation of Argentina’s nationalist pride
and connection to the old world. The “carnation-colored” ship, baptized with the name
Porteñita, crosses the ocean and carries the scent of magnolias and orange blossoms to the
old world (1-4). The trees of Seville and the songs of Venice rise up to greet “their little
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sister of the Southern Cross” (10-15). And the ship must not leave its heart in any other
place, but home.
This song is most easily sung by a tenor or baritone voice. The accompaniment is
flowery and full of opportunities for emotion-laden rubato. It may serve as a nice addition
to a less-formal recital of Neapolitan songs and other such popular genres.

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CHAPTER 8
Carlos López Buchardo’s Musical Style
Montes de Oca suggests three different periods in López Buchardo’s compositional
development. The first, from 1896 through 1919, is characterized as predominately eclectic.
It is a time of experimentation with fresh harmonic ideas he probably learned in Paris.
These included the juxtaposition of chords for an essentially bitonal effect and the
utilization of the interval of a sixth, especially over the tonic. During this period, the
composer’s musical language was characterized by frequent meter changes, irregular
rhythms and through-composed melodies that sounded at times more instrumentally than
vocally conceived. From the beginning, his melodies and harmonies were very obviously
textually-inspired, to the detriment of formal structures, as seen in his early French songs.
His song forms are sometimes in a loose binary or ABA forms. From the earliest pieces,
López Buchardo established the piano as an equal participant to the voice, occasionally
taking his pianism to the point where the accompaniment seems to lose track with the
melodic material (Montes de Oca 6-7 ).
The second period, dating from 1919-1931, begins with the debut performance of
“La Campera”, one movement from a three-movement orchestral work that would
eventually become Escenas Argentinas. The entire symphonic poem was debuted in 1920.
Between 1921 and 1924, López Buchardo composed six songs that were eventually
published as the Seis canciones al estilo popular. This landmark collection shows López
Buchardo combining for the first time characteristic elements of folk songs or dances and
incorporating within them elements of impressionist harmonies. The harmonies are more
transparent during this period, the melodies easier to sing, and he begins resolving phrases
on the first degree without dissonances. In many of these songs, the composer emphasizes
the third degree in his melodies, a common element of Argentine folk song, especially the
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minor third (Montes de Oca 68-70).
López Buchardo’s third period, from 1931-1946, includes the Cinco canciones al estilo
popular and the various musical comedies, all of which incorporated numerous folk-
inspired themes, rhythms, and melodies (Montes de Oca 150). Andrés and Jurafsky both
opine that with the second collection of songs, López Buchardo achieved an amalgamation
of an even higher order than with the first collection.
Carmen García Muñoz lists as principal elements of López Buchardo’s style his
painstaking attention to the details of his writing and musical form, an innate sense of
lyricism, elegant phrasing and line, a “noble” sense that he infuses into popular musics, a
distinctive harmonic landscape, various combinations of duple and triple rhythms, and a
close relationship between the piano accompaniment and the voice (1006).
Other important facets of López Buchardo’s approach to the song repertoire are his
careful selection of texts whose treatment of folk thems closely aligned with his own
treatment of the music, harmonic and melodic word painting, subtle harmonic and
contrapuntal variations (especially in his earlier works), the piano as the ideal tool for
setting of an emotional landscape for text, tertiary, binary, and strophic song forms, and
thick-fingered piano accompaniments.
López Buchardo began feeling symptoms of an unspecified illness in 1947, but kept
it a secret from all but his closest friends. He downplayed the seriousness of his situation
until January of the following year, when he began to undergo a variety of treatments.
Fatigued by the medicines prescribed to him during the ensuing months, López Buchardo
finally succumbed to his ailment on the morning of 21 April 1948 (Jurafsky 47).
The composer’s death came as a shock to many professors, students, and

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acquaintences who had assumed the 66-year old to be in good health. A public viewing of
López Buchardo was prepared in the conservatory, which would later be named after him
(Illustration 1 and 2), and his body was carried to the famous Recoleta cementary (Jurafsky
47). Homages and concerts in tribute to the composer abounded during the next twenty
years, especially on the anniversary of his death (Monte de Oca 288-300). One of
Argentina’s principal newspapers, La Nación, wrote:
The news of the Maestro Carlos López Buchardo’s passing has, without a
doubt, awoken grief and sadness within the artistic and cultural circles of this
country. Such feeling is owed not only to his role in the formation and
development of a nascent school of Argentine music, or to the exemplary way
in which he carried out his official positions of importance and responsibility,
but also to the moral qualities that distinguished him and made of him an
accomplished gentleman, in the most elevated sense of the term…As a
composer, López Buchardo has already earned a place of preference in the
realms of national music, being one of the few composers to have defined his
own artistic personality and musical style; all of this he has done with
complete naturalness, with a spontaneity that witnesses to the authenticity of
his vocation.12 (Jurafsky 47-48, no date mentioned)
Similar mention of López Buchardo’s moral fiber was made in an homage read by
Roberto García Morillo on the twentieth anniversary of his death.
I would like to reflect…on the beautiful moral and human qualities that
always set him apart, in his magnificent work at the head of the
Conservatory; his gentlemanliness and integrity, his unvarying affability and
goodness, his permanent and kind smile, and his good will and desire to
understand and help solve—inasmuch as it were possible—the many

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problems that his delicate tasks, of so much responsibility, put in front of him
frequently.13 (Montes de Oca 293)
García Morillo concludes,
…perhaps the beauty of his melodic inspiration in his musical creations, ever fresh and
lush, are nothing more than a reflection and a consequence of the kindness of his soul and
the elevation of his spirit.14 (Montes de Oca 293)
Jurafsky would have agreed with García Morillo. Not only was López Buchardo’s
music somehow a reflection of “the kindness of his soul and the elevation of his spirit”, but
it spoke for the composer in a way that his words could not.
Carlos López Buchardo speaks to us still in his admirable songs, in a
language better than words—a musical expression that, thanks to its beauty
will last, and in spite of time and distance, is where his spirit will be found
more clearly and deeply than in his actual existence…I wish to relay and
important event, which occurred shortly after his death. A concert was
organized in his memory and various musicians performed some of his
works. As the concert went on, an undescribeable emotion filled the room. It
was his authentic voice, his soul’s confession, expressed with an exactness
that only art can achieve. And the Maestro Alberto Williams [about 86 years
old at the time] with his eyes shining, and who had spoken earlier about his
colleague…said beautifully when the last song had finished: “This was
Carlitos! That was our Carlitos!” And everyone present felt that we had never
had him so close, that we had never loved him so much, that we had never
understood him better.15 (Jurafsky 7-8)
The image, then, of Carlos López Buchardo passed down through the decades since
his death has been one of a good-natured, non-aggressive, and private man (Illustration 3).
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It was also thought that the detailed minituristic work found within his songs, the carefully
crafted harmonies and inner voices in the piano accompaniments, were somehow
reflections of his equally intricate personality. A talented pianist with his own unique style
of playing that complemented perfectly his wife’s singing, López Buchardo is remembered
for his “miraculous” performances of Argentine chamber music (Jurafsky 52). His greatest
accomplishment remains, however, in the development of a unique musical style that
fulfilled the aspirations of a nascent Argentine musical nationalism.

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Illustration 1. Plaque dedicated to Carlos López Buchardo in the National Conservatory,
Buenos Aires, Argentina. “To Maestro Carlos López Buchardo. – and homage from the
Nacional Conservatory of music and scenic arts. 1924-1948.”
Illustration 2. Plaque celebrating the centenary of Carlos López Buchardo’s birth in the
National Conservatory, Buenos Aires. “To Maestro Carlos López Buchardo. Centenary of
his birth. 1881—12 October—1981. Homage of the Nacional Conservatory of Music “Carlos
López Buchardo.”
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Illustration 3. Photograph of Carlos López Buchardo (1881-1948).

