History of Hymns: 'Gusten y Vean / Taste and See'

"Gusten y Vean, Taste and See"
by Tony Alonso

Gusten y vean, gusten y vean
qué bueno es el Señor, qué bueno es el Señor.
Taste and see,
taste and see the goodness of the Lord.
Vengan los hambrientos: ¡Gusten y vean!
Come all who hunger: Taste and see the goodness of the Lord,
qué bueno es el Señor.
© 2008 GIA Publications, Inc. Used by permission. All rights reserved. 

Hymns have long served as bridges across cultures, languages, and traditions, inviting believers from all walks of life to join in worship. “Gusten y Vean/Taste and See” by Tony Alonso (b. 1980), is one such hymn—a simple yet profound expression of God’s goodness that seamlessly unites Spanish and English-speaking congregations in song.

The refrain draws directly from Psalm 34:8 (NIV): “Taste and see that the Lord is good; blessed is the one who takes refuge in him.” Often associated with the Communion meal, this verse invites trust in God’s faithfulness and encourages worshipers to experience that trust personally. The refrain’s lyrics retain the psalm's original message—"Gusten y vean qué bueno es el Señor. Dichoso aquel que en él confía" ("Taste and see the goodness of the Lord. Blessed is the one who trusts in him"). These words function as both an invitation and a testimony, calling the congregation to acknowledge and embrace God's goodness.

The verses/estrofas are sung responsorially between the cantor and the congregation. They invite the marginalized to participate in the Eucharist: hambrientos/hungry; sedientos/thirsty; pobres/poor ones; dolientos/grieving; sufren/suffering; casados/weary. All are welcome at the mesa/table.

Set to a gentle, flowing melody, the hymn is especially effective in worship due to its musical accessibility. The stepwise motion of the tune allows even those unfamiliar with it to sing along easily—an essential quality for music used during Communion. Many congregations alternate between Spanish and English, reinforcing the idea that God’s goodness transcends language and cultural boundaries. Whether accompanied by guitar, piano, or organ, the hymn adapts well to different worship settings, making it a versatile choice for churches of diverse backgrounds.

This balance of theological depth and musical simplicity is characteristic of its composer, Tony Alonso. Alonso, a Cuban-American liturgical musician and scholar, grew up in a bilingual environment, which shaped his inclusive approach to worship music. His education includes a bachelor of music in choral conducting from Northwestern University, Evanston, Illinois (2002), a master of arts in theology from Loyola Marymount University, Los Angeles, California (2011), and a PhD in religion from Emory University, Atlanta (2017). He holds the Aquinas Associate Professor of Theology and Culture position at Candler School of Theology, Emory University.

His compositions are widely used in Catholic and Protestant churches, especially in bilingual communities where Spanish and English speakers worship side by side. Alonso’s ability to write music that feels natural in both languages has left a lasting impact on contemporary hymnody.

Since its publication, “Gusten y Vean” has found a cherished place in Communion services and beyond. Its repetition encourages contemplation; its message remains timeless, and its adaptability ensures continued use. The hymn reflects a growing movement in modern worship—music that welcomes, unites, and mirrors the rich diversity of the church. By setting scripture to a melody that is both inviting and rooted in tradition, Alonso offers worshipers of all backgrounds the opportunity to taste and see the goodness of the Lord.

SOURCES:

Carlton R. Young/C. Michael Hawn, “Tony Alonso,” The Canterbury Dictionary of Hymnology. Canterbury Press, http://www.hymnology.co.uk/t/tony-alonso.

Verses marked NIV are from the Holy Bible, New International Version®, NIV® Copyright ©1973, 1978, 1984, 2011 by Biblica, Inc.® Used by permission. All rights reserved worldwide.

Jimmy Hademenos is a freshman music education major at the University of North Texas (Denton), where he studies sacred music with Drs. Joshua Taylor and Michael Conrady.