Segovia & His Contemporaries Series

Segovia & His Contemporaries Vol. 1: Segovia & Oyanguren   DHR-7703

ANDRES SEGOVIA - 1944 Recordings (issued 1945)

Segovia's 1944 recordings, out of print for over three generations, represent him at the peak of his powers. His unique, clear, rich and dark tone, as well as his orchestral timbres and textures, reaffirm his pre-eminence in the history of the guitar.

Albeniz: Granada; Torre Bermeja; Sevilla
Granados: Tonadilla; Dance No. 10 ; Dance No. 5


Oyanguren was active concert performer in the 1930s and 1940s. His Columbia recordings appear now (on CD) for the first time in 60 years. Highlights of his career included engagements as guest-soloist with the New York Philharmonic and for President Roosevelt in the White House.

Tarrega: Recuerdos de la Alhambra; Prelude No. 5; Prelude No. 6; Prelude No. 11; Prelude No.12; Danza Mora
Sirera: L'Hereu (Danza Infantil); Jerezana (Serenata); Zapateado; Campion: Air; Sonate; Gigue; Gavotte; Fugue
Milan: Pavane; Narvaez: Guardame las Vacas; Sanz: Capricho; Ferrandiere: Rondo; Aguado: Allegro; Sor: Grand Sonata Op.22

Segovia & His Contemporaries Vol. 2: Segovia & Guillermo Gomez   DHR-7704

ANDRES SEGOVIA - 1944 Recordings (issued 1947)

D. Scarlatti: Sonata; Paganini-Ponce: Romanza; Rameau: Minuet; Purcell: A New Irish Tune; Minuet; Jig
Dowland: Galliard; A. Scarlatti (Ponce): Gavotte; Sarabanda; Haydn: Minuet; Andante

GUILLERMO GOMEZ - 1928 Recordings

A performer, composer and arranger, Gomez was active mostly in Mexico. His American Columbia recordings of 1928 were made in New York (about which time the orchestrated version of his Suite Andaluza, was performed by the New York Philharmonic). His distinctive musical personality, rhythmic intensity and vitality, are displayed by these masterly recorded performances, now available for the first time in over 70 years.

G. Gomez: Potpourri de Aires Espanoles; Tremolo; Angelita; Suite Andaluza in four part ; Chapi (arr. G. Gomez): Serenata Morisca
Massenet (arr. G. Gomez): Elegie; Torroba: Fandanguillo; Granados: La Huerfana (arr. G. Gomez); Playera Danza No. 5 (arr. G. Gomez)
Nevin (arr. G. Gomez): El Rosario

Segovia & His Contemporaries Vol. 3: Segovia & Walker   DHR-7709 

Segovia's 1947 Musicraft recordings of Bach (most notably of the Chaconne - the first guitar version ever recorded) represents a milestone in the development of the guitar in the 20th century. These recordings have always been available in one format or another, invariably with atrocious sound...
DOREMI has painstakingly restored these glorious recordings to the level of sonic quality their magnificence deserves. Segovia is once again represented at the peak of his technical and musical powers, in performances which reveal his unique, clear, rich dark tone, his orchestral timbres and textures.
The recordings of
Luise Walker, from 1932 & 1934 - when she was in her early 20's, reveal her to be a worthy contemporary of Segovia, an elegant, sensitive player with a beautiful tone and an impressive command of her instrument. For the first time the guitar aficionado is provided with an excellent sound which showcases Walker's unique artistry.


Musicraft 78s Album M-85 recorded 1947:

Musicraft 78s Album M-90 recorded 1947:


Telefunken 78s recorded 1934:

Odeon 78s recorded 1932:

Segovia & His Contemporaries Vol.4: Segovia & Maria Luisa Anido   DHR-7719 

ANDRES SEGOVIA (1944 recordings)

MILAN: Pavane VI; Pavane IV; SANZ: Pavane; ANON: Canzone; Saltarello; El Noi de la Mare; El Testamente de Amelia; TORROBA: Burgalesa; Albada; Arada; TARREGA: Danza Mora; Minuet; DE VISEE: Entrada; Giga; Bourree; Minuet.
The selection of recital pieces presented in this volume originates from the same recording sessions in January 1944 which produced the Albeniz and Granados tracks heard on Vol. 1 of this series. Unavailable in any format for decades, these miniatures provide yet another glimpse into the art of the Maestro at the height of his powers. An eclectic selection of works spanning five centuries of western music.