Weiss 191
ENDNOTES
1. López Buchardo era el típico argentino de la época, hijo de estanciero, estudiando y disfrutando de
la vida en París, generoso y gentil. En la misma época estaban Ugarte y Palma, que no eran tan
ricos, entonces él los invitaba a participar de sus clases con Albert Roussel, y luego les pedía que le
hicieran los deberes. (Lasala, par. 15)
2. Su espíritu religioso (que Cecilio López no compartía pero respetaba), recorría la casa
abiertamente. En una de las habitaciones dominaba el espacio una figura de la Virgen del Carmen, de
quien María Buchardo era ferviente devota, de gran belleza, extraordinariamente trabajada en yeso
policromado, que alcanzaba un metro de altura. En muchas ocasiones rezaban ante ella el rosario, a
la antigua usanza, o sea en común: todos, incluyendo a la servidumbre (el padre era la única
excepción). Finalizando el hecho, los hijos desfilaban ante los padres reclamando la bendición. La
madre, en ocasiones similares, solía entonar cánticos religiosos que luego enseñaba a los hijos.
(Andrés 71)
3. Era querida por algunos y odiada por otros. En cierto modo ella manejaba el ambiente musical.
Muchos le tenían miedo porque era mala enemiga. De ella hay infinidad de anécdotas. Por ejemplo,
decía: "Cuando tengo que ir a un lugar donde sé que no me quieren, me pongo más linda que nunca
y entro sonriendo y pisando fuerte". (Lasala, par. 6)
4. Mujer de extraordinaria belleza, era dueña de una hermosa voz de soprano, a la que se unía una
refinada sensibilidad musical. Interpretaba a la perfección a los compositors franceses y sentía
especial predilección por las obras de los músicos argentinos. Su unión con López Buchardo fue para
éste un poderoso estímulo para la prosecución de su labor de compositor, pero por sobre todo hallo en
su compañera a la intérprete ideal de sus canciones, y quienes tuvieron el privilegio de asistir a
cuanta manifestación artística realizaron juntos, ella cantando la música de su marido, y él
acompañandola al piano, no olvidarán jamás el clima de encanto que creaban a su alrededor y a cuya
suggestion no podia sustraerse ni aún el más indiferente. Ambos representaban la más perfecta
imagen de compenetración, irradiando un poder de seducción raramente alcanzado por artista
alguno. (Jurafsky 21)
5. Tuvieron así, nuestros creadores, en esos dos magníficos interpretes, el mejor medio para que sus
obra fueran conocidas por el público en un plano de jerarquía excepcional. Y es que la música
argentina, en la voz de su esposa Brígida Frías, hallaba su más admirable complemento cuando, bajo
los dedos de López Buchardo, adquirían en el teclado una sugestión que emanaba de su maravilloso
sonido y de la forma tan peculiar y encantadora de expresar lo nuestro. (Jurafsky 36)
6. Difícil sería hallar un compositor argentino que, cualquiera fuera el género musical en que hubiera
volcado sus preferencias, no haya escrito algo dedicado a los niños. Desde Alberto Williams y Julián
Aguirre, pasando por José André, José Gil, Athos Palma, Floro M. Ugarte, Cayetano Troiani, hasta
los jóvenes músicos de la actual generación, todos han contrubuido a la formación de un cancionero
escolar como tal vez pocos países puden contar. (Jurafsky 42)
7.Su actividad…existe. Y no es precisamente de las menos movidas, por el contrario, el ser dueño de
una posición económico-social difícilmente vulnerable hace que en repetidas ocasiones, ocupe cargos
que pudieron haber sido definitorios para el desarrollo musical argentino. Desafortunadamente, su
presencia, pese a lo que el tenía de positivo en su mensaje musical, tuvo siempre una actitud más
vale pasiva, esto quiere decir que no destruyó cosas, sino que se redujo a mantener un estado de
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cosas, no permititiendo la destrucción de nada, pero asimismo, permaneciendo ajeno a las multiples
realizaciones que un desrrollo como el que renglones arriba se menciona, exigiría. (Andrés 74)
8. [Él] nunca conjeturó nada mala de las—para otros—discordes voces de la vida, a tal extremo que
si le hubiéramos preguntado: ¿y qué es el mundo, maestro?, él nos habría contestado con su aire más
persuasivo: Francamente una orquesta. ¿Y los encontrados destinos?: Pues… pequeños problemas de
orquestación… (Jurafsky 54)
9. Carlos López Buchardo ha muerto, pero la cuerda mas genuina de nuestra lírica no ha
enmudecido: queda para siempre con nosotros. Queda en su Vidala, que es como perfume
crepuscular que se entra por la ventana abierta al horizonte brumoso de la nostalgia criolla…Pero
queda también en el don inagotable de Concordia que poseía, en el don de la tolerancia y de la
paciencia. Alguien dijo de él, con palabra certera, que el señor de la armonía supo también armonizar
a los hombres. (Jurafsky 50)
10. Recuerdo cuando era alumno del Conservatorio que escuchábamos a López Buchardo detrás de
una gruesa puerta que lo separaba del mundo, no lo protegía. El tenía una puerta que entraba y salía,
que no era la de los alumnus, así que nosotros no sabíamos nunca cuando entraba, cuando salía, no
lo veíamos nunca, pero a veces lo escuchábamos tocar el piano y era realmente delicioso. Las cosas
referidas a él, las conocíamos porque las comentaban otros maestros. No lo escuché hablar nunca,
nunca le escuché decir una palabra. Era un hombre tan discreto, tan reservado, tan interior. Era
como un patriarca para nosotros, un prócer. Aceptábamos las reglas de juego que de alguna manera
significaban una cosa muy importante. (Portillo 128-129)
11. En 1916 asumió la presidencia de la Asociación Wagneriana, cargo que desempeño hasta su
muerte…En 1921 se creó la Escuela de Música del Teatro Colón y fue nombrado director, agrupando
a un conjunto de colaboradores que tres años después participó en la creación de un conservatorio.
La Universidad Nacional de La Plata [UNLP] decidió en 1923 establecer la sección de música en la
Escuela Superior de Bellas Artes, que comenzó a funcionar en 1924, de la cual fue designado director
y profesor de Armonía. Ese mismo año se fundó el Conservatorio Nacional de Música y
Declamación, de donde fue nombrado professor. Durante 24 años ejerció el cargo, rodeándose de un
grupo calificado de profesores. Después de su muerte el instituto llevó su nombre. En 1924 la
Municipalidad de Buenos Aires designó una comisión administradora para el Teatro Colón,
encargada de organizar temporadas artísticas, de la que formó parte. Permaneció ligado al teatro por
varios años. En 1927 y 1928 fue miembro de dos comisiones oficiales para estudiar y determinar la
versión definitiva del himno nacional argentino. Fue, desde 1934 y durante tres años, presidente de
la Sociedad Nacional de Música. […] En 1936 el Gobierno creó la Academia Nacional de Bellas
Artes, eligiendo a López Buchardo y a José María Castro como miembros en la sección de música.
(García Muñoz 1004)
12. Profundo sentimiento de congoja y tristeza ha despertado sin duda en los círculos artísticos y
culturales del país, la noticia de la desaparición del maestro Carlos López Buchardo. Y no sólo por la
significacón que en la formación y desarrollo de la naciente escuela musical argentina ha tenido, ni
por la importancia y responsabilidad de los cargos oficiales que desempeñaba de manera ejemplar,
sino por las cualidades morales que lo distinguían y que hacía de él cumplido caballero, en el más
elevado sentido del término…Como compositor, López Buchardo ocupa ya un puesto de preferencia
en la música nacional, siendo uno de nuestros pocos creadores que lograron definir una personalidad
artística y un estilo musical proprio; ésto fue realizado con toda naturalidad, con una espontaneidad
que dice claramente de lo auténtico de su vocación. (Jurafsky 47-48, no date mentioned)
Weiss 193
13. …quisiera referirme…sobre las bellas cualidades morales y humanas que lo distinguieron en todo
momento, en su magnífica gestión al frente del Conservatorio; su caballerosidad y hombría de bien,
su invariable afabilidad y benevolencia, su permanente y bondadosa sonrisa, y su buena voluntad y
deseo de comprender y ayudar a solucionar—en la medida de lo posible—los múltiples problemas a
que sus delicadas tareas, de tanta responsabilidad, lo ponían con frecuencia en contacto. (Montes de
Oca 293)
14. …tal vez la belleza de su inspiración melódica, en sus creaciones musicales, cada vez más frescas
y lozanas, no sea en última instancia más que un reflejo y una consecuencia de la bondad de su alma
y de la elevación de su espíritu. (Montes de Oca 293)
15. Carlos López Buchardo logra hablarnos, todavía, en sus canciones admirables, que son un idioma
superior a las palabras; effusion musical que, gracias a su belleza, perdura, a pesar del tiempo y del
espacio, y donde su espíritu se halla más claramente, más profundamente, que en su propia
existencia…quiero recordar un acontecimiento significativo, que ocurrió al poco tiempo de su
muerte. Se realizaba un homenaje a su memoria; y varios artistas interpretaban en un concierto,
algunas de sus obras. A medida que se iban oyendo sus composiciones una emoción indescriptible
nos embargaba a todos. Era su voz auténtica, la confesión de su alma, expresada con esa exactitud
que presta el arte. Y el maestro Alberto Williams que tenía los ojos brillantes y había hablado con
singular acierto de su colega…dijo hermosamente, cuando se terminó la última canción: “¡Este era
Carlitos! ¡Así era Carlitos!” Y todos sentimos que jamás lo habíamos tenido tan cerca, ni lo
habiamos querido tanto, ni lo habíamos comprendido major. (Jurafsky 7-8)
Weiss 194
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America, 1958.
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Artes, 1971.
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Fox, Beatríz Fitte de. Personal interview. 8 June 2004.
García Acevedo, Mario. La música argentina contemporánea. Buenos Aires: Ediciones
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García Muñoz, Carmen. “Carlos López Buchardo.” Diccionario de la Música Española e
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English Dictionary. Clinton: New Win Publishing, Inc., 1999.
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argentina: relevamineto de datos históricos para su estudio). Buenos Aires: Instituto
Nacional de Musicología “Carlos Vega”, 1986.
