First Editions Continued

Miguel Llobet (1878-1938) and Maria Luisa Anido recorded for Odeon in 1925, and gave a series of duet concerts in the Buenos Aires province in the 1920's.

Maria Luisa Anido (1907-1996) autographed this Antigua Casa Nuñez edition from 1938. "Mimita" as she was known to her friends, was the premier child prodigy, out of not less than 1 to 2 dozen spectacular performers on the scene at the time in Buenos Aires c. 1920-1940. Of those,Lalyta Almiron & Nellie Ezcaray went on to record. If there were child prodigies, this numerous in Europe at the same time, there is no record of it.

Madame Sidney Pratten (1821-1895) was a child prodigy in the same epoch as Giulio Regondi (1822-1872). In fact, they performed duets in public. This piece was published by Boosey & Co. in London.

Melchoir Cortez was born in Portugal in 1882. He immigrated to Brazil, and became a concert artist. This school of arpeggios was published by Romero y Fernandez in 1927.

This technical study of chromatic scales was published by Romero y Fernandez in 1929. Melchoir Cortez was a prolific composer & concert performer, who has over 1/2 page dedicated to him in Domingo Prat's Diccionario de Guitarristas, which was published by Romero y Fernandez in 1934.

This set of pieces is self published by Bautista Almiron (1879-1932), the father of the child prodigy, Lalyta Almiron, an artist who appears on the CD G.E. 16 Gut String Virtuosos 1925-1943. This piece dates from the turn of the century.

Another self published piece, this one named after his daughter and child prodigy, Lalyta Almiron (1914-1997). This photo is a closeup of the photo that adorns the cover of the CD G.E. 16 Gut String Virtuosos 1925-1943. The photo also appears in the Lalyta Almiron biography in Ricardo Muñoz's "La Historia de la Guitarra" which was published in Buenos Aires in 1930.

This piece by Mario Rodriguez Arenas (1879-1949) is from 1910, when the centennial of the Revolution of Argentina was being celebrated. It is published by Francisco Nuñez, whose company also built every instrument in the cabinet, that was used in an Industrial Exposition held at the same time. In the cabinet are 6 & 11 string guitars, laudes & bandurrias. The 11 string guitars were popularized by Antonio Jimenez Manjon.

This piece is by Antonio Sinopoli, whose students performed it in the Teatro Odeon in Buenos Aires in 1924.

This is the very first Flamenco method ever. It is written by Rafael Marin (1862-193?) and published by Dionisio Alvarez in Madrid in 1902. Rafael was a student of Francisco Diaz, (c. 1855-1930) aka Niño de Lucena or Paco Lucena.

In this photo of Rafael Marin, from an interior page, my colleague Richard Brune notes that the back & sides of the guitar are Rosewood.
The Flamenco guitar was not identified as to having a Cypress body, until maybe 1930. In the 1800's a guitar of Cypress was known as a "guitarra economica", or an affordable inexpensive guitar, rather than a concert guitar.

For more:First Editions


[FFSI] [Search the Site] [About us] [Order Form] [Instruments For Sale] [Books For Sale] [Golden Era CDs For Sale] [CDs For Sale] [Music Sheets (A-B) For Sale] [Sheet Music Books] [Querico Publications] [Videos For Sale] [DVDs For Sale] [Golden Era DVD Collection] [Golden Era Videos For Sale] [Los Maestros] [Annotations Book] [Americana For Sale] [Accessories For Sale] [Services 2003] [Links 2003] [First Editions] [First Editions Continued] [La Niña de la Puebla] [Joaquin Rodrigo (1901-1999)] [Carmen (La de Triana)] [Chris Carnes (1942-2000)] [Alexandre Lagoya (1929-1999)] [Alfredo Gil (1915-1999)] [Rosario (1918-2000)] [Store Photos & More] [News Archives] [How & Why of Languages]