MARIA LUISA ANIDO (Recorded c. 1930 -1956)

ALBENIZ: Asturias; Granada; TARREGA: Recuerdos de la Alhambra; Variaciones sobre la Jota Aragonesa (Gran Jota); Sueño; GRANADOS: Danza No. 5; ALBENIZ: Cadiz; RUBINSTEIN: Romance.
One of the greatest guitarists of all time, Anido has unfortunately been very little represented on record. A glaring omission, finally rectified in this volume!
Acclaimed as a prodigy by Segovia himself, she developed a mature and unique artistry. She had a flourishing career during the 1930's and the 1950's. This wonderful Argentinian artist's romantic flair is beautifully demonstrated in a selection of virtuoso guitar works by the great Spanish masters, recorded in her prime.

Segovia & His Contemporaries Vol.5: Segovia & Vicente Gomez   DHR-7723


TORROBA: Fandanguillo from "Suite Castellana"; BACH: Prelude from cello suite No.1 BWV 1007
TARREGA: Etude in A major; MENDELSSOHN: Canzonetta from string quartet in Eb Op.12
ALBENIZ: Granada & Sevilla from "Suite Espagnole"; TORROBA: Preludio
CASTELNUOVO-TEDESCO: Vivo ed Energico from "Hommage a Boccherini"
The recital pieces presented in this volume originated in recordings made in London for HMV between 1928 and 1938. They constitute a representative cross-section of his concert repertoire, made at the height of his powers. As always, this DOREMI CD sound is far superior to any re-issue of Segovia material transferred by others.


GOMEZ: Romance de Amor; La Farruca; Sevillanas Y Panaderos; Alegrias; Granada Arabe; Solea
CALLEJA: Cancion Triste; SOR: Preludio; MARIN: Rapsodia Andaluza; TARREGA: Marietta & Adelita;
AGUADO: Estudio de Concierto; TORROBA: Fandanguillo from "Suite Castellana"
One of the most popular classical guitarists of the 78 era, Gomez has unfortunately not yet been represented on CD. This CD rectifies this glaring omission. These 1939 debut recordings made for American Decca, have not been available in any format for several decades. They show an artist of remarkable versatility, with a mastery of both the classical heritage and the Spanish folk tradition.

Segovia & His Contemporaries Vol.6: Segovia, Llobet & Anido   DHR-7754

Llobet in 1905

ANDRES SEGOVIA HMV recordings 1928 - 1930
Bach: Prelude BWV 999; Allemande from Lute Suite BWV 996; Fugue in A minor from the 1st Violin Sonata BWV 1001
Ponce: Suite in A major: Prelude, Allemande, Sarabande, Gavotte, Gigue
The recital pieces presented in this volume originated in recordings made in London for HMV between 1928 and 1938. They constitute a representative cross-section of his concert repertoire, made at the height of his powers.

MIGUEL LLOBET Parlophone/Decca recordings 1925 - 1929
Quijano - Llobet: Estilo Popular Argentino; Coste: Etude Op. 38 No. 23 Sor: Etude in B minor Op. 35 No. 3; Andantino Op. 2 No. 3
Bach: Sarabande from the 2nd Violin Partita BWV 1002 Ponce: La Pajara (Cancion Mexicana); Ponce: Por ti Corazon (Cancion Mexicana)
Anon - Llobet: El Testament d'Amelia; El Mestre; La Filla del Marxant; Plany