---. “La teoría histórica de las generaciones y el desarrollo cronológico de la música
académica argentina.” Actas de la III Conferencia Anual de la Asociación Argentina de
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Appendix A
Correspondence with Zulema Castello de Lasala
(Taken from an email to Allison Lauree Weiss, 29 January 2005)
Zulema Castello de Lasala was born in Buenos Aires, where she completed her studies in vocal
performance at the National Conservatory of Music “Carlos López Buchardo” with professors Freya
Wolfsbruck and Mercedes Weinstein. She received a scholarship from the Department of Foreign
Relations in Brazil to study with baritone Gerhard Hüsch in the Pro Arte workshop and specialized
in Brazilian art song with professor María Sylvia Pinto in Rio de Janeiro. During her lengthy and
varied career, she performed in the Teatro San Martín, for the Mozarteum, Society of Chamber
Music, Beethovan Society, and many other institutions in Buenos Aires and greater Argentina. She
was interviewed and performed several times on radio and television. She received the Municipal
Prize for best singer to devote her talent to Argentine art song. She was also awarded the San
Francisco Solano y Medalla award as an honorary member of the Argentine Council on Music.
She has worked as a professor of Italian, German, and French diction in the Provincial
Conservatories of Morón, Banfield, and San Martín and has offered Portuguese diction courses in
the Performing Arts Institute of the Teatro Colón.
ALW 1. Could you give me your full name and the names of your parents?
ZCL My full name is Haydee Zulema Castello de Lasala. My father was Alfredo Juan
Castello and my mother was Zulema Aguilera Ramos. My father was a civil
engineer, founder of various towns in the province of Buenos Aires and my mother
was a teacher and a writer.
ALW 2. When were you born?
ZCL I was born October 13, 1929.
ALW 3. Did you ever know or meet Carlos López Buchardo? When and where?
ZCL I first saw Carlos Lopez Buchardo in 1947, when I began my studies at the National
Conservatory. I saw him in the opening ceremonies before classes began, singing
the national anthem with the other students and professors. He was a man of rther
short stature and thin, with a very well-kept appearance.
ALW 4. Did you ever know or meet Brígida Frías? When and where?
ZCL I first knew of her when Maestro [Athos] Palma asked her to listen to me audition
Weiss 198
and she offered me a space in her class at the Conservatory (the accompanist at the
time was Dora Castro). That was in 1947. She further proposed that I study with her
and my mother almost decided to let me. She was a gorgeous woman (she would
have been 47 at the time), with a complexion soft and clear like a peach and virgin-
like facial features.
ALW 5. What did the public think of López Buchardo? What was said of him?
ZCL What I know is that López Buchardo was greatly loved. He was a polished
gentleman, son of a wealthy land owner, very connected with the aristocracy of
those days. He was very involved the society of the times.
ALW 6. What was his wife like? What was known of her?
ZCL Brigidita (as she was called) was the daughter of a Mr. Salustiano Frías. Brigidita
was married very young with a Mr. Fitte, whose last name her son Carlos kept. She
divorced him very soon after (I’m not sure if her son had already been born) and in
short order married López Buchardo. She was loved by some and hated by others.
In some ways she directed the goings-on in musical culture. Many people were
afraid of offending her because she was not the kind of enemy you wanted. There
are an infinite number of anecotes about her. For example, she used to say, “When I
have to go somewhere where I know they don’t like me, I dress myself up prettier
than ever and enter the room smiling and stepping loudly.”
ALW 7. What were their performances like?
ZCL She sang her husband’s songs accompanied with the composer himself, with a
pretty voice, nothing spectacular, in the spirit of chamber music, and very
charming. She also sang very well the French repertoire, but was especially
dedicated to the works by Argentine composers. She debuted the works of young
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students and recent graduates of the Conservatory, like [Alberto] Ginastera, [Angel]
Lasala, [Abraham] Jurafsky, [Pedro] Sáenz, etc. In her house on Canning street
(today Scalabrini Ortiz) she hosted frequent social gatherings (dinners, cocktails)
that were attended by many important guests. Richard Strauss, Arturo Rubenstein,
compose politicians, and poets all ate there, and she introduced to them composers
and young musicians. You must recognize that she was very Argentine and did a
great deal for the music of our country. She was professor at the School of Music at
the University of La Plata and Music Inspector at the primary schools. Her
supervisor was Athos Palma.
ALW 8. Speaking of the prizes that López Buchardo won during his career, why do you
think he won them?
ZCL I don’t remember very well the prizes that López Buchardo won, but I believe they
were well-deserved, and besides…he had connections. Allison: it was a different
Argentina, very small (in 1940 we didn’t surpass 20 million) with a port-town
society that was very closed and elitist. If you didn’t have connections, you didn’t
have money, understand? Don’t forget that López Buchardo was founder (along
with others) of the Nacional Society of Music (today the Association of Composers)
and of the Wagnerian Association. The Wagnerians were all professional musicians
that were very distiguished and rich. It was a very common thing for men in that
group to have gone to Germany or French to study music. The common people
didn’t particpate in this kind of thing.
ALW 9. How was it that he could debut an opera at such a young age?
ZCL I don’t understand your question. Il sogno di Alma didn’t debut at a young age. He
was already an adult [33 years old], and the administration of the [Teatro] Colón was
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in the hands of gentlemen like himself: [Floro] Ugarte, [Athos] Palma, [Cirilo]
Grassi Díaz, Ferriccio Calusio, etc. Everything happened in very high social circles.
ALW 10. Why do you think the Canción del carretero (or any other song that occurs to
you) became so famous?
ZCL López Buchardo composed many songs based on the texts of poets of his time. They
were not easy songs, especially for the pianist. Perhaps the most simple is the
Canción del carretero—very creole-sounding and it was sung in the schools, along
with the Vidala. Remember that life was very different. There was no TV and radio
wasn’t accessible to everyone, so the way that song became so famous was through
the primary schools. Formal concerts weren’t as popular as they are now and they
were more like social gatherings.
ALW 11. If you had to give advice to the singers in my country that want to interpret
the songs of López Buchardo or Argentina in general, what would you tell them?
ZCL If I had to give a piece of advice to the singers of your country or of any other
country—English speaking, German speaking, French speaking… or Japanese
speaking—I would tell them that before anything, they should study Spanish and
then listen to Argentine music to capture the spirit of the music, just like they have
always done with German, French, or Spanish music.
ALW 12. Do you remember the names of other singers like yourself that were good
interpreters of Argentine works?
ZCL Many singers have included in their repertoire Argentine art songs. I will list those I
remember from the first half of the twentieth century: Clara Oyuela, María Pini de
Chrestia, Graciela Berro Madero de Molina, Enriqueta Basavilbaso de Catelin, Isabel
Marengo, and others that aren’t coming to my mind, and in the second half of the
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century, Myrtha Garbarini, Emilse Zulberti, Noemí Souza, Amalia Bazán, Marisa
Landi.
ALW 13. How was the composer in his role as director of the Conservatory?
ZCL The Conservatory was not difficult to administer. There weren’t that many people,
not like now, and López Buchardo was definitely not the one truly in charge.
Brigidita had a lot of influence and there were staff people that did all the
paperwork. He was in his office a lot playing the piano and tending to important
visitors, professors, etc.
ALW 14. Who were Carlos’ closest friends?
ZCL He had many friends: [Floro] Ugarte, [Athos] Palma, Cunil Cabanellas (great drama
professor), Enrique T. Susini...many friends.
ALW 15. Do you have an other anecdotes you’d like to share that you haven’t already?
ZCL Maestro [Athos] Palma, who, like everyone, had disagreements with Brigidita, used
to say: “I can’t say or do anything against her because I might hurt Carlitos.” López
Buchardo was the typical argentine man of the era, son of a ranch owner, studying
and enjoying life in Paris, generous and genteel. At the same time, [Floro] Ugarte
and [Athos] Palma were there, who weren’t as well-off, so he invited them to
participate in his classes with Albert Roussel and then asked them to do his chores.
Isn’t that funny?
ALW 16. What could be said of the era in which Carlos López Buchardo carried out his
musical activities?
ZCL I have to say again that in the days of López Buchardo [Argentina] was a different
country. The Argentines were Argentine and loved their nation. Less people and
more identity. It was the culture of the generation of [18]80s, which was the
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generation that built the country. Cultural activity was very much concentrated in
Buenos Aires and some people were researching the folklore in the interior, like
[Manuel] Gómez Carrillo in Santiago del Estero. Ricardo Rojas with his work
Ollantay had given reason to pay attention to the interior. Other evidence includes
the ballets of Angel [Lasala] (Chasca Ñahui), of [Alberto] Ginastera (Panambí), or
[Constantino Gaito] (La flor del Irupé), works like El Tarco en Flor by Luis Gianneo
and so many others. And Argentine [nationalist] music fulfilled a role that it has
lost today. The globalization and other issues of the present day have done away
