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Segovia & His Contemporaries Vol.11: $59.95

Guitarists of the Rio de la Plata 3 CDs and 1 DVD


Ricardo Munoz's dedication to his exhaustive Historia de la Guitarra (Buenos Aires, 1930) claimed, with no exaggeration that Argentina (and the Rio de la Plata region) was the "premier bastion" of the guitar in the first decades of the twentieth century. Below is a brief sketch of its evolution into the centre of classical guitar activity.

The six string single strung classical guitar came to Argentina early in the nineteenth century. The Italian guitarist Esteban Massini (1778-1838), arrived to Argentina in 1822. Eight years later the poet Esteban Echeverria returned from his European studies, bringing with him the teachings of Sor and Aguado. Many others followed, including such pivotal figures as Gaspar Sagreras (1838-1901) in 1860, Carlos Garcia Tolsa (1858-1905) in 1885, and Antonio Jimenez Manjon (1866-1919) in 1893. Consequently, native guitarists also began to flourish, prominently among them, Juan Alais (1844-1914). Finally, of the disciples of Francisco Tarrega, the father of the modern classical guitar, arrived. Miguel Llobet (in 1910), Emilio Pujol, and Josefina Robledo came for extended periods to perform and teach. Others settled permanently in Buenos Aires, including Domingo Prat (first visit in 1908), and Hilarion Leloup (1876-1939) in 1912, establishing schools and academies that at their height provided instruction to over five thousand students, laying the foundation for an immense flowering of young virtuosi.

The rise of the classical guitar in Uruguay ran a parallel course. Antonio Saenz, from Seville, set out his teaching shingle in 1829. A number of guitarists came in exile from Buenos Aires to escape the dictatorship of Juan Manuel de Rosas, and others ventured to Argentina to study with Massini. Of course, Tarrega's disciples came too to perform, and others, such as Conrado Koch, settled as teachers. The consequences for Montevideo were in close alignment with those for Buenos Aires - the development of a solid core of brilliant young performers, from Isaias Savio and Julio Martinez Oyanguren to Abel Carlevaro. It was no wonder that Andres Segovia, seeking sanctuary from the vicissitudes of the European scene, came to live in Montevideo in 1937.

By the time Munoz published his Historia de la Guitarra in 1930, the Rio de la Plata had become the central axis for classical guitar activity. Journals were devoted to the guitar, notably Juan Carlos Anido's La Guitarra in 1923 and the Revista Musical Ilustrada "Tarrega" in 1924. The publisher Francisco Nunez's Antigua Casa Nunez 1931 Nuevo Catalogo de Metodos y Obras Musicales ran to108 pages! Besides the imported Spanish guitars of Torres and his school, including Enrique Garcia and Francisco Simplicio, native builders, such as Rodolfo Camacho Viera (1887-1973), constructed impressive instruments.

The Rio de la Plata continues to be a fountainhead for the classical guitar. A glance at today's leading performers and composers - Jorge Morel, Eduardo Fernandez, Jorge Cardoso, Cacho Tirao, Alvaro Pierri, to name but a few-reflects its continuing preeminence.

In this golden age of the guitar, recording activity was remarkably intense, and from the wealth of recordings available, a judicious selection had to be made. The artists have been divided into three groups-classical, folkloric, and popular. The divisions are not absolute, though, since their repertoires were remarkably fluid. There is no contradiction in observing the great classical guitarist Maria Luisa Anido playing a triste or a gato along with Rameau and Rodrigo, or Julio Martinez Oyanguren, noted for his interpretations of the purely classical repertoire, assaying a pericon, an estilo, or a vidalita. The tango virtuoso Jose Maria Aguilar performed works from the classical repertoire, and the folkloric guitarist Abel Fleury was equally renowned as a classical guitarist.

The first paragraph of the extensive liner notes mentions my Annotations DVD lecture, and on the inside back cover the use of two tracks by Lalyta Almiron from the FFSI archive is mentioned.

The selections are:

CD 1
Agustin Barrios (1928)
Barrios: Romanza Odeon 200-A
Barrios: Aire Popular Paraguayo Odeon 200-B
Bach, J.S:. Loure Odeon 201-A
Barrios: Luz Mala Odeon 201-B
Tarrega, F.: Capricho Arabe Odeon 202-A
Beethoven, L.: Minuet Odeon 202-B
Barrios: Danza Paraguaya Odeon 203-A
Barrios: Cueca Odeon 203-B
Barrios: Aconquija Odeon 204-A
Barrios: Junto a tu Corazon Odeon 204-B
Barrios: Maxixe Odeon 206-A
Barrios: Mazurka-Sarita Odeon 206-B
Schumann, R.: Traumerei Odeon 207-A
Conceicao:Tarantella Odeon 207-B
Barrios: Souvenir d'un reve Odeon 208-A/B

Nelly Ezcaray (1941-1944)
Pinero, Geronimo Bianqui: Carnavalito RCA Victor 68-1849-A
Villafane, M. Acosta:El Borrachito(Bailecito) RCA Victor 68-1849-B
Sor, F.: Minuet Victor 39393-A
Tarrega, F.: Danza Mora (1st version) Victor 39393-B
Tarrega, F.: Danza Mora (2nd version) RCA Victor 68-2201-A
Tarrega, F.: Capricho Arabe RCA Victor 68-2201-B
Ross: Zapateado Victor 39423-B
Malats: Serenata Espanola Victor 39423A

Miguel Llobet (1925)
Quijano, P.: Estilo popular Odeon 196-045-B
Ponce, M:. Dos Canciones Odeon 196-045-A