One of the greatest classical guitarists of the 78 era, Llobet was the foremost student of Tarrega, the "father" of the modern classical guitar. His recordings were made for Odeon-Parlophone in the mid 1920's. They show an artist of remarkable originality and virtuosity, playing many of his famous arrangements in solo and in duo

ANIDO/LLOBET DUO: Odeon/Decca recordings 1925 - 1929
Aguirre: Huella; Mendelssohn: Song Without Words (Book 5) Op. 62 No. 25
Albeniz: Evocacion from Book 1 of "Iberia"

MARIA LUISA ANIDO  Victor and Odeon recordings c. 1930
Mozart: Minuetto; Alfonso de Sabio: Cantiga; Tarrega: Sueño Ponce: Por ti Corazon (Cancion Mexicana) Bach: Bourree from the 3rd Cello Suite BWV 1009; Prelude from the 4th Cello Suite BWV 1010 San Sebastian: Dolor - Preludio Vasco

This wonderful Argentinean artist was featured previously on Vol. 4 of this series. Anido appears here in duo with Llobet, whose protegé she was. Also presented are seven rare solos recorded on Victor and Odeon in Argentina, issued here for the very first time since their original release on 78s.

Segovia & His Contemporaries Vol.7: Segovia and Francisco Salinas   DHR-7761

Francisco Salinas

ANDRES SEGOVIA HMV recordings 1928 - 1930
Ponce: First and Second movements from Sonata no. 3, Postlude 18; Tarrega: Tremolo Study (Recuerdos de la Alhambra), Petite Valse, Mazurka; Turina: Fandanguillo.
The recital pieces presented in this volume originated in recordings made in London for HMV between 1928 and 1938. They constitute a representative cross-section of his concert repertoire, made at the height of his powers.

FRANCISCO SALINAS Columbia (1926) and Victor (1931) recordings.
Yanez: Anita (Mazurka), Habaneras, Estudio de Concierto; G. Gomez: Tu Recuerdo, Arpa de Oro, Guajiras, Tientos, Conchilla; Salinas: Dime Que Si...
Tarrega: Adelita; Capricho Arabe; Schubert: El Deseo; Arcos: Maria Luisa; Galindo: Suplica de Amor.
Although long considered in his native Mexico as its founding father of the classical guitar, Salinas is now, outside of his homeland, wholly unknown as a concert guitarist and a recording artist.This volume contains the very first re-issue of his recordings in nearly 75 years. Recorded only one year after the introduction of electrical recordings, it restores the prominence his artistry merits and preserves the vividness of his sumptuous sonority. These extremely rare early recordings, made in New York in 1926 for Columbia and in 1931 for Victor, reveal a unique artist who possesed intense musical sensibility and a uniquly beautiful sound evoking the Mexican style and sentiment.

Segovia & His Contemporaries Vol. 8: Segovia & Oyanguren Part II   DHR-7794

Julio Martinez Oyanguren    Recorded 1937 - 1941 (Columbia & Victor)
Giuliani: Grande Ouverture    Cimarosa: Sonata in A     Rameau: Gavotte
Parga: Alhambra Tarrega: Capricho Arabe; Spanish National Airs
de Falla: Homage (Le Tombeau de Debussy)    Turina: Rafaga    Rodriguez: La Cumparsita
Bobri: Danza en La Oyanguren: Arabia; Andalucia
Andrès Segovia    Recorded 1927 - 1939 (HMV)
Theme Varie   de Visee:  Sarabande ; Bouree ; Menuet   Froberger: Gigue
Bach:  Courante; Gavotte   Malats:  Serenata    Granados:  Danza Espanola No. 5

In Volume 8 of DOREMI's pioneering series "Segovia and His Contemporaries," the spotlight once again falls on the Uruguayan virtuoso, Julio Martinez Oyanguren, who was introduced in the first volume. Apart from Segovia himself, no other classical guitarist in the 78 era recorded as prolifically or eclectically as Oyanguren.
In this present offering, we hear a typically wide ranging repertoire covering three centuries. Of particular interest are the first ever recordings of Giuliani's "Grande Overture" and de Falla's masterpiece "Homage a Debussy". The selection of Segovia HMV recordings offered parallels the span of Oyanguren's performances, including signature performances of two of Granados' "Danzas Espanolas" and Sor's "Variations on a Theme of Mozart." Although these recordings date from the 1920s and 1930s, their sound is lucid and full, thanks to the carefully restoration by DOREMI.