with our identity, but with God’s help we will get it back what these turbulant
times have calmed down.
ALW 17. Is there anything else you’d like to say?
ZCL To López Buchardo and his generation we owe the establishment of a hierarchy that
was able to administrate complete seasons at the Teatro Colón (which today is very
run-down) and the excellent education of professors and students of the time as far
as music was concerned. For example, my mother, who graduated as a teacher in
1914, had as her professor of music Carlos Pedrell, nephew of the famous Spanish
[composer and musicologist] Felipe Pedrell. Imagine that in her class they sung
Lemoine’s Solfège des Solfèges and the Spinning Chorus of Wagner’s Flying
Dutchman. Today, all of that is gone, and the kids don’t sing; they only listen to the
rock of Charly García. The generation of López Buchardo treated music education
much differently.
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Correspondencia con Zulema Castello de Lasala
(De un correo electrónico dirigido a Allison Lauree Weiss, 29 January 2005)
Zulema Castello de Lasala nació en Buenos Aires, ciudad en la que realizó sus estudios de canto en el
Conservatorio Nacional de Música “Carlos López Buchardo” y se perfeccionó con las profesoras
Freya Wolfsbruck y Mercedes de Weinstein, y con el barítono Gerhard Hüsch como parte de un
seminario “Pro Arte” en Brasil, oportunidad que ganó con una beca del Ministerio de relaciones
Exteriores de ese país. Se especializó en repertorio de compositores brasileños en Rio de Janeiro con la
profesora María Sylvia Pinto. Ofreció conciertos en el Teatro San Martín (Sala Casacuberta), para el
Mozarteum, Sociedad de Conciertos de Cámara, Sociedad Beethoveniana y diversas instituciones de
la capital y el interior, en radio y televisión, obteniendo el Premio Municipal al mejor intérprete que
una a su calidad el haber realizado más obra argentina. Obtuvo también el Premio “San Francisco
Solano y Medalla” como Miembro Invitado del Consejo Argentino de la Música. Ha desempeñado
las cátedras de Canto y Dicción italiana, alemana y francesa en los Conservatorios Provinciales de
Morón, Banfield y San Martín y ha dictado cursos de canto en portugués en el Instituto de Arte del
Teatro Colón.
ALW 1. ¿Cual es tu nombre completo y quienes fueron tus padres?
ZCL Mi nombre completo es Haydee Zulema Castello de Lasala. Mi padre se llamaba
Alfredo Juan Castello y mi madre Zulema Aguilera Ramos. Mi padre fue un
ingeniero, fundador de varios pueblos en la provincia de Buenos Aires, y mi madre
era profesora y escritora.
ALW 2. ¿Cuándo naciste?
ZCL Nací el 13 de octubre de 1929.
ALW 3. ¿Llegaste a conocer o a ver a Carlos López Buchardo? ¿Cuándo o dónde?
ZCL Conocí a Lopez Buchardo en 1947, cuando ingresé al Conservatorio Nacional. Lo vi
en el acto de iniciación de las clases, cantando el Himno junto con alumnos y
profesores. Era un señor más bien bajo y delgado, de aspecto muy fino.
ALW 4. ¿Llegaste a conocer o a ver a su esposa Brígida Frías? ¿Cuándo o dónde?
ZCL A ella la conocí cuando el maestro [Athos] Palma le pidió que me escuchara y ella
me citó en su clase del Conservatorio (la pianista acompañante era Dora Castro).
Esto fue en 1947. Era una mujer bellísima (en ese entonces tendría 47 años), con un
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cutis que parecía un durazno y unas facciones virginals.
ALW 5. ¿Cuáles eran las opiniones que tenía el ambiente de aquel época del
compositor? ¿Qué se decía de él?
ZCL Sé que López Buchardo era muy apreciado. Era un fino caballero, hijo de estanciero,
muy vinculado con la aristocracia de entonces. Era muy sociable.
ALW 6. ¿Cómo era su esposa? ¿Que se sabía de ella?
ZCL Brigidita (como se la llamaba) era hija de un señor Salustiano Frías. Brigidita se casó
muy joven con un señor Fitte, de quien llevaba el apellido su hijo Carlos. Se
divorció al poco tiempo (no sé si ya había nacido el hijo) y luego se casó con López
Buchardo. Era querida por algunos y odiada por otros. En cierto modo ella
manejaba el ambiente musical. Muchos le tenían miedo porque era mala enemiga.
De ella hay infinidad de anécdotas. Por ejemplo, decía: "Cuando tengo que ir a un
lugar donde sé que no me quieren, me pongo más linda que nunca y entro
sonriendo y pisando fuerte".
ALW 7. ¿Cómo eran sus interpretaciones juntos?
ZCL Ella cantaba las canciones de su marido acompañada por él mismo, con una bonita
voz, no espectacular, muy camarística y muy graciosa. También cantaba muy bien
el repertorio francés, pero especialmente hacía las obras de los compositores
argentinos. Estrenaba las de los jóvenes alumnos y egresados del Conservatorio,
como [Alberto] Ginastera, [Angel] Lasala, [Abraham] Jurafsky, [Pedro] Sáenz, etc.
En su casa de la calle Canning (hoy Scalabrini Ortiz) se realizaban numerosas
reuniones sociales (cenas, cocktails) a las que concurría gente importante. Allí comió
Richard Staruss, Arturo Rubinstein, políticos, poetas, y ella presentaba jovenes
compositores e intérpretes. Hay que reconocer que era muy argentina e hizo
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mucho por la música de nuestra patria. Fue profesora en la Escuela de Música de la
Universidad de La Plata e Inspectora de Música de las escuelas primarias, donde el
jefe principal era Athos Palma.
ALW 8. ¿De los premios que ganó Carlos, por que crees que los ganó?
ZCL No recuerdo bien los premios que ganó López Buchardo, pero creo que tenía
méritos suficientes, y además...relaciones. Allison: era otra Argentina, muy pequeña
(en 1940 no llegábamos a 20 millones) con una sociedad porteña muy cerrada y
elitista, y el que no tenía relaciones no tenía recursos, comprendes? No olvides que
López Buchardo, fue fundador (junto con otros) de la Sociedad Nacional de Música
(hoy Asociación de Compositores) y de la Asociación Wagneriana. Los wagnerianos
eran todos profesionales muy distinguidos y ricos. Era común que hubieran ido a
estudiar a Alemania y a Francia. El pueblo pueblo no participaba de esas cosas.
ALW 9. ¿Cómo logró ver una opera estrenada a tan tierna edad?
ZCL No entiendo bien esta pregunta. "El sueño de Alma" no se estrenó en "tierna edad".
Ya era grande [33 años de edad], y la dirección del Colón estaba en manos de
señores como él: [Floro] Ugarte, [Athos] Palma, [Cirilo] Grassi Díaz, Ferriccio
Calusio, etc. Todo se desarrollaba en un círculo alto.
ALW 10. ¿Por qué crees que la Canción del carretero (u otra canción que puedas pensar)
llegó a ser tan famosa?
ZCL López Buchardo compuso muchas canciones sobre texto de poetas de la época. No
eran fáciles, especialmente para el pianista. Quizás la más sencilla es la “Canción
del Carretero,” que es muy criolla y se cantaba en las escuelas, lo mismo que la
“Vidala.” Piensa que era una vida muy diferente. No había TV y la radio no era
accesible para todo el mundo, de modo que la fama de esa canción fue a través de la
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escuela primaria. Los conciertos tampoco eran populares como ahora, más bien
eran reuniones sociales.
ALW 11. ¿Si tuvieras que dar algún consejo a los cantantes de mi país que quieren
interpretar las canciones de López Buchardo o de Argentina en general, que les
diría?
ZCL Si tuviera que dar un consejo a los cantantes de tu país o de cualquier otro de habla
inglesa, o alemana, o francesa...o japonesa, les diría que, ante todo, estudien
castellano, y luego que escuchen música argentina para captar el espíritu, tal como
lo han hecho siempre con la música alemana, o francesa, o española.
ALW 12. ¿Te acordás de los nombres de otros cantantes como ti misma que eran
buenos para cantar obras argentinas?
ZCL Muchas son las cantantes que han incluído en su repertorio las canciones de cámara
argentinas. Te citaré las que recuerdo de la primera mitad del siglo XX: Clara
Oyuela, María Pini de Chrestia, Graciela Berro Madero de Molina, Enriqueta
Basavilbaso de Catelin, Isabel Marengo, y otras que no me vienen a la memoria, y
en la segunda mitad del siglo, Myrtha Garbarini, Emilse Zulberti, Noemí Souza,
Amalia Bazán, Marisa Landi.
ALW 13. ¿Como era el compositor como administrador del conservatorio?
ZCL El Conservatorio no era difícil de administrar. Había poca gente, no como ahora, y
López Buchardo estaba muy bien secundado. Brigidita tenía mucho poder, y había
empleados que hacían los papeles. Él estaba mucho en su sala tocando el piano, y
atendía a la gente importante, profesores, etc.
ALW 14. ¿Quienes fueron los amigos mas fieles de Carlos?
ZCL Sus amigos eran muchos: [Floro] Ugarte, [Athos] Palma, Cunil Cabanellas (gran
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profesor de teatro), Enrique T. Susini...muchos.
ALW 15. ¿Tienes alguna anéctoda para compartir que no has compartido?
ZCL El maestro [Athos] Palma, que como todos tenía choques con Brigidita, decía: "No
puedo hacer nada contra ella porque me parece que perjudico a Carlitos." López
Buchardo era el típico argentino de la época, hijo de estanciero, estudiando y
disfrutando de la vida en París, generoso y gentil. En la misma época estaban
Ugarte y Palma, que no eran tan ricos, entonces él los invitaba a participar de sus
clases con Albert Roussel, y luego les pedía que le hicieran los deberes. ¿No es
gracioso?
ALW 16. ¿Qué se puede decir de la época en que desempeño su labor musical Carlos
López Buchardo?
ZCL Vuelvo a repetirte que en la época de L. B. era otro país. Menos gente y más
identidad. Los argentinos eran argentinos y amaban a su patria. Era la cultura de la
generación del 80, que fue la que hizo el país. La actividad cultural estaba muy
concentrada en Buenos Aires y algunos estaban investigando el folklore en el
interior, como [Manuel] Gómez Carrillo en Santiago del Estero. Ricardo Rojas con
su obra "Ollantay" había dado impulso a poner la atención en el interior. La prueba
son los ballets de Angel [Lasala] "Chasca Ñahui", de [Alberto] Ginastera "Panambí",
o "La flor del Irupé", no recuerdo el autor [Constantino Gaito], obras como "El Tarco
en Flor" de [Luis] Gianneo, y tantas otras. Y la música argentina ocupaba un lugar
que hoy ha perdido. La globalización y otras cosas de la época actual acabaron con
nuestra identidad, pero si Dios quiere la vamos a recuperar cuando se asienten las
turbulencias.
ALW 17. ¿Algo más quieres comentar?

