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Andrès Segovia and his Contemporaries - Vol. 4: Segovia and Maria Luisa Anido Isaak ALBÉNIZ (1860 - 1909) Asturias; Granada; Francisco TÁRREGA (1854 - 1909) Recuerdos de la Alhambra; Variaciones sobre la Jota Aragonesa (Gran Jota); Sueño; Enrique GRANADOS (1867 - 1916) Danza No. 5; Anton RUBINSTEIN (1829 - 1894) Romance Op. 26 No. 1; Isaak ALBENIZ Cadiz; Luis MILAN (c. 1500 – c. 1561) Pavana VI; Pavana IV; Gaspar SANZ (1640 - 1710) Pavana; Anon. Canzone; Saltarello; Federico Moreno TORROBA (1891 - 1982) Burgalesa; Albada; Arada; Anon. El Noi de la Mare; El Testamente de Amelia; Francesco TARREGA Danza Mora; Minuet; Robert de VISEE (1660 – 1720) Entrada; Giga; Bourree; Minuet Maria Luisa Anido (guitar)(1–8), Andrès Segovia (guitar)(9–24) Recorded early 1930s (7-8), the Soviet Union 1956?(1–6), New York January 1944 (9–24) DOREMI DHR-7719 [65:22]

In the history of the modern guitar Andrès Segovia’s unique position as the "apostle" has tended to overshadow many of his approximate contemporaries. Doremi has seen it as their task to correct this picture by reissuing some earlier guitar recordings to contrast with Segovia’s. It is an honourable task and it is only to be hoped that the discs will sell in sufficient quantities to encourage them to carry on with their work. The present disc is the fourth volume and alongside Segovia we meet Isabel Maria Luisa Anido Gonzales, to give her full name. She was born in Buenos Aires in1907 and her father was "an aficionado and amateur player who founded a review, ‘La Guitarra.’", Jack Silver writes in his informative note. Little "Mimita" (her nickname) took some introductory lessons from her aunt but used to sneak into the room and hide under a bureau, when Domingo Prat, a pupil of Llobet’s, gave lessons to her father. Her father caught her one day but when he realized that the girl had picked up everything she had heard and could play it by ear, he bought her a little guitar and started to teach her himself. Only three months later she was ahead of her father and began to study with Prat. She also took some lessons with Llobet and Josefina Robledo, who was a student of Tarrega’s. She started giving recitals at an early age and made a great impression on Llobet, with whom she often performed and also recorded some duets, which will appear on a future Doremi volume. After a long break following her father’s death in 1933, she resumed her concert activities in 1950 and toured widely in South America, Europe, the Soviet Union and Japan, recording quite extensively. As late as 1989 she made a live recording in Cuba and in the 1990s mov