Segovia & His Contemporaries Vol. 9: Segovia & Sainz de la Maza   DHR-7804

Regino Sainz de la Maza: (COLUMBIA; DECCA; ODEON c. 1928-1948)
Rodrigo: Concierto de Aranjuez
Tarrega: Mazurka; Evocación; Reverie
Sainz de la Maza (Arr:): El Vito
Andres Segovia: (COLUMBIA 1949)
Castelnuovo-Tedesco: Guitar Concerto No.1; Tarantella
Ponce: Sonatina Meridional

Volume 9 of "Segovia and His Contemporaries," showcases two landmark recordings, Segovia's first performance of the Castelnuovo-Tedesco Concerto #1 and Regino Sainz de la Maza's premiere of Rodrigo's universally beloved Concierto de Aranjuez. Waxed in the late 1940s, these rare recordings marked the first appearance on disc of the first concertos written for the guitar in the twentieth century. Sainz de la Maza was one of the most important classical guitarists of the twentieth century not only as a performer, but as a teacher, composer, arranger, and exponent of new repertoire. This recording goes a long way to rectify his very weak representation on CD. Besides his evocative performance of the Aranjuez, he plays two tremolo studies and a Mazurka of Tarrega, as well as his own arrangement of the folk tune El Vito. Segovia offers Castelnuovo-Tedesco's virtuosic Tarantella and Ponce's Sonatina Meridional. DOREMI is proud to issue these musically historic gems of the art of the classical guitar.

Segovia & His Contemporaries Vol. 10: Segovia & José Rey de la Torre   DHR-7854-6

    2CDs + 1DVD

Featuring the early-recordings of the legendary Cuban-American guitarist, Jose Rey de la Torre. This release comprises Rey's first three long-playing recordings (1945-1950) in their entirety, along with Andres Segovia's complete rare 1955 Decca issue "Masters of the Guitar". All of the performances are devoted to the works of Fernando Sor and Francisco Tarrega, the two seminal figures in the development of the modern classical guitar. The works of these guitarist-composers have formed the backbone of the technical and artistic formation of guitarists for well over a century. Rey's recordings are particularly significant. His recording of many of Sor's most important etudes was by far the earliest and his performances of them remain musically among the most beautiful and accomplished ever set to disc. Equally important are his renderings of the little-performed Tarrega preludes "exquisite miniatures" and the ubiquitous warhorses (Recuerdos, Lagrima, Adelita, and the like), not only for their artistic merit, but also for the fact that his interpretations come in a direct line of descent from Tarrega himself by way of Rey's maestro, Miguel Llobet, Tarrega's finest student. These recordings also allow listeners a clear contrast between the two dominant traditions of classical guitar performance in the twentieth century -one line descending directly from Tarrega, the other from Segovia. Also included is a DVD of extremely rare television appearances made in 1957 and 1962 by Rey de la Torre.