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ZCL A López Buchardo y su generación se le debe la jerarquía que alcanzaron las
temporadas del Teatro Colón (que desgraciadamente hoy está muy decaído) y la
éxcelente preparación de profesores y alumnos de su época en lo referente a música.
Por ejemplo, mi madre, que se recibió de maestra en 1914, tuvo como profesor de
música a Carlos Pedrell, sobrino del célebre español Felipe Pedrell. Imaginate que
en su clase cantaban el solfeo “Lemoine” y “el Coro de las Hilanderas” del Buque
Fantasma de Wagner. Todo eso actualmente se ha perdido, y los chicos ni cantan,
solamente escuchan el rock de Charly García. Era la generación de López Buchardo
la que educaba musicalmente de otra manera.

Weiss 209
Appendix B
Letter of Permission
Weiss 210
Appendix C
Discography of Songs by Carlos López Buchardo (1881-1948)
The following is a discography of accessible recordings and the song titles included in each.
Anhelo. José Cura, tenor. Eduardo Delgado, piano. Compact disc. Paris: Erato Disques S.A.,
1998, 3984-23138-2. (“Canción del carretero”, “Canción de Perico”)
Argentine Songs, Volume I. Víctor Torres, tenor. Jorge Ugartemendía, piano. Compact disc.
Buenos Aires: Testigo, 1997, TT10112. (“Jujeña”, “Cancion del carretero”, “Vidala”,
“Desdichas de mi passion”, “Los puñalitos”, “Vidalita”, “Cancion de ausencia”,
“Cancion de Perico”, “Cancion del nino pequeñito”, “Malhaya la suerte mia”, “Oye
mi llanto”, “Fescas sombras de sauce”, “Si lo hallas”, “Prendiditos de la mano”)
Homenaje a Conchita Badía. Conchita Badía, soprano. Carlos Manso, piano. Compact disc.
Buenos Aires: Piscitelli Producciones, 1997, P-009. (“Vidala”)
Homenaje a Delia Rigal. Delia Rigal, soprano. Harold Fink, piano. Compact disc. Buenos
Aires: Piscitelli Producciones, no date, P-005. (“Prendiditos de la mano”, “Canción
del carretero”)
Homenaje a Helena Arizmendi. Helena Arizmendi, soprano. Compact disc. Buenos Aires:
Piscitelli Producciones, 1995, P-007. (“Vidala”)
Homenaje a Isabel Marengo. Isabel Marengo, soprano. Compact disc. Buenos Aires: Piscitelli
Producciones, 1997, P-008. (“Canción del carretero”)
López Buchardo y otros: canciones argentines de cámara. Myrtha Garbarini, soprano. Víctor
Narke, bass. Enqrique Ricci, piano. LP. Buenos Aires: Municipalidad de la Ciudad
de Buenos Aires, Secretaría de Cultura, L.S.1 Radio Municipal de la ciudad de
Buenos Aires, no date, MCBA-0008.

