A Tribute to María Luisa Anido Cinzia Milani

• María Luisa Anido (1907 - 1996): Aire Norteño:
• 1Anido: Aire Norteño01:35
• Cancion del Yucatan:
• 2Anido: Cancion del Yucatan01:59
• Preludios Nostalgicos:
• 3Anido: Preludios Nostalgicos: I. Lejania04:12
• 4Anido: Preludios Nostalgicos: II. Gris03:23
• 5Anido: Preludios Nostalgicos: III. Mar02:21
• Cancion de Cuna:
• 6Anido: Cancion de Cuna02:26
• Preludio Campero:
• 7Anido: Preludio Campero03:21
• Impresiones Argentinas:
• 8Anido: Impresiones Argentinas: I. Boceto Indigena04:22
• 9Anido: Impresiones Argentinas: II. Santiagueña02:52
• 10Anido: Impresiones Argentinas: III. Canto de la Llanura02:57
• 11Anido: Impresiones Argentinas: IV. Triste02:37
• 12Anido: Impresiones Argentinas: V. Preludio Pampeano03:02
• 13Anido: Impresiones Argentinas: VI. Catamarqueña03:15
• 14Anido: Impresiones Argentinas: VII. Variaciones Camperas01:58
• 15Anido: Impresiones Argentinas: VIII. Preludio Criollo01:42
• 16Anido: Impresiones Argentinas: IX. el Misachico02:43
• Aire de Vidalita:
• 17Anido: Aire de Vidalita02:16
• De mi Tierra:
• 18Anido: De mi Tierra02:03
• Barcarola:
• 19Anido: Barcarola02:30
• Total Runtime51:34

Info for A Tribute to María Luisa Anido

The "grande dame of the guitar" remembered through a new recording of her own music.

María Luisa Anido (1907-1996) was born in Argentina and grew up in a household where the guitar was central. Her father brought home many of the great performers, whom she heard and who heard her. Miguel Llobet, himself a student of Tárrega, became one of her early teachers, though the most important was Domingo Prat. She met Andres Segovia after one of his concerts when she was about 10 and he was in his early 20s, and her own recordings rival those of Segovia’s for both technical finesse and a natural feeling for the colours and rhythms of the Spanish guitar tradition.

Cinzia Milani remarks, in an introduction to her new recording of Anido’s own compositions, that ‘there are moments when the technical essence of Anido's handing of the fretboard, especially in the higher registers, is so particular that one has the impression of knowing exactly what her hands were like.’ Milani concludes her album with Anido’s first and perhaps best-known piece, the Barcarola which she composed at the age of 20. Llobet lavished well-earned praise on her in response: ‘I have read and played your Barcarola; the voices are carried magnificently with admirable taste of their natural characteristics; the tone colours are perfect. Bravo, very well done.’

This is only the second album ever dedicated to Anido’s music, making Cinzia Milani’s recording a landmark contribution to guitar music on record, and to the extensive guitar library on Brilliant Classics. The most substantial collection here is a sequence of nine Impresiones Argentinas, which effectively form a survey of the folk music of her native land. Individual movements take up Indian, mestizo, pampan and North-western Creole melodies and rhythms.

The Impresiones Argentinas are marvellously relaxed and earthy pieces, speaking unaffectedly of everyday experience, and no wonder that Anido charmed Soviet audiences with them during her 1960s tours, before settling for a while in Cuba. The Aire Norteño and Cancion del Yucatan equally draw on south-American roots, while a trio of Preludios Nostalgicos belong to the repertoire of many modern guitarists. Anido was a major figure on the landscape of the 20th-century guitar, and Cinzia Milani has made a devoted tribute to her art.

Maria Luisa Anido (1907-1996) was born in Morón, in the province of Buenos Aires, Argentina. She studied guitar with Domingo Prat in Argentina and Miguel Llobet in Spain. From 1925, she frequently performed in Argentina together with Llobet. Her first London appearance was in 1952 at the Wigmore Hall, and she spent several years in the 1960s performing and teaching in Russia. Later she became professor at the conservatory of Buenos Aires. By the mid-1980s she moved to Spain, where she spent the rest of her life.

