María Luisa Anido

Aire Norteño, her most popular piece, is a 'Bailecito', a little dance present in all festivities in north-western Argentina, which is generally accompanied by charangos, quenas and cajas.

Miguel Llobet, the Catalan guitarist, wrote to her shortly after that: "I have read and played your Barcarola; the voices are carried magnificently with admirable taste of their natural characteristics; the tone colours are perfect.

In Canción del Yucatán, Anido alternates the characteristic Habanera rhythm with triples and rubatos that mark the sweet and feminine character of the piece.

Preludio campero illustrates the attitude of the gaucho as he improvises chords on his guitar until a small melody appears, without any hurry, with the tranquillity and liberty that the immensity of the pampas imparts.

Their poetic form is not uniform, but generally it is a quatrain where the word 'vidalita' appears between the first and second and between the third and the fourth lines as follows: María Luisa Anido prepares the theme with four bars of guitaristic arpeggios.

The melody of the piece respects its characteristic rhythm, but instead of flowing in a homophone way or through parallel thirds, sixths or tenths, it is built as a chorale in four voices, which gives it a special depth.

After an introduction of 8 bars (generally accompanied by the dancers and audience clapping hands) the melody flows wittily and freely over a very simple harmonic ground.

In Boceto indígena, dedicated to Lalyta Almirón (a child prodigy born in 1914 who was the first Argentine guitarist to play in Europe), Anido alternates a Baguala rhythm with a tempo de danza and uses one of her favourite and original effects: harmonic tones in the basses of a two-voice melody.

Santiagueña' (dedicated to her agent Omar Buschiazzo) is a characteristic Chacarera from Santiago del Estero, and Catamarqueña, based on the Vidala that is typical of Catamarca.

In the northwest of Argentina, Misachico is the name given to small processions, carrying the profusely ornamented image of a saint that belongs to a family, not to the church.

Lejanía shows its melancholy through slow arpeggios, Mar flows in continuous movement and transformation and Gris reflects a feeling of peace and plenitude.