Weiss 211
Música vocal de cámara argentina. Diana Arzoumanian, soprano. Roberto Caamaño, piano. 2
compact discs. Buenos Aires: Academia Nacional de Bellas Artes and Facultad de
Artes y Ciencias Musicales de la Universidad Católica Argentina, ca. 1993. (“Si lo
hallas”, “Oye mi llanto”, “Prendiditos de la mano”)

Weiss 212
Appendix D
Recital Program
Weiss 213
University of Portland
Department of Performing and Fine Arts Presents
The Songs of
Carlos López Buchardo
(1881-1948, Argentina)
Allison Weiss, soprano
Naomi LaViolette, piano
Prendeditos de la mano Miguel A. Camino
Si lo hallas Miguel A. Camino
Oye mi llanto Miguel A. Camino
Vidalita Leopoldo Lugones

Los puñalitos Leopoldo Lugones
Desdichas de mi pasión Leopoldo Lugones
Vidala Gustavo Caraballo
Jujeña Victoriano Morales
INTERMISSION
Canción del carretero Gustavo Caraballo

University of Portland String Ensemble
Pampeana Gustavo Caraballo

Querendona Gustavo Caraballo
Canción de ausencia Gustavo Caraballo
Hormiguita Enrique Amorim

Canción de Perico Fryda Schultz de Mantovani
Canción del niño pequeñito Ida Réboli
ABOUT THE PERFORMERS
ALLISON WEISS (BM, University of Puget Sound, 2000) is in her final semester of the M.A. in Music at the
University of Portland. In 2003, she founded the Latin American Art Song Alliance (www.laasa.org) to
promote the lesser-known song repertoire of Latin America. Next fall, she begins a M.A. in Latin American
Studies at the University of Chicago.
NAOMI LAVIOLETTE (MM, Piano Performance, Portland State University, 2001; BM, University of Puget
Sound, 2000) is a versatile piano soloist, accompanist, jazz musician, and college music professor. She
currently teaches at Clackamas Community College.
UNIVERSITY OF PORTLAND STRING ENSEMBLE is comprised of Christina Schulz and Cynthia

Ruggles on first violin, Steve Hsu and Rachelle Jessup on second violin, Laura Saddler and Hannah
Hillebrand on cello, Zach Heath and Ashley Cantlon on viola, and Rob Busey on bass (from left to right).
SONG TRANSLATIONS
Prendeditos de la mano. Here they come in silence, Felicinda and her Ciriaco, grasped at the hand. What could
have happened between the two sweethearts? “Felicinda, give me a kiss,” was Ciriaco’s request. And they kissed in silence,
their hands clutched. And so confused it left them, they returned in silence, grasped at the hand.
Si lo hallas. Little stream, I would follow you in search of the absent one. If you find him, kiss him a thousand times
for me—on his hands if he touches you and on his lips if he drinks from you.
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Oye mi llanto. Since you spurn my love, listen to my cry, to what I sing. Why do you not come when my love entreats
you? Don’t mock my sad song. Since your love is a dream, this song will reach your ears. I sing because I love you! Awake
and hear my cry.
Vidalita. Wise men may know how to heal me of my sickness, but in vain they prescribe their herbs. With one glance of
you, I am sick again and would rather not get better. Like the hummingbird that picks at the flower, you pick at my wound
from which spills honey. There is no better medicine for me than that hummingbird that picks at me so.
Los puñalitos. In the interest of these couplets, may every syllable fall like a fragile string of pearls, so that my message
of love will take flight in your breast, so that these verses will distill upon you the soft doctrine of lovers, and so that they
might rhyme like kisses on your lips of fire, kisses that are for their cruelness so much the more exquisite, even though
they upset all good sense and calm with the biting impact of little darts that pierce the soul.
Desdichas de mi pasión. My bad luck with love has no limits. Less deep is the ocean and the ocean has no end. And
just as it isn’t reasonable to reduce the ocean, there is no reducing my bad luck with love. In vain I try to compare the
smallness of the ocean with the greatness of my passion. My lovers are like wilted flowers and my heart cries out, captive
in the chains of your rejection.
Vidala. It’s raining in the country. It’s raining in the city. It drizzles in my soul. The stars beg their pardon and leave
because your eyes sparkle more than they. Fresh breezes of my land where there is peace! Tell them that I am dying far
from her soul. On the ridges, the country man goes cursing, like the sad echo of my restless love. My guitar sleeps silently
and alone in the harmony of the bitter cold night.
Jujeña. Crispness of the custard apple tree, blossom of the Abertuya, scent of the Amancay and the Puya Puya.
Mountain breezes that perfume the corners of your mornings. Warbling of the Charchaleros and the Moorish Queens: all
nature says thank you for your beauty. Mountain sunsets fall over rivers and white lilies. From the mysterious canyon
walls comes a deep and silent mourning. The Quena flute sings her eternal legend of love and pain. The afternoon falls
asleep over your fields of gold. Blossom of the Agapanto… I sing because I love you, my sweetheart, for this reason I sing!
Canción del carretero. The sun sets over the mountain ridges, the swallows have returned, and along the path of the
green fields a cart driver goes singing: “Soul of my soul, how I cried beneath this sun-filled sky when you waved at the gate
goodbye. Ah, sweetheart! Return to my love. Without you, my life cannot exist. The honeysuckle has withered and the
larks are silent. The house is a mess and the willows weep over the pond because your lips no longer sing.” The sun has set,
the evening dies, and the woeful song of the cart driver goes on.
Pampeana. The countryside sleeps and the chilly breezes blow. The heavens are decorated with the miracle of ignorant
stars and the prairies echo the voices of farmers, of plains, and of brush. The sad willow tree tells the forest of a sad legend.
It emerges tentatively, the long shadow of a heart. At last her complaint was told, her sad legend: I was the most beautiful
Pampa girl with black eyes and rustic braids. I kissed the poets and died of sadness, for I was the sad life of which they
sang. And still today the waves sing and the forests sob. I was the girl who died of sadness. I was the girl who loved the
poet.
Querendona. If I love you too much, you ask? Days, months, years and I love you more. I carry your name on my lips
and love you so much I’m half crazy. Deep as the valley, fresh as the river, pure as the skies is my love. From the first day
I met you, the laughter and the dream, I lost it all. If I love you too much… forget the question. God put us on the planet to
be together.
Canción de ausencia. As the Autumn winds groan and the oceans murmur, this pain in my soul will not cease. In my
solitude the pain blossoms and cries out. Ay! The light of yesterday’s skies that watched her leave, never to return! Ay!
My Pain! Like a fleeting shadow, her memory cannot be erased from my soul. Ay! That those skies might hear once again
my final adieu, like an echo lost in the evening of my hope that died. Ay! My Pain! In the starless night are heard the
sounds of a traveler that repeats again his song of love… and so blossoms once more my hidden pain.
Hormiguita. There were two little ants, small and black, climbing among the leaves, crossing through the lawn on the
path through their jungle. I don’t know what they say, only that they walk happily with their loads. Want to be a little ant
and walk through life unseen and unheard? With our hands clasped together, let’s go quietly through life like those two
little ants, small and black.
Canción de Perico. Perico, Perico doesn’t want to be rich! Doesn’t want to be wise or be king. What’s this kid want,
Perico, Perico? To play in the forest, to laugh, and to run. With tongue jutting out, to croak like a toad, to jump in the
water, and to swim. Oh, Perico. Doesn’t want to be wise, nor rich, nor king…but wants to laugh and to sing. Perico, Perico!
Canción del niño pequeñito. The tiny baby lays awake in the cradle; the sun has hid itself and the moon arises.
Everyone tries not to disturb the little one, for whom I will make a necklace of dew and a diamonds from heaven. Come
heaven and make him a beautiful night. I will make him jewels from the stars. Now everything has calmed down. Not a
sound. The little baby has fallen asleep.
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Appendix E
Index to Songs and their Locations
Entry Song Title Publisher Location

1 Ave Maria Not indicated LBV
2 Silence Breyer Hermanos AMP
3 Les Roses de Noel G. Ricordi & Co. UCA
4 Extase Manuscript Score not found
5 Sé… Manuscript Score not found
6 Vorrei Unknown Score not found
7 La Mort des Oiseaus Unknown Score not found
8 Scordarmi di te..!!?? Not indicated CNM
9 Le voyage Bibelot Magazine Score not found
10 Salve Oh, Reina Gloriosa Unknown Score not found
11 Feuillage du cœur Manuscript Score not found
12 Le paravent Unknown Score not found
13 Lassitude Manuscript SMO
14 Era una rosa Manuscript SMO
15 Une fleur Manuscript SMO
16 Reflets Manuscript SMO
17 Si para un fino amante Manuscript SMO
18 Petit Ynga Ricordi Americana UCA
19 Nocturno Manuscript SMO
20 A toute âme qui pleure… Manuscript ZCL
21 Hormiguita G. Ricordi & Co. UNLP
22 Para flor de durazno Manuscript Score not found
23 Le para vent Manuscript Score not found
24 Tránsito Manuscript Score not found
25 La canción desolada G. Ricordi & Co. LBV
26 Vidalita G. Ricordi & Co. UCA
27 Los puñalitos G. Ricordi & Co. UCA
28 Desdichas de mi pasión… G. Ricordi & Co. UCA
29 Vidala G. Ricordi & Co. UCA
30 Canción del carretero G. Ricordi & Co. UCA
Weiss 216
Entry Song Title Publisher Location

