G.E. 22 The Child Prodigies of Buenos Aires 1932-1958 CD $17.00
In the first two decades of the 20th century, Buenos Aires became host to the students of Francisco Tarrega. First Domingo Prat in 1908, followed by Miguel Llobet in 1910, Josefina Robledo in 1914 & Emilio Pujol in 1919. Their ability to teach & inspire was met with an intense desire on the part of the children of the middle and upper classes to become virtuosos. The most common situations would be a six year old playing Sor, Aguado & Tarrega in a hotel & 15 to 18 year olds performing on radio.
Maria Angelica Funes was one of the 17 year olds performing on radio, as well as the first female classical guitarist in Argentina to play in a full length color film, "Lo que paso el Reynoso".
Maria Luisa Anido is the most well known artist presented here. Miguel Llobet (her 3rd maestro, that was a student of Tarrega) called her a revelation.
Lalyta Almiron was six years old performing in a hotel, and just three and a half years later studying with Agustin Barrios for a period of five months. In 1931 at the age of 17, she triumphed as the first Argentine guitarist to conquer the Madrid concert audience, and had complete pages devoted to her success in the "A.B.C." newspaper.
Blanca Prat was born in 1925 to Carmén & Domingo Prat, & had not studied a sufficient time to be included in her father's book, Diccionario de Guitarristas published in 1934. At the age of 16, when the oldest of the non commercial recordings presented here was made, her ability could be assessed as someone who had practiced for decades. Wonderful environments work miracles.
Atahualpa Yupanqui acheived a world class reputation as an Argentine folkloric guitarist. In his youth he studied with Bautista S. Almiron, father of the child prodigy, Lalyta, mentioned above.
Eduardo Bensadon was a student of Luis Veron, beginning in the 1920's. The two untitled non commercial recordings presented here were made in 1942, just a few years before he began to publish his works with Ricordi Americana.
Jose Torchia performs an Abel Fleury composition recorded in 1946 on a "fono postale"- a non commercial recording which was flexible and could be sent through the mail, without breakage.
Mario Pardo is included here because of the extraordinary guitar accompaniment. Three times within the song "El Copihué Rosado", there is a tremolo section / with bass line, that will remind Agustin Barrios aficionados of his pieces "Contemplacion" & Un Sueño en la Floresta".