Preludes 1; 2; 3;4; 5; 6; 7; 10; 11
Endecha; Oremus; Lagrima
Recuerdos de la Alhambra; Adelita
Marieta, Minuetto; Mazurka
FERNANDO SOR (Source: SMC-517)
Etudes 1; 2; 3; 4; 6 ; 8; 9; 10; 11; 13; 14; 16; 20
FERNANDO SOR (Source: Allegro LEG-9013)
Grand Sonata, Op. 22  (I. Allegro II. Adagio III. Minuetto IV. Rondo)
Introduction, Theme, & Variations on "The Magic Flute" Op. 9
Minuet in D & Minuet in A, Op. 11
Etude in B minor, Op. 35/2; Etude in Bb major, Op. 29/1; Etude in A major, Op. 6/6
ANDRES SEGOVIA - (Source: Decca DL 9794)
Introduction & Allegro (Grand Solo) Op. 14
Two Minuets in A and in E
Four Studies: in A, in G, in b, in A
Estudio Brillante; Marieta (Mazurka)
Preludio No. 5; Preludio No. 2
Maria (Gavota); Mazurka in G
Adelita (Mazurka); Capricho Arabe; Recuerdos de la Alhambra
Rey de la Torre: Variations on a Theme from the Magic Flute (Sor); Montoya: Taranta (flamenco);
Rey de la Torre: 3 pieces by Robert de Visee from suite in d;
Montoya: Buleria, Solea (flamenco);
Rey de la Torre: Homage a Debussy (Manuel de Falla)
Pavane (Luis Milan); Study in Bm (Fernando Sor)
Fandanguillo (Turina); Asturias-Leyenda (Albeniz)
Choros 1 & Etude 11 (Heitor Villa-Lobos)

Segovia & His Contemporaries Vol.11:
Guitarists of the Rio de la Plata DHR-7955-8
3CDs + 1DVD

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 Prats (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 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 Rudolfo 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.

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
Specially priced as "4 for 3"

Segovia & His Contemporaries Vol. 12: DHR-7996
El Círculo Musical:
Tárrega, His Disciples & Their Students

This is one of the most important releases of historical recordings of the classical guitar ever produced. Francisco Tarrega was the father of the modern guitar, his influence unmeasurable. Besides the early cylinder extract of the Master playing his own music, this CD includes recordings of all his distinguished disciples - Llobet, Fortea, Pujol, Roblendo, Calatayud - most tracks never reissued since their first release in the 1920s and 1930s. In addition it offers rare performances of some of their students - Segovia, Rodes, and Sainz de la Maza. Also, this CD highlights what may be the first solo guitar recording ever made, as early as 1897, of Simon Ramirez of the famous Romance d'Amour.
MIGUEL LLOBET (1878-1938)
Dos Canciones Mexicanos (Manuel Ponce)
Sarabande (J.S. Bach)
Andantino (Fernando Sor)
Studio Brillante (Napoleon Coste)
DANIEL FORTEA (1882-1953)
Elegia a Tárrega (Daniel Fortea)
Capricho Arabe (Francisco Tárrega)
Munecos de Carton (Daniel Fortea)
Andaluza, danza no. 5 (Enrique Granados)
Marcha Hungara (B. Calatayud)
Gavota (B. Calatayud)
EMILIO PUJOL (1886-1980)
Pavane 1, Pavane 2, Pavane 3 (Luis Milan)
Durandarte [acc. Maria Cid, vocal] (Luis Milan)
Paseabase el rey moro (romance) (Miguel de Fuenllana)
Vos me matasteis (villancico) (Vasquez)
A las armas moriscote (Diego Pisador)
Danza del molinero (Manuel de Falla)
Danza de La Vida Breve (Manuel de Falla)
ANDRES SEGOVIA (1893-1987)
Homenaje a Debussy (Manuel de Falla)
El Mestre (Miguel Llobet)
Prelude 1 (Francisco Tarrega)
Prelude 2 (Francisco Tarrega)
Prelude 5 (Francisco Tarrega)
Capricho Arabe (Francisco Tarrega)
Scherzo-Gavota (Francisco Tarrega)
Bouree (from Partita 1 for violin) (J.S. Bach)
ROSITA RODES (1906-1975)
Gran Jota de Concierto (Francisco Tarrega)
Recuerdos de la Alhambra (Francisco Tarrega
SIMON RAMIREZ (dates unknown)
Estudio para Guitarra (Anon)
One of the very first classical guitar recordings ever made! C. 1897 - 1901
Maria - Gavota (Francisco Tárrega) wax cylinder
(1899 or 1908) Extract from the only known recording made by Tárrega

Legendary Treasures