31 Jujeña G. Ricordi & Co. UCA
32 Himno de la UNLP Ricordi Americana UCA
33 Pampeana Ricordi Americana AMP
34 Prendeditos de la mano G. Ricordi & Co. UCA
35 Si lo hallas G. Ricordi & Co. UCA
36 Frescas sombras de sauces G. Ricordi & Co. UCA
37 Oye mi llanto G. Ricordi & Co. UCA
38 Malyaha la suerte mia G. Ricordi & Co. UCA
39 Pobres jazmines criollos Ricordi Americana AMP
40 Vals Manuscript Score not found
41 Himno de la Cruz Roja Argentina G. Ricordi & Co. UCA
42 La Doble Cruz G. Ricordi & Co. CNM
43 Una rosa para mi rosa Unknown Score not found
44 Este pajarito Ricordi Americana UCA
45 La casita del hornero Ricordi Americana UCA
46 El jardín de mi Escuela Ricordi Americana UCA
47 Mi señorita Ricordi Americana UCA
48 El patio Ricordi Americana UCA
49 El canario Ricordi Americana UCA
50 El arco iris Ricordi Americana UCA
51 Querendona Ricordi Americana UCA
52 Copla criolla Ricordi Americana UCA
53 Porteñita G. Ricordi & Co. UCA
54 Lamento (Mírala como ha venido) Ricordi Americana UCA
55 Canta tu canto, ruiseñor y vuela… Ricordi Americana UCA
56 Canción de Perico Ricordi Americana UCA
57 Canción del niño pequeñito Ricordi Americana UCA
58 Canción de ausencia Ricordi Americana UCA
59 Caminito de Flores Manuscript Score not found
60 Canción del Estudiante Manuscript Score not found
61 Los camperos Manuscript Score not found
62 Canción del trabajo Manuscript Score not found
Weiss 217
Location abreviations:
LBV = Lucio Bruno Videla, Céspedes 2387 Piso 17 Dpto "E", 1428 Capital Federal, Buenos
Aires, Argentina, lbvidela@yahoo.com.ar
AMP = Ana María Portillo, Ana María Portillo, Barrio Mutual Banco, Manzana "O" Casa 1,
5400 San Juan, Argentina, amportillo@metodosconsultora.com
UCA = Universidad Católica Argentina, Biblioteca de la Facultad de Artes y Ciencias

Musicales, Avenida Alicia Moreau de Justo, 1500 Puerto Madero, Buenos Aires,
Argentina, bibmusi@uca.edu.ar
CNM = Conservatorio Nacional Superior de Música "Carlos López Buchardo", Avenida

Córdoba 2445, 1120 Capital Federal, Buenos Aires, Argentina, Tel 011 54 11 4961-
0161/4736 Fax 011 54 11 4961-9618
SMO = Suzana Montes de Oca, 35 Nº 878 Dpt. A, Entre 12 y 13, 1900 La Plata, Argentina,
susanagraciela1@hotmail.com
ZCL = Zulema Castello de Lasala, Junin 340, 5ºA, 1026 Capital Federal, Buenos Aires,
Argentina, zulema@sinectis.com.ar
UNLP = Universidad Nacional de La Plata, Escuela Superior de Bellas Artes, Diagonal 78,
Número 680, 1900 La Plata, Argentina, Tel 011 54 21 423-6598/421-2456/423-5756,
fbadecanato@infovia.com.ar
Publisher information:
1. Breyer Hermanos is no longer in business and the current owner of their catalog is
unknown.
2. G. Ricordi & Co., a.k.a. Ricordi Americana, S.A.E.C.

Tte. Gral. Juan D. Perón 1558
1037 Capital Federal
Buenos Aires
Argentina
Tel 011 54 11 4371-9841/42/43
Fax 011 54 11 4371-8791
info@ricordimusica.com.ar
Weiss 218
Appendix F
Resources for the Study of Argentine Art Song
Associación Argentina de Musicología, México 564 (at. Y. Velo), 1097 Capital Federal,
Buenos Aires, Argentina. http://www.aamusicologia.cjb.net
aamusicologia@yahoo.com
Archivo del Teatro Colón, Viamonte 1168, 1010 Capital Federal, Buenos Aires, Argentina.
Tel 011 54 11 4378-7137, biblioteca@teatrocolon.org.ar
Argentmúsica. Estela Telerman, Beruti 3676, 3º B. 1425, Capital Federal, Buenos Aires,
Argentina. Tel/Fax 011 54 11 4832-4097 argentmusica@fibertel.com.ar
Biblioteca Musical del Centro Cultural Recoleta, Junín 1930, 1° Piso, Capital Federal,
Buenos Aires, Argentina. Tel 011 54 11 4803-4051
Biblioteca Nacional, Agüero 2480, 1425 Capital Federal, Buenos Aires, Argentina. Tel 011 54
11 4806-4684/4692/3
Biblioteca de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires, Puán 480,

1406 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4432-0840/2497 Int.
173
Biblioteca de Música Argentina “Blas Parera” de SADAIC, Lavalle 1547, 1048 Capital
Federal, Buenos Aires, Argentina. Tel 011 54 11 4410-4867/4446-2730
Casa Piscitelli, San Martín 450, 1004 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11
4394-1992 Fax 011 54 11 4394-2376 info@piscitelli.com
Conservatorio Municipal de Música “Manuel de Falla”, Sarmiento 1551 6° Piso, Capital

Federal, Buenos Aires, Argentina. Tel 011 54 11 4440-5898/4446-1251
Conservatorio Nacional Superior de Música "Carlos López Buchardo", Avenida Córdoba

2445, 1120 Capital Federal, Buenos Aires, Argentina. Tel 011 54 11 4961-0161/4736
Fax 011 54 11 4961-9618
Conservatorio Provincial “Gilardo Gilardi”, Calle 49 No. 342 entre 1 y 2, 1900 La Plata,
Argentina. Tel 011 54 0221 4210-2453
Castello de Lasala, Zulema. Junin 340, 5ºA, 1026 Capital Federal, Buenos Aires, Argentina.
zulema@sinectis.com.ar
D.I.M.I. (Distribuidora Internacional de Música Impresa), Montevideo 181, 1019 Capital

Federal, Buenos Aires, Argentina. Tel 011 54 11 4371-8103 dimi@sinectis.com.ar
Disquería/Librería Zival’s, Avenida Callao 395, 1022 Capital Federal, Buenos Aires,
Argentina. Tel 011 54 11 4371-7500/4374-0675
Weiss 219
Fundación Ostinato, Dora De Marinis, http://www.ostinato.org

dmarinis@supernet.com.ar
Gourmet Musical, Leandro Donozo, http://www.gourmetmusical.com,

mensajes@gourmetmusical.com
Instituto Nacional de Musicología “Carlos Vega”, México 564, 1097 Capital Federal, Buenos
Aires, Argentina. Tel. 011 54 11 4361-6520/6013 inmuvega@ciudad.com.ar
http://www.inmuvega.gov.ar/index2.html
Museo Histórico Nacional, Defensa 1500, 1143 Capital Federal, Buenos Aires, Argentina.
Tel 011 54 11 4307-4457/3157 Fax 011 54 11 4307-1182
Música Clásica Argentina, Ana María Móndolo, http://www.musicaclasicaargentina.com

musica@musicaacademica.com
Ricordi Americana, S.A.E.C., Tte. Gral. Juan D. Perón 1558, 1037 Capital Federal, Buenos
Aires, Argentina. Tel 011 54 11 4371-9841/42/43, Fax 011 54 11 4371-8791,
info@ricordimusica.com.ar
Universidad Católica Argentina, Biblioteca de la Facultad de Artes y Ciencias Musicales,