María Luisa Anido has been one of the few female composer-performers of her time. Her works for guitar, exquisite miniatures, are inspired by the rich folklore and music of her native Argentina.

Played with winning affection by Cinzia Milani, one of the foremost female guitarists of today, who has already issued a Tribute to Ida Presti, and Teresa De Rogatis, issued on Brilliant Classics.

Cinzia Milani, guitar

Cinzia Milani
began studying classical guitar at a very young age and after private studies, graduated from the Conservatorio "A Boito" in Parma at the age of 18. Â She has studied with many teachers and developed her guitar technique with the distinguished guitar master Mauro Storti, subsequently going on to study interpretative analysis with the Argentinian composer Oscar Roberto Casares.

When Cinzia Milani was only 5 years old she won the international competition of Milan. Also, at the age of 7 she was awarded the "Ambrogino d'oro" by the Municipality of Milan for her extraordinary and precocious musical ability and at the age of 10 she won the "Trofeo Beniamino Gigli" in Recanati, was marked 100/100 points.

In 1991 in Parma, Cinzia Milani was awarded the "Premio F. Margola" for best execution and interpretation.

By the age of 12, she began her concert career in Italy and went on to perform all over the world: United Kingdom, France, Spain, The United States, Canada, Mexico, South Africa, Indonesia, South America.

By the age of 14 Cinzia Milani had already won sixteen first prize in International and National Competitions.

Cinzia Milani caught the attention of British and American press, which defined her as "a rare combination of beauty, grace, natural elegance..." and as having "a deep sense of music with a brilliant technique and a powerful sound and expression, considered among the best exponents of the concert artists in the world..."

Cinzia Milani has already amassed an impressive discography: in addition to recording for Rai Radio 2 and Antenna 3, in 1994 she has collaborated with composer A. Prandi to catalogue previously unpublished music for the guitar. Meanwhile, tracks from her CD "Ritratto di Donna", recorded for the Jump Musical Edition label, have been broadcast on RAI in Italy as well as on French, German and Japanese national television stations and films.

Cinzia has also performed as a guitarist, dancer and singer in the argentinian show called "Sonatango" and later recorded a CD with the same name. Also she recorded the cd "Guitar", Amadeus Label, Italian music by Castelnuovo-Tedesco, Margola, Domeniconi, Prandi, and also pieces wrote for her by the composers Cacciola and Betta. She has performed around Canada and the United States and she has taught guitar masterclasses at Royal Conservatory of Toronto.

She then went on to create a show called "Venere" consisting of music composed and performed live by her, in collaboration with the dance company "Performing Danza". This show represents the feminine universe told through music and dance.

She's working on a women project dedicated to great composer, concertist guitarist of last century. The cds containing First World Recording. The first cd released was "A Tribute to Ida Presti", a great project Brilliant label: works for solo guitar by Ida Presti and works by others composers written to Ida. She performed on stage with the Ida Presti's guitars : Gomez Ramirez 1934 & 1936. The "Classical Guitar Magazine" nominated the video of "Danse Rythmique" by Ida Presti played by Cinzia Milani "video pick of the week".

The second cd of that collection is "A Tribute to Teresa De Rogatis", works for solo guitar. International press describe it "this is the great merit of operations like that of Cinzia Milani: these two tributes, which I hope will continue to follow, show the presence of new musical territories unjustly left behind and almost forgotten by critics and music education short-sighted and regressive. This is the contemporary key to the work of Cinzia Milani. Her almost archival research has created a new artistic path that draws abundantly from the past, presenting it in a new light. It's a work of revitalization, of revisitation, of stylistic revival. Hightly recommended".

In addition to her career as a guitarist, she plays the violin and has played in various orchestras in Italy, Spain and France.

She is testimonial of "Royal Classics Strings" and "Bam cases".

Booklet for A Tribute to María Luisa Anido