CD 2
Maria Luisa Anido (1907-1996) Odeon (c. 1950), Victor (1930s)
Albeniz, I.: Asturias Odeon 57014 A/B
Aguirre, J.: Triste No. 4 Odeon 57026 A
Rameau. J.P. :Minueto Odeon 57026 B
Casinelli, Ulises Gato Victor 80801 A
Granados, E.: La Maja de Goya Victor 80801 B
Sanz, G: Pavanas Odeon 57046A
Rodrigo, J: En los Trigales Odeon 57046B

Maria Luisa Anido-Miguel Llobet (1929)
Aguirre, J: Huella Odeon 196067 A

Maria Angelica Funes (c. 1950)
Torroba, F. Serenata Burlesca Odeon 65644A
Chopin, F.: Preludio Op. 28/7 Odeon 65644B
Chopin, F. Mazurka Odeon 65644B
Villa Lobos, H.: Prelude 3 Odeon 56580A
Grieg, Edvard: Danza de Anitra Odeon 56580B
Ponce, M.: Cancion Mexicano 3 Odeon 57047A
Bach, J.S.: Double from Partita #1 BWV 1002 Odeon 57047B

Lalyta Almiron (1931)
Albeniz, I.: Torre Bermeja Odeon 183249
Tarrega, F.: Estudio Brillante Odeon 203331

Abel Carlevaro (late 1940s)
Castelnuovo-Tedesco, M.: Tarantella Parlophone Odeon PXO 1073
Barrios, A.: Estudio Las Abejas Parlophone Odeon PXO 1073
Villa-Lobos, H: Estudio I in e Parlophone Odeon PXO 1073

Ayestaran, Ramon (1955)
Paganini, N.: Sonatina Sondor 15015A
Bach, J.S.: Bouree from suite BWV 996 Sondor 15015B
Bach, J.S.: Musetta (Anna Magdalena book) Sondor 15015B
Gilardi, Gilardo: Vidala (vidalita) Sondor 15016A
Fleury, Abel: Mudanzas Sondor 15016B

Andres Segovia (1949)
Villa Lobos, Heitor: Etude VII in e# Columbia LX1229
Villa Lobos, Heitor: Etude I in e Columbia LX1229
Crespo, Gomez: Nortena Columbia LB 130

CD 3
Julio Martinez Oyanguren Victor (1932), Orfeo (1940s)
Sinopolis, A: Pericon Orfeo 107 B
Fleury, A.: Estilo Pampeano Orfeo 115 A
Sinopolis, A.: Vidalita Orfeo 107 A
Oyanguren, J. M: Jota Victor 37072 B
Alais, Juan Un momento Victor 37072 A

Mario Pardo.  Odeon (1920s-1930s)
Gagliano, Alfonso: Cortas Olvidados Odeon 6722 B
Kern, J.: Quien Odeon 6612 B
Maffia, R.M.: Noche de Reyes Odeon 6626 B
Pardo: Vidalito Portena Odeon 971 B
Arolas, Eduardo Derecho Viejo Odeon 6722 A
Albeniz, I: Granada Odeon 6603 A

Andres Chazaretta (mid 1920s)
Chazaretta, A.: Pampa Taquella Odeon 996 B
Chazaretta, A.: Siete de Abril Disco Electra 050
Chazaretta, A.: Zamba de Vargas Odeon 996 A

Aguilar-Pages Duo (mid 1920s)
Aguilar, J.: Las Madreselvas Victor 79884 B
Aguilar, J.: Manos Brujas Victor 79884 A

Iriarte-Pesoa Duo (mid 1920s)
Pesoa, R.: Carinitos (zamba) Victor 79805 B
Rosendo, A: El Entrerriano Odeon 9611 B
Podesta, A: Pericon por Maria Victor 79805 A

Spina-Baudino Duo (early 1930s)
Aguilar, Guillermo: Gaucho Lindo Victor 47212 B

Trio Odeon: Iriarte, R. Pesoa, R. Pages A. (c. 1928)
Iriarte, Pesoa,Pages: De Rompe y Roja Odeon 9625 B

Fleury, Abel (1947)
Fleury, A.: Pajaros en el Monte Odeon 31676 A
Fleury, A.: Sobretarde (triste)  Odeon 31676 B

Atahualpa Yupanqui (1946)
Yupanqui, A.: La Churquena Victor 68-0652 B
Yupanqui, A.: Vidala del Silencio Victor 68-0652 A

Eduardo Falu (early 1950s)
Falu, Eduardo: Lombardi, D.V.:.Zamba de Vargas TK S-5088 B

Pascuale Taraffo (1929)
Taraffo, Pascuale: Prospero Columbia 1808D B
Taraffo, Pascuale: Sonatina Columbia 1808D A

José Maria Aguilar (1930) (Accompanying Carlos Gardel (vocal), with Barbieri & Riverol (Assisting Guitars)
Aguilar: Anoranzas
Andres Segovia (1962)
O. Chilosetti (transcr.): Preludio
O. Chilosetti (transcr.): Bianca Fiore
O. Chilosetti (transcr.): Danza
O. Chilosetti (transcr.): Gagliarda
O. Chilosetti (transcr.): Canzone
O. Chilosetti (transcr.): Saltarello
Bach, J.S.: Gavottes 1 & 2 ( from Cello Suite No. 6, BWV 1012)
Sor: Allegro (from Grand Solo, op.14)
Boccherini-Cassado: Andante Cantabile (from Cello Concerto No. 2)
the "Festival String Quartet" with Felix Galimir and Marvin
Morgenstein, violins, Jacob Bernstein, cello, Arthur Ganick, viola
Maria Luisa Anido (1982)
O. Chilosetti (transcr.): Saltarello
O. Chilosetti (transcr.): Canzone
O. Chilosetti (transcr.): Danza
Albeniz: Granada
Mozart: Menuet
Anido (?): Danza
Tarrega: Sueno


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