Avenida Alicia Moreau de Justo, 1500 Puerto Madero, 1107 Capital Federal,
Buenos Aires, Argentina. bibmusi@uca.edu.ar
Universidad Nacional de La Plata, Escuela Superior de Bellas Artes, Diagonal 78, Número
680, 1900 La Plata, Argentina. Tel 011 54 21 423-6598/421-2456/423-5756
fbadecanato@infovia.com.ar
Weiss 220
Appendix G
Index to Songs in Alphabetical Order
Song Title Entry Composed Published Pages

A toute âme qui pleure… 20 1 Jan 1918 unpublished 25, 105
Ave Maria 1 ca. 1896 unknown 5, 108
Caminito de Flores 59 1942 unknown 83, 180
Canción de ausencia 58 1942 1943 81, 159
Canción de Perico 56 1940 unknown 79, 172
Canción del carretero 30 ca. 1924 1925 40, 123
Canción del Estudiante 60 unknown unpublished 84, 180
Canción del niño pequeñito 57 1940 1949 80, 173
Canción del trabajo 62 1948 unpublished 86, 176
Canta tu canto, ruiseñor y vuela… 55 1940 1949 78, 158
Copla criolla 52 1938 1940 74, 155
Desdichas de mi pasión… 28 ca. 1924 1925 36, 120
El arco iris 50 1937 1938 70, 171
El canario 49 1937 1938 69, 171
El jardín de mi Escuela 46 1937 1938 65, 169
El patio 48 1937 1938 67, 169
Era una rosa 14 30 Oct 1915 unpublished 18, 148
Este pajarito 44 1937 1938 63, 167
Extase 4 before 1899 unknown 8, 87
Feuillage du cœur 11 1915 unknown 15, 89
Frescas sombras de sauces 36 1931 1936 50, 140
Himno de la Cruz Roja Argentina 41 1935-36 1936 58, 177
Himno de la UNLP 32 1927 1930 44, 176
Hormiguita 21 1919 1925 26, 165
Jujeña 31 ca. 1924 1925 42, 135
La canción desolada 25 ca. 1924 1925 31, 150
La casita del hornero 45 1937 1938 64, 168
La Doble Cruz 42 1935-36 1936 60, 177
La Mort des Oiseaux 7 ca. 1903 unknown 11, 87
Lamento (Mírala como ha venido) 54 1938 unknown 77, 156
Weiss 221
Song Title Entry Composed Published Pages

Lassitude 13 Sep 1915 unpublished 17, 98
Le para vent 23 ca. 1924 unknown 29
Le paravent 12 1915 unknown 16, 89
Le voyage 9 unknown 1903 13, 87
Les Roses de Noel 3 before 1899 1924 7, 95
Los camperos 61 unknown unpublished 85, 181
Los puñalitos 27 1921 1925 34, 118
Malyaha la suerte mia 38 1931 1936 53, 142
Mi señorita 47 1937 1938 66, 169
Nocturno 19 15 Mar 1917 unpublished 24, 150
Oye mi llanto 37 1931 1936 52, 140
Pampeana 33 1927 1949 46, 152
Para flor de durazno 22 1921 unknown 28, 180
Petit Ynga 18 20 Feb 1917 1949 23, 103
Pobres jazmines criollos 39 1933 1949 55, 181
Porteñita 53 unknown 1936 75, 182
Prendeditos de la mano 34 1931 1936 48, 137
Querendona 51 1938 1938 72, 153
Reflets 16 11 Jan 1916 unpublished 21, 102
Salve Oh, Reina Gloriosa 10 8 Oct 1911 unknown 14, 88
Scordarmi di te..!!?? 8 unknown unknown 12, 110
Sé… 5 before 1899 unknown 9
Si lo hallas 35 1931 1936 49, 138
Si para un fino amante 17 21 Apr 1916 unpublished 22, 148
Silence 2 before 1899 unknown 6, 93
Tránsito 24 1924 unknown 30, 180
Una rosa para mi rosa 43 1936 unknown 62, 180
Une fleur 15 19 Dec 1915 unpublished 19, 101
Vals 40 before 1933 unpublished 57, 180
Vidala 29 ca. 1924 1925 38, 122
Vidalita 26 1921 1925 32, 116
Vorrei 6 ca. 1903 unknown 10

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A GUIDE TO THE SONGS OF

CARLOS LÓPEZ BUCHARDO (1881-1948) ARGENTINA

B.M., University of Puget Sound, 2000

submitted to the faculty of the Graduate School

of The University of Portland

in partial fulfillment of the requirements for the degree of

Department of Performing and Fine Arts

during the entirety of my Master’s program.

Carola, and Miguel Hernandez.

Without the auspices of the Fulbright Commission in Argentina in 2001, I might

extended family members—a better team of cheerleaders was never to be found.

disseminate the works of Argentine composers.

nationalism. Composer of piano, vocal, and orchestral works, his innovation of an

Survey of Literature ………………………………………………………………………………viii

Table of Examples ………………………………………………………………………………….xi

Table of Illustrations ………………………………………………………………………………xv

Chapter 1: Catalog of Songs by Carlos López Buchardo (1881-1948) ………………………….1

Chapter 2: The Songs in French and Italian ……………………………………………………..86

Chapter 3: The Songs of Folk Origin ……………………………………………………………115

Chapter 4: The Songs of Love and Betrayal ……………………………………………………145

Chapter 5: The Songs for Singing to Children …………………………………………………162

Chapter 6: The Songs of Civic Duty …………………………………………………………….175

Chapter 7: The Lost Songs and Other Vocal Works …………………………………………..178

Chapter 8: Carlos López Buchardo’s Musical Style …………………………………………..184

Works Cited …………………………………………………………………………..………….194

Appendix A: Correspondence with Zulema Castello de Lasala …………………………….203

Appendix B: Letter of Permission ……………………………………………………………....209

Appendix C: Discography of Songs by Carlos López Buchardo …………………………….210

Appendix D: Recital Program……………………………………………………………………212

Appendix E: Index to Songs and their Locations………………………………………………215

Appendix F: Resources for the Study of Argentine Art Song ………………………………218

Appendix G: Index to Songs in Alphabetical Order …………………………………………220

development in Argentina followed by specialized training in Europe (principally Paris),

involvement in the organization and administration of Argentine musical institutions, and

works of sadness, joy, love, and heartbreak.

Argentina’s identity and were thus applauded as major contributions to Argentine

could be considered examples of Argentine musical nationalism. The remaining two-thirds

designed for civic purposes.

Appendix G to facilitate cross-referencing. Those wishing to research the topic of Argentine

Castello de Lasala in Appendix A. All English translations of the citations included in

contextualize the composer’s output relative to European musical influences while

musical style or song forms.

thoughts about the songs’ subject matters.

e Hispanoamericana (1999-2002) are still the only catalogs in print.

Deborah Schwartz-Kates’ monumental dissertation, “The Gauchesco Tradition as a

sobre la canción de cámara argentina” (1943).

context of Argentina’s larger musical history (see Arizaga, Enciclopedia de la música

la construcción de la intentidad”, 1996; Plesch, “También mi rancho se llueve”, 1998; Schiuma,

Música y músicos argentinos, 1943; Veniard, Aproximación a la música académica argentina,

Giacobbe’s book on Julián Aguirre (1945), Jonathan Kulp’s dissertation, “Carlos

Vocal Works” (1997).

collections, and publishers as outlined in Appendix E.

Example 1. Silence, measures 1-5 …………………………………………………………………93

Example 2. Silence, measures 12-15 ………………………………………………………………94

Example 3. Silence, measure 11……………………………………………………………………94

Example 4. Les roses de Noël, measures 19-27…………………………………………………….96

Example 5. Les roses de Noël, measures 1-6 ………………………………………………………97

Example 6. Les roses de Noël, measures 8-10 …………………………………………………….98

Example 7. Lassitude, measures 17-20…………………………………………………………….99

Example 8. Lassitude, measures 23-32 …………………………………………………………..100

Example 9. Une fleur, measures 73-75 …………………………………………………………..102

Example 10. Une fleur, measures 42-45 …………………………………………………………102

Example 11. Reflets, measures 1-9 ……………………………………………………………….103